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Post by Deleted on Jun 29, 2018 10:02:04 GMT
Oh my bad sorry, not amp shield! I meant that Deeflexx shield
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Post by Deleted on Jun 29, 2018 10:03:29 GMT
Im not saying buy that overpriced deflex thing but one could certainly DIY it.
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Post by Deleted on Jun 29, 2018 10:10:28 GMT
That's the problem I was experiencing. And it is solved with less than €1. A foam doughnut. Or, if you want to DIY a Deeflexx I'll bet you could quickly DIY one from easily obtainable bits.
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Post by Deleted on Jun 30, 2018 8:39:18 GMT
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Post by Deleted on Jun 30, 2018 10:02:27 GMT
That's a great video idea Che. Good find.
It's surprised me how many people had this problem yet, when I researched it, could find very little info. I was so lucky to find the Mitchell doughnuts. Unlike this geezer who was mistaken into believing he needed to resolve the problem according to recommended mic positioning. That Mitchell fellah even explains why a disc in front of the speaker dome can make things worse.
To sum up a 12" single speaker has the highest tendency to do this.
By the way, has anyone ever measured a speaker. I happened to measure mine and it seemed to be more like 10.75" of actual functioning speaker. The rest was made up with the rim that you screw to the cabinet. Is that standard?
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3,968 posts
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Post by salteedog on Aug 27, 2018 19:22:37 GMT
@defjef I can't remember which thread it was but I promised to post the Global EQ changes I made to my Katana settings. The high cut might be a little extreme...certainly it reduces the effectiveness of the acoustic channel as a pseudo-FRFR amp but for the clean and drive channels I think its better than the stock settings.   |
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Post by Deleted on Nov 4, 2018 13:30:30 GMT
Well after an attempt to record the Katana yesterday I think I have to admit that the best it will ever be is supremely flexible and extraordinarily adequate. It never impresses me though. After a good half hour of trying to get a nice crunchy big overdrive miked up with an SM57 on the grille and an Aston condenser mic at around 4 feet away to pick up some room ambience we still just seemed to get what sounded like a guitar played through a radio. Sitting next to me was a Peavey Classic 30. We warmed it up and got the sound we wanted first take.
I'm really disappointed to discover that this 'sounds like tubes' line seems to mean 'sounds like the sort of tubes DefJef doesn't like'. Maybe it sounds like a Blackstar of some kind, I have no idea but it doesn't sound like any tubes that I like to hear. Maybe if I just set it to clean and use good pedals and don't expect any of the Boss effects to achieve anything nice it may sound like tubes. Otherwise maybe I should just pass it on.
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Post by Deleted on Nov 4, 2018 17:05:24 GMT
I'm not buying into that "sounds like real tube amp" any more! It's sounds like an amp that's not tube and that's fine but not for me! Maybe that expensive Kemper can get a tube amp tone but for that money I could get a fine tube amp  or several 2nd hand Bugera amps |
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Post by Deleted on Nov 4, 2018 17:43:19 GMT
Wonder what one of those tube filled preamps would sound like into it?  Then again I could get a little tube amp for close to that price. Why bother? |
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1,774 posts
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Post by MartinB on Nov 4, 2018 18:10:06 GMT
I'm not buying into that "sounds like real tube amp" any more! It's sounds like an amp that's not tube and that's fine but not for me! Maybe that expensive Kemper can get a tube amp tone but for that money I could get a fine tube amp or several 2nd hand Bugera amps If you need a physical amp a Kemper might be the extremely expensive ticket, you could get a fantastic combo or head+cab, I already had a pretty good gaming PC and a Focusrite interface, bought the guitar rig software and so far I’m very happy with it, I will probably buy a small practice amp for my room assuming the Laney sells. I think that for someone like me who’s extremely unlikely to ever play in a band computer emulation is a good solution. |
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Post by Deleted on Nov 4, 2018 19:10:15 GMT
Well, here's a thing. First, it was so nice to just plug back into my half tube Fender Champ 25SE again. Goodness that amp sounds lovely, hiss free and clear with a great reverb. So I played for a little while all clean and telecastery nice. Then I decided to plug into the second channel normally reserved for higher output humbuckers but, thinking about how this amp works with the tubes on the power amp rather than the pre amp, I decided to max out the master volume (just as they suggest with the Katana) to push the power amp valves as much as possible and then adjust my level using the preamp volume control. That was nice, bit more breakup. I always ignore the drive channel on this amp as there are better ways to get a headache. Then I remembered the little Behringer Mic500 tube preamp I bought earlier this month to use on vocal mics and which was still in its box.  Maybe I could play through that in some way. So I plugged the guitar in to it and then into the Fender Champ. There were loads of usable drive tones there as it has a ton of voices on it. It also has a limiter which acts like a compressor and I found a load of very drivey sounds that sustained well using that limiter. Then I wondered about putting the Behringer preamp into the fx loop. It was even better although the reverb acted in a strange way then. The limiter seemed to swallow then spit out the signal to the reverb so there was like a delay and then the reverb. It took a while to adjust the limiter so that didn't happen. Now I had the Fender's preamp eq before the Behringer, which has no tone controls of it's own except a bass cut and the various preset voices, and everything was very usable too. Just for fun I tried the Behringer straight in to the fx loop's return socket and, of course, this meant I was bypassing the Fender's preamp altogether but, unfortunately, also the reverb. It sounded a bit like plugging in to a hi fi and I had no eq options. Just goes to show what a nice clean sound Fender amps with 6L6s have though. Like mono hi fi. So this was all a very productive experiment and I now have a great overdrive tool which isn't a stomp box although I could put a loop switch stomp box in front of it to make it into one. I can see this being a very useful little gadget for recording though. Next will come an experiment using it on the Katana to see if that helps the feel and sounds from that amp. Think I'd better copy this post to the Behringer thread (and maybe the Fender Champ one too!). |
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Post by Deleted on Nov 4, 2018 22:12:01 GMT
Well I just tried the Behringer on the Katana and it was very interesting. With fewer chain choices it could only go in the front end so its overdrive/compression before the eq which is perhaps not ideal. It was more difficult to get the hiss down here but that was soon solved with the attenuation knob turned to 25watts. This sounded nothing like the Fender though. It did have very dynamic breakup, soft playing or guitar volume rolled off meant the sound remaining clean, up the level and the breakup came in. But it was a lot more edgy in sound. A bit new wave. I was able to get a great Watching The Detectives sound and also some angry crunch. Not metal, not really proggy but perhaps something Graham Coxon or Gaz Coombes would like.
It means I may now have two amps with two very different but usable characters rather than one a weak version of the other. Of course the Katana has a whole host of tone tweaking ability inside it and online so there may be a lot more it will do in this pairing. What is noticeable is that it has come alive in a jolly way and is no longer holding something back from me.
I need to do a lot more discovery with this amp plus I have my multi-fx pedals and many others to try in unison with Behringer and need to decide its position in the chain but it has made me rethink the critics of these 'valve inside' pedals who say they can't really work. I may look again at one or two valve overdrives.
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Post by Deleted on Nov 5, 2018 10:34:10 GMT
Interestingly for solid state amps that Bjorn Riis from the excellent source website Gilmourish.com says the following about overdrives into solid state amps:
"I usually recommend not to use a Big Muff on solid states or when you're playing at home with a low volume. It's hard getting a decent tone and you'll often end up with something that just sounds thin and fuzzy. The RAT is an extremely versatile distortion that sounds great in any setup. I would also stay away from using overdrives and boosters designed for tube amps, like the Tube Driver and Colorsound Power Boost. Often they will react just like the Big Muff. The Boss BD-2 and an Ibanez/Maxon Tube Screamer are versatile substitutes. You might also realize that you need to set the gain slightly higher than the typical tube amp setup."
His site's worth checking out for many things, not just for Gilmour tone hunters. That's the great thing about understanding a player's setup it can tell you everything you need to know to avoid getting close to their sound.
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Post by DerAlex on Nov 5, 2018 16:52:00 GMT
Wonder what one of those tube filled preamps would sound like into it? Then again I could get a little tube amp for close to that price. Why bother? I have that pedal and I think it is awesome. I don´t have a Katana and I want to go the IR route. At least that´s my tinker plan until christmas. This preamp pedal into an IR loader (e.g. Mooer Radar) and then into headphones or external active monitor. I changed tubes in my tube amp and now it hisses and I have to pay an expert to get that right again. I hate spending that money. So if the above scenario is successful it will mean to never buy a tube amp again (unless it is magically self-biasing and taking new tubes without the need for additional setup by an expert). |
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Post by Deleted on Nov 5, 2018 17:21:24 GMT
Thing is it's not designed like a pedal DerAlex so I can't just whack it on when I want distortion. It must be designed to be used more as you want to. Wonder if you have to bias these things too? If not, why not?! |
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