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Old 5th December 2019
  #304
Lives for gear
 
enorbet2's Avatar
 

Quote:
Originally Posted by Sascha Franck View Post
No, I certainly won't. Because now we're actually talking - err, listening.
In all seriousness, apart from the rather brutal FX abuse, I can clearly see how that would be an *extremely* useful sound. And something that would likely not be too easy to get close to with the cheaper modeling units (the top tiers would likely don't break a sweat, though).

In all seriousness, if you would've posted that recording a lot earlier in this thread, we could've saved a whole bunch of arguing. Simply because it drives your point home. Whether one likes that sound, whether one might rather be after different sounds and whether those might perhaps not be doable as easily - all pretty much irrelevant. At least it's a very useful sound for that very thing, not even the massive FX "treatment" is hiding that.

Life could be a lot easier sometimes...
Waal surprise, surprise! I stand corrected. You actually meant what you said that music is about sounds not words. You have my sincere apology. I really did think you were closed to objectivity. I was wrong in that.

I hope you also get it that the reasons I didfn't post earlier are valid. I know how good it could be when recordings were made with the Revox instead of the cassette deck and not screwed around with plugin experiments. Plus, I didn't believe some, especially you, would focus on what matters to this thread, that despite degradation it can still be heard that a big sound can happen in an apartment and not disturb people in the next room, let alone neighbors.

I really wish I hadn't lost some of those quality tracks because it is entirely possible when not blurred by ping pong and cassette dubbing you could hear the sweet nuance that or any decent tube amp has to offer. I have yet to experience such nuance in any digital device but admittedly I have yet to check out a newer Kemper and probably other high end units I don't know anything about yet..

FWIW the overdrive was purely and totally tube overdrive. The amp has no adjustable EQ. It only has 3 volume controls and a buffered FX Loop. It's a single ended EL34 into the Peavey 10. The mic used for that recording wasn't even as good by far as an SM57. It was some rinky dink stereo mic to get two tracks but in that environment that mic behaved Mono. The reverb in the loop is all tube too and uses 2 tanks wired together like a humbucker pup - input out-of-phase (pre-emphasis) and output in series, in phase for greater recovery levels and less noise, though in this recording that's pretty much inaudible.

The minor delay and of course that horrid ping pong were all DAW and I honestly don't recall what DAW that was because, back then, I was still trying several out until I finally sprung big bux for Sequoia a few years later.

Damn! I wish I had just one of those serious recordings left to let you guys hear it when it's done right and more transparent. They were very close to a decent sized room sound. I have to add though that I really don't prefer judging tracks on only headphones. It's much more musical and meaningful to hear Music "in the air".

Anyway, sorry I misjudged you. Play on, Bro.