Reviews (Industry)

Given that the WJBA and WJBA2 feature the same circuit as the WJBPII I’ve already reviewed, a quick recap of the preamp is in or-der. The WJBPII is an unusually feature-packed preamp that features two discrete signal paths, making it ideal for those who use two basses on a gig, double on synth and bass, or use an upright with a pair of pickups or a pickup and a mic (there’s even a phantom-powered XLR jack on hand for powering a condenser mic). Additionally there are balanced outputs, extensive I/O capabilities, a built-in compressor, and foot switchable muting. One would be hard-pressed to name a feature the preamp design lacks, and thus the WJBA and WJBA2 heads deserve the same plaudits. Additionally, the multi-hued LEDs indicating input gain and output level make it easy to govern gain staging, essential on a head with so many EQ and compression options.

The construction of the Wayne Jones Audio heads is competent and clean, with a mixture of sur-face-mount and through-hole components dominating the large preamp, power supply, and amplifier circuit boards. A single generic Chinese-made 12AX7 is present in the WJBA2, while a pair are offered in the two-channel WJBA. A plethora of opamps look to be handling gain and other voltage-amplification duties throughout the circuit. As I pointed out in my review of the WJB-PII, I don’t think the front-panel text is as clear as it could and should be, especially because the numerous features and filters are all accessed with identical knobs. That said, it’s likely something a player would adjust to after spending time with the heads.

DOWN UNDER SOUND

I tested the Wayne Jones Audio amps with a variety of cabinets, including a passive Wayne Jones 2×10, a Bare-faced Big Baby II 1×12, and a Bergantino HT322 2×10 + 1×12 cabinet. As I have had the heads for a while, I was able to use them on a number of gigs and in my studio.

Overall, the WJBA and WJBA2 deliver exactly what they were de-signed to do, adding a lightning-fast, phenomenally loud power amp to the successful WJBPII preamp de-sign. As I noted in my review of the preamp, the overall tone is on the dry and clinical side, despite the presence of a 12AX7 tube in the preamp. Those more compelled by the grit and dirt of, say, an Ampeg SVT pushed hard ought to look else-where — but the rest of you, particularly if you want sharp, precise, and fast transient response, would be well served to check out one of the Wayne Jones Audio heads. The EQ is effective and thorough, and the abundant I/O proved useful in a number of tricky in-studio situations. As a frequent bass/synth doubler, I am always appreciative of heads like the WJBA, which make easy the often-confounding task of amplifying both sources at the same time through a single amp.

What used to be a rare luxury is now the norm, with 1,000-watt-plus Class D/SMPS heads dominating the market. It’s refreshing to see a unique take on the design — especially one from a designer who al-ready has an excellent reputation for hifi sound thanks to his universal-ly beloved cabs. If you can manage to find a Wayne Jones Audio amp (hint: it won’t be at your local Guitar Center), it’d be well worth your time. Moreover, Wayne Jones himself is affable and responsive, and I know he will work hard to get one in your hands. Drop him a line.

Moving to the back panel, you’ll find all the connectivity you could ever want for signal routing options and flexibility, including: XLR and ¼ output for each channel, “preamp outputs” for each channel (ideal for using powered cabinets), a stereo FX loop, Speakon connections for each channel, 1/4” and 1/8” aux inputs, a headphone output with level control, and a dedicated DI output with a level control and a ground lift switch. It can also accommodate 115 or 230 volts, for ease of use Stateside and abroad.

The WJBA2 amplifier is essentially a 1 channel version of the WJBA2, and offers up 1000w bridged into 4 or 8 ohms, in a slightly smaller and lighter package, and without the XLR input and phantom power.

WJ 2×10 Passive Cabs

When I reviewed the powered Wayne Jones 2×10 cabs in the past, I was struck by how incredibly big, quick and clean they sounded.  They were certainly remarkable sounding for a 2×10 and sonically dwarfed a whole lot of 2×10’s I’ve owned or played.   At the time, my only issues had to do with the form factor and challenge of carrying of the cabs.  The handle placement made it difficult to pick up and move, and their extra depth (20.4”) made it a little awkward to carry.   Wayne updated the new passive WJ 2×10’s with handles on the top and bottom, and improved the handle design to make them more comfortable to hold. This dramatically improved the schlep factor, and despite their size and 64 lb. weight, I find these to be much easier to cart around.   Additionally, he moved the control/input panel from the top of the cab to the back of the cab which allows these to be stacked in a vertical fashion, whereas the powered cabs had to be stacked horizontally, due to the panel/jack location. Wayne also omitted the built in wheels and telescoping handle found on the active cabs, shaving some weight.  The only other change is the new smooth vinyl covering, now used on all cabinets in the product range.  The vinyl looks sharp, but was more prone to scuffs and scrapes than the carpeted covering. Getting covers for them would be a wise investment, to avoid minor damage that can happen when loading in/out.

Capable of handling 700w, and with a frequency response of 40 Hz to 20 KHz (extending down to 28 Hz), the Kevlar impregnated drivers with massive magnets are capable of providing tons of output and slam. Dual attenuators on the back panel allow you to cut up to 12Db of highs and mids (mids in the 300-600Hz range) for further tailoring.

Overall, the 2×10 performs stunningly well, and fills out the entire frequency range beautifully from top to bottom.  They are extremely clean and linear sounding throughout the midrange, with no blurriness or congestion, lending them to be excellent options for all flavors of modern bass tone. But considering the awesome tone shaping ability of the WJBA heads, they can be EQ’d to deliver all kinds of great sounds.   The low end extension is remarkable, capable of hitting subwoofer-like lows that many bass cabs can’t quite achieve, especially with some judicious use of the bass knob and the 30Hz boost switch.

To wrap up, the new gear from Wayne Jones represents a very high degree of engineering, design and performance for bass players.

While players who gravitate towards vintage inspired equipment may prefer simpler and more traditional sonic and aesthetic offerings, when it comes to high performance, high output, no-compromise bass amplification, Wayne Jones continues to create a high water mark for what a bass amp can do. Players inclined towards modern tones are sure to be blown away by the rigs sheer capacity for volume and extension.  I brought the big rig out on a couple gigs and it provided an effortless playing experience, translating every sonic nuance of my playing, and delivering massive headroom and horsepower.   It’s one of those rigs you have to hear to truly appreciate.

The WJBPII is one of the most feature-packed preamps out there. Most integral to its design is that it features two separate channels with entirely separate EQ paths. The advantages of this are legion, whether it’s wanting to use two basses on a gig, double on synth and bass, or use an upright with two pickups (one of the channels includes an XLR jack and phantom power for a pickup or mic that requires it). There is an optical compressor onboard, as well as six bands of EQ. Players can choose to switch between either inputs or have both active, and the output can be blended between the two inputs. There are also stereo balanced XLR outputs, a stereo/mono effect loop, footswitchable muting, a headphone output, and an aux jack for playalong with audio tracks. In short, it has it all.

Its construction is also superb, although I found the front-panel design a bit cluttered and tough to decipher, especially on a darkened stage. Partly it’s a consequence of packing so much into a relatively small space, but there’s probably room for improvement in the shade and size of some of the labeling. Used in conjunction with one of the WJ powered cabinets or as a standalone preamp in a recording rig, the WJBPII is super clean, transparent, and dry-sounding. Fans of a precise, full-frequency response with zippy transients and abundant clarity will love the WJBPII, either in a rig or in front of a recording interface. Its two-input flexibility was also just the ticket for a lot of my gigs, since I often double on bass and keys.

WJ 2X10 CABINETS

As we reviewed the powered 2×10 in 2015, I won’t go too deep into it here. Jones made a few improvements that bear mentioning. First, he made the cab lighter by moving to lightweight poplar ply. He uses the same massive 70mm ferrite-magnet-equipped kevlar-impregnated drivers, but he’s now moved to JBL tweeters. He also incorporated a cool pull-out handle that allows for schlepping in the style of a roll-along piece of luggage. I just wish it were a bit longer, as the cabinet’s narrowness and prodigious weight could make movement a bit awkward.

The design is thoughtful and seeks to address any of the potential hazards of including a big amp in the same box as a pair of speakers. Connection to the powered cabinet comes courtesy a female xlr jack. While this makes sense given the output of many preamps, having a balanced tip-ring-sleeve ¼” jack would have further enhanced its flexibility to mate with a variety of front-end gear.

Wayne Jones also provided a passive 2×10 for testing. It was no less impressive than its powered sibling, and it offered the opportunity to try other heads that I was more familiar with. It sounds much bigger than its configuration would suggest, and it’s capable of fairly extreme sound-pressure levels without losing its breath.

While the Wayne Jones gear is some of the more expensive and eclectic out there (you’re not going to find it in your local music supermart), it’s also some of the best. It’s huge-sounding, full-throated, and seemingly capable of limitless volume and room-filling intensity. Wayne also has a head in the works—stay tuned for a review.

SPECIFICATIONS

WJBPII Preamp
Pros A hi-fi two-channel preamp that pretty much does everything
Cons Front panel a bit hard to decipher
Bottom line A top-shelf front end for a powered cabinet, and a worthy addition to any studio where clean and flexible bass tone is in order.

WJ 2×10 Cabinets
Pros Some of the best cabs in the biz, with full-range frequency response and impressive endurance
Cons None
Bottom line The Wayne Jones cabs are as good as it gets.
Made in Australia & USA

The cabs are powered by a 1000w Pascal power module, which dishes out an incredible amount of tone, fidelity and raw power. The 210 cab gets the full bridged signal of the amp, while the 110 cab can either be run bridged or stereo (allowing for true stereo operation at 500w per side with a pair of the 110 cabs). This is especially hip for users wishing to get the full impact of their stereo reverb, delay or chorus-type effects.

WJBP Stereo valve preamp

The cabs are powered by a 1000w Pascal power module, which dishes out an incredible amount of tone, fidelity and raw power. The 210 cab gets the full bridged signal of the amp, while The WJBP was as impressive as the cabs, and performed flawlessly for me. Wayne is a fan of the Avalon preamps and the venerable Avalon 737 as a reference point when designing his own preamp. Not only does it borrow from the Avalon’s elegant aesthetics, and superior build quality, it does indeed have that high end tube feel that I remember about the Avalon 737: Tubey, rich and 3D, but super quick, and incredibly clear with ample warmth and fidelity.

WJBP Valve Stereo Bass Pre-Amp.

The WJBP has a built in defeatable compressor, a 5 band EQ, a low boost, a pan knob (for stereo use) and both an input gain and master volume control, enabling excellent integration with Wayne’s powered cabs. It also features an input pad and built in tuner.

The back panel is fully featured, including a studio grade DI with level control, 2 XLR and 1/4″ outputs, headphone jack and aux input, and a jack for the included footswitch. The 8 stage LED indicators help dial in your preferred gain staging. Generally speaking, I found the WJBP to be super clear and warm, with loads of presence and articulation, and it has that high fidelity depth and weight to each note that I love. It doesn’t do gritty or heavily colored tones, although the powerful 5 band EQ does allow for some serious tone shaping. I really like the broad bass boost, which adds some heft and weight to your overall sound, without muddying things up. Also the onboard compressor, while limited in its parameters, is quite nice. I don’t hear it squashing or pumping, it actually does what it should, which is rarer than one would think, regarding onboard compressor circuits.

WJ 2×10 powered 210 cabinet

It’s hard to accurately convey the performance of the WJ210. I could say things like “It is the fastest cab I’ve ever heard”, or “sounds like a cab 3 times its size”, or “effortlessly quick and muscular”, but what does all that hyperbole that actually mean? Let me just say: the WJ210 is simply breathtaking in its performance. I’m not saying every single player will find this to be the ultimate sounding bass cab, BUT, you’d be very hard pressed to find one that is more capable at dishing out tone and volume of this caliber. The 210 excels at that wonderfully elusive characteristic I like to call “slam”. For lack of a better definition, (to me) slam is: effortless low end delivery, that is both taut and massive, and a seemingly endless power reserve to dish out transient peaks. It’s one of those cabs that makes you want to play slap lines just for the fun of it. Compared to some other 210 cabs that I really like the slap tone of, the WJ was a clear standout. When playing percussive palm-muted thumb lines, the WJ sounded insanely thick with a super articulate top end that doesn’t have a trace of harshness. The integration of the woofers and tweeter result in a seamlessly tight and clear sound that is aggressive without being brash or harsh in the slightest. All of this results in a powered cab that can handle the demands of a much larger cab, with exquisite tone and composure, in a meticulously constructed box. I seriously can’t imagine opening up a pair of these on a gig, as they put out SO much oomph. Wayne also released passive versions of the 210 cab at NAMM this year, allowing users to stick with their own amplifiers.

WJ 1X10 powered and passive 1X10 cabs

About Wayne Jones custom 10” drivers

In addition to the amazing 2X10 cab, Wayne sent a pair of his 1X10 cabs for me to check out. I was particularly interested in these not only because I love small modular rigs, but also because of the ability to run TRUE stereo effects without some kind of modified rig. The preamps stereo FX return can be configured to send L/R signals to the pair of cabs, while using just the WJBP, a couple XLR cables and an additional speakon cable. As a reverb and delay junkie, I have to say, I was in hog heaven. I never bother to run my effects in stereo as it always requires some extra gear and produces finicky results. The 1X10 pair on the other hand sounded clear and spacious, with tons of definition. On the gig with the cabs spaced 3-4 feet apart behind me, I was enveloped in 3 dimensional reverb and delay sounds which made chordal and melodic playing seem to jump out in a highly satisfying way. With the pair of 1X10 cabs stacked on their sides (the only way they can stack, with the input jacks and attenuators on the tops of the cabs), the rig sounded similar to the 210, but perhaps a little smoother and less huge in its delivery. I detected a somewhat leaner and less mid-forward tonality out of the 110 pair. The same power module is at play, the 1000w Pascal, but is configured in stereo (500w x 2) which allows one to run true stereo efx or to be run in dual mono, thus maximizing the configurability of the cabs. Like the 2X10, the 1X10’s have attenuators for the mid and high control, which is a nice added level of adjustability and helped me fine tune my sound.

OK…. What are my list of gripes (you know I have to complain about something)?

Well for starters, the top mounted jack plates mean that you can’t vertically stack the cabs, and you can’t easily put a rack on top of the cabs. I have heard from users who bought 90 degree IEC, XLR and Speakon jacks and use large rubber feet to create enough clearance, but for my money, I’d like to see amp plates elsewhere on the cabs, to maximize stacking options and not relegate one to custom cables. (Wayne responds: Future cabs will include recessed control plates on all models) I should be mentioned that the WJBP fits squarely on top without any modification needed, so this gripe only applies to those using other preamps or racks. I really prefer to stack 210’s vertically, for a “line array” effect, and the cab layout doesn’t currently allow for that. Also, the powered cabs are XLR connect only, so make sure you bring your XLR/mic cable. Similarly, the WJBP has an external power supply, with a proprietary (non-IEC) connector to the preamp. Don’t leave that power supply at home, or you’re in trouble. (Wayne responds: This was done purposely to Isolate the power supply for complete studio noiseless operation) My only other issue was the limited handle placement. The 210 is not impossible to pick up, but would really benefit from a couple more strategically placed handles, in order to increase its maneuverability in and out of the car and onto the stage.

So what is was my lasting impression of the Wayne Jones gear?

Well. Let’s put it this way: Can you find a simple rig? Yes. Can you find a cheaper rig? Definitely. Can you find a rig that is quicker sounding with more slam and definition? I’m not aware of one! The Wayne Jones gear exceeded my expectations for a truly high performance bass rig, that stands out amongst the crowd of others touting similar results. There is something so compelling about the lightning fast quickness and the massive low end delivery of the WJ rig that remains clear and coherent when other cabs literally start to crumble. The overall tone is extremely clear and linear, but leans toward a forward voicing character that has plenty of teeth to cut through a mix and give your sound some serious weight. I should mention that Wayne has been getting a lot of buzz from guitar and keyboard players as well, which speaks to the gears overall sonic neutrality and flexibility. I would wholeheartedly recommend the WJ gear to anyone looking for unparalleled performance from a bass rig, and specifically for funk, modern R&B and gospel players, seeking a balanced modern tone with lots of edge and, well, slam. All the WJ gear performed beautifully for me on jazz, Latin, fusion, and solo bass gigs, and I’m holding back tears as I prepare to return it! It should be mentioned, that Wayne Jones Audio is based in Australia, but these cabs are proudly “Made in the USA” and shipped from Wayne’s Kentucky based distribution center.

Now that I’m a slightly more grizzled old hand, my nostalgia kicked in when I got an email from Wayne Jones saying he was manufacturing an upgraded line of cabinets featuring his original drivers, but in totally redesigned cabinets that included Class D power amps. I was further pleased to hear that his inspiration for getting back in the cab biz was Buddingh himself, who over the years had pestered Jones for an update. Soon after a trio of boxes arrived, containing a powered 2×10 and powered and passive 1x10s. Finally I’d get to hear for myself what Terry ’s seldom-wasted adoration was about.

POWERED, PURE
When Wayne Jones, a first-call bass player and solo artist on the Australian scene, decided to reintroduce a line of cabinets, he knew he wanted to make them lightweight and powered. His design philosophy is a mixture of no-compromise fidelity and real- world utility, and to him, weight and transparency are the key variables. To shed pounds, Jones initially experimented with neodymium drivers, but was unable to find a design he liked as much as the Lorantz Audio 10s he used in his origi- nal 2001 model. I can see (and hear) why he didn’t fix what wasn’t broken. The Lorantz speakers were beautifully constructed, blessed with huge ferrite mag- nets, a large voice coil capable of extreme excursion, and frequency response and distortion specs that elevate them above the off-the-shelf pack. Given that the speakers were going to stay relatively heavy, Jones directed his attention to the cabinet. The new cabinets are a total redesign, using lightweight poplar ply as opposed to the more typical (and heavier) baltic birch ply.
Being the sort of player most attracted to hi-fi rigs that minimize coloration, Wayne Jones designed a powered rig that allows players to use studio-grade preamps and DIs or, in the case of an active bass, no preamp at all. The 1,000- watt Pascal Class D stereo amp is a well-regarded favorite, and it has impressive bandwidth and distortion specs. The 2×10’s xlr input jack is ideal for interfacing with the balanced output of a pro-level preamp, but a parallel unbalanced q” jack would have made the cab more flexible, as the near line-level output of many active basses would be sufficient to drive the amp’s input. The top panel includes two L-Pad attenuators governing the high and midrange frequencies. It’s interesting to have midrange attenuation, and I found it a cool means of coaxing new sonic color.

The cabinets’ assembly was generally excellent. The deep and durable black carpet covering felt tougher than average, and the hardware, including the quick-lock corners, telescoping handle, tilt-back casters, and side-mounted handles were all high quality. The WJ 2×10 is unusually deep, which—combined with the telescoping tilt-back handle and dolly-style casters—makes wheeled transport slightly awkward (the cabinet is a little too narrow to feel planted in transit). I almost regret mentioning this, because the mere inclusion of the handle and casters is an unexpected blessing. I also wished that Jones had recessed the top-panel attenuator knob, as its protrusion makes it difficult to stack anything on top of the cabinet in transit or when used in a vertical playing position. The 1x10s are a great deal more portable, although the handle position at the cabs’ corners makes them a touch more awkward than a top-mounted handle might have been.

The powered 1×10 offers an interesting addi- tional feature that the 2×10 lacks. Both cabs use the same stereo amp module, but in the 2×10 it’s bridged to send 1,000 watts to the internal speakers. The 1×10 uses only one side of the 2×500-watt amp for its internal speaker, but the jack panel includes an additional input and a speaker output jack, allowing one side of a stereo input to come through the powered cab and the other to be separately powered and sent to the passive 1×10. Even without a stereo input, I could link the two inputs on the 1×10 and still use the other side of the amp to power an external cab separately.

THUNDER DOWN UNDER
One of the most fun things about powered speaker cabinets is the ability to use a wide variety of preamps, some of which aren’t purpose-built for bass, but sound great nonetheless. Among the esoteric preamps I tested with the Wayne Jones cabinets were a Neve Portico 5017, Tube Tech MEC-1A, a Noble, and a Vintech VA573, as well as bass-specific models like a Kern IP-777, Ampeg SVP-CL, and a Demeter HBP-1. I also made use of the preamp in an F Bass BN5, a Fodera Standard Classic, and a Citron AE5-Swallow to connect directly to the Wayne Jones’ input (with the help of a q”-to-xlr adapter, of course).

First, I tested the 2×10, the cabinet most similar to the model that made Terry Buddingh gaga. Having spent a good deal of time with it, using both bass guitar and synth, I can clearly see why Terry was such a fan. It’s one of the best 2x10s I’ve heard. Its overall sonic impression conveys depth and strength, but also beautifully balanced presentation through the whole frequency spectrum. It is capable of extraordinary volume and transient response, and it has the palpable force of a high-headroom amp, but it doesn’t lose any of its natural and beguiling clarity. The facility to use no-less beautiful-sounding preamps like the Neve and Tube Tech make it an excellent platform for coaxing luscious and authoritative sound that transcends the abilities of many integrated bass heads. The Wayne Jones was loud enough for any stage, and it never seemed to break a sweat. I also dug the smooth high- frequency response, which didn’t have the clacky bite of some lesser tweeters. The 1×10 is similar to the 2×10 in its strong-but-sweet personality, but it obviously moves less air. Coupled with the passive 1×10, it’s an excellent solution for stereo players or those seeking to send a monitor feed to a drummer. Both cabs also benefited from some break-in time, warming up and getting a touch more plush as I put in some hours.

It was a long time coming, but thanks to my old mentor Terry, I finally got my hands on a Wayne Jones. While his distribution is insignificant in the States, perhaps a lot of demand will make his special cabs more widely available. Take it from two generations of BP tech editors—you have to try one of these. BP