dan670844

I have just tried the Laney Nexus Heads at JH both the Valve and the FET. Only had a little time with em cos I was supposed to be working I was pretty stunned, they sound pretty amazing......... I really didn't expect that, esp the valve head ,but the FET was really good too. Very warm rounded and punchy and a lot of clarity and detail. Anyone else tried em, use em? The only downside I can see is they defo aren't lightweight. D

[quote name='Delberthot' post='883589' date='Jul 2 2010, 12:38 AM']ah cool man, you managed to find one then. I'd be very interested in hearing how this sounds - The TVT9 is a phenomenal preamp. I used the Trace combo with this preamp for the top end of my 12ver[/quote] Yep these are very nice Guitar preamps I used to use one with my strat to do my blues thing, you can do a Peter Green impression pretty well. Trace did a valve power amp to use with these, but I have never seen one. I now use a Laney Lionheart 20 watt Class A parallell open ended Valve head. Forget all your boutique stuff these Laneys are awesome best £400 I have ever spent, magic warm creamy valve sounds with a amazing dynamic range and none of that horrid middle fizz you get with most modern valve amps, it sounds a lot like Mr. Greens Matamps. I only changed to the Laney cos I wanted a very simple clear all valve signal path. Check out the Cub 8 10 12 and head for £170 -210 also simple signal path A/B all valve practice /studio amps. Laney have really upped the game with this stufff

[quote name='umph' post='881171' date='Jun 29 2010, 05:47 PM']preamp transformer? all bits of metal should be grounded.[/quote] You can still get a jolt of tranny windings grounded or not. I am talking about residual current. Some amps the current can stick around for quite a while until the capacitors discharge.

[quote name='Mr. Foxen' post='881078' date='Jun 29 2010, 04:03 PM']The capacitors are the bit that stores a charge and zaps you.[/quote] He he you are right , but the preamp tranny was the only bit of exposed metal that i could touch.................................

[quote name='umph' post='881076' date='Jun 29 2010, 03:58 PM']12ax7 is the american name for the ecc83 7025 is more similar to an ecc81 or 12at7 in gain. if you want less gain go for an ecc82 don't think they do any valves that have higher gain than a 12ax7 so if you want more gain i'd recomend modding the amp[/quote] I was talking about the Harma valves specifically. In any case you are right the 12AX7 has the highest drive factor, but the design does not have as good hum canceling properties as the ecc83 (this is due to its heater coil windings). The original 12AX7 design and the ECC83's and for that matter the telefunken have different plate / heater designs but are all inter changeable in most applications. In my opinion the ecc83 mullard type is the best for bass warm tight and fat. The Teles are best for mic pre's

[quote name='Stacker' post='880738' date='Jun 29 2010, 10:42 AM']Cos it wasn't popular, believe it or not! I have heard that Fender did initially release the Jazz briefly with the 3-pot circuit, convert to the stack circuit and then sack it in favour of the 3-pot when the latter proved unpopular. Not sure about the veracity of those events but wouldn't be surprised if that were the case.[/quote] I agree with stacker it sounds like a great idea but in reality how it is wired up its pretty pointless as the pickups bleed into each other so what you get is one tone but two knobs to adjust, its pointless. I think there is a mod where you can stick a capacitor in somewhere to give true tone control over each pickup, but I am not sure on this. The other problem is the concentric pots are a bit unreliable ................... it looks cool though!!

I just noticed something! A 12AX7 has higher gain and will distort sooner than a ECC83. Its all about personal preference. So if you want more of an overdriven sound go for Dereks 12AX7. If you want a very warm clean sound, tight lows, but with a reduced top end go for his Harma Retro (ECC83) he also does a Telefunken 7025 (i think STR) recreation which has a very flat response, if you want a bit more top end, its great for mic preamps this one. Just ask him.

[quote name='funkgod' post='880653' date='Jun 29 2010, 09:24 AM']Hello all, bit of a warning and info wanted here. I have a SWR redhead which uses a 12ax7 (ecc83) in the pre amp. The redhead has had the valve it came with as new for 10 years with no problems. so thought it was time for a change. After a bit of a scoot around i opted for the ones on Ebay, and got a pair, as here.... [url="http://cgi.ebay.co.uk/Mesa-Boogie-12AX7-ECC83-Pre-Amplifier-Valve-tubes-NEW-/230402049361?cmd=ViewItem&pt=UK_MusicalInstr_Amplifiers_RL&hash=item35a5084551"]http://cgi.ebay.co.uk/Mesa-Boogie-12AX7-EC...=item35a5084551[/url] I replaced my old one, and very first gig, was a sound like loud electrical fault first on louder played notes, then all the time, this was later found to be the valve VERY microphonic, and any amount of vibration would set it off, so on inspection when out it all rattley inside like a spring is bouncing against the inner case when shaken/flicked on closer visual inspection the plates dont look very well supported, and just look altogether flimsey. I dont even want to try the other one !!! Are these REAL mesa Boogie ones ?? The valvs say on them, "ENGL tube power ecc83" see pic should they not say Mesa Boogie ??. So to the point, has anyone tried these and had problems ?[attachment=53197:IMG_1230.jpg][/quote] As the general rule I would try to avoid the Chinese ones they are not much kop. Like everything Chinese its all about quality control if you get a good one great if not.... I agree with a previous poster that the modern valves just arent a patch on the old mullards, teles, etc. They where made from purer materials and the longevity and sound reflects this. Buying modern valves is all about getting good tested ones. I think the valves from the former eastern blocs are prob the best bet like Sovtek and JJ/Tesla etc. I run some old valve amps and studio gear and think that Watford Valves do a very good job at screening / burning in and matching the valves up. Their Harma ECC83 retro is a pretty good valve for warm and clean sounds . The geezer that owns Derek, it is a valve nut and is a good source of advice. He help me a lot with some old studio compressors I have. A lot of the modern valves are just not stable enough for this application, try one of his retros in your mesa you will like it, will probably sound better than the original mesa valve. They are very smooth, and not at all fizzy like the std modern valve stuff. The designation on the side of the valve in your amp means that is is some kind of Mullard ECC83 (English valve producer) reproduction. There is a manufacturer out there of Far eastern extraction who is making a mullard ecc83 recreation it looks like a Mullard, but thats about it. Dereks Harma retro doesnt look like a mullard but is probably the closest you will get to the sound from a modern valve. Warm, clean very musical, very low microphonics very sweet. He does cryo versions with is supposed to open up the top end a bit, But I have not tried the standard one is good enough for me. A guitarist who I work with when he gets a new amp in the studio, the first thing he does to swap out the valves for decent matched sets from Derek. The big amp manufacturers, these days tend to use the cheapest valves they can get there hands on. Caveat. I am sure you know this but careful when opening a valve amp, some of the plate voltages can be as high as 300volts or more. I learned the hard way.................... there can still be current in the transformers for a long time.

[quote name='Colledge' post='879624' date='Jun 28 2010, 10:15 AM']the ashdown lg's and superflies can be had for next to nothing and the lg 1000 has some real poke but i've heard mixed reviews. theyre very much love or hate affairs so i'd say try one out before you buy.[/quote] LG's are good if you use em with the superfly cabs if you can't get hold of the cabs don't bother, without the cabs the volume / tone isn't there. I managed to get hold of a LG100 and a superfly 48 its a nice combi and is way loud enough for me for live rehearsals etc. But I won't use it for gigs as I like a big dynamic range. Something I hav'nt seen with switchmode stuff as yet

[quote name='chris_b' post='877605' date='Jun 25 2010, 05:32 PM']RRP: £4.5K!!!!! You can buy a real one for that![/quote] Or you could get a Brit Luthier to build one just as good, for a lot less this makes no sense!

End of the day and the only thing thats important is, do you like the sound of the endorsers amps over the sound of your GK ?....... if you don't forget it. The first stage of endoseree is that you will be able to get hold of their products for gigs etc. Basically you can get hold of their gear through one of the hire companies like John Henry's, but you have to collect and return it. You can also buy their products at distributor price. Thats basically it, the question is why would you want to, 'cos if you liked their stuff you wouldn't have the GK! I used to have this kind of 'endorsment' from smashdown that well known amp company, its basically just marketing for them, but served its purpose at the time as living in london I didn't have the space and couldn't be arsed having heads and cabs lying about. But I liked the sound of the amp i was using for the band i was in so it was cool. These days however I just use my ears to select what I want the music and the sound is king. Be careful as you may damage your tone! but if you can make a few quid out of it do it

[quote name='Dubs' post='872718' date='Jun 20 2010, 04:18 PM']Have you looked into the TecAmp or Epifani 4x10 cabs? Better than the ones you've listed, but also more expensive...[/quote] If you want a good sounding 4x10 with a lot of punch and very loud, I would check out the Eden Nemesis 410XST. Very nice sounding cab for not much money. Its medium weight too.

[quote name='Lozz196' post='869515' date='Jun 16 2010, 10:18 PM']I use the Marshall MB450H, used to have the matching MB410 cab, but now use the Marshall VBC4x12 (much better cab). The head has been used at least once a week for the past 2 yrs, and have had only one troublesome incident where the pre-amp tube became dislodged (our guitarist sorted it for me, I`m not a technical person). Even in that incident, I just used the other "modern" channel which got me thru the gig. Lovely warm sound on the "classic" channel. I know some have had probs with these, but I love my Marshall MB & VBC.[/quote] I have used this type of amp In a live studio, The classic channel is very nice. The one I used had three different selectable voicings, very warm, clear excellent job by Marshall. I thought the modern channel was terrible though! very harsh, dead nasty. It doesn't matter you won't use it the classic is that good, you can sound instantly like John Deacon if you want to! (I think its preset one)

[quote name='dan670844' post='868468' date='Jun 15 2010, 09:41 PM']Hi I think its more to do with bowing to the oh so creative one...... I.e. not getting angry when he has written a piece on a keyboard and says "humour me" when you say you can't play it cause its an octave lower than you can go. Smile generously as you and the Getard endlessly transpose the piece up and down and then when he goes for a pee. You play it in the original key and he says now you got it! When he hums a bass line like a F***ed Wasp and he immediately expects you to play it. When all said and done and you have been in the studio for 8hrs solid , Playing the same tune that you know won't make it and he says we should stay a couple more hours! (God I hope he ain't reading this!) But the main thing I have learnt not to get angry anymore, chill take deep breaths and just enjoy the ride. Yes I have a little say in the creation but he really is the clever one and its great to be along for the ride!... while it lasts[/quote] He I forgot to say this. I think its also about facilitating the composer (not in the biblical sense) all these creative people, they have ideas in their heads, which they have difficulty communicating it makes then frustrated crazy, angry and very difficult to work with. If you are seen as someone that helps them.... it goes a long long way as invariably they think the world world is trying to kop em. well maybe thats just my master......

[quote name='Count Bassie' post='868476' date='Jun 15 2010, 09:44 PM']Yep. The cat rescue belated my post... but there you go, thanks Dan! And yes I've fried a few cones. Lived it down finally.[/quote] I have just been digging out toy cars from my cabs....... Kids and animals you just can't work with em....!!!

[quote name='silddx' post='867409' date='Jun 14 2010, 08:37 PM']In a world where, in a minute, you can find an unknown kid bass player on Youtube who is so much better than you are at operating the instrument with the requisite level of feel, what importance do you place on soft skills in the quest for musical success and longevity when playing in a band, or as a session player? Why are you different to the kid? Why could the kid not deliver the goods in your band? Reliability is a given I think, what about the other stuff?[/quote] Hi I think its more to do with bowing to the oh so creative one...... I.e. not getting angry when he has written a piece on a keyboard and says "humour me" when you say you can't play it cause its an octave lower than you can go. Smile generously as you and the Getard endlessly transpose the piece up and down and then when he goes for a pee. You play it in the original key and he says now you got it! When he hums a bass line like a F***ed Wasp and he immediately expects you to play it. When all said and done and you have been in the studio for 8hrs solid , Playing the same tune that you know won't make it and he says we should stay a couple more hours! (God I hope he ain't reading this!) But the main thing I have learnt not to get angry anymore, chill take deep breaths and just enjoy the ride. Yes I have a little say in the creation but he really is the clever one and its great to be along for the ride!... while it lasts

[quote name='bassicinstinct' post='868432' date='Jun 15 2010, 09:10 PM']Didn't someone post earlier suggesting the exact opposite - i.e. recommending you should crank the master and use only a little pre? [/quote] Crank the pre as much as you can with no clipping with no master output (noise!) then bit of master, eq as you like, then readjust your pre amp gain so no clipping, then you can crank your master to playing vols as Bassie said. We have learnt the hard way with the very old trace units, in days of yore if you didn't get it right it got pretty expensive (blown tweeker fried wires you name it). No fizzy wizzy clipping, like modern amps, just bang

[quote name='chrisd24' post='868348' date='Jun 15 2010, 08:05 PM']So i should throw it all away and replace with trace gear?! hehe cheers for the setup tips count, not far from the way i set things up already but always good to know how to tweak.[/quote] Nope all the used Trace Gear it all mine hehehe (cackles with hammer house horror laugh) ............ and the Count has bags on the Stateside stuff!

[quote name='Count Bassie' post='868329' date='Jun 15 2010, 07:50 PM']Quick chime-in: If you set your input gain so that that little light doesn't come on, you can pump up your master- or output- gain pretty good. Next is setting the eq so that you get the most volume from the least turning of that master gain knob. It's been said, lo-mids are your ticket to the land of oomph. Where's J.R.R. Tolkien when you really want him around?... So, if you haven't been through this already: Turn you master gain (volume) all the way down. Play your bass like you mean it, and slowly turn up your input gain... Whe the 'light' begins to blink, back off that input gain. Now you can punch the master volume. Oomph![/quote] You Trace Elliot user!!!! he he he

[quote name='chrisd24' post='868317' date='Jun 15 2010, 07:39 PM']Unfortunately i never have it turned on! i have played around with it before but as i never really drive the amp that hard i have never really needed it. What i am loving most about this thread (alongside all the info of course) is my now slowly rising gas for a barefaced compact, after doing a fair bit of research i think its time to place a topic in the wanted section![/quote] Maybe you don't have your input gain high enough then! All the Barefaced cabs are very nice and worth the money and no I am not on commission. More GAS how about a nice Hartke LH1000 or LH500? a lot more dynamic range than your current amp. Or even a power amp/ rack preamp ........ he he he Gas never ends. I go through amps / cabs like a hot knife, I always loose money, time. I always end up with the same setup in the end, but hey its fun!

[quote name='Mr. Foxen' post='868312' date='Jun 15 2010, 07:35 PM']Pretty sure leaving the limiter on is a good thing. It sounds horrible, but it isn't breaking your tweeter by clipping your power section. It only comes on if you are asking more of your amp than it can give.[/quote] Of course it is I was being ferss or whatever I can't spell!

[quote name='chrisd24' post='868272' date='Jun 15 2010, 06:49 PM']Turn off the DDT?[/quote] I think we have stumbled on the problem Sir!.... possibly The DDT on some Peavey amps is really very harsh and comes in like a wreaking ball. Turn it off and the amp clips, you can't win. Its designed to protect the amp and speakers thats it, most unmusical. I had a real nightmare with one at a rehearsal room. When I comes in you loose all the oomph! (low end) What you need to do is really pay attention to your input gain. When you are playing check if the DDT light comes on. Even if its not it comes in waves so it may be limiting. So try turning your input gain down a bit. They are nice amps and very underated if you can get around this little feature.

[quote name='Mr. Foxen' post='868245' date='Jun 15 2010, 06:15 PM']I reckon so, don't see any reason why not. Does it have the built in limiter DDT protection or something, that lots of Peavey heads have? I reckon you'll probably clip the head before the cab.[/quote] Oh yeah turn it off!!

[quote name='Mr. Foxen' post='868156' date='Jun 15 2010, 04:46 PM']That budget would get you a Barefaced Compact, which is a 1x15, and for a little over budget (once shipping is factored in) a Barefaced super twelve 2x12. Those kick you into 'next generation' territory over most 2x10s you'll come across. Ridiculously light and will go shockingly loud compared with 'standard' cabs. If you don't have a drummer or a ridiculous valve stack to compete with, a Compact should sort you. Haven't personally tried the super twelve, but I'd anticipate the same but more so compared to the Compact.[/quote] +1 if you are looking for warm rounded sound, plenty loud enough

[quote name='bassbloke' post='785083' date='Mar 24 2010, 09:11 PM']Unfortunately, yes. [/quote] I remember this band!! didn't they have some kind of scratching record dude in there two......