#1
Ok, here's some quick details:

I built a recording studio looking specialize in rock/metal productions. I own a Line 6 Bogner combo tube amp, which obviously, does not look or sound professional. It can get most of the jobs done, but it is apples to oranges compared to a true big-boy amp. Now that I have a big-boy head I almost have everything I want/need. This cabinet is the last piece of the puzzle.

So after countless hours of research and sound tests, I pulled the trigger on a Peavey 6534+ head. Now I need a proper 4x12 cabinet. My band recorded an album at a studio using a Peavey 6505+ paired with a 4x12 Mesa with V30's. Fantastic. BUT, after building a studio, am I super-stoked at the prospect of spending $1099? Meh.

I've played Marshall A and B's and I'm not a huge fan overall. I've seen the best and worst reviews on all Peavey amps. My local music store is small and has nothing I actually can try out. Should I save up, bite the bullet, and get the Mesa since I know I love the sound? Or is there a hidden gem out there in a lower price range that would be a good fit for a professional-quality studio and a Peavey 6534+?
Gear

Guitar
Epiphone Les Paul Custom Silverburst
Ibanez RG370DX
BC Rich Warlock SE
BC Rich Warlock NJ Series (Kahler trem)
BC Rich Mockingbird Acrylic Ice Series
BC Rich Mockingbird Spiro Light
Line6 Bogner 1X12 Tube Amp
#2
Why don't you buy it used?  Besides the Mesa you can look at Carvin Legacy, Marshalls with a V at the end like 1960V, some old Crate BlueVoodoo cabs - all come with V30s.  

Or you can go with a V30 clone like a WGS Veteran30.  

I'm not a recording studio guy but what about going with 112s or 212s so you have more options to mix and match?  
Guitars:
Jackson Kelly KE3 - MIJ (Distortion/Jazz)
Jackson DKMGT Dinky (EMG 81/85)
ESP E-II Eclipse Custom (JB/'59)
ESP LTD EC-1001FR (EMG 81/60)
Fender MIM Strat

Amps:
Mesa/Boogie Dual Rectifier Roadster 212
Laney IronHeart IRT-Studio
Peavey Vypyr 30
Peavey ReValver Amp Sims
TOOOO many T.C. Electronic Pedals. . .
#3
Your best bet is to save up and buy something more on the higher end, but used like what ^ this guy said.

My question is though, why do you need a 4x12? You can get the same sound out of a 2x12; plus they're cheaper and not as heavy; and unless you plan on playing an arena for 50,000 people, you don't need a 4x12.
Guitars:
-Gibson Les Paul Custom Shop Silverburst (Invader/'59)
-Ovation ApplauseAE44II Elite Black Acoustic


Amps/Cabs
-Peavey 6505+ Head
Orange PPC2x12 Cab Black
-Behringer Ultracoustic ACX450 1x8 Acoustic Combo


Wayyyyy too many effects pedals...
Last edited by MusicMan24 at Jun 28, 2017,
#4
If Misha Mansoor doesn't need a 4x12, no one does. That being saif, the used market is flooded with 4x12s at almost price (and in some cases cheaper) as a 2x12.

Mesa is a classic pick, but Orange is also common. Really it doesn't matter much because any ply construction cab will be pretty well the same, what it comes down to is what speakers are in it.

Celestion V30s are a classic, but there are now many less expensive approximations (WGS Vet 30, Eminence Governor). There are other speakers that pair well with the 65-- amps, Celestion K100s, Eminence Texas Heats/Swamp Thangs, Eminence EM12 (which is an EVM12L copy), the list goes on.

I would find a decemt ply cab, if it has the speakers you want, great, otherwise get it cheap enough and replace the speakers.
I'm just a kickin' and a gougin' in the mud and the blood and the beer.
#6
Go used, new cabs are pretty much always overpriced! Not sure your location, but there are some good options out there. Here in Canada, I've seen Traynor 4x12 cabs loaded with Vintage 30s for under $400CAD. They are built like tanks and around 1/2 the price of used Mesa/Orange.
Fleet of MiJ Ibanez
Couple of Balls
Peavey & EVH Wolfgangs
Eclipse
Fender HM Strat
Kemper KPA
5150 III 50w & cabs
#7
I went new with my Orange 212 cabinet. But that was only because the used market on cabinets where I live is dead, and shipping something that big is often quite expensive, which causes a lot of the value of going used to evaporate.

Always go used if you can find what you want that way though.
Roses are red
Violets are blue
Omae wa mou
Shindeiru



Quote by Axelfox
Reeeeeeeeeeeeeeee
#8
I will admit, the 4x12 is simply for the look. Every studio I've ever been in used a 4x12 setup so it's more of a public perception thing. Truthfully, I could make do with my 1x12 but I know if I walked into a studio and saw that I'd be recording out of it, I would be apprehensive (even though in a 4x12 I'm only miking one speaker). I've got my eye on a 2x12 Vertical Mesa but unfortunately it is a slanted cab. I'm almost 100% sold on a straight cab for studio purposes.

EDIT: Upon research, I like the Mesa Vertical but does anyone know if having the slant will alter a studio recording? I realize that when simply playing live, the cabinet reproduces high sounds better since the top speaker is pointed towards your ear. Is that just our perception or does something about the cabinet literally boost highs? If i angle a mic to be centered on the top speaker, would it sound the same as if it were a straight cab?
Gear

Guitar
Epiphone Les Paul Custom Silverburst
Ibanez RG370DX
BC Rich Warlock SE
BC Rich Warlock NJ Series (Kahler trem)
BC Rich Mockingbird Acrylic Ice Series
BC Rich Mockingbird Spiro Light
Line6 Bogner 1X12 Tube Amp
Last edited by daheck1210 at Jun 28, 2017,
#9
Quote by daheck1210
I will admit, the 4x12 is simply for the look. Every studio I've ever been in used a 4x12 setup so it's more of a public perception thing. Truthfully, I could make do with my 1x12 but I know if I walked into a studio and saw that I'd be recording out of it, I would be apprehensive (even though in a 4x12 I'm only miking one speaker). I've got my eye on a 2x12 Vertical Mesa but unfortunately it is a slanted cab. I'm almost 100% sold on a straight cab for studio purposes.

EDIT: Upon research, I like the Mesa Vertical but does anyone know if having the slant will alter a studio recording? I realize that when simply playing live, the cabinet reproduces high sounds better since the top speaker is pointed towards your ear. Is that just our perception or does something about the cabinet literally boost highs? If i angle a mic to be centered on the top speaker, would it sound the same as if it were a straight cab?


The slanted 2x12 cabinet doesn't reproduce high sounds better because the top speaker is angled. Individual speakers beam treble above a certain point (governed by the actual diameter of the speaker cone). You just don't hear them in a straight cabinet because you're off the axis of the speaker. When the speaker is pointed right at you, it's beaming all of those highs right into your ear. Speaker cabinets (like 4x12s) also beam treble, because they act like a single speaker with a cone diameter of 27" - 30". So they start beaming everything above 450-500Hz. If you're directly on-axis you'll be blasted with ice-pick treble, but if you're standing a few feet in front of one, you'll believe you're playing with smooth tone, because you won't hear it. If you close-mike a single speaker in a 4x12, however, it will sound different from the cabinet on-axis sound AND different from the cabinet off-axis sound. Moving the mike around (and closer and farther away) in front of the speaker will give you a lot of variations that have nothing whatever to do with the cabinet sound.

You'll learn a lot more about sound if you're going to run a recording studio. Close-miking a single speaker is mostly about how that speaker reacts. It doesn't matter if you mike the top speaker in an angled cabinet or the bottom speaker in that case.
Last edited by dspellman at Jun 28, 2017,
#10
Yeah, I'm in the process of training my ears and making sure I know every tiny nuance of the DAW. Unfortunately, the 6534 head is 26" long and the cabinet is only 23 3/4" long. Foiled again...
Gear

Guitar
Epiphone Les Paul Custom Silverburst
Ibanez RG370DX
BC Rich Warlock SE
BC Rich Warlock NJ Series (Kahler trem)
BC Rich Mockingbird Acrylic Ice Series
BC Rich Mockingbird Spiro Light
Line6 Bogner 1X12 Tube Amp
#11
Well other than for looks, it just depends on where the head's feet are located. Then again, who said the head HAD to be on top of the cab?
Fleet of MiJ Ibanez
Couple of Balls
Peavey & EVH Wolfgangs
Eclipse
Fender HM Strat
Kemper KPA
5150 III 50w & cabs
#13
I'd say look for a Mesa 4x12 used, the cab that is suggested to pair with their Rectifier line. They probably pair the best with Peavey amps. I had that and a Marshall Greenback loaded 4x12 to compare and the Mesa sounded better on Peavey.
#14
Thank you for all the input folks!

New question: Found a used Mesa 4x12 at GC online and it's listed as in great condition. Also would be $200 cheaper than the 2x12 vertical stack that I can't find used. The 2x12 makes sense as far as space taken and what I actually need, but is it stupid to pass up $200 off just because it's overkill?
Gear

Guitar
Epiphone Les Paul Custom Silverburst
Ibanez RG370DX
BC Rich Warlock SE
BC Rich Warlock NJ Series (Kahler trem)
BC Rich Mockingbird Acrylic Ice Series
BC Rich Mockingbird Spiro Light
Line6 Bogner 1X12 Tube Amp
#15
Get an Orange 2x12 and call it good.  
"I definitely don’t write all my music in a blackout, like I used to, although I did come up with some good stuff in a blackout."
-Matt Fucking Pike
#16
Quote by daheck1210
Thank you for all the input folks!

New question: Found a used Mesa 4x12 at GC online and it's listed as in great condition. Also would be $200 cheaper than the 2x12 vertical stack that I can't find used. The 2x12 makes sense as far as space taken and what I actually need, but is it stupid to pass up $200 off just because it's overkill?


If its a good deal then go for it, but keep in mind shipping likely is $100+
I'm just a kickin' and a gougin' in the mud and the blood and the beer.
#18
Quote by diabolical
Yeah, people are unloading the big 4x12s lately as more and more cars won't fit them in.


I wouldn't even think the car thing is an issue, I mean, I drive a Kia Forte, one of the smaller cars out there, and I can snug a 4x12 in my trunk. I feel like they just aren't as popular given the fact that it is more widely understood how unneccesary they are.

By and large I'd say cars are LARGER than they once were.
I'm just a kickin' and a gougin' in the mud and the blood and the beer.
#19
Why is a head fitting on a cab even a concern?  This is news to me
"I definitely don’t write all my music in a blackout, like I used to, although I did come up with some good stuff in a blackout."
-Matt Fucking Pike
#20
I'm going to play the devil's advocate here and recommend getting a 412 if the price is right. 212s are in vogue right now and while they are certainly "enough" in pretty much all cases -- the prices of 412s these days are often the same in the used market. I've got a 412 loaded with Eminence Governors and Swamp Thangs with a 6505 on top which can achieve unholy levels of brutality. Yes, it weighs over 100 pounds, but the instant I get it down my stairs it doesn't move an inch without my foldable dolly. The last time I played a gig a 4' 8" 10-year-old carted it into the auditorium for me without a problem...
Atmospheric dark metal w/ black and death metal influences:
(My Soundcloud page):

Pestilential Flood
#21
IF you have room and are not afraid to lug it, a 4x12 for sure. I'll also concur. If you're running a real studio though, you'd need more than one amp and cabs to go with it.
When I worked as a producer/engineer you had to have several essential tones:
Fender clean, Vox crunch, Marshall and Mesa dirty, and ... eh maybe a Peavey 5150 for the extreme genres. These are pretty much your staple sounds, so you should have at least several heads that will do these basic tones.
In my case the studio had these (some were mine):
- Traynor YCV40
- Marshall Plexi + original cab
- Laney AOR (kinda like JCM800)
- Mesa Dual Recto + cab
- Marshall JCM900

...etc.
#22
Totally agree, Diabolical. But for starters, I can only afford one right now. Since I'm looking to specialize in metal, the Peavey will run most of the gamut. As I can afford it, I'll add what I saw in the studio my band was in. 
Gear

Guitar
Epiphone Les Paul Custom Silverburst
Ibanez RG370DX
BC Rich Warlock SE
BC Rich Warlock NJ Series (Kahler trem)
BC Rich Mockingbird Acrylic Ice Series
BC Rich Mockingbird Spiro Light
Line6 Bogner 1X12 Tube Amp
#23
Ok, naturally I hesitated and the great condition used amp got sold. There are two listed as "fair" just for cosmetic damage. They both have classic white-ish stain on the grill cloth (which can be cleaned). One is in Monroeville (much closer to me as far as shipping), but has clearly seen some heavy use. The other only has the white spot as its major "damage" but it would ship from Phoenix. Thoughts?

http://www.guitarcenter.com/Used/Mesa-Boogie/Rectifier-4x12-280W-Slant-Guitar-Cabinet-113353390.gc  
http://www.guitarcenter.com/Used/Mesa-Boogie/Rec-412-Cab-Guitar-Cabinet.gc

There's also a "good" condition for $799, but I'd much rather pay $499 and have money for other things in life
Gear

Guitar
Epiphone Les Paul Custom Silverburst
Ibanez RG370DX
BC Rich Warlock SE
BC Rich Warlock NJ Series (Kahler trem)
BC Rich Mockingbird Acrylic Ice Series
BC Rich Mockingbird Spiro Light
Line6 Bogner 1X12 Tube Amp
#24
For the record, I pulled the trigger on the used 4x12 from Phoenix. I'm in love with the sound Thanks for all the input!
Gear

Guitar
Epiphone Les Paul Custom Silverburst
Ibanez RG370DX
BC Rich Warlock SE
BC Rich Warlock NJ Series (Kahler trem)
BC Rich Mockingbird Acrylic Ice Series
BC Rich Mockingbird Spiro Light
Line6 Bogner 1X12 Tube Amp