Hi guys, I own a Barber Compact Tone Press and I'm loving the tone I get from it using it as a light compression/sparkly clean thing. However, I'm getting a pretty nasty hiss. It's honestly enough to make me not want to put the pedal on my board, because the gains I'm making in enhancing my clean sound aren't worth how much the noise floor is being raised. So I started to try to determine what's causing the problem. First off, I know that a compressor, by nature, is going to bring up the noise floor and there will be hiss. But I really don't think there should be this much. Secondly, the pedal is hissing with no input plugged in (just output going to amp). Does this point to a power issue? I can't try the pedal with a battery because there's no battery compartment. Would plugging the wall wart into an Eb Tech Hum X or something similar do the trick? This occurs when the power source is a wall wart or my PP2+. I've tried different rooms in my house, but I haven't gotten to use it outside yet.
Thanks for the help!
EDIT: A different output cable doesn't change anything, btw.
There are no amps that come to mind immediatlely, but just a little clarification that could help in your search: What your looking for is probably not actually cathode biasing (the style of biasing does not determine the output of an amp), but class A amplification (dual EL34 in Class A should give about 20 Watt). While they often come in pairs, one does not necessarily invoke the other.
Yeah I figured we would get into this haha. I remember reading about this when I was younger and whenever something like this would pop up someone would write "NOT ACTUALLY CLASS A" or something similar. Thanks for the link, man!
I appreciate the suggestions, guys. Here's the link to the episode for anyone interested. Their discussion begins at around 16:00.
Hi guys, I was watching an episode of That Pedal Show and they feature an amp called the Hamstead Artist 20. It sounds gorgeous! They talk about the amp and say that it's cathode-biased 2 EL34s, and the only other amps they mention that do that are a Matchless Chieftain and the H&K Puretone. I was just wondering what other low wattage amps run dual EL34s in this setup. Orange Rocker 30, Marshall's new mini jubilee, and Fargen Mini-plex come to mind, but I don't know if any of those fit the bill.
Anyway, I'm asking because I'd love a Marshall-ish amp to run edge of breakup in stereo with my silverface Princeton Reverb. The main drawback to the amps above (save for the Jubilee) is that they're all pretty heavy for having to bring two amps somewhere, and going head and cab is just even more stuff to carry. Am I better off just sticking two EL34s in an Egnater Tweaker 15 combo and running with that? I feel like that wouldn't be very authentic, but might get me close enough to justify the budget and weight difference.
But just for the sake of discussion, which other amps are cathode-biased dual EL34? I'm interested because I've been searching the net and can't find much. Yes, I know I won't be able to play stereo a lot of places, and that's fine. It's just for fun. Yes, I know I could go with EL84s. But just for discussion...
Which of his songs feature some good guitar playing?
Dig some of the rhythm guitar tracks that he laid down on his self-titled album. The first 3 songs have some good stuff. A lot of his hits have great guitar (1999 comes to mind). Plus, the guitar on Controversy. I'm pretty sure a lot of that was just a tele direct into the board (not positive). Prince was all-around brilliant, but man was he a funky rhythm guitarist...
I'm looking for a small combo amp. I'm searching for something lightweight (around 30 lbs) that can keep up with a drummer. I want cleans, but it's okay if there is a little breakup. I'm cool with it on the edge of breakup if it can hang with a drummer. I'd like classic, drippy spring reverb too. I don't need more than one channel. I don't need tremolo, but it looks like all my options are going to have it.
I love the Fender clean sound. A Princeton Reverb would be awesome, but even with an efficient neo speaker, I don't know if it could keep up with drums. A Deluxe Reverb with an efficient neo would be around 38 lbs I believe. Manageable, but a bit heavier than I'd like. An HRD is even heavier than that. Anyway, the amp doesn't need to be a Fender.
So, does what I'm looking for exist? Budget is not really a concern. I don't mind saving up for something worthwhile. I'm in the Dallas area. Genre is all over the place, so I just need a clean pedal platform.
Here are the options I've got so far:
-Princeton Reverb with efficient speaker. I could replace the OT but at that point I may as well get a Deluxe. Again, not sure about headroom. Silverface + new speaker + servicing would be probably be around $1100-1300. -Supro Tremo-Verb. Not much out on these amps so far. I think the demos sound really good, but the 6973 tubes are a turn-off because I'm pretty much limited to one replacement (Electro-Harmonix) without going NOS. Still, 25 watts and 31 lbs and I could still put in an efficient speaker of choice. $1299. -Allen Sweet Spot. The most expensive option, but probably the one that best fits the bill. Exceptional build quality and David Allen is great to deal with. 25 watts running 6L6's. 31 lbs. This would probably run about $1750 when it's all said and done. The main concern here is if it's worth the price and wait of a built-to-order amp.
I guess I'm hoping for your input on any of these options, plus any suggestions that I might have missed. Thus continues the search for the lightweight, clean headroom tube amp. Thanks for the help!
EDIT: Also, I'm sure I'll get some "Just man up and carry the weight" comments, but I already have a '65 Bandmaster and Super Reverb head + cab for bigger gigs. This would be for smaller gigs, places where I'm mic'd, and rehearsals when I don't feel like carrying the bigger rig.
With all the tubes in, and the vibrato volume at minimum, the noise gets gradually and significantly louder as the normal channel volume is turned up. However, the noise completely goes away when the normal channel hits max volume. Like, just going from 9-10 makes it disappear entirely. This is with no cables plugged in, btw.
Also, some pots are scratchy, so I may take it in anyway. At this point, I'm more curious than anything. Hoping someone with tech experience can take an educated guess...
I just scored a real-deal 1965 Super Reverb. It sounds awesome with the exception of one small issue. There is a buzz that exists when the vibrato channel is engaged. It's pretty apparent with the volume on 1, gets quieter on about 2-4, then comes back when the volume is turned up higher than that. The problem goes away when pulling V4, but I've swapped with a known working tube and it still persists. I've also swapped V2. In addition, pulling the reverb cables has no effect on the noise. It gets noisier as I turn up the reverb, but it's a different kind of noise (sounds pretty normal to me). Any ideas before I take it to a tech? Tube sockets? Internal components?
It's really not a huge deal...it's just not as quiet as my '65 Bandmaster and '66 Showman. All are plugged into the same outlet. I've used extension cabs so I know it's the head and not the speakers.
Thanks for the help!
EDIT: Also, I should mention that sometimes when I play loud notes, the volume will either drop slightly, sound weak, or the sound will distort. Don't know if that's a related problem or not...
EDIT 2: Also also, when I got it, it came with a bag of large brown caps, so I figure it's had a cap job recently.
I'm looking for a no-frills Les Paul that won't break the bank. I play an Am Std Strat and an Am Std Tele, and I'm looking for something similar in the LP market. There are so many names to Gibson models nowadays, and to be honest, I'm not hip to the differences between the Stds, Classics, Traditionals, Trad Pros, etc.
It seems that for a used 1990's/2000's Gibson LP Standard, I can expect to pay around $1500, judging from Reverb. What I'm wondering- Can I score something of similar or higher quality from the MIJ market? My biggest fears in buying MIJ are consistency (not quality...just differences between manufacturers) coupled with not being able to play before buying.
The only thing I'd really want is a '59 neck. Everything else I can take or leave. This will be a real workhorse guitar for me, so I want something tried-and-true. Above the Studio line, but below Custom Shop quality/price-wise. I don't need fancy hardware or anything that'll drive the price up.
Some guitars I've been considering:
Gibson LP Standard Edwards 108LTS or 130ALS Orville by Gibson LP Standard (1990's) Tokai LS-160 (2014)
I'll use this guitar for many things under the sun, but primarily classic rock. I'm located in Dallas. Budget is about $1500. Thanks for the help!
Thanks Jet. I'm particularly interested in what you and others have to say about the first 4 bars. Very interesting indeed. I figure that what I said is just one of the many ways that one could approach it from a theoretical standpoint.
1. What key/keys is this in? Globally? In certain moments? -It's mostly in Bb. There are small nods towards other related key centers, such as the ii-V headed to the IV in bar 7. I don't view these as tonicizations or modulations really, just reinforcements of different scale degrees. There's a quick nod to Fmaj by way of a backdoor ii-V (minor iv in F...Bbm7-Eb7). From there we go to V/ii in F (D7, extended by way of Am7b5). Another example is the G+7 in the bridge. It takes us to C minor, which is the ii of Bb. More on this later. All in all, mostly Bb major with a little F major.
2. What the HELL is up with the first 4 bars? -When you're playing, it's easiest to treat it as a ii-V into Dm and a ii-V into Bb. However, in theory, the first two bars could be generalized as C7 (really it'd be C13. A7b9 would add C#, or Db to be the b9 of C7. This isn't too out because it could voicelead up to a D in the Cm7, making the ii a Cm9). This makes for a more natural shift into the Cm chord (II going to ii). The Cm7-F7 is goes to Bb, which is then treated as a Bb7 to head to the IV (extended into two bars by way of Fm7-Bb7).
EDIT: To expand on this idea, you could treat the first two bars as a C7#11 and play around with the resolution of E and F# to F in bar 3. This is a melodic minor sound (C MM) achieved by implying a D major triad. So if you think of this ii-V heading to D major instead of Dm, you can really toy with all the different resolutions within that sound. Fun!
3. What's going on in the bridge (Bar 17-24)? Below.
4. What's up with G+7? What is it telling us? Is it telling us the right thing? The G+7 is acting as a dominant leading to the ii chord, Cm. I don't see this as a modulation because the Ab7 acts as a sub for the minor iv. So with the ii also being interchangeable with the IV, we're really just going from IV to iv, and eventually resolving back to I.
5. What's the form of this song? -I'm inclined to say AB. Similar thematic content is used in the first and last 8, but not enough to call the last one A', in my opinion.
6. What's interesting about the melody and how it interacts with the harmony? -The melody is mostly diatonic Bb. It's the harmony that makes it interesting. The composer leans heavily on the 11 as the melody note. The major chords in bars 7 and 11 have an 11 (acting as a 4-3 suspension). Sometimes he'll use the 9. Sometimes the Ab7 has a #11, implying melodic minor on the iv (Eb MM or Ab lydian dominant). Basically he's using all the colorful notes...
Quick harmonic analysis: Bb major, heads quickly to the IV by way of ii-V, then to minor iv (Ab7). Next we move to F major by way of tonicizing the relative minor and the tonic major via backdoor ii-V (again, minor iv in F). Am7b5 to D7b9 sets up the V/ii in Bb, which takes us to ii. ii (or IV) then moves to minor iv (Ab7) and then back to Bb. At the end, we see a hint at tonicizing iii, but this becomes a minor ii-V into the ii, which then becomes a minor ii-V resolving to major I (really a b9 sound going to Bb).
I've been wondering the same thing. I have the TAD 6L6WGC-STR short bottles in my Bandmaster and Showman and I love them, so when I have to replace the preamp tubes, I will probably give any number of these a shot:
I don't have experience with any of them, but I'm willing to suggest them just based on how much I like the power tubes I have. At around $20 a pop I feel like they're worth a try. Another solution I'm reading about is the Genalex Gold Lion which runs about $25.
Sorry that I don't have more useful experience/info. I'm just in the same boat and this is what I've been thinking about.
I'm a fan of the Subdecay Super Spring Theory. I use it with a BF Bandmaster, which I've changed to Super Reverb specs. It's not quite as perfect as built-in Fender reverb, but it's definitely worth it for me to ditch the extra weight of the reverb tank or put a SR in a head chassis.
The Super Spring Theory has a tone knob, with which you can control how in-your-face the drip is. There's also a dry signal mix knob, in addition to the reverb level and decay knobs. The room setting is a nice bonus if you're into that.
i have played bandmasters, showman and twins. i found the showman not to be very twin like. actually i am quite surprised how different the deluxe, deluxe reverb, bandmaster, twin and showman sound considering (as you mentioned) they are all ab763 circuits.
it sounds like you may be stuck with going for a twin if you are really set on that sound.
This is what I was afraid of...I wonder if it really has so much to do with the reverb recovery stage that I'm reading about. That's the only reason I could see that they'd sound so different.
I have a '65 Bandmaster, and I absolutely love it. But, I played a gig this weekend and the backlined amp was a Twin. I forgot how great they sound...man! Unfortunately, the weight is still an issue. The Bandmaster is awesome, but it starts compressing too quickly for my taste when I'm going for a clean, clean sound. When I'm going for the edge of breakup thing I love it. But, I'm also trying to find a way to get the tone of a Twin but without the weight. Here are my options:
1) Used Fender Showman head - essentially a Twin without reverb and no mid control on the normal channel. I could probably score one for about $700 if I'm patient.
2) Swap the stock OT in the Bandmaster for bigger one. I'm hoping this could get me closer to the Twin sound when I want it. I have a Hot Plate which would allow me to go the breakup route if I so choose. I'd probably also add a mid pot in the ext. speaker jack. Both of these "mods" are not permanent. This is the cheapest option, but I'm just not sure if the beefier OT would be enough. All 3 amps (Twin, Showman, and Bandmaster) are AB763 circuits.
3) Buy a Twin and put the chassis in a head cab. This is the most expensive option, and would be heavier than the Bandmaster or Showman. I'd prefer not to use this one but in the case that everyone says "Only a Twin sounds like a Twin", I'll consider it.
So, thoughts? I'm using a Subdecay Super Spring Theory for reverb, so I'm thinking I can ditch the reverb tank. My cab is a custom cab with 12" and 10" speakers (Weber 12F150 and 10F150). Anyway, I know I'll only get so close, but the main question is whether or not it's worth the extra money to buy the Showman vs "modding" the Bandmaster. Since the circuits are so similar, I'm hoping I can kill two birds with one stone.
Thanks for the input, guys! I ended up finding a used 4 ohm Hot Plate on Reverb for pretty cheap, so I'll give that a go.
What would fail when I put the Bandmaster into the Weber? I've used it without issue thus far, but I understand that I'm putting out more than 50 watts so I'm just curious as to what will be the first thing to go in that case. OT? I'm not gonna use it anymore though, at least with that amp.
I have a 1965 Bandmaster with which I'm trying to recording silently in my apartment. I'm using a Weber MiniMass to load it down. The idea was to go from the head to the attenuator, and then from the line out of the Weber to a Torpedo CAB (cab simulator). The problem with this method is that the line-level signal is pre-attenuation, and the CAB only has a switch for line vs instrument input (there's no variable input control). Even on the line setting, the signal was way too hot. I'd have to turn down the volume on the head to where there's no power tube saturation to get a signal that doesn't clip. This kind of defeats the purpose for me. It's usable, just not what I'm after.
My question is this: Would I be able to use a DI box with a -20 db pad and go into my interface or it cause a noticeable degradation in sound quality? So head --> attenuator --> line out --> DI --> interface into Torpedo Wall of Sound (same software as CAB).
If not, what other options am I looking at here? An attenuator with a line out level control?
I could get the Torpedo Live but I'd like to avoid spending $1000. I'd also like to avoid units that add any speaker simulation before I hit the DAW, because I like the Torpedo software.
Yeah, for what it's worth- Setting it dirty and rolling off the guitar volume is effective, but IMHO, leaves something to be desired when compared with the lush cleans an AC30 has when set clean and with the guitar wide open. It's definitely an option, but to those who ask, "Why try to imitate the driven AC30 sound?", just keep in mind that if you set the amp dirty, you lose the ability to play its great natural clean sound. Some will prefer to use the amp's dirty sound and clean up with the volume knob, and others will prefer the amp's natural cleans with pedals for drive. I don't see anything wrong with using an AC30 for cleans and then a cranked AC type pedal, because rarely am I afforded the opportunity to play an AC30 at the volume required to achieve that sound.
I know this isn't really super pertinent to your question OP, but I think it's relevant information nonetheless.
I have replaced the power tubes and the rectifier tube. I've also replaced the reverb tank tubes, just in case they had anything to do with it. The only ones I haven't replaced are V1 and V2 since the preamp works.
Hi all- I recently played a gig where the sound people or venue had some power issues. Lights were flickering and all, almost like there didn't have enough power to handle all the equipment was plugged in. Every time the drummer would hit the kick (which was miced), my Genz Benz Black Pearl 30 (AC30 style amp) would start cutting out and giving off this strange feedback/distortion and then go back to normal. Eventually it stopped producing sound altogether. One time it mysteriously came back on when I tried it for the last set, but since the gig I have not had sound. Here are some details. Sorry if some of them are useless, just figure I'd give as much info as I have to see if I can avoid dropping $$ on a tech.
-No sound coming from the amp whatsoever (no hiss, hum, etc.) -Amp powers on, fan works -All tubes are lit, everything looks and smells normal, just without sound -Power and rectifier tubes have been checked and swapped -Cab, cables and speaker have been checked with another head -Two speaker jacks, neither of which yield sound -Changing settings on the multi-tap OT has no effect (16 ohm cab) -Sending the preamp to my Roadster's power amp yields sound -Plugging into the power amp (via FX return) does not yield sound -Plugging headphones into the line out jack provides a very, very low volume signal -Does not appear to have an HT fuse. I'm not that great with amp guts but I don't see anything that looks remotely fuse-like (aside from the mains)
So all signs are pointing to power amp, correct? Questions:
-Which components are most likely to get damaged in the event of either a power spike or brownout? -In a situation where an HT fuse would fail, what would be the next thing to go if the HT fuse isn't there?
I won't be that upset if I have to take it to a tech. I could be completely off and I'm not super savvy with electronics but it's kinda fun trying to figure it out. At this point, is the worst I'm looking at an OT swap?
I don't want to come off as being rude, but how's your playing? I'm not gonna bore you with yet another "Tone is in the fingers" lecture, but with blues especially, I find you really have to coax the sound you want out of whatever you're using. With SRV and JM, those aren't tones that are gonna pop out of a box. SRV in particular was incredibly good at using every inch of the strat to get whatever sound he heard. I wasn't in the shop, but it's possible that the kid doing the demo through the Fender may just have been good. I am by no means an expert player and I'm not trying to offend in any way. It's just something to think about. I'm sure it'll come in time!
Thanks everyone! Those stainless steel strings look interesting. I'll definitely give those a shot. I've never tried Fast Fret so I'll do that as well. I've also heard good things about Dr. Stringfellow.
I suffer from the condition we refer to as "acid fingers". I string my guitar before every gig, and by the end of the night the strings are dull and lifeless. If I put a fresh set on, play for a couple hours, put my guitar on a stand and leave it, the strings will then become red/orange with rust. It's legitimately a dangerous amount of rust that could tear my fingers up!
Anyway, I've done a lot of googling and I've come across all kinds of responses, ranging from "It's your natural body chemistry and you're stuck with it", to "It's your acidic diet (true), but you can change that", to "You're way dehydrated (true), but you can change that", etc. I'm not saying any of these are correct or incorrect, I've just seen multiple people saying "IT'S DEFINITELY THIS" so it's a bit conflicting.
I'm using D'addario .10s, and I dig the tone when they're fresh. I saw a couple posts basically saying that different body chemistry reacts differently with certain strings. I've tried a couple different brands. Ernie Ball and Dean Markley yield the same results. I have played Elixir Nanowebs multiple times, and while they don't rust as quickly, they're much more prone to breaking on me. I never break the D'addarios (they are way too dead and I have to change them long before they break). I don't know what your experiences are, but a friend at the church I play at owns a music shop and he says he frequently has customers buy Elixirs and come back to buy different strings because they break too quickly. This might be a stupid question, but is there a string brand that would be the "opposite" of D'addarios, in terms of makeup/construction? I know we're dealing with the same material here, so I don't know how much sense that would make. But, I figure it's worth asking.
I just want to get some input, either from your personal experiences or otherwise. I see people with worse eating/drinking habits than myself using strings for weeks at a time, so I'm just curious. Now, I do play for multiple hours every day and gig around 3 nights a week. I do wash my hands, wipe down my strings, etc, but to no avail, as ~3 hours of sweating kills them. I figure if the content of my sweat is the problem, it won't matter how clean my hands are. Ultimately, it's not a big deal to take $4 out of every paycheck for a set of strings, but it sure would be nice if I didn't have to! Thanks for any insight, it's much appreciated!
I've opened the pedal up and no connections seem to be loose/bad. Even the switches seem fine. The only time I get noise from moving the pedal is when I'm using pancake/low-profile plugs, which create noise when turned or even kicked. I have quit using the pancakes with that pedal, and though I get no noise when it's kicked or moved, I still have the problem when the pedal is engaged. The jacks are very secure, and it takes quite a bit of force to remove the cables after they are inserted.
It is definitely possible that I missed something, but just out of curiosity, what are some other reasons this could happen?
This is a bit of a weird question as I guess it has to do with multiple pedals...but hopefully someone can enlighten me. Here is the board, in order of signal:
Boss TU-2 (tuner) AMT Japanese Girl (wah) Rockett Pedals Flex Drive (OD) CMATMODS Super Signa Drive (OD/boost) Boss OC-3 (Octave) Rockett Pedals Animal (OD) Lovepedal GEN5 Echo (Delay)
The problem: When I click on the Super Signa Drive, whether it be the OD or boost side, I will get this awful sound. You know when you touch the tip of a cable that's plugged into an amp? Like that. What's strange though is that it persists after I turn the pedal off, and continues until I unplug the input from the amp. I would make a video, but what makes this even more frustrating is that the problem is intermittent. Sometimes I will engage the pedal multiple times with no problems, and other times it will happen the first time I step on it. To further complicate things, the pedal gives me absolutely no problems when I take it out of the chain and go gtr-pedal-amp. In addition, the rest of the pedals (still on the board) give me no problems when the SSD is removed. I have tried multiple power sources, including 1spot and Pedal Power, even more combinations of cables (both my own and borrowed from others), have switched the order of pedals, but the problem still persists.
So, can anyone explain what's going on here? Why is this pedal only acting up when there are other pedals in the chain?
I'm sorry if I've worded this poorly. If you have questions please ask and I will clarify. Thank you for any help you can give!
I just tried the tubes and none of them make noise. I would try plugging it into an external speaker, but the problem isn't consistent enough and I'm worried that it would just be coincidence if it went away when I changed. Should I just take it to a tech? I'd rather not throw down money on ten new tubes if I don't have to, as this amp is pretty new... thanks for your help, man.
So as of late I've been running into a little problem. On certain notes, my amp (Carvin Nomad) is producing a suboctave tone. Sometimes it can be pretty cool but when I'm playing straight ahead jazz, it kinda gets in the way. For me, it was only doing it on D and E (particularly 5th and 7th fret A string) but my friend borrowed it for a gig and he said that towards the end of it, it was all over the bottom three strings (Different guitars).
Now, what's the cause of this? Over the summer, I played a couple gigs with my fusion band back home, and I used a Boss OC-3 through it. In addition, when I play jazz, I'm playing a 7-string archtop (Low A string). So, tons of low frequencies going through the amp. I would imagine this would have something to do with it, but then again, it doesn't make much sense to me. Guitar players use suboctave effects all the time. Furthermore, where does the problem lie exactly? Am I wrong in thinking that it can't be a speaker problem? In my limited understanding, speakers can't produce frequencies, they only receive them, yes? Which would mean the frequency is coming from somewhere else...
Please correct me if I'm wrong somewhere, I'm just utterly confused right now. The problem isn't exactly consistent, but it's frequent enough to concern me for gig situations. If the amp feels like doing it again tonight after I get back from a rehearsal I'm about to go to, I'll try and upload some clips. Thanks for any help you can offer!
So I'm in the market for an octave pedal. I'm not looking for an octavia/fuzz, but rather a simple octave down pedal. I don't need a bunch of parameters, just something that tracks very well. Not looking for something like a POG, but more like a BOSS OC-3. I just wanted to check with you guys and see if there are some better alternatives that I'm missing. Polyphonic is not a requirement but it would be nice. I'd like to stay around the $150 USD mark.
If it helps:
Genre: Funk/fusion Guitar: Schecter C-1 E/A semi-hollow with P-rails/Triple Shot configuration Amp: Carvin Nomad It'll be going into a chain of wah, OD, and delay. Closest city: Either Dallas or New Orleans depending on the day
I do know that Tomas Kalnoky uses an ES-335 into a Mesa Rectifier with an Orange 4x12. While a Windsor and a JCM900 are great choices for ska in general, Streetlight's latest offerings haven't exactly been ska...more like hard rock with some horns thrown in (granted, they're absolutely awesome at it). So with that said, if you're going for a modern SM tone, you may want something in the Mesa vain. Now, what that amp would be, I don't know, maybe someone else can help me out here. I just wanted to throw out that information so TS can narrow his search.
I don't know if this is allowed or not (and if it isn't I'll delete it of course) but OP, I'm in the DFW area and I'm selling my Orange Rocker 30 head. Hell, it's probably the one 311 found on CL. Anyway, I don't know if you're interested in going head + cab or not, but I'm just letting you know it's available if you decide not to go with the Super Sonic.