VTypeV4

None at all for me..

I do use an external EQ unit but i wouldn't consider it an FX unit. I don't use any compression these days either, I find the valve amp I use offers enough natural compression for me not to bother for live work.

For recording I might add compression in the software unless I'm using a Trace amp which has dual band built in.

Many years ago I had a Zoom 506 which was fun but I never used it in a practical situation. I sold it to a friend. I also still have my Boss LMB3 compressor and an enhancer which I used to use lots but don't feel I really need any more..

Ash is great to deal with. He's honest, prompt and efficient so who could ask for more!? Glad the Mullard ECC83 and 82s have found a new home!

It was a while ago but I'll try!

As memory serves the group was quite large with percussion, synthesizers etc and the singer was a reasonably quiet female vocalist. I recall the microphone was quite harsh sounding in the 2-4kHz region which manifests itself as that overly bright and hard character especially on a girly vocal. It also picked up alot what was going on around it too, poor off axis rejection which made monitors difficult to keep stable once again in that upper midrange zone. I'm quite sure I could have gotten a better sound for the lady in question with a stock SM58 let alone a Beta 57a..

On the other hand, it's possible that the combination of her voice, that mic and my system setup just didn't suit each other and it was simply a compatability issue? Maybe a different voice or a different setup may have worked just fine but on this occasion it simply wasn't great. It's like our bass guitars, if it doesn't suit then it doesn't work half as well. If I'm given a 4 string P-Bass then I struggle with it wheras sit me with my Warwick LX5 and happy as a pig in..

I work as a live engineer and in 12 years I've only ever seen that one beta 87 so maybe that says something? My personal fave is still the Beta 57a over microphones that cost many times more from the likes of Audix, Audio Technica etc. I'm not saying buy a 57a because it'll fix all the problems in the world but IME, they work great in lots of applications and in many case out perform a stock SM58.

Just my opinion based on that one gig many years back.

Cheers and hope that helps.

Matt

I understand one is cardioid pickup pattern whereas the other is hyper/super (or whatever!) cardioid..

I used an 87A once and didn't much like it for stage/groups work. Personally I'd pick a 57A everytime for voice..

I have used the 15" EV so it's no longer available..

Not quite amp but I think it's still relevant..

I have been using my old goodmans as quiet sub at home for the past few years when the other day it begin to develop a slight paper-like flap. Closer investigation showed it's HF cone dome had started to come loose.

[IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/GoodmansA15P.jpg[/IMG]

I decided to install the old EV I'd got knocking about and fix the Audiom 15-P at a later date.

[IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/GoodmansEVM.jpg[/IMG]

It didn't sound right at first but after a magnet gap clean and a magnet re-alignment it sounds great. I can only assume that the cone assy had sunk in the last 33 years (this is the one I had for sale with an EVM cone on SRO chassis) and just needed a slight tweak. Very simple, much like a PV Black Widow to with it's magnet. Either that or the guy that did the re-cone in 1980 didn't do a very good job?

As for the Goodmans, I have fixed it and it's sat waiting for it's next job. I will re-install it one day but the EV will probably put up with being a lightweight sub better so it can stay for a bit..

As Bill said, you can't fix stupid..

[quote name='Bassman68' timestamp='1357482174' post='1923160']
Just to add a bit of confusion to the issue, I'm sure the 3 in certain era cabs referred to 300 watts handling? As these cabs (1153 & 2103) were sized to add to the existing combos as well...Anyone ever use a 1210 combo with an 1153? (tidy little stack).
No mention of the 1810x or 1510x cabs yet either..18'' & 10'' with cross-over, 15 & 10 etc.
Then there were the 'Multistack' wedges in 18,15 & 2x10''.
[/quote]

Both my 1153 and 2103H were 200w handling (fitted with 1x 200w C15T and 2x 100w C10H Celestions) but these were the later green furry carpet finish models. LongtimeFred had an older 1153 and that had a 300w badge on it but this might have been a cosmetic add-on.

Trace did alot of cab options back in the '80s including the monitor wedges mentioned and of course the bi-amp cabs also mentioned but even they don't 'add up' even though their model numbers make it clear as to their config. Wasn't there a range of horn-loaded boxes too with multiple 12s and fifteens?

The Pinnacle '82 is gone as is the clean and tidy Mullard '83 plus an '82 also..

The Following are still for sale:

[b]Mazda ECC83[/b]: Blue writing with short-plate architecture. £20

[b]Mullard ECC83[/b]: Most of the writing has rubbed off but I can just make out the Mullard 'Shield' in white writing. Tall plates and currently working well in my Leak ST20. Sensitivity in this application makes me believe its an '83 as opposed to '82 or '81. Sounds great! £30

[b]Mullard ECC82[/b]: White writing, tall plates, Made in Great Britain. £[s]25[/s] Price drop to £20

[b]Mullard ECC82[/b]: White writing, tall plates, Made in Great Britain. £[s]25[/s] Price drop to £20

That's fair enough man, can't fault your choice. Love all those Warwicks although that 8 string isn't to my particular tastes!

I love my LX5 (as seen on the prevoius? page) and it's stood the test of time. Lots of Fenders, a Status, a Yam amongst others have all come and gone but it's still here.

Gotta love 'em!

I would have another 400 if one came up a the right monies..

I also had the 300 which was great, the SMX pre-amp is a stunning bit of kit. I ran that with a 2103H and an 1153 (2x10 and 1x15) and it was a great big little rig if you catch my drift. I later sold the 2103H and 300SMX and got a 600 with the 1048H (4x10) which was a monster big-rig..

When I win the lottery I'll get a 400SMX, 1048H and a 1518 rig like my friend Lee used to have. It was the nuts! It'll look great next my Ashton valve kit!

Thanks for that ^

[quote name='mrtcat' timestamp='1357406094' post='1922250']
I had a AH400 GP12SMX and sold it. MASSIVE MISTAKE. I would have it back in a heartbeat. Beautiful head and super versatile.
[/quote]

I love my valve amps and I see it unlikely that I'll be going back any time soon but...

I also really miss my 400SMX as it was probably the best graphic trace I ever owned or indeed built(?). It had plenty of power and looked the nuts with it's UV lamp. For my uses, it was even better than the 600 I had for many years. I should have kept it but sold it to buy motorbikes..

WH, tough question for you. Do you have a fave?

[quote name='such' timestamp='1357387988' post='1921905']
I'm pretty sure it was some sort of all-valve Trace in the "Travelling Without Moving" period. Like, [i][b]V8[/b] [b]or something like this[/b][/i]. On the first album the sounds were much more sterile, don't know what it might have been. There's a Hartke combo and cabs in the "Space Cowboy" video, but then that version was recorded later, [b][i]he didn't play on the album version of the song[/i][/b].
[/quote]

It was more likely a V6 as I have a pic of him in an old Trace Elliot catalogue from about '98. The V8 came out after 2000, I remember it being demo'd at music live through an 8x10 by David Jacob with his green 6-string Status. Stunning!

Interesting, who did play it then? Neither Nick Fyffe or Rob Turner were in the equation back then..

[quote name='peteb' timestamp='1357325417' post='1921176']
That is what I was always taught, that the onstage level should be dtermined by how loud the drums are


I agree with everything that you have said apart from your initial (possibly flippant) statement about half stacks! :-)

The point is that the job of the sound engineer is to help the band sound good so that they can put on a performance for the benefit of the audience. This requires an element of compromise – no one wants to see even the greatest band if there is a terrible FOH sound – but if the band has a good onstage sound that they are happy with, a good sound engineer should be able to use that to get a great sound out front.....
[/quote]

Glad we're on the same page. And yes my comment was rather 'off the cuff' !

In all fairness, I don't mind what guitarists use as long as they're using whatever they have appropriatly and not trying to murder everyones ear drums..

[quote name='Mr. Foxen' timestamp='1357266519' post='1920213']
4x12s tend to be disproportionate. They were supposed to be for bass for starters, and speakers have got louder in the meantime. 4x12 syndrome where the guitarist sits on it and tried to eq the treble they can't hear back in is still far too common. Going to many small metal gigs probably makes it all seem especially bad in my experience.
[/quote]

Plus one..

Because in a venue the size of the Rigger, they're just too loud if people want to run them flat out. Don't get me wrong on a big stage where there is plenty of space they're great but not in a venue that small. I have a good sound system (not perfect by any means) and I can [i]just[/i] get the voice over the top but it's gotten painfully loud by this point and it's no fun for anyone with the exception of egotist on the other end of the 4x12.

If you have to turn the drums up just keep up the guitar, it's too loud..

My problem is that I've dealt with so many muppets with 4x12s and big valve amps. I've also dealt with many people that will give me that couple of dB that makes all the difference which is great but as ever it's the few that spoil it for the majority.

It can be.. Quite happy to help you on your way with a Matamp from this chappy.

[quote name='peteb' timestamp='1357235323' post='1919579']
The trouble is that the top guitar players who do the big tours nearly all use all big valve heads and 412s!

Probably best to learn how to deal with them if you want to do the bigger gigs......
[/quote]

The top players use the equipment they have proportionally and appropriatly whether it's a beat up Fender Princeton or a Boogie rectifier. 50w and 2x12s are borderline in the Rigger.

And for the record I've done enough 'big' gigs and tours over the years where 4x12 and 100w are fine..

Learn to deal with them? Interseting.

As an FOH engineer, Marshall heads and four twelves are the number one enemy..

[quote name='longtimefred' timestamp='1357145626' post='1918128']
can someone please buy this so i am not tempted any more to sell up my Trace V4 to buy the head.
[/quote]

OOOHHH...

[quote name='iconic' timestamp='1357110435' post='1917512']
Thanks guys, anyone know off their head what 15" would usually compliment my SM300-7210H combo?

I'm sure I can run an extension off this?

Cheers again
[/quote]

Trace 1153 would probably work well..

[quote name='umph' timestamp='1357154822' post='1918351']
It'll make it sound it to. His hifi stuff is amazing.
[/quote]

Quite fancy a Croft modded one too but can't justify two ST20s!

[quote name='thunderider' timestamp='1357171993' post='1918792']
Thunderider, haven't I mixed your group at the Rigger a while back? That name looks familiar.

we supported gunslinger dec 11....i was using a 150w laney and an 18 sub!!.....
[/quote]

I remember, sorry man I've mixed millions since!