-
Originally Posted by andreshum
i find these things really tough to judge. My sound is consistently brighter than I think to judge from live recordings
certainly too much detailed top end can be disconcerting while playing ….
-
06-18-2022 01:35 PM
-
I just ordered one from Sweetwater for $10. I use my Blu 6 and Little Jazz as a stereo pair with my synthesizer and keyboards. So I can play with them both next time I'm on keys at a larger venue, which will be July 8 at World Cafe Live with the Dukes of Destiny. And we'll see if it's the exact same one (or at least as good) as the $30 Henriksen. I don't know whether to hope that it is, in which case I'll have 2 good ones but could have saved $20, or that it's not. Of course, if it's a flimsy wannabe, I'll have wasted $10.
Oy - the pressure!!!
Last edited by nevershouldhavesoldit; 06-18-2022 at 03:40 PM.
-
Originally Posted by Christian Miller
Oddly, usually when I record a guitar amp it sounds a bit darker.
-
To my ears, there is less bass when the amp is tilted, and the more tilt, the less bass. But that isn't necessarily a bad thing. The Little Jazz has more then enough bass for me, and I tend to roll the bass of just a little. Some players seem to like to roll the bass completely off, and might benefit from an aggressive tilt. For me, the tilt works well. YMMV.
-
Originally Posted by sgosnell
-
Originally Posted by Christian Miller
-
Originally Posted by andreshum
In my amp there is a adjustable treble knob which I can lower if my tilted amp is too bright. If I don’t tilt, I turn it too bright and the audience holds their ears.
The lows are a crucial to control when You play live with a band but so are the highs too. More highs are necessary to be heard from the mix but too much highs make You sound thin. That is why I want to hear what my amp really sounds.
But we are different, Joe Pass didn’t like to hear the amp, he liked to hear his playing mixed from the pa system echoing from the venue.
-
Originally Posted by Herbie
-
Originally Posted by nevershouldhavesoldit
-
Originally Posted by Stringswinger
-
Originally Posted by nevershouldhavesoldit
-
Originally Posted by Woody Sound
Good dealers are like our teeth. You only have to take care of the ones you want to keep around.
-
The Sweetwater wedge has arrived. It's almost certainly from the same factory as the Henriksen wedge - same design, same materials (with one exception), same feel and function. The oly significant difference I can find is that the Velcro strip on the Henriksen is about 1/8" wider than the one on the Sweetwater. The $10 Sweetwater will do the job just as well for anyone who needs one of these.
-
Originally Posted by nevershouldhavesoldit
-
Looks very nice. I think I'm gonna get one for my Bud. Thanks so much!
-
I regret that I have but one amp to tilt for my music. I don't think I can justify another even at $10. The one I have works very well, though.
-
Originally Posted by sgosnell
-
Originally Posted by nevershouldhavesoldit
-
Originally Posted by Ukena
Aspen Pitman’s tube amp handbook was one of my most used references when I was actively building, using, and able to drag them around. So I’m sure the Spacestation sounds great (despite being SS). But my preferences ran toward the small portable Leslies - I liked the Mesa a lot. I also once bought a used Motion Sound to try, but everyone who saw it told me horror stories about frequent failures - so I returned it.
-
Nevershould, I gave it to a friend who plays in the only band I play keys for, so that I know it will be available when I need it. He's much younger than I, and more capable of lugging even a 35-pound box than I. He plays in other bands as well, and has always admired the amp, so I know it will get put to good use.
I now have the Bud, a Toob Metro, and a Lunchbox Jr. They're perfect for my guitar playing, and I only need to bring one of them, with a guitar, to a gig – it's much easier on my back, and I no longer need even a small hand truck.
But everyone (especially musicians) who heard the SpaceStation was amazed at the performance of it, and the kind of 3D imaging it achieves. What's amazing is how far it projects (when in stereo mode), without a high SPL. People can talk at normal levels, even close to the band, but still hear the music perfectly well farther away. I talked to Aspen at length (we lost a real audio visionary in that crash), and he was very friendly and generous with his time. I ordered one over the phone, and he mentioned that he had one that he had lent to a friend for a demo that he could let me have at a discount. It turned out to be a very generous discount, and the amp looked brand new (he threw in a cover for free) and performed flawlessly. I am glad for the performing world that his company has continued, and that they still make the SpaceStation. I keep trying to get someone to buy an XL so I can hear it...Last edited by Ukena; 06-26-2022 at 02:15 AM.
-
Originally Posted by nevershouldhavesoldit
-
Originally Posted by Woody Sound
So deep carpet is a low cut filter that reduces bass output. Because output below 80 Hz or so is not directional, this does not seem to change the overall radiation pattern or otherwise affect the sonic character at all.
The other thing that changes the bass is how far the bottom is from the surface under it. Serious designers and engineers consider even the height of the feet they put on. I used to experiment with small amps on frames and stands that held them face down. This changed the sound in many ways, and the resulting better dispersion made it easier to hear by the band while cutting beaming and audience irritation. This worked great with 8” amps like my SWR.
-
Originally Posted by Woody Sound
Nevershould, very interesting info about your experiments with amps on stands facing them face down...
-
Originally Posted by Ukena
The complaints got worse when I went to a Kustom 150 with a closed back in 1970 or so. Further experimentation showed that we all played louder with closed cabs because we couldn’t hear ourselves as well as we did from open backed cabs. And when SS amps came along with more extended high ends, beaming was even more of a problem at these social gigs.
One of the other benefits of these experiments was discovering that smaller drivers in well designed cabs made tighter bass that could be “boosted” with amp positions and adjacent reflective surfaces, without flabbing it up like the EQ knobs did.
2 new & excellent Jazz Comping Truefire...
Yesterday, 10:22 PM in Comping, Chords & Chord Progressions