Bass Amplification:: Euphonic Audio, EA - Doubler, 550W, Electric, Acoustic, Double Bass, EUB :: Lightweight, compact, class D amplifiers :: Bassdirect

 

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  1. EA iAmp Doubler Gen 2 - £850 + £10 UK mainland shipping

  2. Add, single momentary switch for channel switching £18

  3. Add pro quality balanced jack - balanced xlr for the DI out £14

  4. Back pack for Micro and Wizzy 10 - £100 + £10 UK mainland shipping

  5. EU mainland shipping + £20

  6. Please contact the shop to pay by VISA, MASTERCARDl, Bank Transfer

Euphonic Audio were one of the originators of compact high power heads and lightweight cabinets, all designed and made in the USA. This new range takes the range to a new level and incorporates all the original ethos and unique features with some new upgrades and improvements. The Doubler has been tweaked and now has a louder output than the original 2010 model.



Doubler, 550W (list price  £750.00)


For the Upright and Electric Player - a truly sophisticated amp for the doubler

Click on picture to enlarge. Now being used by John Patitucci - see below.


THE STORY

EA makes micro heads for bassists who like to hear their instruments without amp colourations. These pocket-rockets deliver over 500 watts of power, yet weigh just a couple of pounds - an unbeatable ratio.


Among EA's biggest supporters are professional players who might find themselves playing a 5-string bass guitar on Friday night and an Upright Bass on Saturday. Or maybe both on the same gig. These bassists are called Doublers, and they finally have an amp worthy of their name. Doublers have specific demands: hi-fi accuracy, the power to drive the low 'b' on an electric bass or handle the power of a 'doghouse' played full tilt, and a series of unique features that allow for the proper amplification of an Upright Bass. Features like a two channel preamp for getting a properly mixed stage sound, with one channel optimised for piezo pickups and one for mics, and a set of filters that eliminate the feedback common to Upright basses.


Amazingly, the EA's Doubler has all of this, and packs it all in a 3 pound box with over 500 watts of power on tap.

THE SPECS

•Inputs: Configuration: 2 independent channels, Channel 1 Mid EQ set at 500Hz for electric bass, Channel 2 Mid EQ set at 800Hz for upright/acoustic bass- Channel 2 has XLR input with phantom power

•Input Impedance: 1Meg ohm input impedance on both inputs

•Trim controls: Independent channel level adjustments, DI output level, and high pass filter

•Intelligent Input Switching: Select different settings for 1 bass or have independent setups for 2 basses, Channel 1 or Channel 2, or Channel 1+2

•Controls: Channel switch, Input gain, 3-Band EQ, Master Volume, Mute switch, Effects loop blend

•EQ: Low, Mid, and High for each channel, Variable high pass filter  22-80 Hz, 6db per octave (allows selection of a frequency below which response is reduced, helps boomy rooms and stages (Channel 2 only) - Channel 2 also includes switchable Phantom Power, Variable Phase Control, and switchable Variable Notch Filter

•Effects Loop: Parallel effects loop with blend control, wide range of setups via internal jumpers

•Outputs: Speakon speaker, tuner, effects send, balanced DI out (1/4" stereo wired as TRS)

•Protection: Internal cooling fan, thermal and overload

•Line Voltage: 100/120 - 240 volts internally selected via jumper

•Frequency Response: 20Hz to 20kHz +/- 3dB

•Power Output: 550 watts @ 4 ohms 310 watts @ 8 ohms

•Size: 2.1"H x 10.5"W x 5.4"D

•Weight: 2.6 lbs.



EA I amp Doubler review – Bass Gear Magazine 2011


If you were to ask a working double bassist what features the perfect amp head might have, the list would likely contain many, if not all, of the following parameters: small, lightweight, powerful, piezo-friendly input impedance, two input channels to accommodate mixing in a microphone when desired, XLR input jack for the mic, phantom power on the mic channel, a high-pass filter, a notch filter, adjustable phase control, built in DI for the house system, and an effects loop with a blend control. Oh, and if it’s not too much trouble, could you throw in a switchable EQ section so that I can switch between two different EQ settings on the fly, if I’m only using one channel? Meeting demands such as these seems to have been the goal of the design crew of the Euphonic Audio iAMP Doubler, which manages to pack all of these features into a box measuring 2.1”H x 10.5”W x 5.4”D and weighing in at 2.5 pounds.


There has been a lot of discussion among musicians about the new micro amps on the market, many of which employ class- D topology with switch-mode power supplies (SMPS). There is a brief tutorial on the subject of different amplifier classes on EA’s website for those interested in the technical details of the power amp section. This goes a bit over my head – so I try to stick to a sonic

assessment of the results – but for those interested, please check out the well written descriptions of different power amp types at http://www.eaamps.com/index.php?p=classd&m=tech. Whatever the technical details involved, the amplification focus for double bassists is usually on transparency, that holy grail of “my bass, only louder.” For me, to date, I find that Idon’t object to the sound of class-D power amps, as long as the preamp feeding it passes muster. And I’ve always liked the sound of EA preamps in the past. The power rating of 550 watts @ 4 ohms and 310 watts @ 8 ohms is very impressive in a box as small as this one. In spite of this, I have to confess that when I first unpacked the box and pulled out the novel-sized Doubler to give it a try, I was a little suspicious. Would all of these functions work? And if so, would I be able to keep track of them and utilise them on the gig? Could something this light possibly be powerful enough to do what I need it to do on the bandstand? My suspicions were allayed as soon as I plugged it into an EA Wizzy 10 in my music room and gave it a trial run.


Everything worked as advertised, and the sound was right there from the beginning. After checking the pickup sound, I hooked up a mic and tried the second channel. Again, everything

worked easily and sounded good. Satisfied after playing for a bit and knowing that what sounds good at home can sound very different on the bandstand, I decided to forgo further testing and take the Doubler out to some gigs and see how it did in the real world. After figuring out how to dial-in a basic sound on each channel and combine them, I was able to get a really natural sound out of both pickup and mic in every situation. Along the way, I had to remind myself at various points that all of the hazards of mixing a pickup (Fishman Full Circle) and a mic (Shure Beta 57a) on a gig had to be dealt with when using the Doubler to the same extent that they would be with any amplification set up. Most important, that there is a point of diminishing returns with the microphone, beyond which any increase in volume of either the mic or the blend results in a hollow, washed-out sound that doesn’t do justice to either input source.


The best results came from setting the master volume at about 3-4 o’clock (nearly all the way up), then finding the highest setting at which the mic sounds natural and leaving it there. From this point, any increase in volume came from raising the pickup channel, and the mix using this method was always as natural as possible (i.e. using as much mic signal as possible) without washing out the overall sound. The variable phase control came in handy in optimising the sound at the working volume level of the band once I realised that it was basically a very intuitive control, – i.e. “when mixing signals, sweep this knob until you get the best sound, then leave it in that position.” Different gig settings resulted in different positions of the knob when used in this way, and it’s nice to have this fine tuning option when blending. When using only the pickup, the input section of the Doubler is extremely versatile because of the way the input stage is set up.


As with many preamps, there is a sweet spot in the gain structure which, when in this range, produces a natural and relaxed sound yet still provides enough headroom in the power section to be useful. For double bass, I’ve found that the “transparent/natural” sound is often found when the preamp signal isn’t as hot as I would expect to be optimal. The Doubler has plenty of juice to handle this mode of use, but when a more present, solid, slightly “aggressive” sound is desired, that can be dialed-in as well by adjusting the preamp as explained in the manual using the LED level indicator. With a little experimentation, the input section allows the player to choose from a very relaxed and ambient sound (LED almost never lights) to an extremely present and solid sound (input LED lights on hardest attacks). Having the LED as a gauge of input signal is a welcome feature for any bassist desiring this level of control – this is a feature I wish every amp had.


Overall, I was extremely comfortable using the Doubler on gigs once I had the features more or less figured out. I was only able to test it with EA Wizzy 10 speakers (two of these are all the speakers I have left after selling my beloved VL208 cabs because of the weight), so the results could easily be different with different cabs. Given that I was limited to the Wizzy 10’s, the results were very solid. Using only a single cab resulted in a very natural, “hi-fi” sound that was very clear and not heavy on the bottom. One of my grad students said that compared to the rig I had been using on the same gig, the Doubler/Wizzy rig sounded “more like my bass does acoustically” (to be fair, I don’t use a mic with the rig I had been using before). Using two Wizzy 10’s with the Doubler provided a lot more headroom and thickness to the sound, and didn’t seem to tax the head at all in terms of heat.


Summary:

The Doubler is a wonderful little amp with a ton of features, especially considering its size, weight, and price point. My only complaint – and it’s a minor one – is that the high-pass filter frequency isn’t adjustable above 80Hz, and at very loud volumes, I like to have this option. Other than this, it’s hard to find much not to like with this new pintsized (flask-sized?) entry into the micro amp market. I give it a hearty two thumbs up.


Soundclips:

(Doubler and a single Wizzy 10)

Love For Sale

http://chrisfitzgeraldmusic.com/mp3/

LoveForSale.mp3

(Doubler and two Wizzy 10’s)

Solar

http://chrisfitzgeraldmusic.com/mp3/

Solar.mp3

(segue) Soul Eyes

http://chrisfitzgeraldmusic.com/mp3/

(segue)SoulEyes.mp3 advice.

 

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TESTIMONIALS

"I love the clarity of EA gear and customer service is top-notch."

-Carl Edwards

"I have used EA gear for a while now, and it is the best amplification gear I have ever played."

-Adrian Juras

"I wanted to improve my sound so about a year ago I decided to find a really solid sounding smaller cabinet with even tone and presence throughout the spectrum. I tested a fair number of higher end cabinets from various manufacturers. After trying a couple of EA cabinets, I immediately bought an NL210. Utterly fantastic! It's not so much that I love the sound of this cabinet but that I love my sound through this cabinet!"

-Bruce Kirk

"Love your stuff. The sound is amazing, I get more, tighter bottom out of a pair of your vl-210s than I did out of a 1x18 + 4x10 stack. Yet still with super clean mids and highs. Your cabs make my bass sound more like a studio recording rather than a typical live setup. Never even looked at another cabinet since I got yours."

-Randy Streicher

"EA gear is like a wolf in sheep's clothing, small, light but loud, it is mind boggling, it blows away everything else. Euphonic Audio is to sound what Apple is to computers."

-Einar Aarnes

"Your new series III NL210 is the greatest improvement in upright bassdom since the spirocore string. Finally a cab that: Needs no EQ and sounds perfect, is loud and light, tweeter is balanced and integrated with no harsh clack, lets me concentrate on the music instead of the gear! John, you hit a grand slam with this cab. Between the NL210 and my Wizzy 10 I can handle ANY gig at any volume with sound quality beyond any other cab on the market."

-Peter Tillotson


Submitted on the 17th July 2012 by Andy who purchased a Euphonic Audio Wizzy Mline 12, a EA Doubler Amplifier


Hello Mark, 

Just a quick note to say the cab and amp arrived safe and sound this morning. It sounds great! Definitely loud enough for my needs and very clear (particularly when playing arco). Very much looking forward to gigging it this Saturday!

Many thanks for your advice and guidance!

All the best, 

Andy