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Guitarists - Show me your pedalboard! Effects Pedals, Units & Accessories
Old 8th September 2011
  #541
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Personally I would not go lower than 30 watts and prefer at least 50. I am not a fan of low watt amps myself. I am not interested in my amp breaking up and clipping distortion early on. I prefer the dynamic headroom of wattage. If I got the 40 watt tweaker I would use it on 1 side of a 4x12 for stereo running vintage load 30 watters. I also looked at the Jet City 50 watter and 100 watter amps, seem like a decent buy. My normal amp likes are just over my budget these days. I am a half stack guy, and over the years of many different amps and speakers I prefer the tones they can create.

I was just watching a rig walk through by Eric Johnson who commented that pedals too close together can create noise and he said wall warts can often break down at any given time and start putting noise in the line.
His board is a mess of widely spaced pedals. He of course uses some really old pedals (rigged to bypass loops) and pointed out he has to keep the wah away from the Fuzz Face or they react and get noise.
Might be something to it. I love the look of packed up boards but I find without a front position pedal switcher master I cannot really work the pedals that close together. Looks cool but not so functional for me. I tend to keep my board laid out in a line so I can work with the pedals easier.

I suddenly got some noise floor on my amp loop chain after I added a new pedal. Mine are close together and I do have a fair number of warts because my supply cannot deliver some of the pedal needs. I tried all sorts of cable checks, power supply switches, lines and removing pedals trying to find the cause. So far no luck. I plan to try and space out the pedals and run as much as I can from the isolated multi supply. My master power feeds come off a Furman 110v conditioner. Amp in is dead quiet but amp loop has some noise floor, just enough to be annoying with all pedals off. Contains all my modulation pedals perhaps they are reacting to each other, so far I cannot figure it out. Amp tech suggested checking for broken ground ground internally, I doubt if that can be it, as everything stays plugged in all the time. I think it's time to update my power supply feeds. I need a couple new Voodoo Lab 2s and perhaps a new power conditioner master.
Old 8th September 2011
  #542
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Faderjockey's Avatar
 

Pedals to close together will not create noise.. Bad cabling will..
By the way..I'm sure it's not mentioned never is..but I built Eric a LTD SR of ours.

It was a gift from Christopher Cross for playing on his CD.
I use higher wattage amps live. But in my studio I actually like the lower wattage.. 18's seem perfect..But lately I'm doing all kind of great rock tones out of even lower wattage amps..

But we all have our own taste that's what makes it fun.
Old 8th September 2011
  #543
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There is no argument Eric comes up w some strange notions.
I would say most of the time noise floor hiss or hum is ground loop power supply issue and possibly an old or bad cable.
I have run across a few things w power supply feeds but I have never really had a bad cable and since I started making my own, the sound quality has improved noticeably.
I would not think pedals would interfere or interact, does not seem to be a mechanism for such an issue. But there is an issue of some effects create an Rf signal and there is some issue that multiple pedals of this nature might cause some noise or interference. This was only with my modulation pedals so I started thinking there might be some sort of Rf thing. On the TC website others have complained of noise floor. Right off we always think power supply or ground loop hum as that is usually the issue.

Mine sounded like a ground loop issue but I could not solve it, even w 1 pedal it was there, very weird. I changed cables and power supplies trying to track it down and no matter what I did it was there, that is when I called up the manufacturer for ideas on possibly an internal component gone bad but I eliminated that notion by simply plugging a cable send/return as a patch, no noise.

All my cables are made by me, soldered ends and high end shielding. I had been making the shortest possible connectors, I went to 1ft and spaced the effects about 3-4" apart. I made sure that each chain uses a common power supply source and avoided mixing feeds as this is sure to create a ground loop. I never had any such problem before I added an additional pedal into my loop and squeezed them closer together in a line.

Be that as it may, the noise floor is gone and quiet again. My rig is really, really quiet for an all tube amp with a pretty substantial pedal board. Of course I get noise floor if I crank up some high gain distortion, that is normal. But my rig is silent when not playing and pedals are off and I do not use any noise reduction right now.

I guess now I need to go back and see if it returns. I have gotten some hum before by cable jacks touching on close effects, not supposed to, but there it was. I always make sure my pedals do not touch or insulate the jack heads with a piece of tape. I understand this may be due to the outer shield solder connection contacting the jack plate.

This sounded like a ground loop hum but no matter what I did I could not stop it. Maybe it was the modulation pedals having some interference or reaction. I have always run my amp in chain pretty close and no noise issue from my wah or ODs. I do not have any old vintage fuzz or anything of that nature. At any rate it is gone.
Old 8th September 2011
  #544
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Quote:
Originally Posted by Faderjockey View Post
Pedals to close together will not create noise.. Bad cabling will..
By the way..I'm sure it's not mentioned never is..but I built Eric a LTD SR of ours.

It was a gift from Christopher Cross for playing on his CD.
I use higher wattage amps live. But in my studio I actually like the lower wattage.. 18's seem perfect..But lately I'm doing all kind of great rock tones out of even lower wattage amps..

But we all have our own taste that's what makes it fun.
If you're after early clipping on the amp that is the way to get it. To my mind recording has always been a bit of different animal but if I got back into recording again I would want to capture the great tones I am getting on this rig. I cannot get the result I want on a low watt'er. I always said use what works for you. Everyone has different touch and chemistry between their hands, guitar and amp type.

I have a multi channel amp and I love having a really dynamic headroom clean channel as well as differing levels of breakup. I cannot get a great clean sound as there is not enough watts to sustain the low end on low watt amps. They are designed to breakup and clip early on and if that is the tone you are going for, there it is. They always seem to be a little midrangey and thinner to my ear. For me there is far more to tubes than just distortion clipping.

I had been trying to pick out the best drive for my use from Barber. I like a cleaner less gainy drive so I thought maybe the 1/2 gainer was the deal.
The LTD seems great as well. I saw Satriani at one point was trying out the Burn Box. I've been impressed by Barber for some time.
I am also a fan of Wampler pedals. I think the only time I would not go with one or the other in the future if its something neither one makes. I am surprised we do not see more Barber or Wampler pedals on some of the boards. Every time I see a little Boss on an otherwise high end board it seems odd to me. Again I guess you have to use who makes what for that tone. Still I migrated away from Boss, seems like a nice starting point but after using the higher end top shelf boutique pedals I am spoiled.

Isn't the Tone Press a compressor? What exactly is the Launch Pad?
Prices are not bad on Barber either. I love all the trim pots inside some of the boxes, more designers should be doing that. I've known some players who had a drive that did not know the tone knob pulled up, sometimes you miss out not reading the manual on things.
Old 8th September 2011
  #545
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Yeah the LTD is a bit warmer.. But the LTD SR is more neutral in the tone.. Same gain.. But the tone (EQ) is much wider and guys who like cleaner gain like you mention seem to love the SR.

Yeah..it's funny. I was talking to Nils Lofgren when Springsteen played in DC..
He uses 2 Burn Units.. But he also uses a Tone press on Acu..which we didn't even know he uses..
Rick Derringer who's been touring with the Ringo band is using some stuff as well..
I just found out last night one of the guys from the band Paramore use our Direct Drive.
Billy Sheehan wants to check out a Tone press he told a buddy of mine..
Lot of these guys have deals with other companies..and can't say they are using our stuff or other stuff..
David Grissom uses 2 LTD SR's.. Has one on each pedal board. one he leaves in Nashville the other in Austin.. But doesn't mention he uses it..
Just how it goes.. Sucks for us..LOL

The Launch Pad..does a few tricks. I beta tested that years ago in my old commercial studio.. It's a clean boost. but there are guys who like to leave it on all the time because it cleans up the signal from cable runs.
Dave came up with it when I was running all gtr lines in my walls in a 3.000 sq ft facility.. I wanted my control room and live room to have cables for players or reamping. So he made this..

Also it has 2 outputs. +/- The + output in the main out. It also is a TRS balanced out. So you can use it as a DI. I have bass player friends who use our Tone Press into a Linden EQ (Ampeg B15 in a pedal) then into the LP to have a DI out to FOH.

When I do sound for them once in a while it makes mixing the Bass live so easy I don't have to do anything.

The - (negative) out on the LP can be used to go to another channel on a fender.. So you could run say..a Super with the +/- outputs of the LP going to both channels like you would and old marshall.. but since the Fender by default is out of phase.. The LP fixes that since it's wired out of phase already..

It beats out my Avalon U5 DI in the studio all the time for Bass or Wurli.
So.back to the leave it on all the time guys... That's why we came up with the B-Buff. Guys who like to solder could by that board from us and add it to a pedal or build a box them selves and have a buffered sound.. Some made it with a switch.. Which is pretty much a Launch Pad..Minus you don't have the balanced out part and all.

So my Fav thing to do is.. have a Launch Pad so it's your clean boost live for solos and stuff.. But put a B-Buff inside of it on the bypass. So when the LP is off you get the clarity of the LP cleaning your signal up..
But the LP side of things you may have turned up a little for solos..Then when you step on it for a solo you're louder and you still have that buffered clean clarity..it's awesome.
Old 10th September 2011
  #546
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One pedal I'm actually in love with but have yet to own is the visual sound open road. I LOVE the amp like feel, it's dead quiet and I love the buffers in their pedals as of recent.
As far as modulation goes I really want a micro POG (or full size POG, but unlikely that I'll get one any time soon lol)
And the elect harmonix deluxe memory boy. I LOVE the fact they have added an effects loop for the repeats.
I could but a reverb and octave up with a slow decay and have a nice dry tone with shimmering repeats that are almost synth like. I could add an chorus pedal I wanted to the repeats, over all a very cool tool that I would love to see on more delay pedals, even if it's an insert type jack.
Also I love that it has tap tempo. It's just too cool.
I use ALOT of shimmering delay an rhythmic delay. So a delays versatility is important to me. That's why I'd love a timefactor or a damage control delay
Old 10th September 2011
  #547
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My Diy pedalboard in progress. I had to have him modify my aluminum riser for more support across the back and more support on the underneath to prevent ANY flexing.
Also I may switch to a 1" board on bottom instead of 1/2" but I love design. Allows me to tuck away more "set and forget" effects underneath and control them via TB loopers up front.
I am soldering up my buffers this next week.
Old 10th September 2011
  #548
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WOW!! how big are the places you're playing? My band thought mine was big at the time.
Old 11th September 2011
  #549
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Ummm the most I've played for is 800-1000 people and that was a relay for life we headlined
Old 11th September 2011
  #550
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Quote:
Originally Posted by Timwaldvogel View Post
Ummm the most I've played for is 800-1000 people and that was a relay for life we headlined
No I mean.. IT looks like the board would take up a ton of stage room in smaller clubs not counting needing a monitor in front of you and maybe a mic stand.
Old 11th September 2011
  #551
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Agree - this is getting bigger than John Frusciante's last pedalboard...

Effects - John Frusciante Tablatures

What are the dimensions, as it's hard to see and gauge just how tall that aluminum riser is.

3/4 baltic birch ply (void free) should be strong enough so that you don't have to go to 1".
Old 11th September 2011
  #552
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I'm sticking with MDF for strength to weight ratio. Also I can't afford it.
This board is not that big.
It's 32x16 the same dimensions as my pedaltrain pro. I've even designed it to fit in my existing soft case.
It's much more convenient. This way. The skyscraper theory.
"if you need more real estate, expand vertically."
So now that I have 3 things I want put on my board that are half rack type dealeos. Maybe only 2, not sure about my alesis nano compressor yet.
So I designed the top tier 5" tall, leaving me with 4-4.5" under the tier that spands the entire length of the board. Since it's 5.5" deep it leaves me with 10.5" for volume/wah pedals.
A full size Ernie ball is roughly 11" long. I don't use a Ernie ball. I use a morley volume pedal which is about 10" long, and a crybaby wah that fits, worst case scenario I'll get a new flight case and use the existing tier pushed a inch backwards and get a new base to fit it. But i measured and it appears to be fully functional. Mostly just worried about the tip of my toe hitting the tier.
But I'm stoked about all the custom attributes, the tier is JUST deep enough for my boss:digitech:visualsound:Mxr:etc
Old 11th September 2011
  #553
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Quote:
Originally Posted by Faderjockey View Post
No I mean.. IT looks like the board would take up a ton of stage room in smaller clubs not counting needing a monitor in front of you and maybe a mic stand.
It does take up alot of stage room, and seeing how I have a band of 8 people it's tight at times.
But my 4 piece band I have never NOT had enough room to jump around and have fun while still having my pedalboard up front. The only time I've had a problem is when they only had straight up and down stands cause I am a Chubby guy and I have to play at an angle lol
Old 11th September 2011
  #554
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Old 11th September 2011
  #555
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Quote:
Originally Posted by nedorama View Post
Agree - this is getting bigger than John Frusciante's last pedalboard...

Effects - John Frusciante Tablatures

What are the dimensions, as it's hard to see and gauge just how tall that aluminum riser is.

3/4 baltic birch ply (void free) should be strong enough so that you don't have to go to 1".
Amazing boards Frusciante has, that last one and I saw another that was so loaded it was like a display case in a store. He has left the Peppers, I suppose he is planning solo stuff, anyone heard?
Special note to all my low watt amp friends, note the 200 WATT Marshall for "clean" sounds !! Tone Baby, TONE !!!!

I have made probably 4 boards in the last year out of 3/4" birch, worked out better than OK. I build mine on a tilt and I put a 2x2 bottom brace at the floor angle contact point. You can stand on the board it is so strong. And so easy to build, and the cost is really low. I had the store guy rip two cuts for me and used the piece for the shelf, the brace is pre made and cut, all I had to do was glue and screw it together, sand a little and paint it.

You can make them the size you want and go as deluxe as you want with metal framing edges, etc. I have not tried the metal edging and stuff yet but the next one I will probably see how far I can go with it. A lot of fun really. I usually just keep mine simple as I tend to make a new one all the time. Just paint it thick flat black and good to go. This last one is 4'x20" and has an upper back level riser for my amp loop chain. I am not hauling everything gigging these days so it just sits in my sound room. The last time I went down to play I just had a bud help me carrying it in and all was cool. Cost was like $30 verses well over $300.

I stopped worrying about pedalboards as all the pre made custom stuff is just way too much and to get near the size I need it gets really ridiculous. In order for me to go compact and squeeze everything in a tight space I have to invest in a good bypass switching system as I cannot toe into the pedals. I like how Frusciante lines up everything in a straight chain. That is the only way to go for me and be able to use the pedals and tweak easy. Packed boards look cool but for me not so workable.

Made a few changes, upper shelf is more spread out, BBE pedal down on lower level with longer feed from reverb, more spacing between the lower pedals. I had this weird noise floor problem on just my amp loop, drove myself crazy trying to isolate the source, and moved my power feeds and reorganized everything.

Saw Eric Johnson on his board walk through and he commented that sometimes having pedals too close to each other makes noise. I don't know how true that is, a lot of guys say no, nut when I respaced and reorganized my power feeds, total quiet and no noise gate or reduction pedal. I thing a lot of guys have noise floor and they mask it with a NR pedal or too many buffer loads.


Old 11th September 2011
  #556
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Quote:
Originally Posted by Faderjockey View Post
I picked up one of those Class5 Marshall's for the studio. I used one for a while I changed the tubes and was digging it.. So I bought one.
I got a Read one.. Letting the speaker break in now with the stock tubes.. Then I will put some old tubes in it.. Sounds great with old tubes,

Sort of a one or two trick pony.. But neat little amp that sounds like a Marshall..
I've been tracking with the internal spkr for the smaller amp sound.
And It works great with a Weber Attenuator going into a Marshall 4x12 that I have loaded with 4 different speakers for different flavors..

The 25w Green Back sounds great with the Class5 firing it, Not a Plexi or anything but for $350 cool little amp.
What a cool idea mixing speakers. I've been thinking to actually go back to some higher wattage speakers to handle the lower clean wattage tones but I do love the sound of my vintage load. Maybe on my upcoming stereo, add an amp project, I will run the vintage on one feed and the higher monsters on the other. I thought about using an antenuator but since learned some tricks on my amp which sound better than I had been getting. I learned to run the master up higher and the channel vol lower it gets more power tube section and less preamp. I am not trying to really clip out my amp like a lower watt amp. I just like the wattage headroom.

Anyone using the Gramma isolation pad? I found out about them from Bonamassa to isolate the speaker cab from the floor resonance. My sound room is upstairs and it really does help give my cab a natural sound without resonating downstairs through the floor driving my wife nuts, or wolfing from the wood floor under the carpet. I am not recording these days but the Gramma does effect my overall tone and make it more natural and tonal.
Old 11th September 2011
  #557
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Old 11th September 2011
  #558
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Quote:
Originally Posted by darkhorse View Post
What a cool idea mixing speakers. I've been thinking to actually go back to some higher wattage speakers to handle the lower clean wattage tones but I do love the sound of my vintage load. Maybe on my upcoming stereo, add an amp project, I will run the vintage on one feed and the higher monsters on the other. I thought about using an antenuator but since learned some tricks on my amp which sound better than I had been getting. I learned to run the master up higher and the channel vol lower it gets more power tube section and less preamp. I am not trying to really clip out my amp like a lower watt amp. I just like the wattage headroom.

Anyone using the Gramma isolation pad? I found out about them from Bonamassa to isolate the speaker cab from the floor resonance. My sound room is upstairs and it really does help give my cab a natural sound without resonating downstairs through the floor driving my wife nuts, or wolfing from the wood floor under the carpet. I am not recording these days but the Gramma does effect my overall tone and make it more natural and tonal.
The isolation pads make all the difference in the world. I live in an upstairs apartment. Believe it or not my 15w peavey vypyr rattles walls and floors if the low control is above noon at all.
I isolate the small amp by putting my foam laptop lap support from target underneath it. It balances it all out all the frequencies and makes it so I just experience low end without the rooms Emphasis on the whole thing. Its the equivalent of using an amp stand live. It doesn't kill your low end, but let's the TRUE low end shine out.
Old 11th September 2011
  #559
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Faderjockey's Avatar
 

I swear I'm the only one I ever see around here at least that always puts an amp or cab up off the floor.

So many friends and guys I know I'll see them tracking combo amps on the floor with a mic down so close to the floor..
I always get it up some. Even if it's on a milk crate or chair. I don't like the sound of amp bouncing off the floor into my mic.
Old 11th September 2011
  #560
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My handmade pedalboard.

1. Korg DT10 Chromatic Pedal Tuner
2. Marshall ED 1 Edward the Compressor
3. Vox WAH WAH V847-A
4. Marshall GV 2 Guv?nor Plus
5. Marshall VT 1 Vibratrem




Old 11th September 2011
  #561
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I believe I was the one who's been extolling the virtues of the GRAMMA - have two now for my 2 amps in the music room, and bring one with for gigs when playing on hollow stages for our bass player. They're great and remove the "everything in the house is rattling when I play". The Auralex MOPADD are also great under monitors as well. Worthwhile investment.

For your 32x16 board (looked a lot bigger in the picture, check out these folks:
mic stand holder

that way you can put one of those in the middle of your pedalboard. I'd recommend using T-nuts on the other side since you're using MDF instead of ply.

I also like their flip flopper (nice idea) and the idea of getting bypass loops to all the remote pedals - then you don't need to be tap dancing to multiple levels -- everything's right in front where it should be.
Old 11th September 2011
  #562
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Quote:
Originally Posted by Muzdaeb View Post
My handmade pedalboard.

1. Korg DT10 Chromatic Pedal Tuner
2. Marshall ED 1 Edward the Compressor
3. Vox WAH WAH V847-A
4. Marshall GV 2 Guv?nor Plus
5. Marshall VT 1 Vibratrem




nicely done with the levant covering as well. Any reason why the Vox wah isn't lined up down on the bottom to make it easier to use?
Old 11th September 2011
  #563
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Quote:
Originally Posted by Faderjockey View Post
I swear I'm the only one I ever see around here at least that always puts an amp or cab up off the floor.

So many friends and guys I know I'll see them tracking combo amps on the floor with a mic down so close to the floor..
I always get it up some. Even if it's on a milk crate or chair. I don't like the sound of amp bouncing off the floor into my mic.
That and your ankles probably don't hear so well.. that's why I also have tilt-back Fender legs on my larger combos, and a Ultimate Genesys tilt-back stand for my Princeton Reverb. Less stage volume makes for a better overall mix, especially in smaller bars, but as well on stage with monitors.
Old 12th September 2011
  #564
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Yea it's only 32x16.
For now.... Mwahahaha !! Lol

I actually was planning on putting one of those on my board. Still deciding though cause I've been singing less and less. I like playing lead lines and focusing on that. My chops shine much better than my vocals... At least I feel. Lol
Old 12th September 2011
  #565
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Anybody use the new-ish ibanez bottom booster yet?
I played one yesterday. I put it before a tube screamer through a peavey classic 30 in the store.... OMG, it's heavenly.
It's a bassy/heavy lower midrange dirty boost in a pedal. It become almost an awesome huge heavy cranked plexi type tone. But less distortion. More smoooooth.
Check it out, I heavily recommend it
Old 13th September 2011
  #566
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Quote:
Originally Posted by Faderjockey View Post
I swear I'm the only one I ever see around here at least that always puts an amp or cab up off the floor.

So many friends and guys I know I'll see them tracking combo amps on the floor with a mic down so close to the floor..
I always get it up some. Even if it's on a milk crate or chair. I don't like the sound of amp bouncing off the floor into my mic.
The floor material certainly creates all sorts of differing EQ issues and reflection or resonance issues. I recently got a Gramma about 6 months ago and when I moved my sound practice room upstairs it gave me a chance to really A/B the sounds.
There is of course drastic difference sitting on a wood floor on a concrete slab foundation or a carpet on slab, verses upstairs a wood floor around 12" thick hollow spaced, typical construction (or a house or a stage that is basically a suspended wood floor over an open area). The hollow creates resonance issues, the hard floor foundation creates a reflective and/or reverberation effect depending on the damping of the floor covering and room quality.

I have always said, having used them, and owned them, that little watt amps and single speakers tend to sound thinner and more midrangey. By sitting them on the floor and miking the reflective and resonance of the bounce you are merely trying to add lower end presence to the little amp. Lift them up and isolate them and you start to hear there is a lack of thickness, depth and low end. Many times the limitations just might fit into the niche of tone you are aiming to get and it works for you, more so I would say to recording than practical live playing.

I have seen a lot of guys just trying to beef up the little amp feeding it into the PA and adding EQ but this method if you have honestly sat back and listened to it, is not the same. The fundamentals of sound physics became an issue as a PA is reproducing most often a collage of sounds from multiple sources, ipso facto a speaker cone cannot push and retract at the same time, so phasing and loss of tone is just a matter of physics not opinion. If your guitar is trying to push the speaker cone for a note while it is already extended on another signal, I think anyone can understand something must suffer fidelity. I have heard Jeff Beck try and use little amps live and I do not think anyone could say that sound is better or even on par with the depth and thickness of the half stackers. He often has an advantage of instrumental music as well.

Miking the floor especially if it is a wood flooring or even carpet on a hard slab can make the amp sound bigger, but the downside is artificial frequency peaks. Sort of like the trick the old blues guys would do like Robert Johnson and face a room corner while playing to enhance the lower end and thickness of their sound.

My amp has always sounded good and I love the tone versatility I get from my rig. It is always a question of what enhances or improves the tone. I got used to the amp on a hard surface w carpet and it is a toss up whether to leave the caster elevation or not. I tended to like the caster left on which lifted it off direct contact with the floor. I have heard many players loved sitting their cabs directly on the wood stage and used that as a part of their tone, like most things anything can work to an extent. Guys like Bonamassa swear by the Gramma pads. I dig them myself.

When I set up, upstairs, the sound difference was immediate, I have to say I think it sounded better at first, but I also have a larger room which helps considerably with the sound breathing. The reverbs and delays sounded delicious in that larger room, I look forward to trying to record some tracks and capture my rig tone. I would love to put some samples out of just how different a good half stack can sound from super clean to uber gained. I just seem to have at this point in time with my playing an ideal guitar (which I made from a kit) and a great half stack 50/100 which I have found the tubes which work best for my style, or styles as the case may be.

I started noticing I was getting a resonance issue from the floor and the sound transmitting through the floor was really bad downstairs. My wife was not liking the result coming at her in a collage of frequency sources. Instead of normally enjoying my practice adventures she was not liking the new room bleed throughs.

The amp cab (4x12 vintage load) was reacting to the floor resonance and changing the tone and EQ quality. When I put my GRAMMA under the cab, just an immediate sense of isolation and just the real tone and EQ of the cabinet coming through, it was just audibly better, sounded more true to tone of the actual amp and cab sort of like the difference you start hearing if you are recording and dampening out the unwanted reflective and resonances points of the room. The bass and low end quality was cleaner, truer to tone and really made you realize that the amp was sounding great with huge dynamic range.

So bottom line: GRAMMA amp and speaker isolater pads; thumbs up from my view, every bit as important as dampening wedges and corner baffles in a room and for my opinion in overall sound makes your live tone sound better and your EQ more consistent and where you want it.
Old 13th September 2011
  #567
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Quote:
Originally Posted by darkhorse View Post
Special note to all my low watt amp friends, note the 200 WATT Marshall for "clean" sounds !! Tone Baby, TONE !!!!
And if you only play in stadiums, arenas and stages that big, you too can play a 200 watt Marshall for clean sounds and have another Marshall for dirt. Just because a rock star with a major band can do it doesn't mean everyone should

As for those of use playing in bars, clubs or up to 400 people... 40 watts and under with a mic to the PA is still the winning ticket.

If you don't play out, then feel free to play whatever amp you want, however loudly you can without annoying family members, neighbors, etc.
Old 13th September 2011
  #568
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Well.. I've said this before.. But little amps of course do sound little thinner then a big cab..
But I really don't ever have the trouble other say they have.. Maybe I'm specialheh

But I have recorded little amps and people think I'm using Marshall or Mesa cabs.. And then turned around did another song..and they can tell it's a smaller combo sound. Yet both song were the same amp..
It came down to player, gtr, pedals, that amp that day, mic positioning and preamp. and of course speaker selection for that tune.

And yes the filtering you get off the floor is awful.. But I some how knew to do this when I was even 14 recording on a 4 track a million years ago.. Not sure other then it just made sense and sounded right.. Yet back then I was awful at recording drums.. that got better at least over the years..

But we have some test amps.. That Dave Barber built at our shop that sound amazing similar to his old Echelon head.. But they are small low watt heads.. more like 18 and 30W.. But I haven't had the time to copy one and build it for my studio..

But over the last 15yrs at least to me my style of tracking/mixing getting tones and what I want to hear has changed.. and it's so much better,, I sort of wish I already had this taste years ago..when my old studio was busier.. But It just came into better focus through years of trial and error and building gear I think..

But still not perfect.. If it all was perfect i'd have to stop..the fun would be over.

Oh..and arena's.. I played Springsteeen's tele at the Verizon Center in DC (empty arena of course) But he uses to Mesa MKII heads and 2 Marshall 4x12 cranked so freakin loud that you thought it was Kirk Hammett playing.. But then so was Stevie with a Fender Deluxe and Nils with a deluxe.. Crazy loud..

I don't really listen to Bruce.. Nil's and those guys use some of our pedals so we were just hanging and 2 of our good friends tech for them.. But if some one came to my studio and said they wanted Bruce's gtr sound.. I honestly would have said Tele of course..but I would have never guessed Mesa MKII and Marshall as his amp rig..
Old 13th September 2011
  #569
Lives for gear
We really have no real disagreement on the issue. I had been arguing with some studio mavens about sonic frequency pink noise analysis and the purpose and use of wattage. Hard for me to imagine building a recording environment that had not been pink noised and frequency EQ'd to sound flat, notching out the resonance peaks and plugging the valleys. Sort of the real purpose of a 30 band EQ. Since EQ is relative to volume, the volume analysis would probably be louder than some of them record which becomes problematic and falling back to ones ear as a tool.

I could dig a 30 watt myself, that is good enough to really be the best of both worlds. I am probably not pushing much more than that out of my rig as it is not all that unbearably loud as to be pushing it to its full capability. I keep telling these guys, wattage is not really about mere loudness, a 100 watt amp is not 10x louder than a 10 watt. The difference between a 50 watt and a 100 watt is only like 3db. The best recent example of needing watts for clean and headroom was the 200watt Marshall half stack John Frusciante was using for "clean" tones.

Say has anyone ever put a Barber buffer circuit in the guitar itself?
Old 13th September 2011
  #570
Lives for gear
 
Faderjockey's Avatar
 

Quote:
Originally Posted by darkhorse View Post
Say has anyone ever put a Barber buffer circuit in the guitar itself?
I don't know...
There was a company using them in an amp front end.
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