|
I feel real sorry for this guy trying to sell this amp. "plus some that are unrecognisable"
|
#
¿
May 21, 2017 16:19
|
|
|
|
| # ¿ May 12, 2024 01:37 |
|
|
I've brought up a lot in this thread how much I like big amps and am not fond of the "all you need is a small amp" trend. However, needs must and I've been trying to get the big amp sound in the most portable configuration I can. This is the current setup: Top, Matrix NL12 (7.7kg), bottom, Orange PPC (14kg) amplifier is an EHX .44 magnum and tonez are provided by the Line 6 Helix. The hype around the NL12 is that its a "1x12 that sounds like a 4x12", thats not quiiiite true. Its certainly very big sounding, clear in the highs and the bass port adds a nice kick, but its still doesent have that thooom in your chest I crave from a 4x12. Pairing it up with the orange helps bring the thooom though, especially using the line 6 Bodonk(née Big Bottom) model, or any of the other ones with a graphic eq boost at 100hz. The NL12 is light as gently caress as well, although the orange isn't especially heavy either. Also, the helix can run your choice of cab IR direct to board anyway, but I feel like I want some real cab sound reinforcement. I've seen shows where the guitarist went direct to board and its fine if the room configuration is such that the PA is all you hear, but in small rooms or in the front rows the audience hears just drums overpowering everything. massive spider fucked around with this message at 13:15 on Jun 26, 2017 |
|
#
¿
Jun 26, 2017 13:03
|
|
|
Kilometers Davis posted:http://www.seymourduncan.com/power-amp/powerstage-700 I like the look of it but they missed a trick in having a single stock cab emulation. Should have let you load your own IR's when using a modeller having your own library of favoured IR's makes sooo much difference. Also theres a 170 watt pedal version but its 4x more expensive than the EHX 44. caliber so it better be 4x better. I'd need to hear it in the flesh to decide.
|
|
#
¿
Jul 4, 2017 09:30
|
|
|
Hot Rod Deluxe
|
|
#
¿
Jul 19, 2017 16:23
|
|
|
Shugojin posted:IIRC if you are in the US you can get that Marshall from Sweetwater with a celestion creamback at no extra cost. Creambacks are the beeeest.
|
|
#
¿
Jul 19, 2017 21:45
|
|
|
Shugojin posted:I think I'm eventually gonna buy a rect-o-verb 25 or mark 5 25 because they're basically my number 4 amp and I know it, it's mostly just a matter of actually finding a place I can a/b them (I'm probably going to have to drive the 70 or so miles to the nearest guitar center I've never used the Mark V but mark IV's are great. You have to read the manual back to front first though. One tip: the mid and bass control would be better labeled "mud" and "low mud" and should to be dialed in carefully then left alone. Then use the graphic EQ to notch out the bark in the midrange and make any actual tone adjustments.
|
|
#
¿
Aug 1, 2017 10:58
|
|
)
|
Everyone seems to be fellating the katana hard and its definitely more capable for playing out.
|
|
#
¿
Aug 22, 2017 21:04
|
|
|
EVH used soldanos for a while and I’ve heard the 5150= ripoff soldano thing before. That said, I don’t think it’s universal that all hi gain amps have bad clean channels, the mark series cleans are decent. Also, the fender twin is held up as the best clean ever but it has a particular twangy pokey quality to the kids that I don’t like. The fender deluxe sound is sparklier and closer to my ideal clean as well as providing the basis for a shitload of the amps that decended from it. If you want your tones to sound consistent from amp to amp I’d just keep the same cab sim.
|
|
#
¿
Oct 28, 2017 14:13
|
|
|
Basically the amp expects to 'see' a certain amount of resistance to 'push' against. If it sees more resistance, thats fine, you'll lose a bit of potential effiecency/loudness but who cares. If it doesent see enough resistance/sees no resistance thats when things start getting dangerous.
|
|
#
¿
Apr 29, 2018 21:06
|
|
|
You can download the VST of Helix on 30day trial to try it. also helix has the best interface and UI options of all the modellers which matters a lot IMO cause it means you can route things however you want and get your sounds from a few smart automations, which counts for as much live as raw 'tone' does. massive spider fucked around with this message at 15:35 on Feb 19, 2019 |
|
#
¿
Feb 19, 2019 15:31
|
|
|
I have the Seymour Duncan, it's designed to be flat with all the active EQ knobs straight up so you can run a preamp or modeller into it if you want but if you crank up the treble it sounds fine running a distortion pedal straight in. Hearing a rat completely untamed by anything after it is pretty cool actually. Clean sounds will be a bit uncompressed and dry unless you have something for clean though.
|
|
#
¿
Feb 22, 2019 09:56
|
|
|
No reason at all. It sounds better IMO since the guitar cab isn’t rolling off the high end on the reflections so it sounds like you’re sctuslly playing in s cavern or whatever.
|
|
#
¿
Feb 25, 2019 17:47
|
|
|
I played an orange dark terror in the store (with a sales clerk who drew me in with the promise that for 30 seconds they'd step outside the store and I could turn it up to 10) and I might be prepared to renounce digital now. I seriously loved the original tiny terror I had. They're fantastic sounding amps and not just "for the size" the ability to wind it up to power tube distortion is part of the fun. The only issue I had with my old one was a few gig where we weren't given any PA reinforcement and I couldnt get any clean headroom, but gently caress clean headroom.
|
|
#
¿
Apr 14, 2019 18:15
|
|
|
Sweaty IT Nerd posted:I don't know what sag is It’s when the power amp is cranked it can’t draw enough power quick enough to make the note happen and so the attack of the note sounds slightly mushy. Like you put a compressor but after the amp. It’s kinda rad if that’s your vibe.
|
|
#
¿
Jun 15, 2019 11:21
|
|
|
Im only just coming around to the fact that miced small cabs can sound really good in their own way not just as a compromised 4 x 12. 100ws and 4 x 12s still own for room filling though. I’ll never be a “but all you NEED is 15 watts and a small amp” guy. massive spider fucked around with this message at 11:56 on Jul 25, 2019 |
|
#
¿
Jul 25, 2019 11:53
|
|
|
I used to have a tiny terror and most of the time it was great but when we played shows in non-venues with a PA that was vocals only it would run out of headroom and I couldn’t get a clean sound at all. Yeah 99% of the time you don’t NEED more than 40 watts but sometimes you just WANT that horsepower.
|
|
#
¿
Jul 25, 2019 16:24
|
|
|
Anyway I’m talking a lot of noise here because as much as I’d love a 100w head again my current set up is digital and my future solution to shows like that is just not to play them lol
|
|
#
¿
Jul 25, 2019 17:01
|
|
|
Basically, the amplifier is kicking out a fat stream of power, and it’s expecting to see something substantial to kick against. If it doesent, then it’s just pissing power into the wind/itself in a wanton and dangerous fashion. If it sees a bit more resistance than it was expecting. That’s fine, it just means it won’t be outputting as much volume efficiently. I think 4ohm into 16 ohm load is pushing it though.
|
|
#
¿
Sep 5, 2019 10:06
|
|
|
H13 posted:Fair cop. In that case: forget what I just said. It turns out there’s a difference in how solid state and tube amps handle this.
|
|
#
¿
Sep 5, 2019 23:52
|
|
|
The Hughes and Kettner blog says it’s fine to connect a 16ohm head into a 4ohm cab though which other sources I’ve found say no way, 8ohm at minimum.
|
|
#
¿
Sep 6, 2019 10:01
|
|
|
Captain Apollo posted:Kinda following in the post above me, I have 15 guitars but I’ve never really spent money on amps. Fender the Deluxe reverb sound I prefer to the Fender Twin sound and its 22 watts rather than 100. Marshall have a 20watt JCM800 now.
|
|
#
¿
Jun 8, 2021 09:10
|
|
|
Captain Apollo posted:How much should I care about the cab. Is the process find a head you like then get a matching cabinet? You should care about cab since it affects tone a fair bit (how *much* you should care is subjective) Size matters with a cab, a 4x12 will obviously sound 'bigger' than a 1x12, but whether that's desirable is up to the player. Rock and Metal players like 4x12s (though most settle for 2x12s these days) cause they go 'thunk' in a statisfying way in the 100hz range. Players who don't find that important in their music may find that that extra bass is undesirable and muddy and prefer a smaller amp. Personally I think you need at least a 1x12 for a little punch, anything smaller than that like the blackstars 1x8 is for portability rather than pleasure. Speakers matter, lots of entry level cabs come with cheap speakers that are kind of bland. Vintage 30's are the go to metal speaker because they have a pleasing snarl quality to them that pairs well with gain. Greenbacks/creambacks are a little more woody and vintage but still punchy, T75s are kind of focused and nasal, then there are the eminence and fender ones I don't know much about. Whether a cab is open or closed back will affect how it disperses. Rock guys tend to like closed back for the focused aggression. Players who are cleaner like the extra dispersion of an open back cab.
|
|
#
¿
Jun 10, 2021 13:30
|
|
|
The plexi/super lead are the classic 60s Marshall’s that distorted only when played so loud that the phase inverter started breaking up. The sound completely badass and are completely unusable volume wise outside of Woodstock. Some people call this The Marshall Sound The JCM800 added a master volume to get distortion at slightly more reasonable volumes and is also completely badass, although due to the bright cap in its circuit it still needs to be turned up pretty dang loud or else it sounds kinda thin. Some people call this The Marshall Sound. The JCM900 is Marshall response to players modifying the 800 for higher gain (it doesent have as much as many people assume, metal players stick a boost in front of it) by making an amp that adds another gain stage. I’ve played both good and terrible 900s, they can sound kind of fizzy in the wrong circumstances. Pretty much no one calls this The Marshall Sound The JCM2000/DSL were the late 90s replacement for the 900 adding more tone options. They used to be really bad and blow up but after being around for 20 years Marshall has quietly updated the internals so they’re a decent mid price, well featured amp. The TSL was the sibling to the DSL with more features, more channels, worse tone, worse reliability. Now dead I believe. The mode four was Marshall’s attempt to go full nu metal with a solid state multichannel thing that was optimised for trouser flapping bass. It sucked but it’s matching cab was great. The JVM was Marshall’s 2010s line, another full featured multichannel amp but a smoother, more refined “modern” sounding amp, like a Friedman more than the rowdiness of an 800. I’ve never played the origin or Astoria line, plexi inspired I guess? The tl;dr every amp Marshall come out with claims to sound “as good as a JCM800/plexi but...” with varying degrees of success. They all pretty much do the same thing: have a big raspy KERRANG sound but some feel a bit looser, some tighter, some responding differently at volume thinner and so on. Listing all the bands that used them and the minute differences is pretty much impossible, particularly when you consider that bands mod them or tweak them all the time for their records. Marshalls just sound like Marshalls except for the bad ones which sound like poop. massive spider fucked around with this message at 11:02 on Jun 18, 2021 |
|
#
¿
Jun 15, 2021 08:10
|
|
|
The dark terror is so good apart from the no clean channel thing. The lack of headroom means its actually attainable to get power amp distortion at non-stadium levels. Same with other small lunchbox amps. Orange OR15 is also great. The Marshall Origin is a tiny plexi, although that goes the whole hog in absolutely not permitting you get any grit until the master is above 12, but when it reaches it its glorious. massive spider fucked around with this message at 20:07 on Jul 20, 2021 |
|
#
¿
Jul 20, 2021 09:26
|
|
|
Black star HT series sound to me like Marshall’s where someone went in and cleaned up some of the upper midrange rasp. Which also strips a lot of their charm and brightness in a mix IMO. They’re fine though. The S1 series is a whole other thing.
|
|
#
¿
Jul 23, 2021 15:19
|
|
|
I don’t love valve kings but 125 is stupid cheap.
|
|
#
¿
Aug 14, 2021 21:44
|
|
|
2204s have a bright cap in the circuit which means they aren't operating at full potential at low master volumes I believe.
|
|
#
¿
Jan 24, 2022 14:04
|
|
|
I mean dont get me wrong I'm absolutely seeing Pokey Arayas band live if I ever get the chance but I'm going to be standing near the fire exit when I do.
|
|
#
¿
Feb 8, 2022 15:16
|
|
|
A load box such as the two notes line that has an output at line level, send that into the helix. The thing about that setup is if youre using the AD15 with the helix then the helix effects become redundant anyway surely? and if you really need to record at headphone level I would just use the helix entirely without the amp. massive spider fucked around with this message at 09:57 on Apr 29, 2022 |
|
#
¿
Apr 29, 2022 09:55
|
|
|
If you have the helix set up right you wouldn't really need to swap cables. Just have the AD15(+loadbox) in one of its loop and then separate patches for different things that bring into the loop or exclude it.
|
|
#
¿
Apr 29, 2022 10:52
|
|
|
Friedman if you like hi gain British sounds, Revv Genn or EVH 5150 if you like aggressive American metal sounds. Dont get a combo they end up being heavier and harder to move than a separate head plus 1x12 (or 2x12) cab. If volume is a concern Friedman and EVH both have 15/20 watt versions.
|
|
#
¿
Aug 29, 2022 19:01
|
|
|
I have a headrush 108, its super loud and you can plug anything into it, albeit a little boomy but that can be mitigated with EQ.
|
|
#
¿
Nov 1, 2022 14:21
|
|
|
Gorgar posted:I have a Laney GH50L that I am starting to like more than some much more valuable amps. They’re a good deal, sound good without a lot of tweaking needed. I ha the VH100 which is basically the two channel version and those amps do own. Noisy though . They’re basically Marshall’s with added gravel.
|
|
#
¿
Jul 14, 2023 17:59
|
|
|
I see modellers on stage all the time if it’s a band playing modern hi gain metal stuff, those guys tend to want 100w hi gain amps with good clean channels and a tonne of fx and the convience of putting that all in a quad cortex rather than carrying the real thing is very appealing. Less heavy rock bands it seems to be a mixed bag. I saw teenage wrist a few months back and every band on the bill had a line 6 helix stomp or hxfx somewhere on stage but all seemed to be using it for the fx not the amps.
|
|
#
¿
Apr 26, 2024 09:03
|
|
|
insane clown pussy posted:the last band i was in we rented a practice space that had the peavey version (6534 or something like that) The peavey 5150 / 6505 > EVH 5150iii has a weird lineage. As i understand it the 5150 circuit is derived from a soldano SLO one right down to a few distinctive componant choices giving the game away (side note, so are mesa rectifiers, so that SLO preamp basically shaped the sound of high gain guitar since the 90s). But then the EVH (fender) iii version takes the name, branding and broad inspiration but is actually a different amp internally from the peavey 5150-now-6505
|
|
#
¿
May 6, 2024 22:30
|
|
|
|
| # ¿ May 12, 2024 01:37 |
|
|
I think he says the 5152? So he wouldn’t mean the developed the low cut there since it was already in the first 5150, just that a change in component refined it for the mark ii.
|
|
#
¿
May 9, 2024 10:25
|
|