Tech21NYC

You have it backwards. SS amps are more linear. What you are describing is the tube amp starts to saturate and "compress" more when turned up. That provides a bit of a cushion to the sound whereas the Class D amp will just get louder. With SS amps there is no output transformer. The wattage changes with impedance. See the specs for our 1000 watt Class D dUg Ultra. 1000 Watts RMS minimum, @ 4Ω 600 Watts RMS minimum, @ 8Ω 300 Watts RMS minimum, @ 16Ω Many commercial SS amps are rated at 2 Ohms because that's the biggest number. The only time I ever blew up a power amp was running at 2 ohms.

Actually it is. From the spec sheet. Wattage 200W into 4Ω (Simulates 85W Tube Amp Performance) Speakers Two - 12" Jensen® N-12K Neo Total Impedance 4 ohms It makes sense. You want more available headroom when using the SS amp vs the tube amp. Coming from the sound reinforcement side of things the basic rule of thumb was always doubling the amount of power in relation to speaker wattage. ie 1000 watt of speakers use at least a 2000 watt power amp. I found this out the hard way by constantly blowing tweeters in my PA tops because I was using an underpowered power amp. With musical instrument amps it usually goes the other way. A 300 watt SVT is paired with an 800 watt 8X10. A 100 watt Marshall will be used with a cab rated at 200-300 watts. Of course this begs the question what is accomplished with with all that complex stuff under the hood? A lighter, less expensive amp that has more flexibility and no maintenance other than software updates. The repair and reliability is hard to quantify at this point. Digital amps usually can't be easily field serviced. If the processor goes out it needs to be replaced etc. We do some repairs on the Class D power amp modules in our amps but it's usually more cost effective to replace the module. While tubes became an obsolete tech in the 1950-60's and have their own set of drawbacks they are still being made. The original Line 6 AxSys 212 which came out in 1996 is no longer supported by Line 6 and can be very difficult if not impossible to repair and yet my '66 Fender Bassman lives on.

With these tariffs we all have bigger problems than tube vs SS vs Class AB vs Class D etc. I used to deal with BK when he had Tubeworks. The MosValve was cool. I did a gig a few months ago and my co-guitarist had a little Qulter combo and it sounded good. Pat is a legend in the industry and I've used QSC products for years. The Tonemaster is unique in that it is a modeler dedicated to one amp sound married to an ICE power module but they use the same cabinets that their tube counterparts use. Interesting to note that the specs that Fender gives are somewhat relevant to this discussion. From the Fender product page: Twin Reverb amplifier uses massive digital processing power to achieve a single remarkable sonic feat: faithfully modeling the circuitry and 85-watt power output of an original Twin tube amp. Using a high-performance 200-watt digital power amp to achieve the headroom and dynamic range of a real vintage Twin tube amp, paired with the pronounced sparkle and clarity of two Jensen® N-12K neodymium speakers I'm not familiar with that name.

Does Mike Bendinelli still work there or is he long gone? He used to be one of the guys I would talk to there. I had one of the first Mesa MKII's (1978?) back when you would deal directly with Randy and his first wife Raven. My favorite amp was the MKIII Simulclass for lead guitar. I had a Studio Preamp and their old 50/50. The only thing I have left is their 112 Thiele which is not a good guitar cab but works for bass. I don't have problem with SS. When paired through a good SS or tube power amp our stuff can get very close to a tube amp sound. Recorded, you would be hard pressed to tell the difference. When push comes to shove I have not found any SS tech that can compete with what a good tube amp can do in terms of "feel" and tonal complexity. If you take something like my old BF Deluxe RVB amp. Our engineer replaced the output transformer with a Bandmaster transformer which makes it "sound" like a bigger amp but the wattage is technically the same. It also was modded with a cathode bias switch that removes the negative feedback. Substitute a 12AY7 in the first preamp stage and use a 12at7 in the PI slot and the sound and "feel" drastically changes and that's running the amp clean. You would be hard pressed to do that in a SS design. The Mosvalve was my favorite SS power amp for guitar and Quilter is doing some interesting things but it never gets quite there. Of course for some sounds and designs SS can be superior. Bass is a bit different. For the maximum amount of headroom in a tube bass amp, the weight and cost can be deal breakers for most.

I have to disagree with you there because the same holds true when comparing a 50-100 watt SS guitar amp with their tube counterparts. I'm not talking about what most players would consider "distorted." 30-40% is quite distorted. I doubt most guitarists on these forums are playing archtops. Tube amps are usually rated "clean" at 5-15% THD. The guitar amp is 1/2 the instrument. It's musical instrument "production" vs reproduction which is what SS amps are designed for. You used to work for Mesa Boogie right? Randy said old school "engineers" thought he was nuts try to make an amp "intentionally" distort. While I will agree with you that it's way easier to listen to a loud bass amp vs guitar amp, the problem with bass (or low end in general) is that when you start getting down to 200Hz the bass frequencies become omnidirectional. On big stages the low end backwash from the PA system can make all instruments difficult to hear. That causes everyone to start turning up or playing harder. Some of the newer more sophisticated systems use cardioid arrays to address this. I'm constantly bitching at my sound tech to move the subs as far from the stage as possible. I need to hear by bass player. A loud PA makes it very difficult to distinguish the actual pitch of the bass.

Tube amps have more "useable" wattage when compared to most solid state designs. It's the reason a lead guitarist can gig with a 50 or 100 watt tube amp in most situations but a 50-100 watt SS bass amp is more of a practice amp. A tube amp will start clipping once it exceeds its RMS threshold but the resulting sound will not be perceived as distorted. Most SS amps become unusable once they exceed their RMS rating for any length of time. The last thing you want to do with any SS amp is run it close to it's max RMS wattage. Power is cheap. For some reason since Class D amps have become so popular many bass players seem to be going in a counterintuitive direction. Lots of power and minimal speakers. If you look at dUg Pinnick's bass rig, he's using his signature 1000 watt bass head but he's also running four 410 cabs rated at 2000 watts. That gives him a lot of headroom.

The MP40 was replaced by the YYZ Shape-Shifter.

Since a good majority of our customer base have home studios and recording interfaces, the need for an aux in and headphone function would not be needed and make the product more expensive. The problem with adding a headphone amp to a pedal product has to do with the newer switch mode power supplies. The older analog copper wire based power supplies that we originally used provided a ground reference for the pedal. When we started using the universal voltage switch mode supplies (that most of the industry is using) we found that those power supplies don't provide a ground reference for the pedal. That means you will get a noisy headphone signal. The workaround for this is to plug the pedal's XLR output into a mixer so what's the point. The other way to ground the pedal is to plug it into a grounded amplifier which means we would have to add another output which would make the pedal bigger and more expensive.

Impulse responses date back to 1999 when Sony's DRE-S777 digital convolution reverb was first released. These units were very pricey. If you have a convolution plug-in in your DAW you can load IR's into it. Our purposes for the guitar and bass community, are generally for speaker simulation. Red Wirez was the first company I remember offering commercial IR's and a loader for sale. Here is an old Premier Guitar interview with Mike of Red Wirez where he explains what they are and how they are used. They have some nice bass cab IR's. While you can make a digital EQ curve that is beyond the capabilities of an analog hardware EQ and use it as an IR, technically it's not quite the same thing. An IR of a mic'd speaker cab also has time and phase information whereas a digital EQ does not have that information.

My main point is that IEM's do not have the ability to block all sound form the outside. On a very quiet stage maybe. When the outside sound (mainly low end frequencies) start to overwhelm your IEM mix you will automatically start to turn up your IEM's. IEM's seal off the ear canal and create pneumatic pressure on your ear drum. Turning up the IEM's can easily damage your hearing. Sensaphonic sells this tool so you can monitor the level of your IEM's to prevent you from unsafe levels. The problem is that if you can't hear with the IEM's at safe levels there is not much you can do. I purchased my old Sensaphonic IEM's because they are silicone and seal better than acrylic IEM's and because they also provide more isolation than other brands, at least on paper. Isolation: Up to 45.5 dB; broadband average 37 dB Noise Reduction Rating: NRR 29 dB I can tell you for a fact that on a loud stage they do not block enough outside sound. Look at where they put the sound system on one of our gigs. That big stack on the end of the stage was just a few feet from my vocal mic and guitar rig. My IEM's were useless. My gripe with playing in live venues in recent years is that the sound system is typically a bigger culprit when it comes to loud volumes. I always bring ear plugs to any venue whether I'm playing or not.

Perhaps I didn't make my point clearly. When you play with a band say drums, bass, guitars, keys etc in a room with live instruments you are (or should be) playing dynamically. If all you hear is "you" that means you are playing too loudly. A pro band should have a good stage mix among themselves before the PA system is even on. With an ampless/all instruments direct IEM mix you only know your instruments volume relationship that's in you IEM mix. You have no idea of knowing whether or not you are too loud or not loud enough in the mix. I've been to enough live shows to know when the person at the mixer is asleep at the mixer. Keyboards non existent one moment and piercingly loud the next. A guitarist that looks like he's soloing but you can barely hear it, and singers at completely different volume levels, kick drum, and bass heavy mixes with weak vocals etc. Mixing live music is probably the hardest skill to master and takes years of experience. On a local level your odds of working with a seasoned pro with hundreds to thousands of gigs under their belt are not good. The band I usually plays with is a 5 piece. Acoustic guitar, electric guitar, bass, drums, keys and 4 of us sing. The acoustic and keys go direct, bass and electric guitars use amps and we use live drums. The two most inconsistent instruments are the keys and acoustic guitars. They both play direct and they both use IEM's. The tech we hire to run our PA and mix our shows works for a big sound company in NYC. He will be the first to tell you that most guys that "mix" basically set levels and don't do much else. It's pretty sad. Maybe things are better in the UK.

One thing to keep in mind with IEM's is that while they can "protect" your hearing to a certain degree if used properly they can also just as easily damage your hearing by monitoring too loudly. This happens quite easily if the stage volume overwhelms the isolation of the ear piece. Even with the custom plugs I've used over the years, 26dB and 37dB of isolation seems like more than enough isolation but the low end backwash from big PA systems will make it impossible to monitor at low levels. As you turn up the volume of your IEM's due to the sealed nature of the device you create pneumatic pressure in the ear canal that can damage your hearing. The other aspect is that while playing without an amp may be appealing for some, the band is now at the total mercy of the person mixing. The band no longer plays dynamically with one another because everyone is in their own universe.

This is not the best approach. The GED-2112 is a preamp and meant to take the place of your amp. It can be used directly into a mixer/interface, power amp and cab. If you want to use it with a bass amp it works best into the front input and your amp should be set flat. The Drive and Deep channels are fed by a single input. If you want to tie the channels together for single output use contact our support department. [email protected]

Do you have the GED-2112? Just run the pedal in front. There is not much benefit running in the loop. If you want to do that, send the 1/4" send on the back of the unit to the input of your chorus pedal and send the output of the pedal to the effects return jack.

The Blend control basically mixes between your un-effected signal and the SansAmp signal. This was implemented to emulate the type of signal chain that bass guitar was usually recorded with. In the studio or live, they would usually mic the bass amp and run a DI from the bass and the two sounds were mixed together at the console. The mic'd amp would be the main tonality and the DI'd signal would add punch and definition. If you put all the controls at 12 o'clock and engage the pedal with the Blend off or fully CCW, you will hear that your signal is the same as when bypassed. The Drive and Presence are the amp and speaker emulation. Ay you turn the Blend up to 12 o'clock your signal is 50/50 un-effected and SansAmp. The presence control is similar to the same control on a vintage tube amp. It adds high frequency content and also the attack envelope. Drive and Presence only work on the SansAmp portion of the circuit.