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Southern Heel posted:I'm very aware of hearing loss issues vis-a-vis concerts and playing too loud, but if I am REQUIRED to play loud enough to possibly cause hearing loss to get a tone out of a given amp (and I won't be gigging with said amp) then then that seems quite backwards, no? I am going to take my HT1-R to the shop this week and try it out with a 1x12, and then A/B it with the different Terrors. BUT, if you're recording with a mic on a cab and you're trying to keep the volume on the cab low, unless you're in a really nice room you're going to have to jack the gain up on the mic so much that you'll be picking up a ton of other poo poo that you really don't want on tape. Throw in some plugs and jack up the volume a bit. Absolutely unrelated to 'tone' in any way. If you're amplifying at ALL, you're very likely into hearing loss territory in some way or another. Remember that damage starts to occur around 85db and just plain piano practice averages around 90db. Get some of the Etymotics plugs from Amazon for like $15 and just stick 'em in whenever. They're filtered so you don't have that high-end attenuation that a lot of the cheap plugs do. I'm confused about your insistence on a non-gigging amp too, what are you trying to say? No, not everyone gigs a Tiny Terror and not everyone gigs a Plexi either. I play any of my 100w heads at home as much as or more than my low-watt heads and I'm perfectly happy with the sound, but then, I'm not relying on power tube distortion, even live, so I'm happy at pretty much whatever volume. If you want great sound quality at low volume AND also be able to lay down a quality, low-noise track, you should probably look into direct-in options (11 Rack, AxeFx, Kemper, GSP1101, etc) instead of micing a cab. Hell, I love my MP-1 DI every bit as much as I do cranking a big amp when it comes to putting something on tape, so there are a LOT of options there too. Take Agreed up on his offer to pick his brain, dude gets some goofy good sound without EVER having a 'real' amp in line and he's a goofy good font of knowledge regarding preamp style pedals. I'm not trying to argue with you or convince you that you're wrong I'm right etc, but I'm still just kind of confused what your actual concern IS.
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Jun 9, 2014 20:38
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jwh posted:Get a Traynor Dark Horse. 2 watt mode (which uses a 12AU7 as a power tube) would be just what you need. A little pricier than some of the others, but not by a lot and especially if you look at what it does.
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Jun 9, 2014 21:08
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jwh posted:Aren't they out of production and hard to find? There's one on eBay for $750 that looks to be in great shape however, but yeah, apparently they are. drat, I'd kind of decided to pick one up myself recently.
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Jun 9, 2014 21:57
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philkop posted:So what's a good pair to get? I've never when plugs but I think I'm to start. My last jam left my head hurting for the rest of the day. I've also got a custom set made from molds I had my audiologist take, they're a LOT nicer and fit much better but they're an order of magnitude more expensive as well. Those Ety's don't muffle the frequencies you hear so much as just attenuate the volume itself, I've used them onstage, in-studio and at concerts and events where I was an observer. They're easy to clean and pretty damned sturdy too.
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Jun 10, 2014 21:14
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hedgecore posted:Any thoughts? That's a great amp, built like a tank too. I loved my 100w MkII, jump on it!
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Jun 11, 2014 14:40
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OhDearGodNo posted:Is a Bugera V22 poo poo?
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Jul 10, 2014 19:54
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I'd consider him pretty lucky. Apparently they're better than they were, and honestly, for MOST people they're probably fine (and I'm not being condescending of bedroom guys, music is music regardless of where it's made), but i've got too many friends with too many of those things lying in corners to trust them at all at this point. Granted, a lot of the issues seem to be relatively simple to fix, but that depends on the user. Incdentally, I got another 33xl in trade today, if anyone's interested. I'll let it go pretty cheap. It's in great condition with the footswitch. Probably around $450 shipped w/insurance and all.
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Jul 11, 2014 00:22
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 Looks like I'm finally digging through my tube collection and pulling out the tester to get some of 'em matched up, might as well figure out what the hell all of them are, too. On that same note: When your buddy hands you a handful of spare tubes, and you say 'hey man, this one's cracked' and he says 'no it's good don't worry about it', ignore him because it's really hard to continue practice while you're dripping blood like an extra in Carrie.
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Jul 21, 2014 07:45
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 Had the SLO in for a checkup yesterday and for fun we decided to bench it and do a load test on it.
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Jul 22, 2014 19:48
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Ferrous Wheel posted:Your customer wanted you to put EH preamp tubes in it? I sure did, they sound great, they're cheap and I'd rather beat the hell out of a gigging amp with easily replaceable tubes in it than some of the rarer NOS stuff. Edit- ^^^^ Nope, I've had really good results and experiences with EHX tubes for years now. I've amassed a huge collection of NOS/vintage tubes throughout my buying/trading and honestly, I've never been able to tell much of a difference between them all. Sure, there's a standout here and there, but in my experience a new tube is every bit as likely to be that odd duck that's exceptional as is a NOS/Mullard or whatever. My 'special' sets are exactly that, 'special' on their own merits without regard to name/age. Bear in mind, none of this stuff ever makes it onto my eBay/TGP listings, just like the PiO caps and all that mess. Granted, NOS Mullards DO seem to be more likely to be an exceptionally good tube and I DO tend to keep those put up a bit more than the others, but I generally attribute that to their manufacturing specs more than any 'mojo' or whatever. Plus, I rarely play very cleanly, so there's that. iostream.h fucked around with this message at 04:11 on Jul 23, 2014 |
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Jul 22, 2014 22:32
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Here's a recent post of mine in the guitar megathread with a couple of links to guitar amp impedance guides.
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Sep 10, 2014 19:08
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unlawfulsoup posted:Get a Mustang III, the poor man's awesome modeling amp. Seriously it cannot compete with an Axe but it unbelievably owns if you want affordable modeling++. Avid's 11 Rack, it's damned near the sound quality of the Axe without pitch effects (which is my primary bitch) and not as flexible wish the effects and routing, but if you're wanting a true, studio and gig quality emulation system, it's damned hard to beat for the money. Every time I gigged my 11 Rack I had multiple people telling me they were glad I wasn't running 'that damned digital poo poo' (I always kept a tube setup onstage 'just in case' since it was new tech for me).
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Oct 28, 2014 02:17
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Only if you give a poo poo about having a proper back line sort of setup, if your monitor situation is good just throw it straight into the PA and don't worry about an FRFR thing. If you DO want a good monitor, the EV ELX are fantastic and can be had very inexpensively, the QSC K series are great but a little more. If you're shopping them, remember to not look at the size in reference to a guitar cab, but rather what it IS, which is typically a PA main. One of my K12s easily keeps up with either of my other guitarists 4x12s for example (to the point I'm thinking of picking up some K8's at some point). In my opinion, best value FRFR would be EV ELX112P, they're $600 new, but call into GC and ask what their best price is (you may have to say you found one used on CL but would rather have a warranty), they'll offer them to you for about $450 + tax w/free shipping.
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Oct 28, 2014 16:51
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10" vs 12" is pretty meaningless with FRFR stuff. I originally went with 12's for the same reason (12's are just what you use with a 'real' guitar amp, right?) and it was way overkill and pointless weight and bulk. I switched to the QSC K8's for my rig a while back and couldn't be happier, I've used the Alto 10's (they're what I have as monitors with my PA so I've got several) and they're pretty nice and I'd be happy using them too, at this point I retired the K12's strictly to PA use as mains/center-fills. There's basically no difference in sound between them all, I can go crazy chugga chugga on the 8's as easily as I can the 12's. The Altos are a little less bright and not as snappy as the QSC but honestly, unless you're in a studio it'll never matter in the slightest, no one will notice unless you A/B them against each other. The smaller speakers (from Alto and QSC at least) also have wider dispersion so there's less laser beam effect and a wider wash of sound. The fact that you can get the Alto 10's for as little as$109 used with free shipping from GC is just icing on the cake.
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May 26, 2015 05:32
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philkop posted:It makes no sense but I love it. I do bass 0 treb 10 mids like 4. I catch a lot of flak from a bunch of the local guys for my sound when it's by itself but it sits in the band mix very well. philkop posted:I'm looking for the best way to capture this amp with the volume on 1 and bring this sound up to a live volume into ableton. 'Easiest' thing to do is snag a mic (I'm very partial to the Sennheiser E609, they're only like $100 new and you can find them used in perfect shape for around $50 pretty regularly), OR you could run a line out from your headphone jack into an input on your mixer (just be careful with the volume so you don't clip early). The additional complication with the headphone jack method is that you'll HAVE to run a cab IR somewhere in your chain to simulate having an actual speaker. That could actually be a big benefit tho, since (arguably) the vast majority of your 'sound' comes from the speaker and being able to mix those up gives you a MUCH wider array of sounds you can use. Actually, gimme a minute and I'll throw up a quick demo if you're interested. Edit: Or tomorrow actually, I forgot I had a show tonight... iostream.h fucked around with this message at 01:14 on Jun 19, 2015 |
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Jun 18, 2015 23:57
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philkop posted:Yeah sure. Feedback shouldn't really be an issue unless you're diming your amp and have it really close to you. If nothing else just flip the amp facing away from you (towards the back of the stage) to avoid it (and it also helps avoid laser beaming people in the front row). I doubt you'd have any volume issues, you'd be surprised how much gain you can get out of a decent mic. Just experiment with it a bit, you'll be fine.
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Jun 19, 2015 01:17
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