VTypeV4

Alot of it does indeed come down to 'bang for buck' and slightly older (and much older, i guess!) digital gear offers tremendous value these days.. I looked at the list prices of the 02R and it's accessories from '99 - 2000 and to spec one to the current state of my pair at work would be in the region of £11K - each! Just the meter-bridge was over a grand.. So, if we scale it out £22K then is about 28K today (according to the internet) so we could purchase a fully kitted A&H dLive system, two and a half DM2000, nearly a VI3000 or any number of vintage analogue 'boutique' consoles.. Madness! Same with the older style analogue VCA consoles - my ML5000 was stupidly cheap considering it too was £25K+ 15 years ago.. I'm glad you commented on the sonic integrity of the Yamaha as there's a few threads (mainly gearslutz) slamming the 02R. Personally, I'd take an 02R or two to mix anything on as I think they're rock solid. Maybe I'm cloth eared or I don't have 'golden ears' or whatever but I've only ever used a couple of consoles that I thought weren't up to it. One was an ancient Peavey and two were early Behringer Eurolive consoles although they both had faults which may have been a factor in their less than stellar performance. I'm not a 'Behringer basher' - I've used a number of their mixers that worked fine - even the dinky ones are ok plus there's nothing wrong with the outboard either - some of it is truly excellent. I'll be very interested to see the price of current digital mixers in another ten years especially as some are very reasonably priced even new. Examples being A&H Qu, Behringer X32, Yamaha TF - all are around the £1500 mark (give or take).. I think the 02Rs may be retired by then!

Lots of stuff happening there, Al - looking good!

^ Nice! ^ Never played a kemper live but have recorded with one (no, I don't own it) - I shouuld get the chap who owns it to profile the V4..

I looked these too -I thought they seeemed excellent value for money if they do what they say on the tin.. As suggested above, please let us know how you get on and post some pix..

[quote name='radiophonic' timestamp='1485769267' post='3226443'] Bit of a long shot, but I know there's a few Midlanders on this site. My band is looking to record 'properly' for the first time and I'm trying to locate a suitable studio - one that knows how to record bands (rather than voiceovers). We're not a straightforward guitar / bass / drums setup either. I'm not a local and this is the first band in the area I've played in, so I'm totally flying blind. Anyone got any experiences? I guess it wouldn't [i]have [/i]to be in Nottingham, but it would need to be an easy drive. The nearest I've recorded to here is [i][b]Abbey Sound Services in Rugeley[/b][/i], but that was a long while ago and from the look of the site, bands aren't a strong focus any more (although I know[i][b] the engineer is excellent[/b][/i]). Any recommendations? Any warnings?! [/quote] Is that Lee? If so, he's a top chap although I've not seen him for a while.. Shoot me PM with a bit info about your setup and I may be able to help.. Cheers, Matt

I wouldn't worry - as long as you don't put everything on 11, I'm sure you'll be fine after all, there's only 2dB difference between 250 and 400w. Don't get hung up on the numbers plus if you change the drivers then you'll change the character of the cab which may no longer be to your taste. The Celestions may not be compatible with the design of your cab too but thats a whole other kettle of fish!

I was happy with the 300 SMX I owned many years ago - coupled to the 2103H and 1153 it was a decent sounding and pokey rig that was manageable size-wise.. I very much doubt many of us could tell the difference between your 250 and the later 300 models in terms of the alleged ~50w although the extra bells and whistles of the post SMX 12 band model will throw some more sonic possibilities into your sound..? Personally, I'd take the older model..

Personally I'd take an AH500-12 the same generation as the 300-12 (not the first Peavey one) you mention although out of all of them, 400SMX takes the top spot.. I quite liked the 500/600 and 1000/1200 Peavey owned Trace models but doon't think you can much beat an SMX. For the record, I've never owned a Peavey era Trace but have had lots of the older models.. Just throwing a cat amongst the pigeons..

I'm trying to get nearly everything in place gear wise before sorting property as so many places come and go. I've got some pennies saved too so I'm trying avoid any loans or finance deals so put simply if it doesn't work and I don't get enough work, I can close the door, sell some gear and go back to live. It's still all a bit scary though! There is also saturation locally so I'm looking to set it up just a bit out of the area particularly as one of the best (probably [i]the [/i]best) is literally just around the corner from The Rigger. They have Neve, SSL plus all the usual 1176, Pultec, Distressors, API 500, Manley etc and I can't get near that for a new venture.. I think the charm and visual impact of a large analogue console will make a good impression and being one of the finest consoles built by A&H with flexible routing, comprehensive EQ etc plus being a 48 frame, I could use one side in and the other out. I haven't mixed a recording on an analogue console since I was 16 - that was an A&H too, a GS3V so I'm quite excited at the prospect. There's a recording I did for my band that we never finished so I'm gonna get some looms this week and do a mix on the ML although I'll have to largely use software compression / gating and FX. I looked at the GS3000 you metioned, they look great and seeem to have a good reputation but aren't often up for sale - I assume those that have them like them! The newer GSR24(M) looks to be a comprehensive update of the old 3000 but at £5000, they're a bit outside my budget. And no, I'm bottling it and sticking with a computer for recording as I know next to nothing about tape machines plus their initial and maintenance costs are somewhat prohibitive. I love the idea but thats a bit further down the road. Onwards and uupwards!

[quote name='Mornats' timestamp='1485039266' post='3220719'] I actually had better results going through the DI on my Markbass 121P into my interface (Focusrite Forte) than plugging direct into the Forte. I got a much cleaner, better balanced sound. You can always use an amp/cab emulator (Amplitube, Guitar Rig etc.) to get something like the cab sound if you wanted. [/quote] I wasn't going to chime in on that front but since it's been mentioned, I agree.. I use the DI on the V4 for probably 75% of the recordings I do and it works great. Using the compressor a bit harder than I do live yeilds the best results for me. The amp (unlike its older and larger siblings) has a built in dummy load so can be operated without a speaker although it's a heavy DI box!

It's been a while since I posted here so I thought I'd do a catch up.. [url="http://s778.photobucket.com/user/VTypeV4/media/DSC_0266_zpspqpgryjk.jpg.html"][/url] This was another Unity card I purchased from eBay for installation in the 'analogue card' 02R however it didn't work and caused the console to crash everytime I fired it up. I tried it in one at work too but it was exactly the same so I've returned it and pending the outcome which will hopefully be a refund in full. Grr I have also removed the analog cards and replaced them with two ADAT and an AES card so it's closer to the spec to the pair at work. [url="http://s778.photobucket.com/user/VTypeV4/media/DSC_0265_zpsgtfbqjak.jpg.html"][/url] I've swapped soundcrads at work too - there's now a firewire 828 MK3 in place of the 828x which may seem a reverse step but it works in exactly the same way giving me the same I/O and freeing the Thunderbolt / USB equipped one for mobile and more modern computers.. I have also purchased a REV500 Effects unit (not pictured) as I fancied one for a while. It has not disappointed offering some absolutley luscious and truly believable reverbs. It worked lovely for live but I did a mix for a band recently and it made the sound truly epic. It's a slightly different flavour than the TC ones and different again from the SPX units in the 02Rs but it's a great unit - it's a keeper.. [url="http://s778.photobucket.com/user/VTypeV4/media/IMG-20170119-WA0002_zpsc3b8lm2l.jpg.html"][/url] [url="http://s778.photobucket.com/user/VTypeV4/media/DSC_0278_zps2wimcotz.jpg.html"][/url] As part of my on-going studio project, I have a plan that will have an 'A' Studio for which I can charge a premium and a second 'B' option for the slightly more budget concious players. The 'A' studio will have this lovely 48 frame Allen & Heath ML5000 and racks of analog gear. It has been purchased from a pro hire company near Manchester who specialise in theatre and musicals. They have replaced it with a Digico SD8 and accompanying rack. The 'B' Studio will likely be run with the 02Rs - what else! [url="http://s778.photobucket.com/user/VTypeV4/media/DSC_0280_zpse0wqajrq.jpg.html"][/url] And lastly this may look familiar but it's not the same one at the start of the thread as that now lives with my apprentice. This example was again purchased from ebay with a boot fault on the cheap. These have a little fault that is common but it's an easy fix so, taking a risk, I've pulled it apart and as you can see in the pic, it once again lives. After a very breif stay with me here, I'll sell it on to help pay for the ML..

I hope they can make it work this time around - not sure about the above offerings! It'll take a very good amplifier to beat the old 400SMX as I believe that was the peak of the 'normal' graphic ranges - it was certainly the best one I had with the exception of the valve powered offerings. I bet a VA400 is killer though! I wish them the best of luck and as suggested, a lightweight SMX style amp would apeal to many players. I guess we'll see..

I've done a few (and only a few) drivers (mainly in the PA world) although nearly all have failed thermally - worst case was a succession of 3 Eminence Omega Pro 18s in some folded horns ten years ago - they still looked great but were dead with a black coil on post-mortem.. The other pair of horns still have their original JBLs working in good order.. The only driver I've mechanically broken was a Celestion BG12-100S in a Trace 712 about 15 years ago. It flapped to the point where if I'd have sellotaped a sheet of A4 to the coil the sound would have been cleaner. Not sure if it was a manufacturing fault or it was simply under specified (both I suspect) but Trace changed it under warranty for a Q2025 or it might have been a K12T - can't remember but never had any trouble after that.. As an in-house engineer, I see many an abused bass rig with the driver(s) crying out for a rest!

Nice one, fella!

Hope they sort it for you quickly..

They're usually in a PDF format so it should open in your browser or in Acrobat reader? As suggested previously, the balance knob sort of tilts the character of your sound between neutral (irrespective of EQ / pre-shape settings) at the 12 o'clock position and a brighter thinner sound as it's turned clockwise or conversely, a fatter darker sound if it's turned anti-clockwise.. Personally I found leaving it centered and using the graphic to sculpt the sound worked best. Watch the 50Hz slider as it can add lots of sub into your sound which can really muddy things up if boosted too much - personally I always cut it by between -3 and -6dB depending on the gig with my old 300SM, 715 or Twin-Valve combo. If you need warmth add it at 100Hz and your speakers will love you for it.. The bikes are kind of current - I need to update it a little.. The '87 FJ is part way through a restoration and some mods although I've not done much on it for a while. The '92 FJ is sadly history as I got knocked off it last May which killed it at 99 thousand miles. I've since replaced it with a low mileage '89 FJ which is superb despite it's vintage years. I like FJs just in case you'd not noticed! My '80 CX is current and running well althhough it's currently on SORN whilst the roads are covered in salt. I love my '89 NC30 as it's a head banger - a tiny terror thats more than capable of upsetting much more powerful and newer bikes. In Germany last year at the Nurbugring it lived with a two R1s, a Street Triple R and a Zed Thou.. And lastly the Kawasaki - that now lives three doors up the road with my next door but one neighbour who plans to restore it with his brother in law. Have a look on the 'Who rides motorbikes' thread in off topic and you'll find some pix of all of them..

You'll not find a specific manual for a 150SM although a quick google search for the SM series should see you find it rather quickly. Trace used the SM pre-amp on the smaller BLX range right through to the giant AH1200SM so they didn't do a manual for each just one for the entire 7-band range..

As long as it doesn't have a valve power stage, you'll be fine so things like Ashdown ABMs, SWRs, EBS etc plus any modern class D range will be safe.. On the other hand, if it's something like an SVT CL then you'll need a speaker or a dummy load as you'll hurt the valves and / or output transformer without..

[quote name='andytoad' timestamp='1482787061' post='3202768'] Does this mean I can 'plug and play' new valves in my hexa? Oddly, the previous owner removed two of the valves as it was too loud for him. I have them, but didn't want to put them back in unless it was modded in some way. [/quote] I think Quattra / Hexa models did have an adjustable bias but they're best setup on a scope for best performance if you're changing all the valves. If you're just putting back in what should be there - ie going back to six tubes, then unless the amp has been modded for four, you should be fine. It's the old trick from years ago to make the amp distort at a lower volume typically used on Marshall and Fender amps that used four output tubes - pull two out and makes half the power - but does create an impedance mis-match at the output transformer unless you use the 'wrong' taps ie 8 ohm load / 16 ohm tap (or the other way round, I can't remember). It's less than ideal on the Trace as it's not a half / double match due to it having six valves so it's a 3rd / two-thirds mismatch. I expect your amp will sound sweeter back on all six as it's what it's output transformer was designed to operate with. It'll probably play louder and cleaner too..

Never tried '88s in my T/V but you shouldn't have issue as the type differences between those and 6550 aren't that distinct these days. I run EHX KT88s in the V4 currently but I've had all sorts in there - my second favourites were a quad of the re-issue Tung Sol 6550s.. If you do, it might be worth having the bias checked although if memory serves, these are fixed (like an old boogie or Hiwatt) bias anyways. Mine had never been modded and ran happily with the PM branded 6550s..

[quote name='DBerriff' timestamp='1482396269' post='3200115'] In my experience the GB DI is as good as anything and has all the switchable options needed for different mixer/PA setups. [/quote] Agreed..

Post some pictures when it arrives..

[quote name='markstuk' timestamp='1482336622' post='3199699'] And the pa elves will almost certainly provide the cable. [i][b]They love bass amps they can di[/b][/i] [/quote] Indeed we do although some are certainly better than others and some I simply don't bother and use a box..

All good man!

I always wanted a V6 or V8 but when that V4 came up as NOS in box.. The rest is history!