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Favorite Amps For Recording
Old 8th March 2003
  #91
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toledo3's Avatar
 

So, where is Loudist? These tape/compression tricks must be revealed! -GT3
Old 9th March 2003
  #92
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vodka gimli's Avatar
 

I have a 1967 black panel Deluxe Reverb that has two simple mods that turn it into a tone monster.

The first trick is to remove the tremolo from the circuit. Apparently, even when switched off, the signal goes through the trem circuit. Bypassing it with a push/pull switch gives you cleaner tone and more headroom. I can play a club with this amp on "2".

The other trick my tech did was turn the non-reverb channel that often goes unused into a tweed Deluxe circuit. Now I have essentially two amps, a tweed and a black panel.

Also, a Celestion Vintage 30 speaker is a great match for the Deluxe Reverb.
Old 9th March 2003
  #93
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mdbeh's Avatar
 

Quote:
Originally posted by vodka gimli
I have a 1967 black panel Deluxe Reverb that has two simple mods that turn it into a tone monster.

The first trick is to remove the tremolo from the circuit. Apparently, even when switched off, the signal goes through the trem circuit. Bypassing it with a push/pull switch gives you cleaner tone and more headroom. I can play a club with this amp on "2".

The other trick my tech did was turn the non-reverb channel that often goes unused into a tweed Deluxe circuit. Now I have essentially two amps, a tweed and a black panel.

Also, a Celestion Vintage 30 speaker is a great match for the Deluxe Reverb.
Has anyone here done the Harry Kolbe Deluxe mod? I've got a Deluxe I've thought of giving to him, but I haven't taken the plunge yet.
Old 9th March 2003
  #94
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toledo3's Avatar
 

On most Fender blackfaces you can take out the V1 preamp tube (that is for the normal channel) , and it will give you a little more gain in the reverb channel.
Old 10th March 2003
  #95
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Mike Jasper's Avatar
<<< (<i>Silicon Entourage</i> -- who thought that name up, anyway?). >>>


Randy Quan.

It's true and a damn fluke that I know that. Randy's a recording engineer in Sonoma County, California.

Life is too weird.

Jasper
Old 10th March 2003
  #96
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I'll probably get flamed for this, but I don't think any good studio should be without the silky smooth clean tone of a polytone.

Old 10th March 2003
  #97
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mdbeh's Avatar
 

Quote:
Originally posted by j.johnston
I'll probably get flamed for this, but I don't think any good studio should be without the silky smooth clean tone of a polytone.

I don't know if this counts as a flame, but...

BLECH. No thanks.

I've seem way too many jazz guitarists ruin their sound by plugging a $$$ L5 into one of those POS's.

If you want a clean solid state sound, get a Princeton.

I guess there's a use for everything, though.
Old 10th March 2003
  #98
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Mixervixen's Avatar
 

Quote:
Silicon Entourage -- who thought that name up, anyway?)


Randy Quan.

It's true and a damn fluke that I know that. Randy's a recording engineer in Sonoma County, California.

Life is too weird.

Jasper
It's even weirder -- I've met Randy Quan, and performed with my band at a benefit on his behalf a few years ago. I have a CD of his as well, the one he made with the Native Americans. I had no idea he was involved with that company. I live in Sonoma Co. too and bought these mics from Zone, so it all starts to make sense .....

(he's a fantastic guitar player as well!)
Old 10th March 2003
  #99
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Mixervixen's Avatar
 

.... a little off-topic, but not too much --- speaking of SE microphones, this pair of SE 1000s I have absolutely LOVE the drums. If you are looking for a great pair of overheads, definitely check these out. We use them for all types of things but they really shine over the drums.
Old 10th March 2003
  #100
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Mike Jasper's Avatar
MiixerVixen --

Too funny. Yeah, Randy used to produce my stuff back in the 80s. And yes, he's a great guitarist. But he isn't involved with SE anymore. I think he just gave them a kick start.

Like I said, life's too weird.

Jasper
Old 12th March 2003
  #101
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covert's Avatar
 

Quote:
Originally posted by G-man
Ouch- cheap teles and strats- that probably has way more to do with the tinny sound than the amp or mic. Maybe you could put on the next heavier gauge of strings for the rythm parts? I find that old fender amps respond well to heavier strings. By the same token, alot of modern amps can't handle them as well.
Most guitars respond better with heavier strings. The differenec in tone from .009's to .011's is pretty impressive.
Old 12th March 2003
  #102
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covert's Avatar
 

Quote:
Originally posted by sonic dogg
Love the leslie-ized guitar. I've got an old 120 model.Single 12" nd two speeds...usually will use the B-15 head on it but all of em sound so cool...I like to use it on my bed tracks..usually I'll track a backing guitar and then double it with the leslie on slow..Then sometimes I'll switch guitars and run the same track then double up on it again through the leslie.I've always been partial to the wooden ones..theres just something in their timbre you cant get elsewhere..
Yeah, the 120 is fun. The Motion Pro units are interesting too. Haven't had mine long enough to really get into it, but quick tests showed serious possibilities. You need the top and bottom units.

And since I'm now into this thread, I'll toss something else in. I've got a JCM900 combo, that a tech took the rectifier bridge out of, and it sounds really good. These can be had cheaper than some of the more "hip" Marshals.
Old 12th March 2003
  #103
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toledo3's Avatar
 

All of my guitars are strung up:

.012
.016
.022 unwound
.034
.042
.054
Old 12th March 2003
  #104
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covert's Avatar
 

Quote:
Originally posted by G-man
All of my guitars are strung up:

.012
.016
.022 unwound
.034
.042
.054
Is that a standard set from someone, and if so who? Best I'm usually able to do is .011-.052, from D'adario.
Old 12th March 2003
  #105
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cram's Avatar
 

My fave's are 11's. I've tried a couple of custom 12 and 13 sets but the breaking angle at the bridge is too severe and the strings break too easily. I need a combination of tone and reliability. 11's are a good compromise.
Old 12th March 2003
  #106
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wurly's Avatar
 

heavy strings..

You guys must not play much slide. Most of the slide monsters that I know start with .017's or.018's.

whir lee
Old 12th March 2003
  #107
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cram's Avatar
 

I've got an el-cheapo Fernandes set up for slide. It has some massive strings, I can't think of the gauge off the top of my head. I had to bring the stop tail piece behind the bridge up into the stratosphere in order to reduce the breaking angle. It makes it completely useless for anything other than slide.

Man, I wish I could use those strings on a normally set up guitar. The low-E sounds like a piano.
Old 12th March 2003
  #108
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toledo3's Avatar
 

No, that's a custom GHS set. I've been ordering custom sets from them for years. The D'darrio and ernie ball strings corrode too quickly for me. I use stainless steel, I'm not too crazy about nickel plated.

Cram, you can rest assured that I don't have profuse string breakage with my setup. I rarely, if ever, break a string.
Old 12th March 2003
  #109
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cram's Avatar
 

Quote:
Cram, you can rest assured that I don't have profuse string breakage with my setup. I rarely, if ever, break a string.
GHS came out with that SRV custom set a few years back that I absolutely adored, 13's rock for sure. I was using it on a stop tailpiece Gretsch though, and broke strings (low-E) like crazy. I put them on my Strat and had very little breakage. So when I was talking about the breaking angle, it was stop-tailpiece specific. Sorry, I should have been more clear.
Old 12th March 2003
  #110
Here for the gear
 

Quote:
Originally posted by cram
GHS came out with that SRV custom set a few years back that I absolutely adored, 13's rock for sure.
I can't imagine using 13's! Especially without tuning down.

I went up to 11's for a while and liked em. But after a while it felt like I was wrestling with them too much and switched back to 10's.

As far as breaking goes, I find that I break A's and D's more than any other string. This is on multiple guitars too. It's weird. I've checked my saddles for burs and grooves but haven't found anything. Maybe it has to do with the angle of the string like you said.
Old 12th March 2003
  #111
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toledo3's Avatar
 

I started with heavystrings. After my first lesson I got a set of ernie ball 009's and was like "this ****ing sucks." I talked to a few people, and have just been using thick strings ever since. It's just like anything else, your muscles have to develop. I could bend the string off the neck no problem. With old style amps like I use, they prefer the thicker strings. Some modern amps 'choke" b/c of the robust signal, so in that case, using thick strings would do you a disservice.
Old 14th March 2003
  #112
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Emery Superbaby, check it out: www.emerysound.com,
Luke
Old 14th March 2003
  #113
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mdbeh's Avatar
 

Quote:
Originally posted by Luke Vossen
Emery Superbaby, check it out: www.emerysound.com,
Luke
I've got an Emery Sound Spotlight, which is the combo model; I highly recommend it. You can get a really wide range of sounds by swapping tubes.
Old 21st March 2003
  #114
Here for the gear
 

Quote:
Originally posted by Brad McGowan



I just ordered a custom amp from Fab Enterprises in Canada. It will be a 12 watt Class A beast that does Vox AC30 tones on one channel and Hiwatt DR103 lead tones on the other. PTP, handwired and only cost me a few hundred bucks! Should be interesting.


Brad
So Brad, have you had a chance to put this thing through its paces yet? What did you think of it?
Old 22nd March 2003
  #115
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Lars FM's Avatar
 

Heavy strings, yeah. But not if you want to rock 60's/70's style. Nobody used heavy strings back then.... Guess i'm just stuck in the past.

as far as amps goes, i'd be happy with:
Blackface Super Reverb
AC30 TB
JMP Super Lead

I've had all of them plus loads of other amps, but being ****in stupid i sold the Fender and the Vox, miss them but the only amps i can't live without are Marshalls. JCM 800 Master volume amps are great metal/rock amps, but i still like the older flavour better. Let there be rock.
Old 22nd March 2003
  #116
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mdbeh's Avatar
 

Quote:
Originally posted by Lars FM
Heavy strings, yeah. But not if you want to rock 60's/70's style. Nobody used heavy strings back then.... Guess i'm just stuck in the past
I'm pretty sure that's not right. Heavy strings were the only thing available for a long time--it wasn't until guys like James Burton started using banjo strings on Tele's that lighter gauges became popular.

Of course, this all depends on what you define as "light" or "heavy." But .10's, and certainly 8's and 9's on high E are a pretty recent development.
Old 23rd March 2003
  #117
Han
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9 pages of discussion about amps and nobody mentioned the Koch amps.

One of the best sounding amps I ever had the pleasure to record with.

http://www.koch-amps.com/

Try it
Old 23rd March 2003
  #118
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sonic dogg's Avatar
I remember .008's and .009's in 1970...is that recent? "Heartbreaker" ala Zep comes to mind as an example of .008's in use around that time...among many many others.These were generally bought as singles as the theory of custom gauged sets hadnt quite hit yet.
Old 23rd March 2003
  #119
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mdbeh's Avatar
 

Quote:
Originally posted by sonic dogg
I remember .008's and .009's in 1970...is that recent? "Heartbreaker" ala Zep comes to mind as an example of .008's in use around that time...among many many others.These were generally bought as singles as the theory of custom gauged sets hadnt quite hit yet.
I know lighter strings were becoming more common then--I remember reading either Clapton or Page started using an unwound G some time in the late 60's. Are you sure about .008's for "Heartbreaker," though?

I was more referring to the idea that light gauge strings were somehow more old school than heavier ones. I'm sure, in any given year, there was some variation in what people used.

History aside, though, I hate light strings for rock. I've had to record shred guys who've completely sacrificed their tone to get speed--light strings, low action, thin neck. And then they wonder why it sounds thin. Sheesh....
Old 26th March 2003
  #120
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Beezoboy's Avatar
 

I like the Bassman 50watt also. Ours needs new caps or something as it overdrives at 5 now. I believe it is a '69. I really like the clean tone of a Strat through a '72 Twin Reverb.

My friend, and guitarist of our band, just got a new Ashdown amp. It is a 60watt head into a 4x12. This thing is a beast. We played around with it for a bit and determined the best mics to suit it were the U87 and Beyer m260. He is a great guitarist so that adds to the sound also, but this amp is incredibly veratile.

To me it is somewhere in the middle of a Mesa Dual Rec. and an old Fender tube amp.

Anyone else ever tried one of their amps?
Beez
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