Attenuators

[lawson-stone]

When you play chords lightly, the breakup sounds really good in this setup, like towards the very end. I guess dynamics become something to experiment with when playing on the verge of breakup. Amp becomes another expressive dimension like blues/soul singers' voice getting hoarse when they sing louder. I could hear you were interacting with the amp that way at times. I would overdrive the amp a bit less normally for that effect however.

I should maybe try that amp again less cranked, more in the zone I like to play in.

[lawson-stone]

One other odd thing I"ve learned about the Bugera PS-1. If you record from the XLR out, the right-hand knob does NOT control the output level. That knob only controls the 1/4" line out, which is evidently flat, no cabinet emulation. The "big" knob that controls the level of an attached speaker DOES control the output of the XLR. So if you want to record from the XLR, you have to live with whatever volume the attached speaker generates at the level you set the knob to for the best recording level. Or, of course, use no speaker attached to the PS-1 and monitor with headphones from whatever you use to record.

I found this curious, though. I expected the right knob, the line level knob, to control the level for both of the output lines.

[Tal_175]

One other odd thing I"ve learned about the Bugera PS-1. If you record from the XLR out, the right-hand knob does NOT control the output level. That knob only controls the 1/4" line out, which is evidently flat, no cabinet emulation. The "big" knob that controls the level of an attached speaker DOES control the output of the XLR. So if you want to record from the XLR, you have to live with whatever volume the attached speaker generates at the level you set the knob to for the best recording level. Or, of course, use no speaker attached to the PS-1 and monitor with headphones from whatever you use to record.

I found this curious, though. I expected the right knob, the line level knob, to control the level for both of the output lines.

Yeah, as you said, line out has no cab simulation (for those who record using their own IR simulator software). XLR out has cab simulation. They are both meant to either go into a recording interface or into the mixing board of a venue for live performance. As to why line out has separate volume control but XLR does not, I have no idea. It's not a show stopper but I'm also curious to find out why that is.

[lawson-stone]

Yeah, as you said, line out has no cab simulation (for those who record using their own IR simulator software). XLR out has cab simulation. They are both meant to either go into a recording interface or into the mixing board of a venue for live performance. As to why line out has separate volume control but XLR does not, I have no idea. It's not a show stopper but I'm also curious to find out why that is.

XLR level is controlled with the big knob, the same one controlling the speaker output. That's odd because of course you can't turn the speaker way down and record at a "hotter" level. It's no big deal. When I record from the XLR, I don't use the speaker but monitor with headphones from the A/D unit.

[gggomez]

XLR level is controlled with the big knob, the same one controlling the speaker output. That's odd because of course you can't turn the speaker way down and record at a "hotter" level. It's no big deal. When I record from the XLR, I don't use the speaker but monitor with headphones from the A/D unit.

Thank you Lawson for taking the time to demo this set up am thinking of going this route.

I have not been around here for a while your playing is sounding fab, (yeah I see this recording was a while ago I heard your post recently on stalk book es175 group too, that was really good). Great to see you achieve a return for the time you are clearly putting in.

[Average Joe]

Do you think that going with an attenuator on a non-master volume amp is a more dynamic sound than setting the preamp drive on a master volume amp up to edge of breakup sounds?
I do the latter with a Mesa 5:25 and rather like the result. otoh I have no experience with attenuators

[lawson-stone]

Thank you Lawson for taking the time to demo this set up am thinking of going this route.

I have not been around here for a while your playing is sounding fab, (yeah I see this recording was a while ago I heard your post recently on stalk book es175 group too, that was really good). Great to see you achieve a return for the time you are clearly putting in.

Hey thanks for that. I use the attenuator mainly or almost exclusively with the Princeton Reverb Re-issue. I see no difference between it and mic'ing the cabinet. Somewhat of a hassle to set it up, but it's easy work from then on.

[bluejaybill]

Do you think that going with an attenuator on a non-master volume amp is a more dynamic sound than setting the preamp drive on a master volume amp up to edge of breakup sounds?
I do the latter with a Mesa 5:25 and rather like the result. otoh I have no experience with attenuators

It totally depends on what amp and what sound you like.

I use a Fryette Power Station 2 for this with non-master volume vintage Marshall, Vox and Fender amps. It's great for getting to the "edge of breakup" sound on those amps, or further. An old Vox in particular wound up sounds great, almost like a Dumble. Whether or not this is preferable to a master volume amp is totally subjective.

It can also be used for getting a clean tube amp into the "zone" where it really starts to sound full. Then you can set the overall volume with the PS2. This is the most useful for me in a jazz setting and for practice.

It also has a line out and an effects loop, so overall a useful tool especially for recording.

And lastly it can take a small amp and raise the overall volume if needed. So you can have a 50 watt (they make a 100 as well) tweed Deluxe if you like.