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Handen posted:Spaced out psych/fuzz/stoner/doom rock. Actually they're coming back to play in town tomorrow! A. Thank you for giving me new stuff to listen to. B. Thank you for your original reply on the amps. It's cool to hear that their 20W products hold their own in situations like that.
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Oct 13, 2013 23:21
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Leninboarrir posted:A. Thank you for giving me new stuff to listen to. No problem! Chronobot had to cancel playing in town the other night though so I couldn't give you a second appraisal of the Hovercraft.  Oh well. I just won this on eBay:  Now I have all three of the Legend amp models: a Model A 60, a Rock 'n' Roll 50, and a Super Lead 50. Maybe in the future if I see one of the 100w models for sale I'll pick one up too, BUT I've read that you can route multiple Legend amps together for a total single output power equal to the sum total power of each of the constituent amps involved, so I might be able to pump 160w out of all three. XYZAB fucked around with this message at 03:27 on Oct 14, 2013 |
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Oct 14, 2013 03:24
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comes along bort posted:Everything I've read mostly points to bad solder joints and occasionally faulty parts. If you have access to a wave solder machine and PCB fabrication facility you can probably fix it. That blanket statement really no longer applies to Chinese manufacturers anymore, IMHO. That's why you're seeing some major brands moving at least some of their manufacturing to China with success; Vox is a big one that comes to mind. I just finished up attending the Shanghai Prolight and Sound/Music China expo, and there are definitely some really good manufacturers here in China; most companies aren't willing to either look for them, or pay the costs involved sourcing from a good OEM manufacturer and ensuring that the QC standards are at the level that it really should be. I've been given control of a group of brands and one of my goals is to make some killer 5-15 watt tube amps for home, studio and small venue use. Finding the right manufacturer isn't easy, but its definitely necessary if I want to be taken seriously. Insisting that one of Epiphones OEMs makes me a blueprint correct '59 and '60 Les Paul styled guitar should help too
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Oct 14, 2013 15:37
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Anyone own/played a Carvin V3M? Thinking of buying one Friday, wouldn't mind some opinions. I want something with a stupid amount of "modern sounding" gain, and the VM3 seems to fit that bill. I just don't feel like dropping a poo poo ton of cash(the head is $579.00 with shipping). I'm a Carvin fan, if that matters. I have a Carvin bass, bass amp, and a DC400.
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Oct 15, 2013 20:54
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I bought a blackstar ht1r (1 watt tube combo) for home jamming. Sounds surprisingly great and much louder than I thought it would be! Really wanted a low wattage, single channel tube amp and couldn't find a place to try the little VHT here (surprise, Australian music shops). Just gotta pick up some sort of vintage spring reverb to go with my analog delay and my rig will be complete.
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Oct 19, 2013 23:40
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Dirt posted:Anyone own/played a Carvin V3M? Thinking of buying one Friday, wouldn't mind some opinions. I want something with a stupid amount of "modern sounding" gain, and the VM3 seems to fit that bill. I just don't feel like dropping a poo poo ton of cash(the head is $579.00 with shipping). Did we trade? I traded my DC400 to someone on this forum and for the life of me I can't remember who now. Hollis Brownsound fucked around with this message at 00:12 on Oct 20, 2013 |
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Oct 20, 2013 00:04
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HollisBrown posted:Did we trade? I traded my DC400 to someone on this forum and for the life of me I can't remember who now. That was me.
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Oct 20, 2013 04:10
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What are the main differences between open back and closed cabs? I've been trying to compare different orange PPCs and it's too difficult via YouTube. Is the difference more noticeable with a certain speaker setup?
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Oct 21, 2013 20:12
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Kilometers Davis posted:What are the main differences between open back and closed cabs? I've been trying to compare different orange PPCs and it's too difficult via YouTube. Is the difference more noticeable with a certain speaker setup?
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Oct 21, 2013 21:03
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Closed back cabs have a more directional sound (laser beam effect) with more emphasis on lows and lower mids. Open back cabs have more upper mids and an open or three-dimensional sound, especially in smaller rooms. They both have their uses. For instance most people think closed back cabs are necessary for high gain, which basically comes from Marshall cabs being closed back, but that was done for structural and ease of construction reasons. That more focused, bassier sound got associated with heavier tones. Alec Bald Snatch fucked around with this message at 21:32 on Oct 21, 2013 |
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Oct 21, 2013 21:27
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I always assumed open back cabs had more bass - my amp is a little woofy, reckon taking the back off of it would help?
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Oct 21, 2013 22:07
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Couldn't hurt. In open back cabs, the speakers have to work harder to reproduce lower frequencies since there's no wall behind them bouncing the soundwaves back. It's also why speakers sound boomier when you place them in a corner. If your amp's sitting near a wall move it out a couple inches first and see if that helps. Alec Bald Snatch fucked around with this message at 23:00 on Oct 21, 2013 |
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Oct 21, 2013 22:56
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Has anyone here ever thought of modifying their multi-speaker cabinets with selector switches to turn individual speakers on or off? Any idea how this might be accomplished? I.e., Let's say I have a 2x12 cab with two 25w 16Ω speakers wired in parallel for an 8Ω overall load, and let's say all of my amps are 8Ω output. I'm thinking that if I were to get creative with a couple DPDT switched mounted to the jack plate that I'd be able to disable one or the other speaker at will. The problem that I'm anticipating is that the parallel circuit would have to be cut and I would need to use the switch which disables the speaker to route the signal through a 16Ω/25w power resistor to keep the cab's total overall input load impedance at 8Ω. Does this idea make sense, and more importantly, would it work to accomplish the end goal? Edit: The reason I mentioned the watt rating of each speaker is because for some reason I had in my mind the idea that if I'm already pushing 50w through a 2x12 cab that can handle, for example, 100w (2x50w speakers), then if I could disable one of the speakers (and keep the impedance stable), then I would be driving 50 watts of power through a single 50w speaker and potentially pushing that one speaker to its design limit, thereby resulting in some sort of sweeter/more saturated tone, or does watt rating of speakers have negligible bearing on its relationship of the wattage of the amplifier and the resulting sound/tone that comes out? XYZAB fucked around with this message at 06:10 on Oct 23, 2013 |
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Oct 23, 2013 05:52
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That should work, though the wiring might be a bit of a pain. What amp are you using? Depending on the tolerances of the transformer you might not have to worry too much: most fenders have a +/- 100% tolerance, for example.
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Oct 23, 2013 06:01
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jwh posted:That should work, though the wiring might be a bit of a pain. I currently have seven amps all wired up into an Ampeg System selector going out to three cabs and the speakers of one combo. They're all weird/old/vintage and I wouldn't have any idea how to find out their transformer tolerances. I'm taking precautionary measures relating to any of them blowing up in my face simply because they'd be a pain in the rear end to replace or repair if I got careless with unknowingly over-extending them. The wiring part I'm not too worried about, I'm always down for a new way to test my soldering and simple circuit skills. I'll see if I can't post a picture of my setup shortly, the Legend Super Lead I posted previously arrived today and has made its way to the top of a glorious stack in my jam space. 
XYZAB fucked around with this message at 06:28 on Oct 23, 2013 |
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Oct 23, 2013 06:23
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Handen posted:Edit: The reason I mentioned the watt rating of each speaker is because for some reason I had in my mind the idea that if I'm already pushing 50w through a 2x12 cab that can handle, for example, 100w (2x50w speakers), then if I could disable one of the speakers (and keep the impedance stable), then I would be driving 50 watts of power through a single 50w speaker and potentially pushing that one speaker to its design limit, thereby resulting in some sort of sweeter/more saturated tone, or does watt rating of speakers have negligible bearing on its relationship of the wattage of the amplifier and the resulting sound/tone that comes out? If you're running a 50w tube amp through one 50w speaker keep in mind that's 50w before the power section begins to break up. When you're really pushing it, your amp could be putting out 75w easily.
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Oct 23, 2013 07:19
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Handen posted:Has anyone here ever thought of modifying their multi-speaker cabinets with selector switches to turn individual speakers on or off? Any idea how this might be accomplished? I.e., Let's say I have a 2x12 cab with two 25w 16Ω speakers wired in parallel for an 8Ω overall load, and let's say all of my amps are 8Ω output. I'm thinking that if I were to get creative with a couple DPDT switched mounted to the jack plate that I'd be able to disable one or the other speaker at will. The problem that I'm anticipating is that the parallel circuit would have to be cut and I would need to use the switch which disables the speaker to route the signal through a 16Ω/25w power resistor to keep the cab's total overall input load impedance at 8Ω. Here's something that does pretty much what you described although it's from a Canadian company, so if you live south of the border or across the pond it might be better to find something more domestic. Though your idea of building it yourself is probably much better for your needs, and definitely much cheaper. But that said, it's mostly for people who are intrigued by your idea but don't want to do the 'heavy lifting' themselves. comes along bort posted:If you're running a 50w tube amp through one 50w speaker keep in mind that's 50w before the power section begins to break up. When you're really pushing it, your amp could be putting out 75w easily. Albeit I believe most speaker companies tend to underrate their speaker tolerances for this exact reason. Though I'd take that with several handfuls of salt, as I'm more than likely speaking hearsay. Adeline Weishaupt fucked around with this message at 09:00 on Oct 23, 2013 |
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Oct 23, 2013 08:58
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It differs from manufacturer to manufacturer and there's no standard level of tolerance. Some underrate more than others, but in general you can go a little over the rated power in terms of matching amp output to speaker rating and probably be fine, keeping in mind that an amp can output up to 150% (or more) of its rated power when clipping. What really hurts guitar speakers in particular is reproducing extremely low frequencies at high volume, which requires more power, so if you're diming that 50w amp with a 50w speaker and busting out doom metal riffs your chances of blowing the speaker are much higher than if you have it up to where it just starts clipping and play mostly country licks, and that speaker's probably gonna start farting out handling Electric Wizard at max volume before it tears apart. That being said it's not the worst idea to have your speaker array rated at 125-150% of your amp output. To get back to Handen's initial question, speaker breakup is more dependent on the cone than any specific efficiency or sensitivity rating. Thinner and lighter cones have a faster breakup. Alec Bald Snatch fucked around with this message at 15:03 on Oct 23, 2013 |
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Oct 23, 2013 15:00
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Awesome, you guys are awesome. @umalt: I do live in Canada so that stereo/mono input switching panel wouldn't be hard to obtain, but it would take the fun out of doing it myself. I've bookmarked it for reference though, so thanks! @comes along bort: I didn't know that about low frequencies potentially causing damage to speakers when dimed, and the kind of stuff I play isn't too far removed from Electric Wizard so I'll be a bit more careful from this point forward. Regarding my concern for wattage rating, I sort of phrased my question in a way that would account for a lowest possible tolerance overhead given the gear I have (taking only wattage ratings into consideration), and given the responses, it doesn't look like I have to be too concerned about it, so thanks! Now, here's a question that is not directly related to amps but I figure might be worth asking here because it may be of interest to anyone who records often: Can anyone tell me the proper term for the green bar in the following photos in relation to the assembly held in place by the pressure of the hex bolt screwed into the square connector bracket thing on the inside of the track? I want to try to find the materials to construct this exact kind of assembly so that I can mount a section to each of my cabs, then attach mic booms in the place of the flat grey metal bar along multiple sections of the track. This would essentially create a free-moving track assembly to mount microphones to amps that is highly functional and solves the problem of dealing with limited available space in a cramped recording setting. I already have an Audix Cabgrabber and it's a piece of poo poo. It fell apart after a couple years and won't stay attached to any of my amps, so I'm finally fed up with it and figure I can come up with one hell of a better way to accomplish the same thing, for probably 1/5th of the cost of a cabgrabber. I had a eureka moment not too long ago walking past this stuff in a garbage receptacle, but I'm not sure if it's actually garbage, or just something that's been taken apart for relocation somewhere else, so I'm hesitant to just take it.   EDIT: Figured it out - Channel and bolt fixings/surface fixed channels/carrying channel/unistrut. XYZAB fucked around with this message at 20:49 on Oct 23, 2013 |
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Oct 23, 2013 20:11
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Peavey VTM 120 started trying to melt a tube today during practice. Amp crackled, looked and just one power tube was lit up bright orange all the way through (it could have been getting red, I moved too quick and shut it off). They're fresh tubes, and the amp has 4 power tubes. I'm having trouble thinking of what could cause just one tube to do that. Phase inverter caps or OT, etc should cause problems in pairs, shouldn't it? Total fluke and it's a bad tube, or should I start searching through for leaky caps (looked already, but not since this happened) or something else in particular?
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Oct 25, 2013 03:32
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Try another tube in the same socket. Could be a problem with a bias resistor or a solder joint getting loose, but it might also be the OT. Was it the filament or the plate glowing?
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Oct 25, 2013 04:08
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I moved so fast that I didn't even get a good look at it, but to light up the whole tube it must have been the plate.
Hypnolobster fucked around with this message at 09:38 on Oct 25, 2013 |
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Oct 25, 2013 09:35
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I like to play black/thrash/sludge/post metal and I also like a really clean sound. Should I get an Orange Rockerverb 50W combo?
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Oct 26, 2013 01:37
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Sure, why not. You might want an overdrive pedal as a clean boost for black/thrash stuff to tighten it up a little though. The clean channel might not be that clean though if you play super loud. Pretty sure there's an Ola Englund demo where he runs a Maxon 808 through a Rockerverb head and it sounded like every other one of his demos.
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Oct 26, 2013 02:37
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ROIDTECH posted:I like to play black/thrash/sludge/post metal and I also like a really clean sound. Should I get an Orange Rockerverb 50W combo?
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Oct 26, 2013 03:07
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For trve grim and frostbitten inverted grimness nothing but a VALNØTT will do: https://www.youtube.com/watch?v=1WcsV7hQ1V4
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Oct 26, 2013 03:11
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You should always opt for the Orange.
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Oct 26, 2013 05:08
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OKAY, that settles it. Orange amp it is!!!! Thank you all for validation
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Oct 26, 2013 06:33
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Declan MacManus posted:You should always opt for the Orange.
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Oct 26, 2013 17:04
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If you want a super tight, heavy sound, don't get an Orange. They are far too fuzzy overall and flubby in the bass for that. Orange amps are great for big wide open hard rock chords and things like that, but for metal and music that requires tight and precise palm mutes and/or staccato note runs, orange amps will definitely not be ideal. They might work fine for sludge and post metal, but for black metal and thrash, a rockerberb is about the last high-gainer you should look at. For that kind of money, there are a ton of other amps that will probably be better suited for what you need. I do have a question for you though. When you say you like a clean sound, do you mean you want an amp with a good clean channel as well as a good lead channel, or do you want an amp with a "clean sounding" distortion channel? If it's the latter, do you mean clean as in low gain with a clear top end or do you mean clean as in "refined, not raw sounding?" GreatGreen fucked around with this message at 19:07 on Oct 26, 2013 |
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Oct 26, 2013 19:05
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You can definitely do tight fast metal on an Orange with pedals. Ola etc
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Oct 26, 2013 19:21
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Well sure, you can, but to do it you'd really be contorting that Orange way out of its comfort zone, and it would take a pretty good amount of effort. Also, Ola clips, while usually badass and awesome, mostly always sound like Ola. He likes to use a good amount of post eq and multi tracking tricks that sound great but tend to obfuscate what an amp actually sounds like. In fact, I'd go so far as to say that with few exceptions, all you can really learn about most amps from clips online is that they do in fact turn on and produce sound. Also if you're lucky you can get a rough estimate as to how much distortion it's possible to dial in. As for an actual recommendation, if you're looking for an amp that can do sludge, black metal, and thrash, it gets a lot of poo poo and is often underrated but maybe you should look into a Peavey 6505 (formerly called the 5150). It can be dialed tight enough for thrash, loose and fuzzy enough for sludge, and has more than enough gain on tap for black metal. The reason this amp is so under rated I think is because it can be really tough to dial it into a great tone when you're standing in a room in front of it playing through it. However, and I'm being totally serious here, it is one of the best recording amps for any kind of metal you can get for just about any price. Match it up with the right cab and microphones and mixes love these amps for whatever reason. Then again, the clean channel on a 5150 is really lovely, so it might not fit the bill for what you're looking for. GreatGreen fucked around with this message at 21:21 on Oct 26, 2013 |
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Oct 26, 2013 21:01
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5150s are the exact opposite of underrated. Not that they're bad because they're not, just not really what the other guy's asking for. Also their clean channel blows if your idea of clean isn't slightly less distorted than you normally play. The Orange is naturally looser, but can easily be tightened up with a boost. The only thing I'd hold against Oranges is they're probably right at the peak of their current trendiness, so people will likely be dumping them on the used market en masse in the next few years, so it might not be the best idea to buy one right this minute. On Ola, everyone misses the point of his demos. They're not to demonstrate an amp's full range of tones. It's an ongoing contest to see if they can sound like the guitar track from an Andy Sneap recording.
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Oct 26, 2013 21:43
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An 808 style pedal can tighten up your low end, as can a DOD 250 or an MXR Distortion+. Or an EQ pedal obviously but you have to futz with that a bit more. E: I actually don't mind the 5150's clean tones and I typically dislike how Peaveys sound.
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Oct 27, 2013 00:18
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comes along bort posted:5150s are the exact opposite of underrated. Not that they're bad because they're not, just not really what the other guy's asking for. Also their clean channel blows if your idea of clean isn't slightly less distorted than you normally play. Odd, since EVH is under the umbrella of Fender.
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Oct 27, 2013 00:57
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The 5150 III's a different amp from the Peaveys which we were talking about, but certainly the clean channel on those isn't half bad.
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Oct 27, 2013 02:06
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The 5150 and 5150 II (6505, 6505+) are Peavey amps. After the 5150 II, Ed split from Peavey, hence the 5150 to 6505 name change as Ed holds the 5150 trademark, and joined up with Fender to design the 5150 III. And as for a recommendation for Roidtech, I can't think of another amp that will do post, thrash, black, and sludge metal better than a 5150, so I suggested it! I suppose another amp to think about would be a Mesa Mark IV or V with a boost pedal. The TMB knobs are actually placed before the gain staging so you can think of the bass knob as a tightening/loosening dial for your sound. The placement of the amp's tone controls in the signal path, plus the graphic eq make the amp super versatile, and it has a pretty nice clean channel as well. GreatGreen fucked around with this message at 02:34 on Oct 27, 2013 |
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Oct 27, 2013 02:24
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Thanks for the blatantly obvious advice, I moved my other amp out of the corner of the big room its in and now the bottom end is tight/solid/juicy etc.
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Oct 27, 2013 04:08
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RE: Rockerverb 'tightness', just add a good clean boost or a TS up front kicked up fairly high and throw a BBE sonic stomp in the EQ loop, a little compression goes a LONG way with these too.
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Oct 27, 2013 05:17
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BBE products are one of those weird things where you keep thinking you need more and more of it, then one day after you've been away for a while you come back only to find out your poo poo sounds like icepicks directly into your ears. Or an ENGL amp.  To be fair they do sound pretty awesome if you're only playing at low volume in your bedroom.
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Oct 27, 2013 06:32
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