WeFixFlats
Respect The Clave
Backpanel:
Top Boost=ON
Top Cut Control= ~ 2 o'clock
He told me that he always runs the Master wide open.
David Grissom DG 30 Amp Settings; Saxon Pub; 9/9/14
- Thread starter WeFixFlats
- Start date
Backpanel:
Top Boost=ON
Top Cut Control= ~ 2 o'clock
He told me that he always runs the Master wide open.
Thanks for posting this! I was wondering how he set up his DG30!
Here are my settings posted here the other day in another thread, for recording the Singlecut, with the boost off and the top cut control set to about 8 o'clock - I came on these settings after a lot of experimentation. Grissom's turn out to have been similar, except for the treble settings front and back, and the master, I use more treble and I'm running a lower volume for recording. Sometimes I use a touch of reverb, sometimes not:
I think that the higher the volume, the less treble you'd want so that you don't fry the audience's ears, so his settings for treble make a lot of sense. PRS says that Grissom turns the boost off for recording, as I do. Doug Sewell's support document for the DG amps also recommends making adjustments to tone controls depending on the master volume and volume settings.
My Singlecut is probably not as bright as a DGT, so there's that as well.
Here are my settings posted here the other day in another thread, for recording the Singlecut, with the boost off and the top cut control set to about 8 o'clock - I came on these settings after a lot of experimentation. Grissom's turn out to have been similar, except for the treble settings front and back, and the master, I use more treble and I'm running a lower volume for recording. Sometimes I use a touch of reverb, sometimes not:
I think that the higher the volume, the less treble you'd want so that you don't fry the audience's ears, so his settings for treble make a lot of sense. PRS says that Grissom turns the boost off for recording, as I do. Doug Sewell's support document for the DG amps also recommends making adjustments to tone controls depending on the master volume and volume settings.
My Singlecut is probably not as bright as a DGT, so there's that as well.
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WeFixFlats
Respect The Clave
The mike is a 'house mike' and David didn't know the make or model. But from where I was sitting, it didn't matter very much, since all I heard was amp. Notice that he uses a 'dual guitar' gig bag too.
And I've heard both the DG 30 and 50 side by side when I first met him at the Dallas Amp Show, 5/31. The 50 has more 'ooph' for sure.
Looks an awful lot like an AKG 414 shock mount, so that's my guess on the mic.
Yeah, the 50 is supposed to be basically a 100 watt amp, but the tubes are cathode biased, so it has half power when measured. I just wonder if it sounds more like the DG30 or the HXDA and other Sewell 50 watt amps?
Yeah, the 50 is supposed to be basically a 100 watt amp, but the tubes are cathode biased, so it has half power when measured. I just wonder if it sounds more like the DG30 or the HXDA and other Sewell 50 watt amps?
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WeFixFlats
Respect The Clave
To my untrained ears, the 50 sounded like a louder 30 sitting side by side. But as you know, there are known differences according to the DG Amp Guide on the Tech Support page.
When I posed this question to him at Exp 2013, he said the DG30 was a new creation, but the DG50 was a refinement of the SuperDallas. I'd like to hear Doug expand on that. Because if it's close to reality, I'd be interested in hearing my SuperD thru one of the ported 2x12s. And I can say, first hand, that the SuperD/DG50 have much more bass-balls than the 30. But you need to turn it down a little to keep from destroying a small club. Outdoors, it's perfect. 
That'd be easy. Swing by and play through mine!
I'm not crazy about the way an HXDA sounds through it, things get way too woofy and loose for my taste. But the HXDA is surely a different beast than the SuperD.
