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Post by Deleted on Aug 23, 2022 3:07:46 GMT -6
I was looking for an alternate (or complimentary amp) to my window blowing ENGL 50w 2X12, something a bit smaller and I came across this.. It seems versatile and sounds pretty good to me.
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Post by svart on Aug 23, 2022 8:02:26 GMT -6
It sounds pretty marshall-y. It's 5W yet it's 800$? Wow.
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Post by Deleted on Aug 23, 2022 8:42:01 GMT -6
It sounds pretty marshall-y. It's 5W yet it's 800$? Wow. Yeesh, they're going for about $450.00 in my neck of the woods. |
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Post by svart on Aug 23, 2022 8:44:05 GMT -6
It sounds pretty marshall-y. It's 5W yet it's 800$? Wow. Yeesh, they're going for about $450.00 in my neck of the woods. Ah ok, I just did a search at musician's friend and it said 799. 450$ is a better price for sure, but still.. I do like lower wattage amps for recording though. |
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Post by ragan on Aug 23, 2022 9:28:34 GMT -6
I dig it. That dude is annoying but the amp sounds good. I’ve wanted a Marshall option, might try one.
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Post by copperx on Aug 23, 2022 14:24:34 GMT -6
> I do like lower wattage amps for recording though.
If you're recording high gain tones, shouldn't the amp output be high enough so that the speaker begins to compress on its own?
That's my experience, though. It's hard to replicate a speaker doing that.
Do you record clean/crunch tones mostly?
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Post by Deleted on Aug 23, 2022 16:44:24 GMT -6
> I do like lower wattage amps for recording though. If you're recording high gain tones, shouldn't the amp output be high enough so that the speaker begins to compress on its own? That's my experience, though. It's hard to replicate a speaker doing that. Do you record clean/crunch tones mostly? Distortion itself is already a form of compression and IME no not necessarily. My Retrotube / Zilla combo for example is already a relatively tight sounding combo which records well whether it's cranked to 10 or it's crusing at 3. That's fortunate because even at half volume it can deafen you in a small venue and you can forget cranking it in a same room studio.
With certain Mesa's for example I found myself having to use boosts or cranking the gain etc. in an isolated recording room. It really depends on the amp / speaker IME, that Marshall sounds good to me irrelevant of volume / compression etc.
Here's Ola's metal centric recording of the ENGL Retrotube..
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Post by Deleted on Aug 24, 2022 5:48:01 GMT -6
After considering it I'm going to skip the combo but I might get the 1-Watt head mixed with a Zilla 1X12 ported cab. As you can probably tell by now I'm a massive fan of Zilla cab's, they sound amazing even with cleans / crunch. Might skip the V30's this time around and try a creamback..
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Post by svart on Aug 24, 2022 6:52:01 GMT -6
> I do like lower wattage amps for recording though. If you're recording high gain tones, shouldn't the amp output be high enough so that the speaker begins to compress on its own? That's my experience, though. It's hard to replicate a speaker doing that. Do you record clean/crunch tones mostly? It really depends on what you want. Conventional wisdom says that you want the box to interact with the speaker to give some cone/box distortion, but in practice I've rarely seen that. Volumes like that would need 100W+ amps because it's really about the low frequency power, not total volume, but then the mics can't really translate that OOOMPH-y thump. Some amps do this naturally, such as Mesa Rectifiers. Some need to be turned up and boosted to get it, like Marshalls. Either way, it's not what I've seen. Tons of great tones I've gotten or seen others get are around "I can still stand in this room without going deaf" volume plus mic choice and positioning. It's a lot easier to get a low end bump from adding a ribbon mic in parallel with your 57 than turning up the amp to the point where everything rattles, including your teeth fillings. Personally, I'm either doing very clean and highly effected tones or pretty distorted stuff. |
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