You really have to go trial and error until you have a "holy shit" moment and it starts to make sense. There is no other way.
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You really have to go trial and error until you have a "holy shit" moment and it starts to make sense. There is no other way.
I support knob twiddling.
Bastard, you made me el-oh-el at work. The Soldano looks ace. You will get a package from me once the druid tree festival known as Christmas has finished having its way with the postal service. It shall help with your fuzz endeavorsQuote:
Originally Posted by PaCrappa
According to my research vintage SG Juniors are 'only' a grand if they've had the tuners changed or something so I might be able to afford one soon through the magic of ebay. I could get a reissue with less fretwear for $600ish but that would make too much sense
Mykozo: So are you saying amps shouldn't be in the corners of the room? Should I keep it parallel to the wall? What's yr philosophy on mics and mic placement? We have been using a Shure SM57 I think and putting it slightly off the center of my speaker. But maybe it would improve the sound to use more than one mic or something
There's this one if you win the lottery.
I decided to just get the parts and make a few more of the same fuzz and give them away as gifts. It'll be fun!
You mean for recording guitar amps? Yes, keep it out of the corner of the room, especially if it's an open back cab. Put it as relatively close to the center of the room as you can, and DON'T keep it parallel to the wall. Angle it off a bit, 15-20 degrees or so, to help prevent those first reflections from bouncing right back off towards the amp.Quote:
Originally Posted by Segata_Sanshiro
57's are great mics for guitar amps. I use them on almost every guitar I record, and favor them to mics many times their price. I usually put it dead-on the center of the speaker cone, right up on the speakers grill (for soft grills, literally touching it), but I'll move it around if I don't like what I'm getting from that. I almost always use multiple mics for amps, so that I can pick and choose or blend them together. Try a large diaphragm condenser at varying distances from the speaker. I usually end up with it anywhere between 18 inches and 3 feet away from the amp, but sometimes I get em closer in than that. Depending on the room I'm recording in, I use room mics as well.
The general rule is, placing the mic closer to the center of the cone will produce more low end, while moving it closer to the speaker edge will produce more highs.
The most important rule of all is to forget what the rules are, and experiment until you like what you are hearing.
Okay, I'm too lazy to put up all the pics I'm about to attach so I'll just try to describe them in order.
My buddy let me borrow this fucking radical record player made by Newcomb. It is a briefcase that seperates into halves. The one half has the record player and TUBE amp and the other has the 12" speaker and about a hundred yards of speaker wire. The first pic is the full setup. Next is my boss ELO record on the turntable. Then if you look real close you can see the side of a tube! HOLY SHIT! The speaker has one of those extra little "treble cones" that you used to see in car stereo products fairly often. Fuck, the back of the speaker is cool too. Lastly it has this pimp window with a backlight so you can line up the strobe dots for perfect speed. This item is fucking AWESOME. I wish it was mine. The record player is cool enough but there's a 1/4" mic input and SWEET JESUS that distortion is nice with guitar. I want to maybe find a schematic and make a copy of this the first amp I build from scratch.
Next I was over at Soldano and Taku, the bass player from The Valley had his Marshall 2001 head in there. This fucking thing is unreal. 375 watts RMS. Take a look at the transformers in the pic from the back. The one is the size of a lunchbox. These things were made only in 1981, supposedly to outfit Whitesnake and Deep Purple. It has no handle on top, but on each side it has plastic recessed handles like a slightly smaller version of the plastic handles on the side of a Marshall 4x12. Hauling the thing a two man job unless you're Ken Patera. The day before it was all torn apart. I really wanted to get a pic of the guts but it was all put back together when I went back with camera.
After taking pix of the big Marshall I wandered around and snapped a few random ones. The first is a paletteload of speakers. Then a gang of empty cabs just waiting. Then my buddy Russ's zone, Tolex Corner. And some bare heads on shelves. If you press all the buttons on those Saw thingies simultaneous you get a radical perfectly synchronized multitrack guitar symphony recorded by Russ. Shoulda tooken a video of that.
I also did end up getting me a Chinese Les Paul. You can see it in the first pic. Total brand new condition with total brand new hard case for a total of $200. It pays to know your pawn shops. One of the guys at Soldano showed me how to do my own setups and this motherfucker really screams. I'm so stoked that I got such a good guitar for peanuts.
Awesome, thanks man. Will definitely try theseQuote:
Originally Posted by Mykozo
That's pretty awesome as is the new LP, I see you're still digging the P94's. Nice to know those actually sound good, what I would worry about with buying one is tube availability. Our bass player has a sweet vintage National amp, sounds great, but the rectifier tube it uses is fuckin' weird. When you can find it it costs like $75 and no one makes a reissue.Quote:
My buddy let me borrow this fucking radical record player made by Newcomb. It is a briefcase that seperates into halves. The one half has the record player and TUBE amp and the other has the 12" speaker and about a hundred yards of speaker wire. The first pic is the full setup. Next is my boss ELO record on the turntable. Then if you look real close you can see the side of a tube! HOLY SHIT! The speaker has one of those extra little "treble cones" that you used to see in car stereo products fairly often. Fuck, the back of the speaker is cool too. Lastly it has this pimp window with a backlight so you can line up the strobe dots for perfect speed. This item is fucking AWESOME. I wish it was mine. The record player is cool enough but there's a 1/4" mic input and SWEET JESUS that distortion is nice with guitar. I want to maybe find a schematic and make a copy of this the first amp I build from scratch.
what is it?
and there should be a way to build a solid state one that pops into the socket, btw.
I have an Ampeg b25 that I have made a big deal about on here. Is there any way to get it louder w/o altering its tone? It sounds amazing, but it isn't loud enough for gigging.
Get another one.
You can get a good amp guy to add a slave out, but from what I understand it can have unforseen effects on the tone. I think it's reversible, though, so you could probably fuck around with it and see what happens.
how loud is that thing anyways?