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Dunno why I decided to do this while loading up, but I needed to check and make sure my tubes were seated properly. Look, I DON'T KNOW why, it's just the way it is and I have a screwdriver in my gig bag. Guts porn ahoy.     
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Aug 31, 2013 21:16
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Let's throw out some random, low-budget amp options for folks, just for kicks (and because it comes up a lot): Crate Blue Voodoo: Decent build quality, there HAVE been some QC issues that have mostly been sorted out by any amps still out in the wild. Good distortion overall, MUCH better distortion once a proper bias and matched tubes are installed. Easily competes (on a basic level) with modded JCM800/900, not quite as 'grindy' as a DSL, doesn't get as fuzzy as a Vintage Modern but is quite versatile. Peavey Windsor: It's a Marshall Plexi clone. Period. That's really all it is, it's all it does and it does it surprisingly well. Build quality is for poo poo however. Don't expect it to be your main gigging amp and I'd be drat careful about relying on it as a backup unless it's transported in a WELL padded road case. It's a loving shame because with a decent clean boost (but a treble boost was a lot of fun too) and a good cab (don't use the matching 4x12 please) this amp sounds really REALLY good. Very responsive to tube changes and mods are cheap and fun because seriously, who's worried about loving up a $200 tube amp? One of the most underrated amps available. EDIT: Unless someone has an objection, let's say 'low-budget' = less than $300 new or used (based on average street price or eBay or whatever, yes we all know that guy who got a plexi for $100 but seriously...) and is amp-only, not counting speaker cabs since there're so many other options there. Sound good? iostream.h fucked around with this message at 19:29 on Oct 3, 2013 |
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Oct 3, 2013 16:37
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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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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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Declan MacManus posted:You should always opt for the Orange.
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Oct 26, 2013 17:04
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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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comes along bort posted: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.
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Oct 27, 2013 07:49
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Sennheiser e609 does me pretty well, an added bonus is not needing a separate mic stand, just drape it over the cab. Much fuller frequency response compared to the 57.
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Dec 2, 2013 17:38
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Declan MacManus posted:So, barring trolling the Guitar Center used section for some poor neglected tube amp, what's the best gig-able amp in the $300-$500 range? Solid state/modeling are acceptable. Avid 11 Rack. Run it into the PA and have a good night. They're cheap as balls too, I just picked up a second one in absolutely perfect condition for $300 including a gator soft case.
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Dec 15, 2013 10:41
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Kilometers Davis posted:212 closed back is the speaker arrangement I've been looking for. 
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Dec 21, 2013 13:06
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Gain basically refers to the amount of distortion (clipping) in your preamp stage (I'm over-simplifying). High-gain amps are simply designed to provide much more distortion than their more traditional counterparts, such as: https://www.youtube.com/watch?v=hQPgIFfxugA Marshall Silver Jubilee 2550 (I absolutely love this video because it's what all your non-guitar playing friends make you do when they see a half stack in your practice room) The Jubilee is a riff on Marshall's JCM/JMP amps, basically they hotrodded them from the factory as a response to all the mods happening in the 80s for the hair metal guys. Versatile amp, responds well to boost pedals but is definitely not high-gain. https://www.youtube.com/watch?v=4nNalvxN5Zc It's Chappers, I know, but he gives a fairly decent demo of what we're talking about here. Orange Rockerverb 100, my favorite high-gain head other than the Soldano SLO100. Absolutely the opposite of the 2550 in every possible way, dark, loose, gritty and the gain is just dripping with saturation. So, hopefully those two vids help you hear the difference, and 'get it'. They're also the two heads I use mostly, so if you want something a little more detailed just ask and I could probably throw together a more specific comparison clip or something. As far as the clip you posted, my knee-jerk would be a single-coil something into a Vox AC30 on the edge of breaking up, but I'm absolutely NOT any type of expert on clean sounds. Any time I hear a slightly dirty clean sound it's always definitely a Strat into an AC30 on the edge of breakup. Every time.
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Jan 4, 2014 18:14
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Kilometers Davis posted:What tubes can I fist into my OR15 to tame the highs, round/warm the sound a little and let me get slightly better bedroom volumes? I've got a JJ 5751 coming to try in V1. People around the internet seem to like it. Edit: BTW, make sure you only fist that OR15 after lots of foreplay, use lots of lube and go slow to ensure there's no tearing. Ease into it. 
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Jan 12, 2014 03:13
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Kilometers Davis posted:Under a month. The break in period yeah? I've heard mention of that. It's not super harsh but there's something going on in the upper ranges that throws me off slightly. That said, the Celestion Vintage 30s are generally a pretty crisp and bright speaker anyway, they've all (there are actually a few variances depending on the cab/combo manufacturer) got a fairly pronounced mid-frequency hump, but because of that they REALLY emphasize the guitar's position in the mix and they cut through in a band situation like nothing else. They DO laser beam the poo poo out of people tho', I dunno if you noticed in a pic I posted a while back, but I usually turn my cabs around onstage (partially to diffuse the sheer volume so I can burn my output tubes a bit) to avoid exploding heads in the crowd from it. How's your cab positioned? Angle it up or down, turn it around, throw a blanket or rug over the front (I have a thick rug permanently affixed to my studio cab) but mostly at this point, just crank it when you can, thrash the hell out of it and let it break in. It'll relax a bit and tame the shrill highs and then you can figure out how you prefer it. It doesn't necessarily provide any consolation, but they really don't sound all that great by themselves. Almost too 'technical' and sterile to be honest (although I dig it, I like AKG headphones for the same reason) but when you set them in a mix with a band, holy hell there's nothing else. Also, take notes on how you're EQ'ing that amp, if I'm not mistaken it shares an EQ system with the Rockerverbs and they're a little (lot) different than the standard Marshall style 'bass/mid/treble' system. If you can, throw some backing tracks on, mix your amp to taste and stand back and listen, see how you're cutting through (or not). I'm obviously a fan of the V30s, and I'm also a huge fan of Orange amps. With the setup you've got you DEFINITELY have great potential for wonderful sounds, but it's not the most forgiving of lax setup (not that I'm accusing you of that btw), you really have to spend some time dialing it in. Offhand, were you using a solid state/modeling amp before your OR15? Is it your first tube amp? I'm not being pissy, but if so that really does help illuminate the issue a bit. Kilometers Davis posted:My amp is covered in lube and I'm covered in blood and tube shrapnel. Gearvana achieved Edit: Oh hey look, backwards cab onstage:  Edit: BTW, check your e-mail, I sent you a brief treatise on the history of Western Civilization and the use of Tonewoods in the Development of Democracy and the Ensuing Fight Against the Red Tide of Communism. It's titled 'the Marshall Presence Knob: Fact or Fiction?' iostream.h fucked around with this message at 05:39 on Jan 12, 2014 |
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Jan 12, 2014 04:46
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nrr posted:is that a red strap on your black guitar and a black strap on your red guitar what the FUCJK?! What the gently caress indeed, sir.  One of these things is not like the other. Boz0r posted:If I'm unable to crank my amp in the venues I play, and I'm always miced, would it be a good idea to just get a speaker simulator box or something, instead of a cab, or what that sound like poo poo? If you can't enjoy the benefits of a tube amp, why deal with the extra setup and teardown? signalnoise posted:Hey just wanted to check back in an say thanks for the AC30 amPlug recommendation. I just got it yesterday and I've tooled around with it a bit and it's pretty much exactly what I was looking for. Sounds great. I'm guessing that's what you're talking about anyway, sound about right? signalnoise posted:I am interested in ... a tiny little amp I can stuff away but pull out when I don't want to use headphones, but the 200 dollar tag has me hesitant. This would be my first actual amp purchase and I am trying to get started on the research for the purchase now. I'm not entirely sure what I should be looking for in an amp, but I'd like it to have a good range, be relatively small, and have a good variety of knobs to get familiar with the tech. And preferably significantly less than 200 dollars. Could I get some recommendations? I'll take a larger item if it means cutting back on the cost significantly from the device I linked. signalnoise posted:edit: On that note, I also have been unable to find a good comprehensive knob guide on the internet. Can someone do a quick writeup of what different knobs will do on a guitar amp? My google-fu is weak Gain = Distortion Think thick, crunchy, sounds like rock n' roll. Sounds similar to turning up a radio until the speaker starts trying to die. Turning this up will usually also make the overall volume a bit louder. Master Volume = Overall output volume. Bass/Mid/Treble = Low/Mid/High frequency equalizer. I'll assume you got this. Presence = 'shimmer' (it allows or cuts frequencies above 'treble') just adds a bit of sparkle. It's also evil and always leave it on 0. Reverb = An echo effect, akin to shouting inside a warehouse or concert hall. Adds a bit of space to your sound by thickening it up. Something like that? iostream.h fucked around with this message at 17:36 on Jan 12, 2014 |
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Jan 12, 2014 17:22
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nrr posted:Your stage wardrobe better involve a shitload of velvet I have a coonskin hat too.
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Jan 12, 2014 23:38
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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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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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. That should give the sound a little more balls and bottom end, right?
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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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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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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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Handen posted:
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Jan 18, 2014 02:43
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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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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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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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comes along bort posted: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. I practice out of everything from the iRig into my iPhone to my 11 Rack, to just plugging dry into the mixer on my desk through monitors to playing it dead to jacking into one of my heads because ultimately, practice is practice, noodling time is something entirely different and a LOT of players never make that distinction. It's something everyone needs to take into account with an amp/equipment purchase. You're absolutely right, they're NOT optimal, or even a 'good' option for a bedroom dude BUT, if seeing that Plexi through an attenuator dialed down to its lowest point into a 1x12 inspires you as a musician, by all means, go ahead. I'll freely admit, as someone who owns some fairly nice crap, there are times that I like something simply because it makes me WANT to play it, and so long as your bills are paid, kids aren't wearing dirty diapers and the cats aren't producing kitty porn to pay for catnip, it's all good. I'll absolutely 100% agree however with your last statement, it's amazing how many people don't WANT the amp that they actually THINK they want. It's funny stuff.
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Jan 21, 2014 02:39
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Zonekeeper posted:I think the way to go will wind up being one of those 5W mini-amps. Looks like they're fairly affordable outside of the high end boutique models and - thanks to the way amp wattages work - a 5W is half as loud as a 50W, which sounds like plenty.
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Jan 21, 2014 06:13
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Trust me. TRUST ME The repair bill for a power chord through an a tube amp with no load on the outputs is a LOT more. The horror...the horror...
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Jan 21, 2014 20:15
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Sockington posted:My 32w Palomino I never really turn past 4 or 5 out of 10 when jamming loud with the band. Plenty of volume on the clean channel. A LOT of amps (and forgive me if I'm underestimating your knowledge, please don't think I'm being condescending) will REALLY ramp up that background noise 'hiss' when you ramp up the gain, since you're basically over amplifying the input signal and all the included interference. What kind of shape are your cables in? Hey, if you want, either tomorrow or (more likely) Thursday I'll run back over to the shop and crank the one I'm trying to sell in the gear trade thread and see what the background noise is like on it for you. That'll give you an idea at least before you throw some monies at MF or whoever. Depending on how much like the SLO their circuit is, I'll tell you, it should be SILENT, even at near-max gain.
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Jan 21, 2014 21:37
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Jackson1160 posted:Hey there I am currently looking for a new amplifier. It needs to be able to be used for gigging and band rehearsal. Also needs to be able to go from garage rock fuzz to metal. My price range is 300-400$, any suggestions?
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Jan 22, 2014 06:10
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jwh posted:You're going to be somewhat limited with the 300-400 price range if you're aiming for a tube amplifier.
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Jan 22, 2014 21:18
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Jackson1160 posted:I am going to be running pedals through it but it needs to have a good dirt channel. I am looking for a combo. You could snag something like an early 5150 2x12, they take pedals really well and have a damned good dirty channel. Maybe a Blackstar? They're pretty decent, have a good sound to them and their resale value is pretty pathetic so some good value there. Used JetCity amps are REALLY good values too. When you say 'gig', are you going to mic or use stage volume? I'm not trying to be pissy or get overly detailed, but hell, that 5150 I listed earlier could very well be WAY overkill, depending on what you're doing. If you weren't set on a combo, it'd actually be pretty easy to get you into a decent setup, something like a Peavey Windsor on a cheap Line6 cab, the Crate Blue Voodoo, others like that, but anyway, they're out there. Marshall's got the JCM 600 series, they're pretty decent but be careful banging them around. I picked up a DSL 401 the other day, it's a 40w, sounds pretty good, I haven't put it on the bench yet so I haven't listed it, but it's damned clean and doesn't smell like smoke. I'm into it for a little more than your budget so there's that. PM me if you want more info. You COULD probably pick up a Tiny Terror + 1x12 for around your budget, not a combo but it's drat nice, easily giggable and has a pretty fair range of tones. If you require pristine cleans with no breakup or scooped metal sounds you won't dig it, but they're pretty sweet.
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Jan 22, 2014 23:22
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Jackson1160 posted:In all honesty I just need something functional, sounds decent, and loud. I would much prefer a combo for easier transport but its not a must. Its key that it is gig able and can hold its own without being mic'd. JetCity, Blackstar, a 5150, JCM600 are the ones you'd probably dig off the top of my head, depends on where you're located obviously. I've got a few odds and ends I've been sitting on to unload, if you're not dead set on a combo then, might be something else. I'll throw some pics up tomorrow then. I KNOW I've got a Blue Voodoo that's in good shape, it's a Crate 100w all tube head that SOUNDS really good, it just says 'Crate' on the front and that throws people off sometimes. Where are you?
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Jan 23, 2014 00:32
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Declan MacManus posted:Any amps that are over 40 lbs. and I immediately start wishing I had casters. Declan Macmanus posted:Go creep on Guitar Center's used section.
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Jan 23, 2014 06:21
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At least they left off that worthless loving reverb tank.
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Jan 24, 2014 08:28
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Catastrophe posted:I'm 34 now and will never join another band.
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Jan 25, 2014 21:34
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Handen posted:Apparently I can stack/jumper my two Legend heads (Rock 'n' Roll 50 and Super Lead 50) together for a combined total output value of 100 watts, whereby one of the amps acts as the preamp and they both share the output duty.
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Jan 29, 2014 01:51
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Declan MacManus posted:It should be okay if he's using the effects loop to bypass the power amp into the input of another amp. Then I guess the effects out of the other amp into the power amp in of the first amp? I'm actually really interested to see what that setup looks like. Doh, he did say COMBINED total output, yeah you're right, I just had this mental image of 50w into a preamp, which, incidentally is why I have a couple of new heads in the corner right now.
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Jan 29, 2014 03:53
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Yup, that sort of thing is absolutely fine, it's basically the exact same thing as running a separate head into a cab, or, a little more accurately, a preamp into a power amp into a cabinet. Sorry man, I had visions of your plugging your speaker output into the input on another amp and using some sort of convoluted 'Y' cabling method to get both amps working together and anyway, ignore me.
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Jan 29, 2014 09:23
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Handen posted:
I'm ridiculously excited about this.
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Jan 29, 2014 19:46
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| # ¿ May 13, 2024 14:34 |
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He did say 'combined' 100w output, not necessarily the usual way of looking at it, but he seems to have a handle on it based on the literature he posted
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Jan 29, 2014 22:55
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