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Handen posted:~1969 Ampeg V3 head. Flew totally under the radar on eBay a couple days ago and the only other guy bidding apparently didn't know how max bids work. Will post nudes when it arrives.
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Jan 14, 2014 23:20
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What would you guys suggest for an inexpensive practice amp? I am playing with a Strat and Squier bass, but since I am not getting a bass amp that is really just for tooling about when I am really bored. I would like to spend under $300 and prefer cleaner sounds to distortion. My old Fender amp somehow managed to blow itself out, and I think I have heard enough distortion to last me a lifetime.
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Jan 15, 2014 05:27
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If you like tube amps, you could probably snag an old Silverface Fender Champ for around $300. Excellent small amp for practicing/recording with a great clean tone. e: I'm curious if anyone has any experience or opinions on Henriksen amplifiers.
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Jan 15, 2014 05:31
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unlawfulsoup posted:What would you guys suggest for an inexpensive practice amp? I am playing with a Strat and Squier bass, but since I am not getting a bass amp that is really just for tooling about when I am really bored. I would like to spend under $300 and prefer cleaner sounds to distortion. My old Fender amp somehow managed to blow itself out, and I think I have heard enough distortion to last me a lifetime. if you're playing a bass out of a guitar speaker you are probably going to blow the next one too.
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Jan 15, 2014 05:58
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jwh posted:Those are quite rare! Congratulations. I imagine it sounds similar to a V4, but probably only around 40, 50 watts?
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Jan 15, 2014 06:10
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I've been looking at this setup: Jet City Amplification JCA22H Guitar Head Harley Benton G112 or G212 Vintage cab Palmer PDI-06 Attenuator Could this give me a thick 80ies hair metal sound at acceptable volume levels(not bedroom level, bar level)?
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Jan 15, 2014 15:18
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Smash it Smash hit posted:if you're playing a bass out of a guitar speaker you are probably going to blow the next one too. Not recently, but I did a long time ago (~10 years ago) and even then it was like for 10 minutes maybe. I did not realize it was that terrible; internet anecdotes seem to say it is a risky venture. Either way I am not planning on doing that with a new amp, I should have been a little more clear about that. MoosetheMooche posted:If you like tube amps, you could probably snag an old Silverface Fender Champ for around $300. Excellent small amp for practicing/recording with a great clean tone. Yeah, I am cool with tube amps so I will check that out. unlawfulsoup fucked around with this message at 16:16 on Jan 15, 2014 |
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Jan 15, 2014 16:13
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Boz0r posted:I've been looking at this setup: Those heads sound REALLY good.
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Jan 15, 2014 17:33
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Cool. I'll put of off getting the attenuator to after I hear it, then. I was planning on the 2x12, but the 1x12 is lighter to lug around. I'll probably get the 2x12, though  . That should give the sound a little more balls and bottom end, right?
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Jan 15, 2014 18:17
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Boz0r posted:Cool. I'll put of off getting the attenuator to after I hear it, then. I was planning on the 2x12, but the 1x12 is lighter to lug around. I'll probably get the 2x12, though Bingo, plus it gives you a few more options for mic placement.
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Jan 15, 2014 20:13
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jwh posted:Those are quite rare! Congratulations. I imagine it sounds similar to a V4, but probably only around 40, 50 watts? From what I can gather it was a Dan Armstrong molestation of the B25 that Ampeg commissioned to compete against the Marshall distortion sound that had been gaining traction in the late '60s, and only around 300 were pushed out the door before whoever was running Ampeg changed his mind and canned production because "distortion is a passing fad." Then something something Ampeg got bought out by Magnavox and scattered to the wind because obviously that guy was an idiot. Around that time Ampeg came up with the Dan Armstrong acrylic guitar, but Dan got disillusioned with the company right around the same time it got bought out so his son, Kent Armstrong, ended up making the pickups for it. Or something like that. Somebody correct me if I'm getting my facts mixed up, google book viewer only has so many pages of the Ampeg book readable. Anyhow, I'm guessing the V3 doesn't sound like any of the other V series amps. As far as circuit grandfathering goes, I don't think there's anything similar to it aside from the B25. The lesser wattage analogue to the V4/VT22 (100 watt or ~120 watt RMS) is the V2 (~60w). Apparently the V3 is 50 watt standard (though an old eBay auction has one listed at 56 watts), so with 6L6s that might drop it a bit. I'm really hoping it hasn't been hosed with too much on the inside. :< I'm gonna be comparing the 6L6s to two 7027s from my VT22 or Garnet or whatever and see which I prefer, but I much prefer the 7027s in my Garnet to the 6L6s I tried out in there, so it remains to be heard. Edit: I sold my Legend Model A60 to a guy I know today because I never really liked how it sounded. He came over to test it out and it sounded better than I've ever heard it. What's the deal with that poo poo? My brain trying to trick me into not selling? gently caress. Anyway, it's gone now. XYZAB fucked around with this message at 21:09 on Jan 15, 2014 |
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Jan 15, 2014 20:54
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That reminds me, how do you mic your amps? When I play, some guy always comes over and positions my mic straight on at the middle of the cone, but I don't think he really knows anything about it.
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Jan 15, 2014 23:22
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Boz0r posted:That reminds me, how do you mic your amps? When I play, some guy always comes over and positions my mic straight on at the middle of the cone, but I don't think he really knows anything about it. I was speaking with Agreed earlier and we were (well, I was laughing at myself, he was agreeing with me) laughing at how I get absolutely mental with mic placement, testing, recording, listening, taping, photographing until I get them exactly how I want. I normally use a Shure SM57 and a Sennheiser e609 live and in the studio there are a few others, a couple of Audix, an old Sennheiser that's literally enclosed in duct tape and a Wal-Mart waterproof box and some cheapies just to get weird effects. All that said, I'll be honest, the 57 and 609 are absolutely my favorite mics for guitar cabs. Here's a quick screen of the conversation we had btw, Agreed mics a bit differently than I do, but this is how I'm going to experiment tomorrow and this weekend (ignore the Soldano-specific chat):   And that's why I like Agreed so much, I typically stand my 2x12 upright (usually backwards in a club) and since I drape the 609, it's already usually 1-2" off cab, I like the pull the 57 back a bit to allow some air to move, it adds some ambient relief. His angles and position are a little different than mine, but sounds like more what I normally go for. Awesome stuff and I can spend DAYS playing with nothing more than mic placement. Another thing, depending on what you're doing and your cab, consider a mic behind the cab, between it and the wall or, if you've got an open/semi-open cab, pointing into the airspace, it adds a whole new dimension of depth. Either way, middle of the cone is generally a Bad Thing® and doesn't really capture a full range of sound from a guitar, just the high end sizzle.
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Jan 15, 2014 23:49
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So does anyone have the scoop on the new Fender Deluxe Reverb Custom Reissue? The silverface one? I was getting ready to plop down on a '65 DRRI and then i saw this thing. On paper, it looks like a better deal because they turned the normal channel into a bassman stack. 2 for 1! I also prefer the look of the silverface. Great!  However, reading the literature, I see stuff that they've made it more "modern" and "aggressive," by changing the speaker and negative something, producing more breakup. That sounds fine but I want clean country/rockabilly tones, which the '65 DRRI is considered a standard for. I don't want it to rock too hard. 
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Jan 16, 2014 05:29
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40 OZ posted:I was getting ready to plop down on a '65 DRRI and then i saw this thing. On paper, it looks like a better deal because they turned the normal channel into a bassman stack. 2 for 1! I also prefer the look of the silverface. Great! But try it, you might like it. The DRRI is a definite winner though.
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Jan 16, 2014 06:34
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This is still no better than setting your amp up and aiming a mic straight at the middle of the cone, if not worse than. At least with a mic stand you have the option of positioning it a little to the left, or the right, or forward, OR back if you're using multiple microphones and need to be stupidly anal about it. Though, truth be told, I've come to the realization that mic cab mounts were developed for people who aren't necessarily all that concerned about it. They're fine for gigging, frustrating for studio work. I'm half way through developing my own three axis sliding and angled microphone-to-cab/rack/cage mount using steel unistrut, springbolts, locking lever hinges, and custom CNC'd metal beams because this ampclamp/cabgrabber bullshit straight up doesn't work worth a flying gently caress and it angers the gently caress out of me. Gently caress. Can I swear in this forum? Because holy poo poo, I'd like something that can save me the space mic stands would take up, but it would also be great if it weren't stuck to a single axis or prone to falling off the side of your cab when the tension loosens over time and you have no way to manually adjust it. Welp, now that I've got that out of the way I realize ampclamp is more for gigging musicians than studio recording, but still, it's annoying as gently caress when there is no suitable product on the market to fill a super niche requirement that I can imagine vividly in my mind but don't even know where to begin finding the parts for to construct. (Just kidding, that just means there's an opportunity for me to get innovative and creative.) Boz0r posted:That reminds me, how do you mic your amps? When I play, some guy always comes over and positions my mic straight on at the middle of the cone, but I don't think he really knows anything about it. As far as miking amps goes: At a gig, you can aim a 57 or whatever dynamic card/supercard mic at centre cone straight or off centre/off axis without too much concern. A lot of people like to drape e609/906's off the cab because gently caress mic stands. As far as straight on centre, straight on off-centre, or off axis, find out which works for you and you can generally eyeball that poo poo the next time around. Close and straight is going to be sharp on the high end, the more off axis you go the more rounded out (less attack definition) will be coming through the other side. Mic placement at gigs is less important than in the studio, because mic placement at a gig is generally for sound reinforcement through the house monitors (assuming you're playing at a bar or something). In those situations, that sound is reinforcing what's coming through the guitar amp anyway, which should be loud enough of its own accord to only need that single shoddily-placed 57 as reinforcement, if that makes any sense. I feel like this might be argued so rabble rabble rabble. That guy who comes up and puts that mic aiming right straight at the centre of your cone probably knows that he doesn't have to really give two shits about where that mic is because it's going to serve its purpose wherever he puts it in that general area anyway, and he's also probably tired of taking poo poo from guitarists who know a hell of a lot less than they act like they do. Let's just put it this way: He'd rather tell you where to shove it than to have you tell him where you like it. Protip: Make sure you get his phone number and buy him dinner first if you plan to take your relationship to that next level. you gon get raped Personal use at home: Right now I have two old Pearl RD16 cardioid dynamic mics hanging off my Sovtek 2x12 thanks to an Audix Cabgrabber (which is a piece of poo poo and partly to do with my above rant) in X/Y practically at the centre of one of the cones which I pan left/right in the mix. On the other cone I used to drape an e906 over the top, but then I put that on bottom snare duty so I tried a Heil PR30, but then that went on floor tom duty, so I got an old PML SP-85 cardioid pencil condenser and now that's my centre-mix guitar source. Use Michael Paul Stavrou's pink noise trick to first get the panned left/right X/Y mix sounding good, then come at it with the third mic in the centre to find the sweet spot where it gels with the other two, and then warn everyone else in the room that if they touch any of these mics in even the slightest way that you'll break their fingers. Off. And then bam, you're good to go. If you've got the ear for it, phase invert the centre channel 3rd mic for fun and profit and slide it up or down in the mix until it adds just the right amount of what it's doing to the mix. If you actually listened and were cognizant of how the mic placement—even the slightest movements—affected the sound of the pink noise that you heard being recorded, and if you actually found the sweet spots, that centre channel signal might just save your rear end one day. In the end it's all about experimenting. Switch your methods up and try it another way. Figure out what works; and not just what, but also how and why. Not necessarily guitar or amp related, but this is a pretty good book if you're into thinking about the hows and whys of what makes a good recorded sound and/or good mix. Edit: I write like a loving lunatic when I'm sleep deprived, wow. Feel free to ignore this post since iostream.h already hit the nail on hammer or whatever that phrase is. XYZAB fucked around with this message at 08:15 on Jan 16, 2014 |
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Jan 16, 2014 07:06
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Handen posted:This is still no better than setting your amp up and aiming a mic straight at the middle of the cone, if not worse than. At least with a mic stand you have the option of positioning it a little to the left, or the right, or forward, OR back if you're using multiple microphones and need to be stupidly anal about it. Though, truth be told, I've come to the realization that mic cab mounts were developed for people who aren't necessarily all that concerned about it. They're fine for gigging, frustrating for studio work. I'm half way through developing my own three axis sliding and angled microphone-to-cab/rack/cage mount using steel unistrut, springbolts, locking lever hinges, and custom CNC'd metal beams because this ampclamp/cabgrabber bullshit straight up doesn't work worth a flying gently caress and it angers the gently caress out of me. Gently caress. Can I swear in this forum? Because holy poo poo, I'd like something that can save me the space mic stands would take up, but it would also be great if it weren't stuck to a single axis or prone to falling off the side of your cab when the tension loosens over time and you have no way to manually adjust it. I uhh, figured out where to place and aim my mics, mounted the amp clamps accordingly and that's that. They provided an amount of adjustment and let me position them where i wanted them, now they're in the same spot every time. Granted, they're not intended for putzing around with in the studio, but I don't want to mess with it on stage. Bing, bam, boom. I don't get your anger at the setup itself, how doesn't it work? I'm not attempting to argue with you, mind you, I'm just utterly confused because your description sounds exactly the opposite of my experience with them. I mean, I'm pretty stupid picky about mics and I love the things. Also, finish your design, I'd love something like you describe in the studio! Handen posted:Edit: I write like a loving lunatic when I'm sleep deprived, wow. Feel free to ignore this post since iostream.h already hit the nail on hammer or whatever that phrase is.
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Jan 16, 2014 09:40
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Yeah, I was being overly dramatic about it. I got one of those Audix cabgrabbers thinking it would be great for something that it's not, but what it *is* okay for isn't all that far off from the ampclamp system; that whole 'set it and forget it' notion, which would be cool if the cabgrabber weren't prone to falling off of any cab I clamp it to. If clamp tension could be manually adjusted it would be the bees knees, but it's not like that. :/ The mic mount system I'm slowly putting together is more or less an elaboration of Bob Heil's drum mic mount:  Except instead of hard-mounting to, in this instance, the tom ring, it would be mounted to a sliding track that can be locked into place at any point along that track with a wing bolt, which takes care of the horizontal X axis. From the unistrut as a sliding horizontal base would be attached a lever-locking hinge, from which the slide-rod beam with the mic attachment, extended to a length of roughly 10-14" to account for speakers up to 15", would be mounted on the other wing of the hinge. The slide-rod beam then allows for 10-14" of movement along the Y axis, in combination with the hinge allowing that slide-rod to be rotated along the Z axis. Whereas the X axis is static, the Y and Z planes are dependent on each other for positioning. It's a simple system in theory that would eliminate the need for mic stands in the limited space I have available to me, and might not be of much interest to anyone with room to spare. Here's a sloppy photoshop collage outlining how it'll work:  The only caveat is that the track has to be either mounted to the cabinet, or mounted to an external cage or shelving unit, which I have yet to figure out. XYZAB fucked around with this message at 01:35 on Jan 18, 2014 |
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Jan 18, 2014 01:07
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Make me one that mounts across the front of my cabs allowing full adjustment along the x & y axis including mic proximity/angle adjustment (including flat-facing something like an e609) and I'll order 6 for a start.
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Jan 18, 2014 01:16
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iostream.h posted:Make me one that mounts across the front of my cabs allowing full adjustment along the x & y axis including mic proximity/angle adjustment (including flat-facing something like an e609) and I'll order 6 for a start.  Sounds like a plan! It'll be a bit slow-going right now due to work and time constraints, plus the R&D that I still have to work out, but I will definitely keep you posted!
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Jan 18, 2014 01:37
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Handen posted:
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Jan 18, 2014 02:43
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 I'm sure this is a terrible idea for a couple reasons.
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Jan 18, 2014 16:58
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Rotten Cookies posted:
That's a fair representation tho'.
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Jan 18, 2014 17:41
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Hey guys, I got a Sovtek Mig 60 recently and it didn't come with a power cord, and the spare one I had seems to be dying. Is there anything I should be looking for in terms of getting the right type of cable (other than of course, it's a standard plug to blocky-three-hole AC thing). I'm probably overthinking it but I don't want to mess up the Mig.
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Jan 18, 2014 20:13
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iostream.h posted:haha, no worries, I totally understand, incidentally, including a 'memory' feature of some sort, a basic cable management system and have it fit, mounted permanently on the cab and still have it all fit into a flight case would be amazing. I'll take that all into consideration, but I can't really visualize how a memory feature would work. I realize the reasons you'd want it, but marking the slide rule with pencil and taking out a protractor to measure the angle of rotation might be the way she rolls. Everything else is likely doable though; when folded and tucked close to the cab it should only increase the depth required in a road case by 2" max (unless mounted inside the bevel of certain cabs straight to the same board that the speaker is attached to, or down onto the beveled edge itself, etc.). It's the actual mounting to the cab part that's got me all wrapped up, because I would ideally like to make all cab mods as unobtrusive as possible, y'know? Cuz I'd hate to drill some holes into my cab and leave a big huge mess of it after the fact, so I think I'll have to try out various diameters of wood bolt anchors that will be sturdy enough to hold the weight of, let's say up to 20 lbs of microphones at weird torsion angles, and still allow you to take the assembly off and reattach it as necessary. Like a hookup system for lack of better phrase. I'm thinking some sort of bolt anchor system with a large washer on the inside and outside of the wood face (if that turns out to be the best option) to spread the torsion force out that'll inevitably be acting upon the points of attachment...  What cabs do you own that you'd be interested in trying them on? My concern lies with HDF or MDF cabs and whether their structural integrity has been compromised due to moisture. That would be a very questionable mounting platform. And are you in the States or a metric country? Remind me to plan for supplying spare metric attachment bolts if you're in the states if and when it gets to that point. Rotten Cookies posted:
This was the first idea that popped into my head months ago when I was just figuring out what I was wanting to do. I was looking into threaded rods and nuts and bolts and arms etc. to be used like a clamp, all of which materials could be easily sourced, but the more I thought about it, the more I realized it was still an adaptation of the cabgrabber, mounted on the side, and it would require some sort of bracing arm(s) to stop it from torquing continually downward over time. Which led me to the idea of a mounted bracket style anchor and lift system to keep it in place, which, still being side-mounted, would require a lot more complication from the already somewhat complicated original idea. Instead, I was pondering my options one day at work when I passed by a metal recycling bin near a construction project and saw some unistrut with spring nut channel attachments, and that was the eureka moment. Silver Brushes posted:mig60 If this is what the back of a Mig 60 looks like:  Then no, all of those styles of cable are pretty much standard and you could probably get one at Walmart for stupid cheap. They're used for everything these days. TVs, computers, rackmount equipment, etc. Grab any old spare and it should do the trick. EDIT: Wait wait wait hold on, how is the spare one that you've got "dying"? I've got dozens of those cords connecting a whole bunch of things that I use on a regular basis and they've never just "died". I won't doubt that those cables are prone to to failure over time, but I would check to be sure. Try finding and pulling one of those AC cables from your computer or monitor or TV or something in your house that you know works all the time and test your amp again. If you still have problems, chances are it's for a whole different reason. XYZAB fucked around with this message at 04:29 on Jan 19, 2014 |
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Jan 19, 2014 04:00
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Handen posted:I'll take that all into consideration, but I can't really visualize how a memory feature would work. I realize the reasons you'd want it, but marking the slide rule with pencil and taking out a protractor to measure the angle of rotation might be the way she rolls. Everything else is likely doable though; when folded and tucked close to the cab it should only increase the depth required in a road case by 2" max (unless mounted inside the bevel of certain cabs straight to the same board that the speaker is attached to, or down onto the beveled edge itself, etc.). Personally, for my gigging cabs I give no shits. Hell, my primary cab has a bottle opener on it (I'll snap a pic later, it's an awesome mod that brings much happiness to all.) I would guess, 2 screws in either end on the left/right mounts and the verticals could be positioned and then perhaps a sliding 'cap' could be screwed into place on the top and bottom for rigidity/positioning? I'll ask some of my buddies if they'd be bothered screwing mounts into their cabs, I'm betting most wouldn't, since a lot of us are using the ampclamps already, they're really the best option available right now. Handen posted:What cabs do you own that you'd be interested in trying them on? My concern lies with HDF or MDF cabs and whether their structural integrity has been compromised due to moisture. That would be a very questionable mounting platform. And are you in the States or a metric country? Remind me to plan for supplying spare metric attachment bolts if you're in the states if and when it gets to that point. Mesa open-back 2x12 Orange PPC212 2x12 sealed back (I'd take 3 for this unit alone) Marshall 1960B 4x12 I've got a couple of other custom jobs that I'd have to look at that I don't cart around much, but if the mount was sturdy/adjustable enough for studio use I've got a few more that I could test for you. Hell, here's one for you, figure out a way to mic the back of an open/semi-open cab off the same system (hell, sell it as an add-on) too, for something like my Mesa cab. Generally something like that I'd be coming over the top pointing into the back of the cab at a 45º angle or so with anywhere from 4-12" of relief. A gooseneck mount or something maybe, that's not as positionally dependent as the others, but an all-in-one solution would be nice. Oh poo poo, also, hell, the little 1x12 from Orange too, Almost forgot about this little bastard. I'd snap for 2 of those.
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Jan 19, 2014 04:51
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Handen posted:
Sorry, should have been more clear - the cord I found lying around only works if you are holding one of the ends relatively taut, so something up on this inside. I swapped it out for the power cord for my monitor like you suggested and it's working no problem fortunately!
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Jan 19, 2014 06:14
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^^^  Welp, I just placed an order for a handful of locking hinges. Once they arrive I'll see about getting the slide beams CNC'd at the aluminum fabrication plant I used to work at. I've also got plat now in case you want to pm. XYZAB fucked around with this message at 09:47 on Jan 19, 2014 |
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Jan 19, 2014 09:42
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Handen posted:Welp, I just placed an order for a handful of locking hinges. Once they arrive I'll see about getting the slide beams CNC'd at the aluminum fabrication plant I used to work at. If you want parts cut out of low carbon steel, check out the Robinson Laser thread.
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Jan 19, 2014 12:14
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Crossposting a bunch of guitar stuff I have on sale in SA-mart. Maybe someone is looking for a Mesa Tremoverb or a JCM800 2204? http://forums.somethingawful.com/showthread.php?threadid=3603536
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Jan 19, 2014 19:23
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Manky posted:If you want parts cut out of low carbon steel, check out the Robinson Laser thread. YUP that'll work too! Thanks for this!
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Jan 19, 2014 19:36
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greg_graffin posted:Crossposting a bunch of guitar stuff I have on sale in SA-mart. Maybe someone is looking for a Mesa Tremoverb or a JCM800 2204? That JCM is mighty tempting.
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Jan 19, 2014 19:46
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So I just bought a Marshall Vintage Modern 2266 head from a studio down the street from me. The thing is in SHOWROOM condition (still has the factory stickers and price tag on it) has very little hours on it, and he gave it to me for $750 Canadian. Is it just me or did I get this thing for crazy dirt cheap? They don't even make these anymore as of last year.
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Jan 20, 2014 01:54
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JustAwful posted:So I just bought a Marshall Vintage Modern 2266 head from a studio down the street from me. The thing is in SHOWROOM condition (still has the factory stickers and price tag on it) has very little hours on it, and he gave it to me for $750 Canadian. Is it just me or did I get this thing for crazy dirt cheap? They don't even make these anymore as of last year. I love the VM series, they're awesome. Crank the hell out of them, don't worry about the goofy switching, find the tone you want, use your volume/tone knob (which is what every guitar player SHOULD be doing anyway). Those heads really shine with a good boost, throw a Rat in front of it or if you like things to be really goofy fun, throw a Big Muff Pi, that ragged loose sound from those really went well with the BMP. Try throwing a BBE Sonic Stomp/Sonic Maximizer in that FX loop and just leave it on. It really REALLY tightens things up and reduces some of the 'sponginess' (depending on the sound you're going for). That's an awesome head man!
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Jan 20, 2014 07:22
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So somehow at 5:03 EST these are still in stock: http://www.musiciansfriend.com/stupid/ If you're looking for a giggable tube amp around 50 watts then this is probably the ticket. Half price at $350 which is a really, really ridiculously good deal.
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Jan 20, 2014 23:04
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Nice, same price as the 15 watt version (although the little one has reverb).
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Jan 20, 2014 23:07
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I'm tempted to pull strings so I can jump on that (I'm one of those guys that can't resist a good deal), but I am woefully ignorant on the intricacies of these sorts of things. (I only started playing last August.) The music styles I like are classic rock and metal that have that distinctive tube distortion tone. (Boston/AC/DC/Van Halen type stuff) Based on my research Jet City specializes in Soldano Clones, but I have no idea what a Soldano is or why I should want one. Additionally, I'm afraid this sucker might be too beefy for me at the moment, at least until I get comfortable enough to gig. I'll probably be playing at bedroom levels for the foreseeable future, but at the same time I want something I can grow into. Is this a good buy for my wants, or should I save up and hope a Plexi clone of some type gets the same 'Stupid Deal of the Day!' treatment? Even if I do gig, I highly doubt I'll need anything near 100W, so this is right where I want it power-wise.
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Jan 20, 2014 23:42
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Zonekeeper posted:I'm tempted to pull strings so I can jump on that (I'm one of those guys that can't resist a good deal), but I am woefully ignorant on the intricacies of these sorts of things. (I only started playing last August.) Yeah that amp is basically exactly what you want. Probably a bit loud for bedroom levels, but I'm sure it will sound fine a low volumes. Tube amps in general a loud as gently caress. Even a 5 watt tube amp cranked up will rattle the walls. Would probably be an amazing first "real" amp for a newer player. If you can afford it, jump on it.
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Jan 21, 2014 00:10
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Zonekeeper posted:I'm tempted to pull strings so I can jump on that (I'm one of those guys that can't resist a good deal), but I am woefully ignorant on the intricacies of these sorts of things. (I only started playing last August.) FYI Boston's (and Def Leppard's, early Megadeth's, and a few others') tone came from a headphone amp, so don't get too hung up on "tube distortion tone". I'm gonna be the turd in the punchbowl here and say that you really don't need a 50w combo if you're just starting out. You'll never have it turned up past 1 in the bedroom (that amp will put out over 100dB easy with the volume at 3 or 4), and it won't sound anything like you're used to hearing on recordings at the volume you can safely play it at in your room. Wait until you get to the point where you're actually playing out, or at least jamming with a drummer, and save your cash so you have a wider variety of stuff to choose from. There's also the likelihood that amp's not what you're looking for; there's plenty of youtube demos of that and just about every other amp under the sun. Besides, people- a lot who'll be in your exact situation thinking they'll get a cheap tube amp because hey tubes- will be flipping them on ebay/GC/craigslist/etc for less than what MF is charging in a year or so down the road anyway.
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Jan 21, 2014 01:20
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| # ? May 19, 2024 12:34 |
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comes along bort posted:FYI Boston's (and Def Leppard's, early Megadeth's, and a few others') tone came from a headphone amp, so don't get too hung up on "tube distortion tone". while I agree with all that, I must say I am the exact opposite. Until I had a professionalish set up, I was motivated to get my skills up at all. I can't wait to play my Japanese sg knock off full volume out of my v4 and 412/610
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Jan 21, 2014 01:45
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