Yes, they still exist! After years of the common league of amp manufacturers primarily focus on the transfer of classic all-tube sounds in the smallest and lightest possible alternatives to the fat all-tube head, the astonishment was great, when I heaved the Sound City Master One Hundred in my studio. The packaging was like its contents, big, heavy, clunky, unwieldy, and contained everything the bulk of amp smiths try to avoid these days. Just unpacking it in itself required an appropriate amount of effort. I like the amp already ;-)
The British Sound Invasion
Sound City? Never heard of it! In fact, you must have left at least 60 behind to still remember this name. Also I have not personally held this amp label in my youth, however, I was always told by the next higher generation of a "Marshall For Pedestrians", which one "could take in a pinch". The company Sound City could not have been described more unqualifiedly, since it was one of the first representatives of the classic British rock sound, together with the companies Marshall, Vox and Hiwatt, at a time when the island was seen as THE navel of the world in terms of music.
In particular, the name Hiwatt is very strongly associated with the trademark Sound City, as founder Dave Reeves celebrated his big breakthrough with Hiwatt a few years later after the introduction of Sound City in the early / mid-sixties. Allegedly, the Sound City amps were easier to import to continental Europe, so that especially in Germany, the name was sometimes more present than the superfather Marshall. Scene greats like Pete Townsend, Marc Bolan and Jimi Hendrix were seen with the Sound City fullstacks, but in the end the commercial skill of Jim Marshall was probably the decisive factor for his omnipresence, which (still) continues to this day.
After Reeves had much more success with "Built-As-A-Tank" Hiwatt models than with Sound City, probably also due to several attitude characteristics, the brand disappeared from the scene for more than 40 years and survived only in the memories of today's grandfathers. Only in 2017, the brand was revived under the leadership of Neil Ostberg and amplifier jack-of-all-trades Steven Fryette, who is already with VHT and his current Fryette amps just in the high-gain area on everyone's lips, and strikes soundwise a diametrically different path than what you're used to from Fryette.
The concept of the Sound City Master One Hundred
Whoever sets out to reanimate a more or less legendary name always faces the same problems. On the one hand, the components of the time are only available in modified form, if at all, and on the other hand, sound and volume tastes have truly changed completely in over four decades. In addition, one fights with many competitors in terms of price, which have been able to gain some advantage in recent years through Asian manufacturing or at least a much stronger trademark.
Aware of this, Fryette relies on a combination of vintage feel, combined with its wealth of experience in terms of sound culture. However, this also means that the current Sound City Master One Hundred is likely to differ significantly from its forefathers in terms of sound, but not without waving the appropriate vintage flag. Let's be surprised.
The construction
The Sound City Master One Hundred is one of those amps that both bandmates and FOH mixers feel a mixture of weak knees and worry about the eternal volume discussion. If the guitar mate doesn't immediately get a load resistor out of his transport box, every experienced musician knows what's in store for a 100 watt all-tube head at the first power chord. A beaming face on the part of the guitarist and desperate shaking of the head on the part of everyone else present, seasoned with the words "it has to be like that, otherwise it won't sound". In the choice of tubes, Fryette has also departed from the usual pattern. For the generally lower gain demand of the amp, except for the phase inverter tube (12AT7A) in the preamp, the 12AX7A is used, which is designed to be less "hot" than the mass phenomenon 12AX7. In the output stage 4 pieces EL34 of the company Mullard are used, which enjoys a very good reputation straight in the boutique range.
Fortunately, the Sound City Master One Hundred is a master volume amp, where you can reduce the final volume while maintaining the same preamp distortion, and yes, the power amp saturation is actually within limits with this amp, as the later practical part will confirm. Interesting with this amp is indeed the combination of different elements, which one has divided for example at Marshall on different types. Sound City, for example, has opted for a combination of the vintage-style 4-input patch panel, which is usually only known from non-Master models. The famous patch cable for mixing the two input sensitivities plus the treble alignment is included.
Otherwise, the classic three-band tone control plus presence control, a blue LED and the standby / power switch pair prevail the classic vintage feeling, which is supported by the general appearance. Stylistically matching tolex, plastic binding and a massive carrying handle, everything as you would expect. Of course, this also applies to the rear panel, where only a somewhat unusual-looking, but very sensible impedance selection risks a second look. For the classic vintage layout, a single 16 Ohm output is offered. For fullstack operation (Mercy Us God ...) each 2 outputs which are switchable between 8 and 4 ohms. So any combination of single or 2 identical cabinets should be possible. Otherwise, there is a line out for daisy chain operation to another amplifier (Grace Us God ...) or the feed to a speaker simulation.
With a weight of 20 kg and the dimensions (HxWxD) 29 cm x 65 cm x 26 cm, the Sound City Master One Hundred is even relatively handy for its performance class, but this does not hide the general feel of an all-tube head.
The Sound City Master One Hundred in practice
Well then, what do we expect from an old-school bolide whose layout and sonic approach has been shifted back almost 5 decades? To say it in advance, you get what you see, that is, the amp sounds exactly as you expect it and at the highest level. But everything in order.
It should be clear to everyone that the Sound City Master One Hundred is not a high-gain amp. If you need a distortion beyond a decent lead in the style of a 2203 or 2204 from Marshall, please switch your favorite overdrive or distortion pedal in front of the amp. The amp works like almost all other colleagues of the guard Alltube Crunch Head quite excellent with additional pedals. So far, so good.
However, what pushes the amp right up into the elite of the Crunch league is the basic sound of the amp. Despite the very good vintage flair, both in the humbucker, as well as in the single coil area, the amp has a very unique sound, where you can recognize the signature of Steven Fryette in every stroke. The slightly throaty sound, always with concise high mids, revives the great hits of the sixties and seventies and effortlessly manages to hit the notch between Marshall on the one hand and Hiwatt on the other.
In addition, the amp hangs almost exemplary on the volume control of the guitar and allows even with the volume turned down wonderfully dynamic clean sounds, which can be seamlessly blended into fat crunch riffs. An amp created for the most classic of all sound approaches, in the form of clean and crunch sounds via volume control and an additional pedal for the lead sounds. Just great.
Yes, the amp is big, heavy, bulky and thanks to American manufacturing with about 2,300 € also quite expensive, but it embodies visually and tonally what has made rock'n'roll great. Lucky the one who still has the balls to play such an amp live!
Conclusion
With the Sound City Master One Hundred, an old trademark has been revived under the aegis of Steven Fryette. With new wine in old bottles, the VHT veteran manages to reanimate a Crunch brand of the upper class and create an alternative worth hearing to the big British names of Crunch.
Anyone who has the opportunity to experience a 100 watt all-tube amp in its entirety should definitely test this amp, if only to briefly experience what rock music once meant and why all guitar heroes are either dead or over 70 years old.
Additional informations:
- Sound City Amplifiers: A Legacy of British Sound
Sound City Amplifiers is a renowned British amplifier company known for its high-quality products and iconic sound. The company was founded in the 1960s in England, and it quickly gained a reputation as a manufacturer of premium amplifiers that produced a distinctively British sound. The Sound City brand has been used by many legendary artists, including The Beatles, The Who, and Pink Floyd, among others.
History of Sound City Amplifiers
Sound City Amplifiers was founded in 1967 by sound engineer and designer, Dave Reeves. Reeves had previously worked for Hiwatt Amplifiers, where he gained valuable experience in amplifier design and construction. He started Sound City Amplifiers with the aim of creating an amplifier that could deliver the kind of sound he had always dreamed of.
Reeves was a perfectionist, and he spent a lot of time experimenting with different components and circuit designs to create the perfect amplifier. He eventually settled on a design that featured four EL34 power tubes and a unique preamp circuit that gave the amplifier its distinctively British sound. The result was the Sound City 120, which quickly became a hit with musicians looking for a high-quality amplifier with a unique sound.
Over the years, Sound City Amplifiers continued to produce high-quality amplifiers that were renowned for their power, clarity, and tone. The company's products were used by many legendary artists, including The Beatles, The Who, Pink Floyd, and many others.
However, despite the popularity of its products, Sound City Amplifiers struggled to compete with larger companies such as Marshall and Fender, which had more extensive marketing and distribution networks. The company eventually went bankrupt in the 1980s, and its assets were sold off to other companies.
Legacy of Sound City Amplifiers
Despite the company's bankruptcy, the Sound City brand continued to be associated with high-quality amplifiers and British sound. The Sound City name was used by other companies to produce amplifiers that tried to replicate the original Sound City sound. However, many musicians believe that nothing can match the sound of the original Sound City amplifiers produced by Dave Reeves in the 1960s and 1970s.
Today, vintage Sound City amplifiers are highly sought after by musicians and collectors who appreciate their unique sound and historical significance. They are often used by musicians looking to recreate the sounds of the British rock bands of the 1960s and 1970s.
In recent years, the Sound City brand has been revived by a company called Sound City Amplification. This new company is dedicated to producing high-quality amplifiers that stay true to the original Sound City sound. The company produces a range of amplifiers, including the SC30 and SC40, which are designed to replicate the sound and feel of the original Sound City 120.
Conclusion
Sound City Amplifiers is a company that has had a significant impact on the music industry. The company's high-quality amplifiers and unique sound have influenced generations of musicians and continue to be appreciated today. While the original company may no longer exist, the Sound City name lives on through vintage amplifiers and a new generation of products that seek to capture the essence of the original Sound City sound.
- All About Tube Amplifiers:
The Warm and Vintage Sound of Full-Valve Amplifiers
Tube amplifiers, also known as valve amplifiers or "tube amps," have been a staple in the world of music since the early 20th century. These amplifiers are known for their warm and vintage sound, and they are popular with musicians and audiophiles alike. In this article, we'll take a closer look at tube amplifiers, including their history, how they work, and why they are still popular today.
History of Tube Amplifiers.
Tube amplifiers were first developed in the early 20th century, and they quickly became popular in radio broadcasting and public address systems. They were also used in early guitar amplifiers, and they played a key role in the development of electric guitar music in the 1940s and 1950s.
In the 1960s, tube amplifiers reached their peak of popularity, as they were used by many iconic guitarists, including Jimi Hendrix, Eric Clapton, and Jimmy Page. However, in the 1970s, solid-state amplifiers became more popular due to their smaller size, lower cost, and higher power output. As a result, tube amplifiers fell out of favor for a time.
In recent years, however, tube amplifiers have experienced a resurgence in popularity, as musicians and audiophiles have rediscovered their warm and vintage sound. Today, tube amplifiers are used in a wide range of music genres, including rock, blues, jazz, and more.
How Tube Amplifiers Work.
At their core, tube amplifiers are relatively simple devices. They consist of a power supply, a preamp, and a power amplifier. The power supply provides the high voltage needed to power the tubes, while the preamp amplifies the incoming signal from the instrument or audio source. The power amplifier then amplifies the signal further, and sends it to the speakers.
The key to the warm and vintage sound of tube amplifiers is the use of vacuum tubes, also known as valves. These tubes are made of glass or metal, and they contain electrodes that are heated by a filament. When the filament heats up, it causes the electrons inside the tube to move around, which creates an electrical signal. This signal is then amplified by the tubes, which add a unique character to the sound that is often described as warm, rich, and organic.
Advantages and Disadvantages of Tube Amplifiers
One of the main advantages of tube amplifiers is their warm and vintage sound, which is difficult to replicate with solid-state amplifiers. Tube amplifiers are also known for their smooth distortion, which is highly valued by guitarists who want to add a gritty edge to their sound.
However, tube amplifiers also have some disadvantages. They are generally more expensive than solid-state amplifiers, and they require more maintenance. The tubes need to be replaced periodically, and the amplifiers themselves can be quite heavy and bulky. They also tend to be less efficient than solid-state amplifiers, which means they may not be suitable for high-volume gigs.
Conclusion
In summary, tube amplifiers are an important part of the history of music and audio technology. They are known for their warm and vintage sound, and they are popular with musicians and audiophiles who value the unique character of tube amplifiers. While they may be more expensive and require more maintenance than solid-state amplifiers, the warm and organic sound of tube amplifiers makes them a popular choice for many music lovers.
Mittwoch, 22. Februar 2023
TEST: Sound City Master One Hunderd
Samstag, 18. Februar 2023
TEST: Two Notes Revolt Guitar Preamp
The desire to push one's personal sound more and more in the direction of miniaturization and thus to realize a sound as grown-up as possible with minimal means is the big topic of the last years. Even if the official all-tube heads still represent the measure of all things in terms of dynamics and compression, only a few musicians are still willing to take on the extra effort in transportability and only a few artists are able to pay a corresponding crew for such work with their live earnings. The French manufacturer Two Notes, known from the field of loudspeaker emulation, is therefore also preparing to launch a comparatively puristic preamp solution in the form of the Two Notes ReVolt Guitar Preamp, so that a maximum of high-quality sounds can be achieved with small dimensions.
The concept of the Two Notes ReVolt Guitar Preamp
The Two Notes ReVolt Guitar Preamp is an analog, three-channel preamp, which has 6 different sounds due to an additional boost circuit, which is activated by pressing the respective channel switch twice. Each of the three channels has its own gain / volume section, with the Clean channel having a two-band tone control, while the Crunch and Lead channels share a common three-band tone control. As always, Two Notes is not allowed to name the models of the three channels for trademark reasons, but judging by the pictograms we have once again the popular combination of Fender for Clean, Plexi for Crunch and Soldano for High Gain at the start. The preamp can be used in live as well as in home studio mode, since you can also go directly into the DAW via a balanced XLR out along with switchable speaker simulation. Sonically, the Two Notes ReVolt Guitar Preamp gets its gain from a 12AX7 tube, which is driven to 200 volts. For better signal management, the Two Notes ReVolt Guitar Preamp has MIDI In / Out, which, however, due to space constraints, have only been implemented in mini-jack. unfortunately, the product only comes with a corresponding adapter, i.e. for a fully comprehensive management, it requires the purchase of an additional adapter.
To operate the Two Notes ReVolt Guitar Preamp, an external 12V / 600 mA is required, which is included with the preamp. The preamp, manufactured in China, was placed in a very sturdy case, which is a mix of plastic and aluminum. The built-in preamp tube was placed under a transparent plastic window and is thus well protected from external influences. The activation of the boost circuit is visually signaled by an additional activation of a red light inside the tube window. The preamp stands on four soft rubber feet, which even on a glass plate still provide good protection against accidental slipping. To make the Two Notes ReVolt Guitar Preamp audible, there are no less than five different methods, each of which is a useful application in its own right.
1) Direct Recording to DAW: Using the built-in speaker simulation, you can play directly into the DAW via an appropriate interface. You can also deactivate the simulation via a mini-switch on the front of the cabinet if you prefer a different simulation.
2) Live via a DI box: The XLR output plus the speaker simulation is also used for this. However, you can only hear yourself via appropriate monitoring using wedges or in-ear systems. A switchable ground lift eliminates any ground loops.
3) As a preamp before or in the FX loop of the amp: You can switch the Two Notes ReVolt Guitar Preamp either before the clean channel of the amp or for greater neutrality in the return of the FX loop. Here, however, it is essential to make sure that the output level of the preamp and the input sensitivity of the amp match. The preamp also has an internal FX loop to place modulation or room effects at the right loop-in point.
4) As a headphone amplifier: You can practice silently via a mini-jack output on the front of the case. Conveniently, there is an AUX In, also in mini jack for feeding the playback directly next to it.
5) Using the 4 Cable method: A detailed description of this method follows this paragraph.
What is the 4 Cable Wiring? The 4 Cable Wiring is an extended wiring method, if you have a full preamp and an amp each with a serial FX loop available. In contrast to the "simple" wiring of a preamp, the switching before the preamp of the amp or the pure use of the output stage of the amp, with the 4 Cable Wiring method you can use one or more sounds set at the amp in addition to the 6 sounds of the Two Notes ReVolt Guitar Preamp. Especially when used in a MIDI context, as long as the amp and possibly external effects also have a MIDI interface, the sun rises here in terms of sound variety. To make the most of the system, the Two Notes ReVolt Guitar Preamp has a separate activation of the circuit, also to be operated via a mini-switch on the front of the housing.
To implement the 4 Cable Wiring, connect the instrument cable (or an appropriate transmitter) to the external preamp, then go via Out of the preamp to the return of the amp, further from the send of the amp to the return of the preamp and finally from the send of the preamp to the input of the amp. If you now deactivate the preamp and switch it to bypass, the amp can be played normally, but if you activate the preamp, only the amp's output stage is used. Provided you get the input and output levels perfectly balanced, you can add several channels of preamp to your amp at once. In other words, the preamp of the amp itself behaves like an FX pedal that you can turn on and off at will.
The Two Notes ReVolt Guitar Preamp in practice
To start with, I intentionally recorded all sound files with the internal speaker simulation only, as I believe this signal flow will be the primary application of the Two Notes ReVolt Guitar Preamp. While some users will certainly use a separate speaker simulator to improve the overall sound, just as some friends of the 4 cable method will be happy to have 6 additional channels, in the general "smaller, lighter, simpler" trend the pedal will definitely find its main application in the stand alone variant. First of all, it is noticeable that the preamp produces very little ambient noise, which can also be well controlled with the volume control of the guitar during breaks in the game. This is an even more important point, since the Two Notes ReVolt Guitar Preamp does not have a noise gate. Clean, the preamp convinces all along the line. The tuning is tasteful, the attempt to emulate a Fender clean channel succeeds over long distances. With increasing distortion, however, the Two Notes ReVolt Guitar Preamp's speaker simulation unfortunately also reveals the problem of the signal's lack of dynamics and the sometimes "dull" treble reproduction due to the lack of resolution. Like almost all speaker simulations that I have come across so far, this one is unfortunately only a simulation of what a regular miked speaker is capable of. There will certainly be many users who will use the argument of "doesn't stand out in the overall sound anyway" against the very good workmanship and the successful transportability, but in the A/B comparison, the microphone clearly comes out on top. The whole thing is confirmed, by the way, if you connect the Two Notes ReVolt Guitar Preamp to a high-quality all-tube head using the 4 cable method. In this case, the signal sounds much tastier, better in dynamics, and generally much higher quality. My personal recommendation would therefore be to use a very good single channel head, for example a 2203 or 2204 Marshall, whose basic sound you definitely want to use, and then blow it up to a seven channel using the Two Notes ReVolt Guitar Preamp. Warning, don't forget, some vintage marshalls don't have an FX loop!
Conclusion
With the Two Notes ReVolt Guitar Preamp, the French company has a very flexible tool in its portfolio, whose field of application is widely spread and very flexible. Even though the built-in speaker simulation doesn't quite convince me, the preamp in 4 cable wiring delivers a convincing performance, which especially turns a single channel into a multi-channel multifunctional tool. Highly recommended!
Additional informations:
- Two Notes Audio Engineering is a French company that specializes in designing and manufacturing high-quality hardware and software solutions for guitar and bass amplifiers. The company was founded in 2008 by Guillaume Pille and Rémy Nhep, two guitarists who were looking for a way to capture the sound of their favorite amps without the need for a large collection of physical equipment. One of Two Notes' most popular products is the Torpedo line of speaker simulators, which allow guitarists to plug their amplifiers directly into recording equipment or PA systems without the need for a physical speaker cabinet. The Torpedo line includes a variety of models, including the Torpedo Live, which is designed for live performance and includes a range of built-in effects, and the Torpedo Studio, which is designed for recording and includes a range of high-end features for capturing the perfect sound. In addition to the Torpedo line, Two Notes also offers a range of other products for guitar and bass players, including preamps, attenuators, and a range of software plugins for digital audio workstations. The company is known for its commitment to quality and innovation, and has won numerous awards for its products, including the Guitar World Platinum Award for the Torpedo Studio. Two Notes is also known for its dedication to customer support, with a team of experts available to assist customers with any questions or issues they may encounter with their products. The company also maintains an active online community, with forums and social media channels where guitarists can connect with each other and share tips and tricks for getting the most out of their Two Notes gear. Overall, Two Notes is a highly respected and innovative company in the guitar and bass amplifier space, with a commitment to quality and customer satisfaction that has helped it build a loyal following of musicians around the world. - Preamp pedals are a type of guitar effect pedal that simulates the sound of a tube preamplifier, typically found in high-end guitar amplifiers. These pedals are designed to provide guitarists with a versatile range of tonal options, allowing them to shape their sound to fit the specific needs of any musical situation. Preamp pedals are especially popular among players who prefer to use a clean or slightly overdriven tone, as they allow for greater control and flexibility over the sound of their guitar. One popular type of preamp pedal is the preamp floor effect pedal, which is designed to be used in conjunction with other effects pedals, such as overdrive, distortion, and modulation pedals. These pedals typically offer a range of tone-shaping options, such as EQ controls, gain settings, and various voicing options. They may also feature built-in effects like delay and reverb. One of the advantages of using a preamp floor effect pedal is that it allows guitarists to shape the tone of their guitar before it enters the signal chain of other effects pedals. This can be especially useful for players who use a lot of distortion or other high-gain effects, as it can help to prevent their tone from becoming muddy or overly saturated. Preamp floor effect pedals are also useful for players who need to switch between different guitar tones quickly and easily, as they allow for instant changes to the tone of the guitar without the need to adjust amp settings or swap out different pedals. This can be especially useful for live performance situations, where the ability to switch between different tones quickly and easily can be the difference between a great performance and a mediocre one. Overall, preamp floor effect pedals are an essential tool for guitarists who value versatility and control over their tone. They offer a range of tonal options that can be tailored to fit the specific needs of any musical situation, and are an essential part of any serious guitarist's rig.
- Preamp tubes, also known as preamp valves, are a type of vacuum tube used in guitar and bass amplifiers to amplify the guitar signal before it is sent to the power amp section of the amplifier. These tubes are an essential part of the amplifier's signal chain, as they are responsible for shaping the overall tone and character of the sound. Preamp tubes are typically found in the preamp section of the amplifier, which is where the guitar signal is first amplified and processed before being sent to the power amp section. These tubes are responsible for amplifying the signal to a level that is suitable for the power amp section, and they also shape the overall tone of the guitar by adding warmth, harmonics, and distortion.
There are several different types of preamp tubes available, each with its own unique characteristics and tonal qualities. Some of the most common types of preamp tubes include the 12AX7, 12AU7, and 12AT7 tubes. The 12AX7 tube is one of the most popular preamp tubes, known for its high gain and ability to add warmth and distortion to the guitar signal. The 12AU7 tube, on the other hand, is known for its lower gain and cleaner tone, making it a popular choice for jazz and clean playing styles.
One of the advantages of using preamp tubes in a guitar amplifier is their ability to add warmth and natural harmonics to the guitar sound. Unlike solid-state preamp circuits, which can sound sterile and lifeless, preamp tubes have a natural compression and saturation that adds depth and complexity to the guitar sound. However, preamp tubes do require regular maintenance and replacement, as they are subject to wear and tear over time. It is important to regularly check and replace preamp tubes when necessary to ensure the amplifier is operating at peak performance and producing the best possible sound.
Overall, preamp tubes are an essential part of any guitar or bass amplifier, and are responsible for shaping the overall tone and character of the sound. They offer a natural warmth and complexity that cannot be achieved with solid-state circuits, and are an essential component for guitarists looking to achieve a professional-quality sound.
Donnerstag, 16. Februar 2023
TEST: B.C.Rich Rich B Legacy Double Neck
The occasions when a broad smile spreads across my face while unpacking an instrument have become rare. The majority of all test instruments offer very good quality at sometimes extremely low prices, but sometimes disregard the famous show aspect, the "Punch and Judy", which makes the guitar sector so entertaining. All the nicer, when an instrument like the BC Rich B Legacy Double Neck with its 6-string / 12-string construction, which belongs to a proper "Punch and Judy show", almost immediately puts all the attributes on the tester's bread ;-)
The construction of the BC Rich B Legacy Double Neck
Few guitar manufacturers are as focused on the hard'n'heavy sector as B.C.Rich, founded by Bernardo Chavez Rico in 1969. Strictly speaking, the term "hard" can be left out of the stylistic repertoire, since the sometimes extremely unusual guitar shapes can be found almost exclusively in metal. Even if the resonance behavior of the manufacturer's higher-quality guitar lines in particular could certainly cover the entire spectrum of guitar music tonally, using a genuine BC Rich shape outside of bludgeoning, shredding and thrashing would, gallantly put, draw the undivided attention of colleagues and the audience.
Aside from the moderate body shape by BC Rich standards, the overall appearance of the instrument can simply be described as monstrous. Placing the instrument in a regular guitar stand? Completely impossible, which is why it also comes with a high-quality case to hand! It's obvious that a doubleneck in itself blows up the regular appearance, but what BC Rich adds in terms of circuitry extravaganzas finds its origin in the sound aesthetics of the eighties. In his time it was quite common to get out pretty much everything in terms of tonal variations, which offered passive pickups of his time and in the present instrument to a collection of a total of 13! Knobs, switches and mini switches. More on that later.
Even though the BC Rich Rich B Legacy Double Neck is available in two different finishes (Trans Red / White), the present transparent Cherry finish will probably create the strongest association with the forefather of all Doublenecks, the Gibson SG Doubleneck, which was the Jimmy Page showcase model for the live versions of "Stairway To Heaven". To be fair, it should also be mentioned that Don Felder also used a white version for the live performances of "Hotel California", probably an equal competitor in terms of hit potential.
In terms of design, however, the instruments are worlds apart, starting with the neck construction. Although also made of mahogany, the BC Rich has the more vibrationally favorable neck-through variant on both necks, whereby the necks are not parallel, but at an acute angle towards the body. An extravagant, albeit very sensible solution was implemented for the 12-string neck in terms of tuning machines. What may seem like an optical gimmick at first glance, in reality has a solid reason. We are talking about the placement of the octave tuners behind the one-piece bridge construction used on the necks and the associated 6 drill holes in the headstock of the neck.
On the one hand, the strings can be tuned much more relaxed, since the tuners do not sit so close to the headstock together. On the other hand, however, the BC Rich Rich B Legacy Double Neck is spared the head heaviness of the Gibson model, which constantly presses down in the musician's hand due to the 18 tuners and the huge headstock on the 12-string neck. A very successful detail.
The hardware
In the hardware area, light and shadow alternate. Extra praise goes to the built-in Super Rotomatic tuners from Grover, which on the one hand glide very smoothly over the synthetic bone saddle and with their "rod optics" also make a good visual impression. Also the BCR Quad bridge is in principle a showpiece in terms of mass and mechanics, if, yes, if there were not this buzzing on one of the high E-string of the 12-string neck.
What happened? Well, after some searching, I was able to find the problem in the contact pressure of the string on the rider. The angle from the rider to the suspension of the ball end on the bridge is so shallow that the resulting contact pressure does not push the string into the notch enough, causing it to strike and buzz in the notch. Although the B-string next to it has the same angle, even the minimally larger string diameter is enough to prevent buzzing. So it is really a matter of fractions of a millimeter.
You could prevent the buzz by raising the rider a bit, but that would be at the expense of string action, or you could attach a tiny piece of wood/metal to the top of the ball-end hole to make the string drop back at a slightly steeper angle. All in all, a fixable problem, but honestly, a 2 millimeter lower bore would prevent the problem from occurring in the first place.
The circuit options of the BC Rich B Legacy Double Neck
To put it in a nutshell, more tonal variety is hard to come by! Whether the extremely diverse sound yield can hold its own in practice is another matter, but the circuitry effort is impressive in any case. Let's start with the three large three-way switches of classic design. Besides the typical pickup circuit neck-both-bridge (2x), the third switch allows neck selection. There actually seems to be no proper 2-way switch for this range, because the built-in 3-way switch is, as with all other Doublenecks of this type with its circuit "both necks" completely counterproductive, because the forced swinging open second neck one tonally shatters the complete performance. Therefore always completely up or completely down with the switch. We continue with six knobs, three of which (Volume, Tone, Tone) are assigned to the six-string neck and three knobs (Volume, Tone, Tone) to the twelve-string neck. It really gets going with 3 mini switches that let the Seymour Duncan-designed HB-103 pickups rotate in phase as well as provide single-coil tone via coil tapping. To top it off, there's a 5-way filter circuit via rotary control, similar to what was used on the top models of Gibson's early ES series. I recommend every guitarist to come to band rehearsal an hour earlier than their colleagues and familiarize themselves with all the possibilities, or else you run the risk of being exposed to qualified comments in the style of "everything sounds the same anyway". P.S. The whole sound variety can only be worked out in clean or very, very marginal crunch. If you use high gain here, you can forget about almost all switches.
In practice
Those who are familiar with Doublenecks will know the effect at first contact. In direct comparison to my personal Doublenecks, the BC Rich Rich B Legacy Double Neck is still moderately in the middle in terms of weight, but this does not hide the fact that you are in fact strapping on two guitars at once. If you want to familiarize yourself with the situation, feel free to strap on two regular guitars at once and then try out your favorite moves on stage. The second challenge lies in the clean stringing of the octave strings of the upper neck, especially the accurate cutting of the same. If, for example, the cut ends of the E and A strings are still slightly protruding, you can easily get your right forearm latently perforated or scratched during the performance on the upper neck, something only for the true masochists among you. Before use, you now have the great pleasure of bringing 18 strings into the right tuning ratio. Especially on the 12-string neck, this can degenerate into a time-consuming action, since you can't avoid a certain degree of octave impurity due to the common tabs for each pair of strings. A good "well-tempered tuning" is called for. Now, if you tune the guitar as perfectly as possible, this shimmering sound does have its appeal, but mercy on you if even one string gets out of line. First we come to the dry dock, i.e. playing without a connected amplifier. Those who have been skeptical up to now will now be taught better. All of a sudden there it is, a sustain that is second to none. Of course, with the neck construction used, an excellent vibration behavior was expected from me, but what the oversized body throws again with its mass into the scale, is breathtaking. The vibration behavior of the instrument is overwhelming and compensates for everything that was initially slapped in front of you in terms of haptics. Almost endless tones without any deadnotes and that with a wooden construction, really impressive. Sound-wise, the BC Rich B Legacy Double Neck offers everything you would expect from a guitar of this series. The resonance is excellent, the pickups adequate, the playability good. A clear candidate for a "Very Good" rating, were it not for the faulty E-string suspension on the 12-string bridge, which for me means a point deduction.
Conclusion
With the BC Rich Rich B Legacy Double Neck, the American masters of optical provocation have struck properly. The classic 6/12 neck combination allows for an extremely wide range of sounds and offers far more than just the possibility of performing "Stairway To Heaven" and "Hotel California" live. If you need the combination of a shimmering clean 12-string and a classic 6-string rock'n'roll guitar within a song, or just want to really pull off the leather visually for once, you should definitely check this guitar out. P.S. Don't forget your gym subscription ;-)
Additional informations:
B.C. Rich Guitars: A Comprehensive Guide
B.C. Rich is a guitar brand that has been around for more than five decades. The company was founded by Bernardo Chavez Rico in 1969 in Los Angeles, California. B.C. Rich guitars are known for their unique designs, high-quality craftsmanship, and their association with heavy metal music.
History
B.C. Rich started out as a custom guitar shop that specialized in creating unique and high-quality instruments. The founder, Bernardo Chavez Rico, had a passion for building guitars and his creations quickly gained a following among local musicians. As the demand for his guitars grew, B.C. Rich began to expand its operations and started producing guitars on a larger scale. The first B.C. Rich guitar was the Seagull, which was released in 1972. The Seagull was an innovative design that featured a distinctive body shape, known as the "Bich" shape, which quickly became synonymous with the B.C. Rich brand. Throughout the 1970s, B.C. Rich continued to release new models, including the Mockingbird, Eagle, and Warlock. These guitars were not only unique in their design, but also featured high-quality components and construction. They quickly became popular among heavy metal musicians, who appreciated their aggressive sound and striking appearance. In the 1980s, B.C. Rich guitars continued to gain popularity, and the brand became even more closely associated with heavy metal music. Musicians like Kerry King of Slayer, Slash of Guns N' Roses, and Chuck Schuldiner of Death all played B.C. Rich guitars, which helped to cement the brand's reputation as a favorite of metal musicians. In the 1990s, B.C. Rich experienced some financial difficulties and went through a series of ownership changes. However, the brand continued to produce high-quality guitars, and by the early 2000s, it had regained its reputation as a leader in the heavy metal guitar market.
Design and Construction
One of the most distinctive features of B.C. Rich guitars is their unique and often radical body shapes. These designs are not just for show, however; they are intended to improve the guitar's playability and sound. For example, the Bich shape was originally designed to make the guitar more comfortable to play while sitting down. The Warlock shape was designed to improve the guitar's balance and make it easier to play while standing up. And the Mockingbird shape was designed to give the guitar a fuller, more resonant sound. In addition to their innovative body shapes, B.C. Rich guitars are also known for their high-quality construction. The company uses only the best materials, including mahogany, maple, and ebony, and all guitars are built by skilled craftsmen who pay close attention to every detail. B.C. Rich guitars also feature high-quality hardware, including locking tuners, Floyd Rose tremolos, and DiMarzio pickups. These components help to ensure that the guitars stay in tune, have excellent sustain, and deliver a powerful, aggressive tone.
Sonntag, 12. Februar 2023
TEST: Adam Sub10 Mk2
I don't have exact figures, but I'm quite sure that the subwoofer / satellite constellation is the predominant composition in budget studios, probably even in professional studios. The arguments of the proponents of direct radiating systems and the woofer friends are endless and will probably never really be decided. But they probably don't have to be, since everyone has their own opinion regarding space, weight, price, control room dimensions and dispersion below 300 Hz. For the subwoofer advocates, the Berlin company Adam Audio has a professional subwoofer called Adam Sub10 Mk2 on offer, which contrary to expectations is not made in China, but in Germany. I presume to award a plus point for this fact alone in the run-up to the test due to the current economic and political situation.
The concept of the Adam Sub10 Mk2
To introduce the Berlin company Adam Audio would mean carrying owls to Athens. The company has already been working in the high-end area of loudspeaker manufacturing for 23 years and is mentioned in the same breath as the other big names in the industry, especially due to the development of their X-ART tweeter, which is based on the principle of air motion tweeter technology. Today's test, however, will focus on the diametrically aligned frequency range, the bass frequencies. These are always a challenge due to the significantly increased demands in terms of performance and dispersion / directional behavior, especially when it comes to smaller control rooms. To say it up front, if you have a typical home recording control room of 10 - 15 sqm, you can skip this test with a clear conscience, as the performance data of the Adam Sub10 Mk2 is designed for larger rooms. In order to be able to seriously evaluate the waveforms in the bass range, you need at least a medium sized control room in terms of dimensions, and in terms of square meters, you are welcome to go up.
Although the power of 200 watts RMS is still within the "normal" range for a home recording studio, the dimensions of (W x H x D): 300 mm x 550 mm x 400 mm and the weight of 21 kg clearly indicate the targeted clientele, which is concluded in a retail price of 1,149, - €. The workmanship of the Adam Sub10 Mk2 is outstanding, even when looking very closely at the details in terms of paint or fitting accuracy, not even the smallest impurity can be detected.
The first impression of the Adam Sub10 Mk2
When you look at the Adam Sub10 Mk2 for the first time after unpacking, you'll notice two things that set it apart from the competition. First of all, there is the 10 inch speaker, which stands out with a very large dome and an expansive and voluminous surround. In addition, the diaphragm is very tightly suspended, which is guaranteed to be reflected in the impulse behavior. The second unusual point are the very high feet of the system, which after all have a height of 6 cm. However, another look at the bottom explains this unusual elevation of the cabinet. The bass reflex port is indeed located at the bottom of the enclosure and, as expected, requires a minimum of air circulation to intervene meaningfully in the frequency spectrum. In terms of appearance, the reflex port offers a comparison to a trumpet, especially since the reflex tube extends very deep into the cabinet. The scope of delivery also includes four stick-on, softer felt gliders, which give the comparatively hard designed feet a softer touch and provide protection on harder floors. Furthermore, the Adam Sub10 Mk2 comes with a power cord upon delivery. The front of the Adam Sub10 Mk2 contains two LEDs, which inform about the operating status (On / Standby). Should the woofer ever become overloaded, the lower standby LED will flash red.
The back of the Adam Sub10 Mk2
All the control and switching functions of the Adam Sub10 Mk2 have been placed on the back of the cabinet. Interestingly, despite the professional orientation of the product, the budget department was not disregarded. In addition to the two left / right inputs and the two satellite outs, both of which are designed as standard in XLR lockable, both connections are also available in RCA, perhaps to be able to sound the local party cellar if necessary. Via an electronically buffered Sub Out, which receives the input signal unchanged, several woofers can be connected in series in the daisy chain principle to provide adequate sound even in larger rooms. Two additional rotary controls calibrate the volume of the Adam Sub10 Mk2 and the crossover frequency to the satellites. The volume control passes the signal at 0 dB 1:1 to the power amplifier and allows a regulation from -60 dB to +6 dB. The crossover frequency is continuously adjustable from 50 - 150 Hz, while the woofer response is specified at 25 - 150 Hz.
Three additional push switches allow further adjustments:
- Mode: this switch sets whether the woofer turns off after 15 minutes without an applied signal, or whether it stays on all the time. Due to power saving, the signal - on mode is recommended.
- Satellite Filter: Here you can set whether the satellites are operated flat without bass limiting, or whether a high-pass filter is set at 85 Hz. My personal experience speaks in favor of setting a high-pass filter, since the satellites work much more relaxed in this case due to the lower bass load.
- Subwoofer Phase: Probably the most important switch on any subwoofer. It is well known that the calibration of the subwoofer and its positioning is decisive for the sound and must be carried out meticulously in any case. Exact instructions can be found on the web in abundance, so I will spare myself a further explanation of what is to be considered in the positioning of a woofer. Said switch enables the 180 degree phase rotation, with which one can already effect quite a bit with the correct positioning. As you can see, the Adam Sub10 Mk2 is very clearly structured, which makes it much more difficult to operate it incorrectly. Regarding the crossover frequencies and the positioning of the woofer in the room, I recommend not only to consult the commercially available hardware or software solutions, but also to find the optimal point for the placement of the woofer with very simple solutions like walking around the room. Only from the notorious placement in the corner (each wall increases the sound pressure of the woofer by about 6 dB, that is, a placement in the corner increases the sound pressure by 18 dB) I can only advise against. Even if the first listening impression sometimes seems very voluminous, the precision of the sound usually suffers immensely.
In practice
According to Adam Audio, the Adam Sub10 Mk2 needs a few days of operation to settle in. So if the system sounds a bit "brittle" or "stiff" during initial operation, this is normal. Especially woofers have to be built extremely torsionally stiff in order to be able to counteract the occurring forces, which can lead to a latent "hard" sound at the beginning, but this will disappear with time. Already at the first notes the class of the Adam Sub10 Mk2 becomes apparent. Before I even started setting up the woofer, the system convinces with an incredibly finely defined basic sound, which should not change until the end of the test operation. The system sounds very voluminous and yet tight, so that even the low bass range below 50 Hz is still reproduced very cleanly and accentuated. This definition is maintained even at high volumes, so you wouldn't want to change much at first. Adam Audio, however, goes one better, as long as you have found the optimal transfer point to the satellites, especially with the help of the high-pass filter. However, you should also perfectly match the setup of the satellites here, otherwise phase problems can occur. But once this area has been clarified, the Adam Sub10 Mk2 really convinces in all points. Even with a very critical approach, I couldn't find a weak point in the system, which ultimately has to lead to the highest score. A really recorded studio subwoofer!
Conclusion
With the Adam Sub10 Mk2, the Berlin manufacturer carries an outstanding studio subwoofer in its portfolio. The system convinces all along the line with a very defined and voluminous sound, very good workmanship and a practical concept that covers all important points of operation. Who is looking for a very good sounding woofer from German manufacturing for medium to large control rooms, should definitely test the Adam Sub10 Mk2 once!
Additional Informations:
- Adam Audio is a German company that specializes in designing and manufacturing high-end studio monitors and loudspeakers for professional audio applications. The company was founded in 1999 by Klaus Heinz and Roland Stenz, who were previously involved in designing loudspeakers for other well-known audio companies. Adam Audio's product range includes active and passive studio monitors, subwoofers, and other audio accessories. Their products are known for their high-quality sound and precision, and are widely used in recording studios, mastering facilities, and broadcast facilities around the world. One of the key features of Adam Audio's monitors is their unique Accelerating Ribbon Technology (ART), which uses a folded ribbon tweeter to provide a high-frequency response that is both accurate and detailed. This technology is used in many of Adam Audio's products, including the flagship S-Series monitors. Adam Audio also places a strong emphasis on the design and construction of their products, with many of their speakers featuring proprietary drivers and advanced cabinet designs. In addition, the company uses advanced measurement techniques and computer modeling to ensure that their products have a flat frequency response and accurate sound reproduction. In recent years, Adam Audio has expanded its product range to include a range of affordable studio monitors, such as the T-Series and the entry-level SP-5 headphones. Despite this, the company has continued to maintain its focus on high-quality audio performance, and its products are used by many of the world's top audio professionals. Overall, Adam Audio is a well-respected brand in the professional audio industry, known for its high-quality products, innovative technology, and commitment to sound quality.
- A subwoofer is a type of loudspeaker that is designed to reproduce low-frequency sounds, typically in the range of 20 to 200 Hz. These sounds are often felt as much as heard, and can add depth and impact to music, movies, and other audio content.
The primary way that a subwoofer works is by using a large driver, typically between 8 and 18 inches in diameter, that is specifically designed to move large volumes of air at low frequencies. This driver is mounted in a specialized enclosure, or cabinet, that is designed to optimize the subwoofer's performance by controlling the movement of the air and minimizing distortion.
When a subwoofer receives an audio signal, the driver begins to move back and forth in response to the electrical signal. As the driver moves back and forth, it causes the air inside the cabinet to move as well, creating sound waves that radiate out into the room. Because the driver is designed to move a large volume of air, it is able to reproduce the low-frequency sounds that other speakers may not be able to handle, such as deep bass notes in music or rumbling sound effects in movies.
One of the key challenges in designing a subwoofer is controlling distortion. Because low-frequency sounds require a lot of energy to produce, it is easy for the driver to become overworked and produce distortion, which can result in a muddy or unclear sound. To combat this, subwoofers often use advanced technologies such as high-quality drivers, specialized enclosures, and advanced signal processing to minimize distortion and produce clean, accurate sound.
In addition to providing low-frequency sound, a subwoofer can also help to improve the overall sound quality of an audio system by taking some of the burden off of other speakers. By handling the low-frequency sounds, a subwoofer can allow other speakers in the system to focus on reproducing midrange and high-frequency sounds, which can result in a more balanced and natural sound.
Overall, subwoofers are an important component of many audio systems, particularly in settings such as home theaters and music studios where accurate, high-quality sound is essential. By reproducing low-frequency sounds with accuracy and power, subwoofers can help to create a more immersive and engaging audio experience.
Sonntag, 5. Februar 2023
TEST: GYRAF AUDIO G23-S
Sonntag, 1. Januar 2023
TEST: ART VOICE CHANNEL
Sometimes you get the impression that the studio industry is also moving more and more in the direction of fashion boutiques when it comes to product selection. There is hardly a new product in the outgear or monitor sector where you don't have the feeling that the MK II version will arrive just 365 days later and immediately devalue the first edition by a full percentage. But they still exist, the products that have been in constant studio use for years and whose basic design was created so close to practice that there would be nothing to change in the conception except for tiny details that would not cause a change in either appearance or function. One of these products is the ART Voice Channel, which, as a Channel Strip, combines the most important components for a vocal recording in one device.
The construction of the ART Voice Channel
The ART Voice Channel is a 2 U channel strip, which not only contains almost all common control options of a strip, but also has an extensive connection periphery on the back of the housing, in addition to the fact that it has a Class A tube circuit.
The first haptic impression of the Chinese-made product is very good. With a weight of almost 5 kg, the ART Voice Channel leaves quite a massive impression, which conveys a long life. The product does not come with any rubber feet for stand-alone operation, as the manufacturer has focused exclusively on rack operation. All knobs, switches and pushbuttons run pleasantly smoothly, which immensely supports sensitive control. The individual control options of the ART Voice Channel are as follows:
1.) Input jack / Preamp:
Both on the front, as well as on the back is an XLR / TRS input combo jack, which is very helpful especially in rack operation. The control range of the preamplification in the microphone range is 0 dB to +60 dB, in the high-impedance range +3 dB to +40 dB. With this, pretty much all microphone types up to the low-power ribbon microphones can be covered well. For very powerful signals a PAD switch is available. In addition, there are the standards such as phase shifter, phono power and a low cut. Below these pushbuttons is the first special feature of the ART Voice Channel, which is especially useful for dynamic microphones.
The input impedance of the channel can be tuned continuously (!) from 150 to 3 kOhm, which has a massive effect on the sound of the microphone. An impedance selector in itself is not a great feature, but I have actually never seen a continuously tunable input range on a 19 inch outgear product before.
2nd) Compressor / De-Esser:
The compressor section has the rule standards attack time (250 uSec to 100 mSec), release time (100 mSec to 3 sec), threshold (-40 dB to +20 dB) and a ratio of 1:1 (off) all the way up to 20:1. The de-esser can be adjusted by sibilance all the way up to -20 dB, with a stepless frequency selection from 2.5 kHz up to 15 kHz.
3.) Expander / Gate:
Above the compressor / de-esser function is an optical LED indicator, which informs about the audio signal of the optional expander or gate circuit to be activated. A push button selects the function, the Threshold control adjusts the degree of processing (up to +20 dB).
4) Tube Voltage:
As already mentioned, the ART Voice Channel has a 12AX7 tube in the signal path, which allows for significant saturation depending on the control. To vary the sound even more, the tube voltage can be switched between "Normal" and "High" via a push button switch. But beware, the tube needs a few seconds to change its voltage state, so don't be surprised if the sound doesn't change immediately after switching.
5) EQ:
Indeed, the EQ section of the ART Voice Channel also comes very extensive. Besides a bass control (optional 50 Hz / 150 Hz) and a treble control (optional 5 kHz / 15 kHz), the product offers 2 semi-parametric mid bands, which work like the shelving EQs +/- 12 dB and are tunable from 100 Hz to 3 kHz, respetive 500 Hz to 15 kHz. In addition, you can choose whether the EQ should run post or pre compressor. With a bypass switch, the EQ is completely removed from the signal path if necessary.
The Master section displays the output level via a large VU meter and an LED chain, while the Master Volume control boosts the signal from minus infinity to +20 dB. The listing of tools alone gives an idea of how much you can actually work out with the ART Voice Channel in terms of sonic versatility.
If you think that's it, you haven't seen the back of the ART Voice Channel yet. The sample rate selector switch gives an idea of what the product has in store, especially in the digital area. On the one hand, the microphone preamp can be tapped separately in the analog area and the signal can be further modulated via an FX loop using a Y-cable. But the ART Voice Channel can really shine with its digital connections, as there are:
- Sample rates from 44.1 - 192 kHz
- ADAT
- S/PDIF optical and coaxial
- AES/EBU and USB
- word clock I/O
In addition, there are two A/D loop-in paths and two analog, balanced outputs in the form of XLR and TRS. If you now once again recall the retail price of comparatively only 666, - €, the ART Voice Channel already offers a very good price / performance ratio from the equipment alone.
For the numbers nerds, here are a few more measured values:
Frequency Response:
- Analog In to Analog Out: 12 Hz to 100 KHz +0, -1 dB
- Analog In to Digital Out: 12 Hz to 20 KHz +0, -1 dB @ 44.1 KHz sample rate - 16 Hz to 42 KHz +0, -1 dB @ 96 KHz
- THD: 1 KHz < .015% typical - 20 to 20 KHz < .033% typical
Equivalent Input Noise:
Mic/Line: -130 dBu, Input shorted, Max gain, "A" weighted.
Instrument: -105 dBu, Input shorted, Max gain, "A" weighted
The ART Voice Channel in practice
Personally, I have always been a big fan of self-explanatory front panels. The counter-productive around-the-corner thinking of some manufacturers never had anything to do with cult for me, but mostly with bad product development. I was all the more pleased with the interface of the ART Voice Channel, because you really didn't have to think or ponder once before you could start working.
Accordingly, it was quick and easy to find the sound that I had already worked out in my head. All the controls did exactly what their labels said they would do, but with varying degrees of intensity. In general, one can attest the ART Voice Channel a slightly coloring character, which is far away from products based on a pure tube circuit. However, the product also has a discreetly condensing character in the complete standby circuit, which, however, does not affect the sound quality.
In addition to a well and simply functioning compressor, 2 points in particular struck me sonically. On the one hand, the EQ offers a good, but not very spectacular sound overall, despite the extensive control options. The entire control range is rather discreet according to its field of application, but in my opinion the ultimate "fine" is missing, which offers the next higher league. Please do not misunderstand, the ART Voice Channel sounds really good for the mentioned retail price, just not spectacular.
What convinced me, however, is the High Voltage circuit, which indeed not only brings the additional expected compression with it, but adds more foundation to the vocal sound. The sound is properly "thickened" and gains massive assertiveness, which will probably also prevail in the mastering massacre of many rock and metal productions.
Overall, the ART Voice Channel must be given a very good rating, especially when it comes to the all-in-one solution. Especially ambitious project studios should benefit from the extensive detailed solutions, especially when it comes to the least possible "conversion path" within the signal flow.
Conclusion
With the ART Voice Channel, the manufacturer introduces an inexpensive, all-around successful channel strip in its portfolio, which is not without reason considered one of the company's biggest revenue generators. With a clear structure, good workmanship, interesting detailed solutions and an extensive digital management, ART offers a multifunctional tool that primarily prepares and optimizes vocals, but also other recordings for recording within a short time.
Tags:
Gitarre Bass Recording Homerecording Studio Homestudio Aufnahme Mikrofon Mikrofone Lautsprecher Kabel Mixing Konsole EQ Kompressor Kompander Limiter Reverb Hall Raum Plattenhall Schallschutz Absorption Monitor Zoll Mixingdesk Drums Tom Toms Standtom Hängetom Cabinet 412 212 112 Transistor Röhren Transistoramp Röhrenamp Buchse Höhenregler Mittenregler Bassregler Housing Röhrenspannung Ausgangsleistung 100Watt 50Watt 20Watt 10Watt 5Watt 1Watt Stativ Stative Mikrofonstativ Mikrofonstative Dämmung Dämmungsmaterial 1Zoll 5Zoll 10Zoll 8Zoll 12Zoll 15Zoll 18Zoll PublicAddress PA Hochtöner Mitteltöner Tieftöner RCAStecker XLRStecker Klinkenstecker TRSStecker aktiv passiv Line Array SymmetrischesKabel unsymmetrischesKabel Instrumentenkabel Lautsprecherkabel Netzteil Floorboard Flanger Phaser Delay Echo Gain Highgainsound Crunchsound Cleansound Octaver Transmitter Funkstrecke Empfänger MHz GHz iPhone Samsung Fender Ginson BCRich Kramer Schecter Fame Framus Warwick Loxx Zaorfurniture Soundperformancelab König und Meyer Gravity Stands Hercules Heilmikrofone Shure Electrovoice Sennheiser Großmembranmikrofon dynamischesmikrofon bändchenmikrofon Keyboards masterkeyboards synthesizer digitalpiano stagepiano Flügel Klaviere Klavier digitalpianos stagepianos elektronischeorgel elektronischeorgeln sakraleorgel sakraleorgeln akkordeon akkordeone keyboardverstärker e-gitarre e-gitarren Westerngitarre Westerngitarren Konzertgitarre Konzertgitarren E-Bass E-Bässe AkustischerBass AkustischeBässe HalbakustischerBass HalbakustischeBässe Ukelele Ukelelen Mandoline Mandolinen Travelgitarre Travelgitarren Saiteninstrumente E-Gitarren-Verstärker Bass-Verstärker Akustikgitarrenverstärker Saiten Gitarrensaiten Basssaiten Mandolinensaiten Saz Sazsaiten Geige Geigen Geigensaiten Bratsche Bratschen Bratschensaiten Viola Cello Celli Cellisaiten Kontrabass Kontrabässe Kontrabasssaiten Trompete Trompeten Posaune Posaunen Saxophon Saxophone Tenorsaxophon Tenorsaxophone Sopransaxophon Sopransaxophone Baritonsaxophon Baritonsaxophons Verzerrer Looper Röhrenverzerrer Transistorverzerrer Equalizer Stompboxen Stimmgeräte Tuner Patchkabel Palmer ISP Dunlop Darkglass Maestro Revv MXR Wampler Behringer Boss Electr Harmonix Warm Audio Harney Benton Friedman Jojo Soldano Rodenberg Maxon Strymon Digitech Crazy Tube JHS Vertex Yamaha Roland Startone Korg Ketron ESP LTD Epiphone PRS Pensa Jackson Music Man Gretsch Kick Snare Beyerdynamic LDsystems Reverb Sound Absorption Monitor Inch Mixingdesk Drums Tom Toms Standtom Hanging Tom Cabinet Tubes Transistor Amp Tube Amp Jack Treble Controller Center control Housing Tube voltage Output power Stand Microphone stand Microphone stand Damping Damping material 1inch 5inch 10inch 8inch 12inch 15inch 18inch PublicAddress PA Tweeter Midrange Woofer RCA plug XLR plug TRS plug active passive Line Array balancedcable unbalancedcable instrumentcable speakercable power supply floorboard flanger phaser delay echo gain highgainsound crunchsound cleansound octaver transmitter radio link receiver large diaphragm microphone dynamic microphone ribbon microphone keyboards masterkeyboards synthesizer digitalpiano stagepiano grand pianos electronicorgans electronicorgans sacralorgans sacralorgans accordion accordions keyboardamplifier e- guitar electric guitars acoustic guitars acoustic guitars concert guitars electric bass electric basses acousticbass acousticbass semi-acousticbass semi-acousticbass ukelele ukelele mandolin mandolins travelguitar travelguitars stringed instruments electric guitar amplifiers bass- Amplifier Acoustic guitar amplifier Strings Guitar strings Bass strings Mandolin strings Saz Saz strings Violins Violin strings Viola Violas Viola strings Viola Cello Celli Celli strings Double bass Double bass strings Trumpet Trumpets Trombone Trombones Saxophone Saxophones Tenor saxophone Tenor saxophones Soprano saxophone SopranoSaxophone BaritoneSaxophone Distortion Looper TubeDistortion TransistorDistortion Equalizer Stompboxes Tuners Patch Cables
Sonntag, 29. Mai 2022
#Repost @gravediggerband with @make_repost ・・・ GRAVE DIGGER Live...
#Repost @gravediggerband with @make_repost
・・・
GRAVE DIGGER Live ‘22 …
https://www.instagram.com/p/CeJ91NHrWX4/?igshid=NGJjMDIxMWI=
via Tumblr https://axelritt.tumblr.com/post/685618601931177984