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Post by topshelfmg on Apr 6, 2017 20:36:35 GMT -6
Not sure how much of your problem lies in the cabling, but I second the Gotham recommendation. Can't beat their double-shielded cables for noise rejection. The gac-1 ultra pro instrument cable would be as quiet as you can find, I imagine. Nice low capacitance specs, as well. I have gotham cabling all over my little studio here. However, I'm sure that there are any number of competently engineered cables that would work for your situation. Awesome! Yep, the gac-1 ultra pro is what I was looking at. Good to hear from you all that it is indeed as great as some friends of mine have made it out to be. Will still definitely pick some up to make instrument cables even if cabling isn't the culprit.
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Post by topshelfmg on Apr 6, 2017 20:34:22 GMT -6
I recently picked up a really killer tube driven spring verb that I am modding out with a reverb tank switcher, NOS tubes, and I am going to have my tech tweak it to bring down the noise floor as low as possible, since I am using it on vocals and things of that nature with a Radial EXTC 500. The noise floor is pretty high currently, and I tested it and it isn't the tubes. I realize it was intended for guitar amps so normally this wouldn't be all that much of an issue, but I am trying to get close to the Little Walter TubeVerb which was whisper quiet. Even when I shut the unit off, I am getting quite a bit of noise just feeding signal through it with my Radial EXTC. It is because of this I am assuming it is either bad grounding which I will have my tech fix, or lack of shielding with my instrument cables. Do you guys have any favorite instrument cable that is incredibly resilient to interference? I didn't feel like spending time soldering, so I got some George Ls based on a recommendation. While they sound great, I don't suspect it has the best shielding. It isn't a long run (maybe 7 or 8ft), but it is passing through my rack and a lot of gear on the way that could introduce interference. I currently have a bunch of Canare Quad cable, but figured I should just get some great dedicated instrument cable, as quad cable doesn't seem to be my best bet for standard TS cables... though I may be wrong here. Besides the obvious Mogami, I have heard fantastic things about Gotham cable that I am able to get from Redco, particularly the more expensive variety (I forget what it is called) that is 90 cents a foot. Anyone have experience with any particular type of quality cable that kept out interference in a very interference prone situation? Regardless of if this ends up being the cause or not, I will probably pick some up regardless. Both for patching situations like this (I will use the George L for the actual pedalboard), and some new guitar/bass/keyboard cables. First, what kind of noise are you getting? Hum, buzz, hiss, white, pink, a combination, what? I just attached a picture of the frequencies of it all. When the unit is turned off, it all persists minus some of the 60Hz, and is just reduced by maybe 10dB-15dB or so, but is still too prominent. It is a good bit of 60Hz hum with a broadband buzz that has another peak around 12K. Attachments:
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Post by topshelfmg on Apr 5, 2017 23:08:29 GMT -6
I recently picked up a really killer tube driven spring verb that I am modding out with a reverb tank switcher, NOS tubes, and I am going to have my tech tweak it to bring down the noise floor as low as possible, since I am using it on vocals and things of that nature with a Radial EXTC 500.
The noise floor is pretty high currently, and I tested it and it isn't the tubes. I realize it was intended for guitar amps so normally this wouldn't be all that much of an issue, but I am trying to get close to the Little Walter TubeVerb which was whisper quiet. Even when I shut the unit off, I am getting quite a bit of noise just feeding signal through it with my Radial EXTC. It is because of this I am assuming it is either bad grounding which I will have my tech fix, or lack of shielding with my instrument cables. Do you guys have any favorite instrument cable that is incredibly resilient to interference? I didn't feel like spending time soldering, so I got some George Ls based on a recommendation. While they sound great, I don't suspect it has the best shielding. It isn't a long run (maybe 7 or 8ft), but it is passing through my rack and a lot of gear on the way that could introduce interference. I currently have a bunch of Canare Quad cable, but figured I should just get some great dedicated instrument cable, as quad cable doesn't seem to be my best bet for standard TS cables... though I may be wrong here.
Besides the obvious Mogami, I have heard fantastic things about Gotham cable that I am able to get from Redco, particularly the more expensive variety (I forget what it is called) that is 90 cents a foot. Anyone have experience with any particular type of quality cable that kept out interference in a very interference prone situation? Regardless of if this ends up being the cause or not, I will probably pick some up regardless. Both for patching situations like this (I will use the George L for the actual pedalboard), and some new guitar/bass/keyboard cables.
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Post by topshelfmg on Apr 5, 2017 22:28:38 GMT -6
This is really cool to hear! So, to clarify, the Nebula plugins are just the saturation / coloration characteristics... it doesn't actually do any signal processing? Is that left to the Aqua (or however they spell it) plugs with the separate GUIs? Sorry if this has been addressed, only had a chance to skim this thread.
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Post by topshelfmg on Apr 5, 2017 22:26:00 GMT -6
Let me know what you think of the Sknote plugin! I am currently reviewing a 176 styled plugin from another company, and it seems to be lacking in the saturation department. I would love a really kick ass vari-mu plugin of that variety that isn't your typical Fairchild or Manley emulation.
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Post by topshelfmg on Apr 5, 2017 22:16:46 GMT -6
Hi Michael, the Cascade microphone are made by Shanghai Electronics the same guys we get our microphone components from. I just ordered several of each of their ribbon elements as I have three ribbon microphones here that need the ribbon element replacing. I don't think Cascade make the C77 anymore? The 77dx was the RCA ribbon I found the most useful. The 77DX had a variable tuned acoustic port so you could change the pattern from OMNI thru cardiod to FIG 8. Its the only ribbon I know that had a variable pattern. I will ask Shanghai if they still have the 77dx body and I might bring some in as I think there is a niche for a good 77DX clone. Apparently, the SAMAR transformers are superior to even the Lundahl which makes sense knowing the theory of torriodal transformers. Also, our friends at Cinemag also make some really good transformers for ribbons. When I was in Shanghai two years ago I brought back two sample ribbon microphones that have a tube preamp with the same tube as our CM48T. I really liked them over top of the drum kit with a pair of condensers John Glynn style by the floor tom and tenor toms. Just got an e-mail from MIX Magazine the review on the MT8016 is going into the May edition. I had better get a few more built up as Wes Maube the reviewer loved it and they have two API consoles and a Neve at RAK where he was using it. It looked like they also had nearly every other preamp known to man in their outboard rack. Saw a lovely Fairchild compressor in the rack when I was there last year. I recorded a live Jazz quartet a few months ago and it was lovely that I could bring out 6 LDC tube microphones and 6 LDC Fet microphones for the recording. Cheers, Dave I don't believe so either, but I see them pop up on reverb.com every now and then! There is actually a brand new one right now for $500. I was also going to mention the Altec as a multi-pattern ribbon, though I believe it also has a dynamic capsule / element in there as well to achieve this. Very cool to hear all of that! Looking forward to the review, and even more so, looking forward to demoing the MT8016 and inevitably owning one. I will email you about this further, but I would love to review the MT8016 for a magazine I am writing for as well. I just have to run it by my editor. Cheers, Michael
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Post by topshelfmg on Apr 5, 2017 3:16:19 GMT -6
Hi Vincent, I think the Vin Jet from Cascade at $399 is pretty close. Headgrill is different but it has a long ribbon element with a Lundahl transformer. Transformers are very important in a ribbon as they have in order of a 40:1 ratio. This means any error in the transformer transfer curve is multiplied by the turns ratio. The ribbon element is pretty much a dead short .2 ohms and a 40:1 turns ratio is required which produces a 1600:1 impedance ratio. So, the .2 ohm ribbon element yields about a 300 ohm output impedance after the transformer. Ribbons don't excite me as much as condenser microphones as there is only a ribbon element and transformer in a ribbon microphone. There is not tube or solid state circuitry for me to optimize. I did like the RCA 77DX on trumpet but Miles recorded trumpet into a U47 and M49. I prefer my CM47fet on saxophone to any ribbon I have tried but my favourite sax player Wayne Shorter uses a Royer R121 live and in the studio. I am hoping to record a big band in a few weeks and I have a pair of dual ribbon element tube microphones I brought back from Shanghai two years ago that I will try over the horn players. Cheers, Dave Hi Vincent, I was thinking of bringing in a pair of these for testing our MT8016 preamps with ribbon microphones. I was planning on fitting some SAMAR torriodal transformers, which are the most efficient of transformers. The ratio needs to be 32:1 for this element. These would have a black base with silver head grills. The SAMAR torriodal transformers are $129 each and these would be $399 each with Samar transformers and selected ribbon elements. I would bring in the body that has an XLR on the side and not the cable hanging out. RM 44 long ribbon These have the long ribbon element like the original RCA 44bx. The ribbon elements are easy to change and tension. The 44bx ribbon element was about 59mm long but the microphone above has a more efficient magnet system than the old 44bx. Selecting ribbon elements is just as critical as selecting large diaphragm condenser capsules. The head grill on the RM44 is more faithful to the orginal 44bx than the vin jet. I do have two active tube ribbon microphones with dual element ribbons which seem to have a HF response that rolls out a bit early... (probably the two ribbons cancelling in the HF area). However, I have been using one directly above the snare drum just a few inches above the drummers head. It seems to give the snare a bit fatter sound without as much high hat leakage and I have two CM251 tube microphones "Glynn John" like out by the floor tom and in front of the kick/tenor tom. These microphones are not as high as you would set overheads but my ceiling height is just 10'. I once worked part-time in a post production studio in the early 90's with a original 44bx and a Neve BCM10 mixing console. It seemed a bit dark for most voice over, FX/foley and acoustic instruments. It sounded lovely on trumpet, T bone and alto saxophone. Cheers, Dave Hey Dave! As far as Cascade microphones go that are inspired by classic ribbons, I really enjoy the Cascade C77, which for the money is a fantastic RCA 77 style microphone. It also uses a Lundahl transformer, which I agree is incredibly important. I have a pair of Cascade Fathead IIs with the Lundahl transformer upgrade as a "budget" pair of ribbon microphones, and they sound fantastic. I love them in front of the kick drum pair with another microphone to pick up the punch, and the Fatheads almost act as a sub kick microphone using the proximity response. I also really like them as overheads / drum rooms depending on the genre, and have actually stereo miked two separate harps with them and they worked great! I have compared them to the models with the stock transformers, and there is no way I could pull that off with them. Duller transient response, less clarity, slightly less low end and high end response, and a slightly lower output level. I have heard the Lundahl Fathead IIs are also great on certain guitar amps / cabs, but I have always sprung for other options so I couldn't tell ya.
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Post by topshelfmg on Apr 5, 2017 1:44:55 GMT -6
I would say between the two, I would lean towards the R84. Strictly for overhead duty though, in the ribbon microphone department I would take a pair of AEA N22s. Everything you love about a ribbon, with a little more top end response which will beautifully capture your cymbals and everything else, and keep a fair amount of clarity, but still smooth things out since it is after all a ribbon mic. I would say it is the best of both worlds.
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Post by topshelfmg on Apr 5, 2017 1:42:12 GMT -6
No Everybody wants a U67, everybody needs a M49!😝 Eric, after recording with my Advanced Audio CM49 for about a month now...... I believe you. I'm already trying to figure out how to pick up another M49 style mic. I know there is an M49 emulation in the Slate VMS Classic Tubes 3 due out soon. Hopefully that will hold me over.......well, for a little while anyway. Glad to know you like it! Thinking about picking one up soon as well... possibly before a CM47ve. I am about to have Shannon Rhoades mod me some stuff. Definitely my Rode NT-5s I got when I was just getting going into KM-84s, but trying to decide tube LDC wise. Really leaning towards a super authentic U67, as that would cover the most bases and I would still have a different flavor with the CM67se (especially once I perform that mod you told me about). Was going to go with a M49... or maybe even a 251, but for now, I am happy with the bases my CM251 covers. Don't get me wrong, the CM67se is one of my favorite microphones that I own, if not my actual favorite (it goes back and forth), but I think I would get a bunch of additional versatility with an honest to god U67. a M269 was brought up, but I think between the two, I am still leaning towards a U67 as my first Shannon Rhoades / Mic Rehab piece.
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Post by topshelfmg on Apr 2, 2017 14:01:12 GMT -6
That is an electro mechanical unit. Stuff is physically "moving" inside to make your reverb. I would be more worried if it didn't make any noise. Locate it out of earshot and all is good, right? That's what we used to do with plates, and chambers and springs. Also, unfortunately until I move into my new facility in the next couple months, it's pretty much stuck within ear shot. I have a feeling a change of thank will at least attenuate the noise.
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Post by topshelfmg on Apr 2, 2017 13:52:26 GMT -6
That is an electro mechanical unit. Stuff is physically "moving" inside to make your reverb. I would be more worried if it didn't make any noise. Locate it out of earshot and all is good, right? That's what we used to do with plates, and chambers and springs. Good point, but a friend has the Little Walter TubeVerb which is an extremely similar design and it doesn't make a peep, regardless of how hard you drive it. That's what leads me to believe something isn't right.
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Post by topshelfmg on Apr 2, 2017 12:33:58 GMT -6
Sounds like the send transducer in the tank is microphonic. When you get the other tanks, you can test that theory. So if that is the case, it is just a matter of putting in a new tank? Hopefully that's it then.
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Post by topshelfmg on Apr 2, 2017 1:45:54 GMT -6
If this narrows it down, I can actually faintly make out the words from the vocals I am running through the unit in the buzz.
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Post by topshelfmg on Apr 2, 2017 0:51:34 GMT -6
I recently got a tube driven Spring Reverb from Tone Bakery, and it sounds great! Absolutely beautiful sounding besides a hum I'm going to get worked out with Bowie, and they are sending me two more medium decay tanks to try out (since they accidentally set it with the wrong tank opposed to the two that are on the way). When I get the medium decay tanks, I'll be able to use it on way more sources.
ANYWAYS, I am using it with a Radial EXTC 500, and when I turn the send up to over 20% or so, an audible high pitched squeak / buzz comes from the reverb unit itself, but doesn't seem to come through the monitors during the playback. Even with very moderate input levels, it makes this noise that seems to be timed with the audio running through it. Anyone know what this may be? A bad / damaged during shipping reverb tank? I was thinking maybe a microphonic tube, but since it isn't showing up during playback, it's just audible noise in the room itself coming from the unit, I do not think that is the case.
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Post by topshelfmg on Mar 31, 2017 0:19:20 GMT -6
For me, it all depends on the ribbon. Like many, I love a 121 or 122 in front of a guitar amp (121 if its a brighter amp, 122 if it is a darker amp), but I would almost never reach for it on vocals. My AEA N22 on the other hand is regularly winning shootouts versus my other microphones, including nice tube condensers, on female lead vocals, especially if they are belting. The N22 is kind of a brilliant mix between a condenser and a ribbon for the fact that it picks up more high frequencies compared to other ribbons. The Royer SF-12 is one of the best drum overhead microphones / acoustic instrument microphones I have ever used as well, since it is extremely natural sounding. I love darn near any ribbon I own on horns/brass though, and it is just a matter of picking the right ribbon for the source (i.e. darker ribbon for brighter soprano sax or trumpet, or brighter ribbon for darker horns like a baritone sax or trumbone. Tenor sax can be either or a lot of the time). For me, in order, I would say guitar amps / cabs, horns/brass, acoustic instruments, vocals.
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Post by topshelfmg on Mar 30, 2017 23:05:15 GMT -6
I believe out of the ones you mentioned, the AEA R84 would serve you best on the widest variety of sources. I also have an AEA N22 which I absolutely love, but its a little brighter (based on ribbon standards, still darker / smoother compared to just about all condensers) and I absolutely love it on baritone and tenor sax, in addition to trombone. The AEA R84 will be a little darker without being as dark as the Coles, so you will get a nice in between point that will work great on a ton of sources, even outside of horns. Many people are firm believers that an RCA 77 is the best horn microphone of all time, and considering some of the best horn recordings I have ever heard in my life used one, I can't disagree. Also, the Royer SF-12 is INCREDIBLE, and I use it regularly for acoustic instruments and over the drummers head. You would not be disappointed with one, and it will absolutely kick ass as a stereo microphone on horns AND all kinds of orchestral work.
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Post by topshelfmg on Mar 30, 2017 21:02:36 GMT -6
Does anyone know if the impedances of the replace tanks have to match the current tank? I know it probably does, but I wanted to check. The input impedance of the current tank is 10ohm with an output impedance of 2575ohm. Does that mean if I were to buy a replacement tank I would have to match that? This Belton long decay is way too much for what I am going to be using it for. Sure wish it came with the medium decay tank that I ordered....
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Post by topshelfmg on Mar 30, 2017 20:47:41 GMT -6
Right! That is what I'm thinking also. I figured there had to be a catch, but you're right, for the price including the mods it'll be pretty darn cool. It will fill that spring verb hole I was missing with plugins, though I still regularly use those plugins, hence the purchase. Do you have any recommendations for the tubes? Definitely going to go with an RCA black plate 6V6GT I have laying around in that position (doesn't seem worth it to buy an extra 6V6GTY as they are essentially tougher military versions of the same tubes), but still curious as to the 12AX7 and 12AT7. I'm going to dress this thing up nice. Will also talk to Bowie about it, but curious if you have any recommendations. I want that lush verb sound (for the 3 spring at least), but maintaining clarity and openness would be nice as well. Also, do you have any favorite spring verb tanks? Nah, Bowie is my guy. If I need tubes, I check in with him. That Zerotronics reverb above is the one on my list to check out. We occasionally have guys come through my venue with external reverb units like you just picked up, but it's a different context. I'm only hearing it in their guitar or harp rig. Different scenario, so I don't know how they would translate. Just now took it out of the box. So.... only one tank in there so far. He also didn't send it with the stackable RCA cable I paid extra for. I can't even tell if this is the right tank. He told me they currently had brighter "Belton" tanks in stock, but he had ordered a smoother Accutronics tank for me. I know Belton bought Accutronics, but the two different brands still have a different tone. BUT, the unit is absoultely gorgeous, and you would never be able to tell it was made oversees. Switch and pots feel good as well. Actually, upon further research, I am sure that it is the wrong tank. It is a 3 spring long decay tank, Belton branded, when I was supposed to get a 3 spring medium decay Accutronics. It was also supposed to come with a 2nd 2 spring medium decay tank installed. So everything about this order is currently stock. I just left them a voicemail, and am hoping to hear back from him tomorrow. Even if I end up buying a new tank for it myself, it is a great deal and I can live with it. It is just never fun when new gear doesn't come as described, but Eric has been great to deal with so I am sure it will be sorted out. I'm going to give them the benefit of the doubt and say they accidentally shipped the wrong unit till I hear back from them. I've had a bunch of wonky purchases lately that have had to be corrected, so maybe I'm cursed. UPDATE: Eric got back to me write away, and says the shipping department must have seen the order and sent out the stock model instantly. He is letting me keep the current tank, and sending me the two other tanks as well once they arrive, in addition to the cable. THAT ladies and gentleman.... is customer service done write. That locks in me doing business with them in the future.
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Post by topshelfmg on Mar 26, 2017 21:54:00 GMT -6
Just scrolled down and saw what you are talking about as far as the logo. *sigh* That looks like pretty damning evidence too me. But hey, it was $350, looks cool, getting some mods, and probably will sound boss. I just don't appreciate the deceptive nature of the whole thing. This thread supposedly clears things up, but it doesn't really clear anything IMO. Seems like people caught on early and he pulled the plug and says he was modifying circuits ti cover his ass. www.thegearpage.net/board/index.php?threads/tone-bakery-pedals-just-repainted-joyo.1244607/I've purchased plug-ins from Eric and emailed with him about something before and he was cool to deal with, so I'm not advocating to avoid his business or anything, just want you to be aware that things might be a little different than they seem on the surface. Good luck man. Post some clips when it comes in! Right! That is what I'm thinking also. I figured there had to be a catch, but you're right, for the price including the mods it'll be pretty darn cool. It will fill that spring verb hole I was missing with plugins, though I still regularly use those plugins, hence the purchase. Do you have any recommendations for the tubes? Definitely going to go with an RCA black plate 6V6GT I have laying around in that position (doesn't seem worth it to buy an extra 6V6GTY as they are essentially tougher military versions of the same tubes), but still curious as to the 12AX7 and 12AT7. I'm going to dress this thing up nice. Will also talk to Bowie about it, but curious if you have any recommendations. I want that lush verb sound (for the 3 spring at least), but maintaining clarity and openness would be nice as well. Also, do you have any favorite spring verb tanks?
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Post by topshelfmg on Mar 26, 2017 1:16:25 GMT -6
When the Tone Bakery first hit the market, there was a bunch of controversy because they were repainted/knobed Joyo pedals selling as boutique magic. It seems like they ditched all the blatant rip offs (key lime compressor and stuff) and only kept the Creme Brulee at the time. Anyway, this reverb appears to be a Chinese made reverb that's branded with the Tone Bakery logo. First couple pics on the page here are unbranded, then a couple shots with the logo. m.grandmusicals.com/sdm/1702477/4/pd-6373800/13013043-2752955/Fender_Vintage_Tube_Reverb_63_Style.htmlI'm not saying these are bad, just want you to be aware that they're generic, Chinese made equipment, not some fancy boutique stuff like they seem to market as. Just scrolled down and saw what you are talking about as far as the logo. *sigh* Attachments:
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Post by topshelfmg on Mar 26, 2017 0:55:42 GMT -6
It is literally the exact same as that Chinese model (with a different back and handle).... I hope he at least swapped some components out. Even if it sounds great, I feel a little deceived as when I was told Tone Bakery was their company I figured it was their designs. I have no problem with the shell being made in China.... and the crappy Groove Tubes I can swap out.... or even the circuitry... if there were improvements made. Granted, I got a dual spring unit for less than that Chinese site... so I guess it isn't the end of the world. He was telling me about the impedances of the different tanks, and went above and beyond to essentially build me a "custom unit", so at least I know he worked on it some himself. The person who told me about them really loves his, and he is also an engineer in addition to a guitar player, with an extensive pedal collection.
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Post by topshelfmg on Mar 26, 2017 0:16:50 GMT -6
Tone Bakery has another unit... a Princeton Reverb clone that looks pretty cool (minus the reverb... it is to be paired with the unit I bought)... do you think that is another rebranded clone as well? I was shocked at how affordable the reverb unit was, but especially after seeing that DIY kit I feel reassured for the moment. Fingers crossed. The guy I was talking to seemed to have a solid understanding of electronics, so we shall see.
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Post by topshelfmg on Mar 26, 2017 0:14:42 GMT -6
The zerotronics is great. Really smooth. I only have 1 and they make a few different models. Great customer service and built like a tank. Not springy sounding unless you drive something percussive in to it really hard. Nice unit That's awesome! I was definitely looking for more "lush and smooth" opposed to springy. But now with the extra tank he threw in I'll have both options. Really trying to dress it up nice with NOS tubes and if need be some other small mods once I check it out and make the 3 spring tank sound as much like the Little Walter stand alone spring verb as possible. I haven't found a plugin that really does it for me as far as spring verb, so I am thinking this will be a step in the right direction.
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Post by topshelfmg on Mar 26, 2017 0:12:20 GMT -6
When the Tone Bakery first hit the market, there was a bunch of controversy because they were repainted/knobed Joyo pedals selling as boutique magic. It seems like they ditched all the blatant rip offs (key lime compressor and stuff) and only kept the Creme Brulee at the time. Anyway, this reverb appears to be a Chinese made reverb that's branded with the Tone Bakery logo. First couple pics on the page here are unbranded, then a couple shots with the logo. m.grandmusicals.com/sdm/1702477/4/pd-6373800/13013043-2752955/Fender_Vintage_Tube_Reverb_63_Style.htmlI'm not saying these are bad, just want you to be aware that they're generic, Chinese made equipment, not some fancy boutique stuff like they seem to market as. Darn. I went ahead and bought it before I saw these responses. I talked in depth with Eric there, who has been incredibly helpful and answered all of my questions. They seem to be point to point, and use good quality components, so fingers crossed. He is actually building me a custom unit that has both an Accutronics 3 spring, medium decay verb tank and a Ruby Tubes 2 spring medium decay in the same unit, switchable with an RCA cable... and for $8 I got a stackable RCA cable from him so I can run the two tanks in parallel. Besides the $8, there was no additional cost. All and all, I got it for $353 shipped because of a reverb.com sale. I figure what the hell, right? I figure worst case I can always switch out the Ruby Tubes tank (I'm not familiar), but he threw it in for free for me to essentially Beta test, so I'm cool with it. I figure that once I through some NOS tubes in it, this thing should sound pretty badass through my Radial EXTC. I'll link into that link you posted also. I would also be happy to post some sound samples once he is done fixing it up to my specifications. I'm thinking a RCA 6V6GT in the 6V6 position I have laying around. Not sure about the other two positions yet. Wish me luck...
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Post by topshelfmg on Mar 23, 2017 1:30:33 GMT -6
To augment my last question, I am being offered Belton or Accutronics for the spring reverb tank. He is telling me that Belton is the manufacturer of Accutronics, so they are nearly the same, but the Belton is able to get airier up top. That said, he said with the tone control I am able to get it to sound exactly like the Accutronics (smoother and darker), and the Belton just adds the option of high end for versatility... which I would love extra versatility in this case. He also said people have been preferring the Beltons recently, but he could just as easily install an Accutronics if I am willing to wait a couple extra days. What do you think I should do?
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