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Quote by mexican_shred
good good. I see that you have changed your amp setup quite a lot since i last checked. How have you been?


I've been good, recently was blessed with another baby boy, so it's been a great summer. Bad for the practice schedule though. I've had a kickass year for g.a.s. though, or horribly bad depending how you look at it.

what are you running these days?
Quote by mexican_shred
Holy coppers batman, its Eric.


whats up Shred, how have you been my friend?
Quote by gpderek09
friends, aquantinces, shadow, if i have one bit of advice for all of you during the rest of your life, do NOT get yourself into a pickle juice chugging competition.



wtf Derek
Quote by reallink
Whilst the Mark V looks absolutely awesome in every way, I think its a bit above my price range at the moment. Looking more at a morer affordable option, preferably something a Uni Student (Me (almost anyway)) can afford somewhere along the track. I currently have a modelling amp and its good, but the dirty channels have way too much distortion even with the settings way down, so a specific amp that I could look at getting for heavy tones would be good

I wouldn't bother with the Mark V anwyway, it seems like they tried to make it do too much, and didn't really make it excel at anything. Out of all the demo clips I've heard, only one guy I know has made some good clips with it, and he ended up selling it after a month disappointed overall.
Quote by touji-za-nai
I figured if I toned the gain down on an ENGL I could get the sound I'm looking for, but it sounds like ENGLs are just made to roar with gain so if I toned it down it would lose a lot of body

if you're talking about the Fball or Pball, yeah, they are basically aimed at the metal genres. A Blackmore or Screamer could pull off a great rock tone without a problem though, and a Blackmore can also take you into metal if your tastes change.
well, it's going to cost a lot more to get another 5150 modded, than what you will get for your FJA right now. An FJA 5150 is going to be more rare than a D60 too, you could pick up another D60 anytime without a problem. People tend to hold on to those FJA 5150. If you get the right buyer, maybe you can get close to what the 5150 is worth. I would list both with a firm price, and let the cards fall where they may. Whatever sells first, yank the other off the market.
Quote by GrisKy
are you serious!!! what models and what are they asking?

EDIT: also nice to see Sal's outa' the picture. Nuthin' but trouble from them.

yeah, they were kind of shady. Terry at DiezelUSA is a pretty good guy to deal with, so it's win win.
Quote by gpderek09
sup eric?

sup Derek, how's it going brudda, haven't talked to you in a while.
it might be hard to get what the FJA 5150 is worth if you sell it. It sucks, but people generally don't want to pay much more for the modded version, even if it would cost a LOT more to have a stock one sent out. It makes more sense financially to sell the D60.
IMO, the fireball is a better full on metal amp than a rock amp. If you really dig the ENGL tone, and want rock tones, I would look into the Blackmore or maybe the Screamer. The DRec can get some great modern rock sounds, but it's kind of apples and oranges in comparison to an ENGL as far as voicing.
Quote by GrisKy
I had to order mine... and it took almost 10 months to get it, so act fast if it's something you're interrested in. They have exactly ONE US distributor, Salwanger or some **** like that, and sometimes they don't play nice.

Salwender no longer distributes the Diezel amps, USA operations all go through DiezelUSA at this point. I guess they had a lot of problems and complaints with them as a distributor.

http://www.diezelusa.com/
Quote by Eater of ashes
Thanks for the replies, anyone have a suggestion for a new 12ax7 for my v16? The stock tubes just have too much grainy sizzle with high gain.

if you liked the Ruby, I wouldn't just give up on them. Unfortunately that can happen to any tube, it's just the nature of the beast. The Shuguang preamp tubes are just as reliable as any of the other current production preamp tubes IME, you just got a dud, it happens when dealing with ancient technology like vacuum tubes.
Quote by Serg1
i never shipped it it was the buyer who shipped

I wouldn't let the buyer make all the shipping arrangements either, then you have no documentation at all if something screws up. That's why you list a shipping price on ebay.
Quote by Serg1
its all good he fixed it

good deal.

couple rules for the future:

1. always use insurance, it shouldn't be optional.

2. use a shipping company that has tracking, and always use a signature confirmation.

3. make sure the shipping company has signature confirmation that is online so that paypal can verify it. They will side in favor of a buyer if they can't look at a signature confirmation online. That way a buyer can claim he/she never got the item, and you get screwed out of the money and the item.
Quote by Brendan.Clace
****...I forgot about the changes...... good point dude. They may hold the money.

I don't like the new rules at all actually, not being able to leave negative feedback as a seller sucks, and the whole paypal thing with chargebacks can get ridiculous. I've known a few sellers that were scammed with buyers saying they never got the item. Paypal has a definite tendency to rule in favor of the buyer, so it attracts new buyers to ebay. It sucks to sell on there these days if you aren't a big store, they are pushing the old "garage sale" idea right off ebay.
tube amps are rated at their clean power output before clipping. If you are pushing an amp into power tube saturation, it can definitely spike to well over what it's rated at clean.

That said, I use a 150W Weber with my 100W amps, but I'm not trying to get full on power tube saturation. I use it to hit the sweet spot where the power section begins to color the tone a bit, thicken it up, and then bring down the volume at that point. If you are diming a tube amp for power tube distortion, you can definitely go over the rated output.
Quote by Brendan.Clace
Not entirely true. Paypal will not put the dispute through if it's a shipping claim (especially if there was no insurance and the item was working when it was sent). How do you know that his "power converter" from 110 to 220 didn't fry the reverb pot?

Paypal will do nothing.

Also, it is NOT the responsibility of the shipper if the item had no insurance on it, and there was nothing done by the receiver otherwise.

hmm, I dunno man, unless he has a certain number of transactions and feedback, paypal will normally hold the money until the seller confirms he got the item, or leaves positive feedback. There are all kinds of new rules for sellers that heavily weighs it in favor of the buyer, so much so that buyers can scam sellers at this point.
maybe a bit.

Playing is still by far the most important aspect IMO, since it's no fun to have great gear and not be able to get the most out of it. However, getting to try new gear is definitely part of the hobby for me. I plan on getting my feet wet building a couple kit amps in the next year or so too.
I haven't heard many other amps that can compete with it at $225-250USD out the door. Personally, I think it sounds better than some of the more popular and more expensive small wattage heads in it's class. So in my own opinion, no, not overrated, but YYMV obviously. Tone is subjective to the listener.
Quote by Phil Starr
Cabs have two ways of affecting the sound. The first is that they load the speaker. They interact with the speaker like a spring and as a source of resistance to shape the frequency response at low frequencies, the easiest way is to think of this as the speaker being the equivalent of the string and the cab as the body of a guitar, strings have characteristic sound but nevertheless sound different in different guitars. Speakers have to match their cabs and you use different designs of speaker for bass reflex (ported) cabs, closed cabs and open cabs.

The second effect is due to resonances caused either by the flexing of the wooden panels or due to the dimensions of the cab. The cab panels will only resonate at certain frequencies but can create more sound than the speaker when they resonate. Any note that hits this will sound louder than other notes there will also be lots of frequencies where the speaker sounds and their reflections will destructively or additively interfere and change the sound. For PA or hi fi we design out as much of this as possible but many successful guitar cabs exploit lucky accidents of resonance to give a sweeter or louder sound.

excellent post
cab construction and design play a very big role in your overall sound. The type of speakers obviously are an important factor, but people highly underestimate how important the cab itself is. The type and quality of the build materials used, the internal dimensions, the baffling design, backpanel design, porting or non-porting, jointing methods and bracing, front or rear loading, internal sealing, etc. etc. etc.
sounds like a tube going microphonic. Take a pencil with an eraser, and with the amp on and no guitar plugged in, tap very lightly on the preamp tubes with the eraser end. If the amp starts crackling and making the hiss, you've found your bad tube. The power tubes should be all quiet when tapped, but the preamp tubes will make some noise when tapped, and it will get louder the closer you get to the input tube. You're looking for the crackling/hissing sound to start/change however, not just noise from tapping.
Quote by stykerwolf
First off, are the 12AX7 tubes Sovtek? Sovtek make lousy 12AX7 tubes from what i hear, might want to change thouse. Though you could swap the EL34s for 6L6s. The EL34 are more british voiced tubes and will have more midrange freqs comming out, though you would have to bias befor changing the power tubes.
Also, i would get better 12ax7 tubes, maybe EH, or JJ.

he said they are 12AX7EH, so that's EHX. Also, disagree that Sovtek suck, it just depends on the amp you want to use them in. The LPS kick ass in the right amps, and used to come stock in the Bogner XTC and Uberschall, where they sound kickass. High gain, crunchy sounding tube, with a pretty good noise floor for microphonics. The consenus is not to use them in cathode follower stages however, as with most New Sensor tubes.

OP, new tubes can make a big difference if the current ones are old and used up. If the tubes are new, different tubes will impart small differences, but they are minor in most cases. I personally like EL34 in a lot of amps, and prefer the SED Winged =C=, Tung Sol EL34B, or Ruby EL34BHT. The TS and Ruby have a very good tight low mid thump, while the SED are very balanced with a nice topend.

For preamp tubes, EHX are pretty bright IME. They work great if the amp isn't bright to begin with, but can get kind of harsh in some amps that are inherently bright in design. I like Shuguang(ruby, TAD, Sino) for a nice balanced tone in a Chinese tube. I like Tung Sol in V1 input stage of most amps, as they have a lot of clarity and definition, and I like the raunch that Sovtek LPS bring in the phase inverter stage of most amps(closest to yor power tubes). I've found JJ also do a lot to squash a really bright amp, but they can be overly dark in some amps. Lots of combinations you can try however, and preamp tubes usually last a lot longer than power tubes. If yours was a floor model, the pres are probably fine, so you could get away with just changing the PI and the powertubes first. I would probably only change the other preamp tubes if the amp is too bright for you right now.
not exactly what you're looking for, but i have a GNX4 I use for something similar. It has a midi drum machine, with a ton of preset beats, an 8 track 24 bit recorder, MP3 player, and loop feature. You can play and record a riff, then loop it on the fly and play over it. You can also keep looping over that in layers. You can also play over an MP3 track on the fly. It doesn't make your own beats, but you can send MP3 drum tracks to it over USB and use the footcontroller to start/stop/record loops. You can use it either with the built in MFX sounds, or it also has a DBX mic preamp so you can record an amp. The multifx and amp models aren't that great, but it's a very good tool for getting ideas down. I've used it for a bunch of clips and vids.

amps
http://www.youtube.com/watch?v=X6KiSSLwM68
http://www.youtube.com/watch?v=h4ofxKAYNUk
http://www.youtube.com/watch?v=9Vo_N_L15fE

amp models
http://www.youtube.com/watch?v=2XwWLEkpnD8
http://www.youtube.com/watch?v=7nbnaFr2XZ8
guess I'll be the dissenting opinion. I liked the amp a lot, but there were a few things that bothered me about the rev blue I had. The lowend is huge, but pretty round and can get muddy really easy if you're not careful. I never went over 10:00-11:00, and it was still enormous. Worked nice with a boost, but unboosted it didn't have the definition or percussive lowend I personally like for fast metal riffs, kind of a thud instead of a crisp attack. The presence acts partially like a mid voicing control, so you have to bring it up pretty high to get the midrange to cut, and it can get a little harsh if you're not careful. The cleans on it were pretty mediocre IMO, and it was difficult to match volume levels depending where your lead channel was set. I thought the Rev 2 was the better recording amp, but the Rev blue was tweaked to work a bit better in live applications. The new Twin Jet Uber has seemed to address a lot of these issues however, as they completely redesigned the clean channel, and added high and low controls on the poweramp in addition to the presence control. It also uses KT88 instead of EL34 like the previous models, so the lowend stays a bit tighter on it's own.
haha, that's whacked. Don't call the cops, even if they don't mess with you over it, they are going to want to get a hold of the guy that sold you the amp. You don't want to get involved with some drughead trying to blackmail him, just get rid of it and enjoy your new amp. HNAD!
Quote by jambi_mantra
True say, and when you've got the other two channels anyway, it seems unnecessary to want to clean up channel 3.

definitely agree, it's got some great sounds on 1 and 2 for cleans and lowgain.
Quote by jambi_mantra
Hmm fair enough, mine doesn't, I mean it cleans up but never to a particularly satisfactory level anyway.

I agree with the rest though, mine is one of the newer ones, and while I haven't played an older one considerably, I can say that the newer ones do a formidable metal tone.

ahh, well "satisfactory level" would be the key words there, you may be more particular about what's acceptable. Definitely a preference thing then, so can't disagree with you there.
Quote by jambi_mantra
The heart of AJ's tone is his two VH4's.


A VH4 won't do that.

actually, if you aren't boosting, the VH4 can clean up very well on ch3, and still have a nasty OD with the guitar vol wide open. It's by no means a pristine clean, but depending on your definition of crispy, it can definitely achieve a dirty clean with the vol rolled off. I guess that would rely on the quality of guitar/electronics too however.

sesstreets, you do realize if you will only go new, a new VH4 is going to run you upwards of $4300+. Also, that's just for the head, so you would need a cab obviously, and you're going to want a quality one to pair with that head. You don't have to worry about used Diezels, they are built extremely well, and that would save you around $1500 bucks on the head alone.

Look for an 07+ model if you do decide on the VH4, the newer ones seem to be the preferred models out of the different revisions/variations. From talking with a couple guys that have owned both older and newer, the newer ones seem to have a higher range into the real heavy music if you go that route.
Quote by James13v
Attenuators should also be far more well known by all guitarists because they grant an even more significant amount of tone control. Using a 3 point EQ system like this can make huge differences in what amps can sound like. Sure it takes some of the "romanticism" out of amps because essentially with the right EQing the tonal differences between different amps is so small it's almost or totally negligible; but really tonal control is far more important.

not sure what you meant exactly, but I have to disagree, even minor changes to the same circuit design in amp can result in a completely different voicing. You can do all the EQ'ing, attenuating, tweaking you want to them, and they aren't going to sound the same.
Congrats Randy!!! HNAD!
what a cool amp, anything you could compare it to sonically? Looks killer man
haha, that's awesome man, congrats on all the upgrades! So where are you using the 5751 at this point? So many upgrades I lost track.
Quote by kayman121
Probably. Would you consider the SE a focused sounding amp?

At the 4k range, I'd probably stretch out a bit more and pick up a herbie. In time...

Also, the tubes are blue because there are LEDs behind the power tubes

yeah, I guess if that's what you're trying to avoid, it's a more focused sounding amp, but definitely not scooped. I run the MLP on, with the mid contour, and that thing snarls like crazy. I wouldn't drop 4k on a new one though, lol, that's crazy talk man. There are deals to be had out there.
Quote by kayman121
Tried it for a good while. ENGL to me has 2 sounds. The somewhat scooped rather compressed one(pb/fb/se), and the open midrangey (savage, invader, blackmore). I've grown out of the former, so for me its all about the roaring midrange.

I wouldn't say the SE is scooped at all man, you can dial it that way, but the mid boost options give you a lot of flexibility. You need some more alone time with one methinks, my SE roars in the midrange.
Quote by Jam3V
The previous owner of the Savage 120 I'm receiving replaced the power tubes with Svetlana 6550's. Anyone have any idea how that might influence the sound?

He's sending me the stock tubes (GE NOS 6550), and I'm wondering if I should put them back in. Also, what tools can I use to bias this amp easily? I've seen that Weber Bias Rite, but any other ways?

they wouldn't put NOS tubes stock in any amp man, those GE 6550 are great tubes, but definitely not what came stock in the amp.
meh, there are no rules saying you have to use one. If you like the sound without one, why would you bother? Just like there are no rules saying you can't use an OD to juice an already good gain channel. Some amps I don't like boosts on at all, even for the real heavy stuff. Others I prefer boosted depending on what I'm trying to achieve.
depends what you're talking about. If comparing a halfstack to a wall of cabs, yeah, mainly show and backup. If you're talking a 30W combo compared to a 100W halfstack, there is going to be a difference in lowend response, headroom, and sound. Even when close mic'ing, there is a difference with a sealed 4x12 compared to an open back combo. The 4x12 usually has a tighter and bigger/punchier lowend response. Depends what kind of music you are playing too. A lot of modern high gainers rely more on preamp OD than powertube saturation, so you want a big poweramp that amplifies the preamp signal more cleanly, adding color without adding distortion. A lot of the popular speakers don't have the wattage rating for a 100W+ tube amp running thru a single speaker.
hehe, saw this on HC, killer HNAD cubed. Has to be on of the most epic NGD's on record.
Quote by DIFTWOOD
its this one http://cgi.ebay.com/Custom-5w-Dumble-Style-Guitar-Amp_W0QQitemZ170342859142QQihZ007QQcategoryZ10171QQssPageNameZWDVWQQrdZ1QQcmdZViewItem
hes a good guy i owe him a favor for sending me a free 6v6 tube when the old one broke

do you have any gutshots of that Phaez? I was interested in one of those while ago, but the wiring in them looked fire hazard scary. I've heard he's improved them, but I would like to see for myself.