Hey, no worries, Serg! We're friends. You get to be ornery any time you want, I won't hold it against ya.
Changing Things Up, Rediscovering Wow-ness!
- Thread starter László
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Hey, no worries, Serg! We're friends. You get to be ornery any time you want, I won't hold it against ya.
sergiodeblanc
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Thanks buddy.
Steph
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Hey LSchefman!
It does actually help to learn, from someone who actually own and play these amps, that I'm in front of the old Fender/Marshall categories... again... It is a surpise though, considering they are both running EL34. I would've thought they'd be closer tonewise, as oppose to a 6L6 fender style amp.
This will not be an easy choice to make.
Thanks again! :top:
The DG30 that I have is actually EL84M. The DG50 is EL34, and I haven't had the chance to hear or play one!
You are so right, Les...it only takes a small tweak to rekindle the romance. My Super Dallas came from an artist in Texas (there are only a couple) that had this built by CAD and it came with a hidden feature...a bass cut. To most, this may seem like a trivial option, but to the indoctrinated, this is a big-a$$ed deal. The SuperD has massive bass - so big that many shy away. It makes similarly sized amps sound puny (my co-guitarist just bought his 3rd amp to keep up with me...an Orange OR-50). I've not done much with the bass cut switch until the past couple of weeks, and it takes me to Plexi-land. Well, clean Plexi-land. It doesn't quite break up the same, but it is so sweet with the Klon. I'm solidly in lust again. The sonic onslaught is more under control. The "dominatrix with ball-gag and riding crop" assault on my speakers is much more subdued. Not that this isn't hot in its own right, just cool to try something different. :biggrin:
Les' spirit of adventure is alive and well in my cave. :rock:
Les' spirit of adventure is alive and well in my cave. :rock:
Awesome! And who doesn't love hanging out with a dominatrix whose bottom has been reduced?
sergiodeblanc
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Agreed! It's a lot easier to close your eyes and take it than it is to close your eyes and give it.
Ooo, sharing the scary stuff there, Serg. Very Shawshank.
sergiodeblanc
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Yeah, I don't know where that came from.... :iamconfused:
JPHoush
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Not in my book. You would be quite popular on most cellblocks!
Steering us back on to the proper topic :biggrin:, Les, how does the mixing process change for a bass-intensive guitar vs. a more traditional mid-centric tone? Think about the challenges presented by David Gillmour's rig as opposed to David Grissom. Their approach to tone, IMO, are quite different. To get their instruments to cut and yet still blend, would it be a simple task of attenuating most of that bottom-end? Is it too much competition for the bass guitar and bass drum? What if there's another guitar in the mix?
My question really boils down to this: is it a pure waste of amplification to produce all of those low frequencies to only have them ignored by the engineer? I love feeling the sound waves against my body, but if it is wasted energy, should I just embrace less bass? That rich low end can be really tough to capture with an SM57 and/or 414.
My question really boils down to this: is it a pure waste of amplification to produce all of those low frequencies to only have them ignored by the engineer? I love feeling the sound waves against my body, but if it is wasted energy, should I just embrace less bass? That rich low end can be really tough to capture with an SM57 and/or 414.
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You know, it really depends on what you're trying to accomplish in a particular mix. Example: you mix Foo Fighters guitar way differently than, say, Coldplay.
I'll also say that getting the bottom end right is the hardest thing about mixing, IMHO.
alantig
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Oooh, Andy!
sergiodeblanc
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Anything below 80hz is subjected to being cut by most engineers, work in the 90-96hz area to define your low end tone.
I need to break out the spectrum analyzer.
Ears.
What??!! Did you say something?
Sadly, a lot that I like about the SuperD is probably below 1kHz. Like I've said before, those frequencies are for me, the player, not the recording or the audience.
Well, that'd be true of any amp, since most of the guitar's range is below 1Khz. The open high E's frequency is only about 330 Hz. High E 12th fret is about 660 Hz.
At the 24th fret the high E is about 1.3 Khz.
The low E's fundamental is around 82 Hz. Of COURSE your amp likes to play below 1000Khz!
Obviously harmonic overtones play a big role in any instrument, but mostly the amp is working below 1Khz, and can't actually reproduce anything over 5Khz due to its own frequency response limitations. By that time, the high frequencies are relatively attenuated compared to the lower ones anyway.
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Brad737
This space for rent...
I think it's interesting that a cathode biased amp has bias test points. Even most fixed bias amps, where one actually needs the test points, don't have them.
This control kills fascists:
dsenoj
Old dude in a PRS T-shirt
At PRS Experience 2013, David Grissom mentioned the test points. He said he checked them periodically just to monitor his tubes. If one of the values changes, it probably indicates a problem with that tube.
