Review: Mesa Boogie Bass-800D

The punchy, tube tone of the Mesa/Boogie 400+ made it a favorite of a wide range of bass players, from Michael Anthony, Les Claypool, Stanley Clarke and Paul McCartney to Jack Bruce, Mark King, Justin Chancellor, and Mike Dean. The two-channel 400+ delivered up to 400 watts RMS at 4 ohms, but its 16 tubes helped make it 48 lbs., expensive to retube, and susceptible to blown fuses. Nevertheless, this behemoth, introduced in 1988 and discontinued in 2007, remains a beloved collector’s item that continues to fetch high prices on the used market.

The company’s new 800D brings the 400+ legacy up to date by replicating its predecessor’s vintage-style BASS/MID/TREBLE knobs while skipping the 400+’s multi-band EQ. The 800D also trades the 400+’s 12 power-amp/four preamp tube section for a Class D power amp/single preamp tube engine; the newer amp features only one input and adds a high-pass filter knob along with other 21st-century accoutrements — all while handling 800 watts at 4 ohms and weighing 6.7 lbs. 

We lent the amp to two testers who put it through its paces: One played through the 800D at outdoor shows with an indie-rock quartet, and the other took it on several gigs with a cover band playing pop music from across the decades. 

How It Sounds 

Mr. Cover Band uses a stable of instruments, including an active 5-string Fender Jazz with rounds, a Fender Mustang with flats, a 4-string Warwick Streamer tuned B-E-A-D, and an upright bass with a David Gage pickup. A former 400+ owner, he loved the punch and clarity of the 800D with two 8-ohm Mesa Powerhouse 1×12 cabs. He described it as “full, with a lot of cushion, very reminiscent of the OG 400+,” and he liked its “natural compression, which was similar to older, high-wattage, all-tube heads.” He mostly set the EQ flat and used the LOW/HIGH, DEEP, and BRIGHT switches, which he called “super nice to have for quick EQ changes” such as a more scooped slap sound. He found the HIGHPASS knob “nice for mimicking certain sounds in the practice space,” though bandleaders preferred setting it to zero in live situations.

Mr. Indie-Rock, who plays a 1962 Fender Precision with flats, also enjoyed the open, instantly vintage tone of the 800D through a Bergantino HT-112 1×12 and a Euphonic Audio 2×8. He echoed the first tester’s thoughts about how good the 800D sounded with the EQ set flat, calling it “punchy, controlled, but warm.” The DEEP switch also got high marks, as did the HIGHPASS knob’s ability to dial out boominess and focus the low mids.

What’s Hot 

Both testers marveled at the 800D’s light weight. They loved the feel of the knobs, though one thought the switches felt flimsy, wondering whether the bash bars would protect them over the long term. Despite its internal fan, the amp was whisper quiet, running silent on multiple 2-hour-plus gigs. Mr. Indie-Rock especially enjoyed the headphone out — which doesn’t defeat the speaker outputs, if you’re wondering — as well as the USB power port and the AUX IN, which all came in handy backstage before a show. He also liked the fact that he could mute with the flick of a switch, adjust the gain for active and passive instruments, use the TUNER OUT instead of going through a pedal, and change the impedance for 2-, 4-, and 8-ohm loads. He gave an enthusiastic thumbs up to the bevy of DI options (pre- and post-EQ, line/mic level, ground/lift), as well as the clear, concise manual (hot tip: “Don’t skip page 20”). Neither tester tried the optional footswitch for muting, used the effects loop, or was able to make the LIMIT or PROTECT LEDs come on.

What’s Not 

One tester had concerns about the included case: “It’s nice, but the carrying strap is a little flimsy, so I strapped it to my backpack to keep it secure while walking to gigs. I didn’t trust the shoulder strap.”

How It Compares 

These days, Mr. Cover Band calls the Genz Benz Shuttle 12.2 his main amp. “I’m often called to double on upright and electric, and the Genz Benz allows me to switch between two completely different channels, one set for an electric, one set for a piezo pickup from the upright,” he said. “But for bass guitars, I preferred the Mesa.” Comparing the 800D to his old 400+, he liked “the breakup of the 400+ more, but I believe that is due to the tube power section, so it’s not a fair comparison.”

Mr. Indie Rock considered the 800D a “cool compromise” between the quick, precise tone of his Class D Epifani Piccolo 600 and the warm goodness of his all-tube Jule Simone preamp/Simone 500 power amp. He thought the tubes gave the 800D an airier sound in the highs than the Piccolo 600, though the 800D wasn’t quite as direct. “The 800D has attitude and character, plus vintage/retro grit and grunt, but it’s quick and not plodding,” he said.

The 800D, also known at Mesa as the BD-800, is part of the company’s family of 800-watt Class D Subway heads, which includes the straightforward Subway D-800 (also $999); the Subway D-800+, which adds advanced EQ, a bright switch, and a high-pass filter ($1,119); the full-featured Subway WD-800 ($1,199); and the versatile, dual-channel Subway TT-800 ($1,399).

If you’re a diehard 400+ fan, check Reverb.com and your local Craigslist, where prices seem to range between $1,200 and $2,500.

Buy This If…

•You want stout tone in a flexible, lightweight package

•You want that 400+ sound with modern bells and whistles

•You want big tube tone that isn’t flabby

The Mesa Bass 800D’s musical color and character give it a distinctive voice that’s warm and expressive while still retaining clarity, especially appealing if you like old-school mojo with modern reliability.

Price: $999

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