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Studio Amp


michael c

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Any suggestions on a VERY versatile amp to be used strictly for studio work. I am not concerned with how loud it can get.

 

I am very familiar with Matchless, Vox , Fender, Marshall, Boogie, etc., but I am looking for something that can cover a lot of genres.

 

UniValve, Ghia, Dr Z, Emery...... any thoughts?

 

Thank you.

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I use a Line6 Flextone II and I'm very happy with it. I am often called on to play a wide variety of styles, and it's nice to have so much versitility in one amp.

 

I know there are a lot of purists who will pooh-pooh modeling amps, but try one and see what you think.

May all your thoughts be random!

- Neil

www.McFaddenArts.com

www.MikesGarageRocks.com

 

 

 

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Thanks for the reply, but I have been using a modelling amp (Amp Farm/Pod) and actually did a session with a Mesa Boogie Maverick and was surprised how much more 'lively' the track was.

 

Please, this isn't NOW a modelling vs. the real deal thread, but any other thoughts would be much appreciated.

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Originally posted by michael c:

Any suggestions on a VERY versatile amp to be used strictly for studio work. I am not concerned with how loud it can get.

 

I am very familiar with Matchless, Vox , Fender, Marshall, Boogie, etc., but I am looking for something that can cover a lot of genres.

 

UniValve, Ghia, Dr Z, Emery...... any thoughts?

 

Thank you.

michael c ..............

 

Here in Los Angeles, the Carmen Ghia head seems to be the common "swiss army knife" in most of the studios I work at. This amp is currently used in at least 7 pretty major studios that I can think of off the top of my head.

 

With a large diaphram studio mic, at straight up on the volume with a humbucker, it records "bigger" than a full stack as it does not overload the large diaphram (and more accurate) studio high end tube mics.

 

At 9'o'clock with a strat set at 8, it's clean and big sounding, with all sorts of cool harmonic overtones.

 

Its the amp used at A&M and The Complex for most of the commericals you are hearing these days, whether clean or over the top hard core rock.

Myles S. Rose

www.guitaramplifierblueprinting.com

www.la-economy.blogspot.com

www.facebook.com/mylesr

www.twitter.com/myles111us

 

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I'd go with a Tweed Fender 5E3 Deluxe clone. Several companies make these, Victoria being the first to come to mind. It's a really versatile amp, even though it's only got a tone and volume knob per channel. Does everything from country clean to smokey blues and full on stomp when cranked!! :thu:

 

I'm gonna build one when I get the $200 needed to buy the parts. :D

BlueStrat

a.k.a. "El Guapo" ;)

 

...Better fuzz through science...

 

http://geocities.com/teleman28056/index.html

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Well I sound like a broken record here, but the Pro Jr is fab for that. Bonnie Raitt raves about hers......is that a good enough endorsement? :) My Budda Twinmaster is a great recording amp as well. But I wouldn't count out one of the modelers for some things, not for your main sound though, just for a little color here and there.
Down like a dollar comin up against a yen, doin pretty good for the shape I'm in
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Originally posted by myles111:

Originally posted by michael c:

Any suggestions on a VERY versatile amp to be used strictly for studio work. I am not concerned with how loud it can get.

 

I am very familiar with Matchless, Vox , Fender, Marshall, Boogie, etc., but I am looking for something that can cover a lot of genres.

 

UniValve, Ghia, Dr Z, Emery...... any thoughts?

 

Thank you.

michael c ..............

 

Here in Los Angeles, the Carmen Ghia head seems to be the common "swiss army knife" in most of the studios I work at. This amp is currently used in at least 7 pretty major studios that I can think of off the top of my head.

 

With a large diaphram studio mic, at straight up on the volume with a humbucker, it records "bigger" than a full stack as it does not overload the large diaphram (and more accurate) studio high end tube mics.

 

At 9'o'clock with a strat set at 8, it's clean and big sounding, with all sorts of cool harmonic overtones.

 

Its the amp used at A&M and The Complex for most of the commericals you are hearing these days, whether clean or over the top hard core rock.

So Myles, you would recommend the Ghia over the UniValve? Thanks for your help.

 

Another question, related to studio amps:

 

A lot of studios these days have a 1/4" wall jack in the control room to plug a speaker cable into from an amp head. This goes to the tracking room with another jack to plug your speaker cab into. These runs might be 75 to 100 feet with 2 connection jacks in between. How does this effect the tone on the amp/speaker? Does this load it down?

 

Thanks again............

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Originally posted by michael c:

A lot of studios these days have a 1/4" wall jack in the control room to plug a speaker cable into from an amp head. This goes to the tracking room with another jack to plug your speaker cab into. These runs might be 75 to 100 feet with 2 connection jacks in between. How does this effect the tone on the amp/speaker? Does this load it down?

 

Thanks again............

PA's used in larger venues often use long runs of speaker cables so my guess is that it shouldn't be much of a problem (unless the cables are underdimensioned and/or of poor quality).
Track or treat? http://www.garbage-house.com/pictures/freaks-images/eck-s-animated.gif
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Originally posted by Ignatius Riley:

Originally posted by michael c:

A lot of studios these days have a 1/4" wall jack in the control room to plug a speaker cable into from an amp head. This goes to the tracking room with another jack to plug your speaker cab into. These runs might be 75 to 100 feet with 2 connection jacks in between. How does this effect the tone on the amp/speaker? Does this load it down?

 

Thanks again............

PA's used in larger venues often use long runs of speaker cables so my guess is that it shouldn't be much of a problem (unless the cables are underdimensioned and/or of poor quality).
WHO DAT?????

 

Well I've heard that longer speaker runs do matter but I have nothing to base it on.

Down like a dollar comin up against a yen, doin pretty good for the shape I'm in
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The Uni and Ghia are different beasts... It has to do with the front ends but I wauld take 1 of each in a studio... and a Princeton...

 

Originally posted by michael c:

Originally posted by myles111:

Originally posted by michael c:

Any suggestions on a VERY versatile amp to be used strictly for studio work. I am not concerned with how loud it can get.

 

I am very familiar with Matchless, Vox , Fender, Marshall, Boogie, etc., but I am looking for something that can cover a lot of genres.

 

UniValve, Ghia, Dr Z, Emery...... any thoughts?

 

Thank you.

michael c ..............

 

Here in Los Angeles, the Carmen Ghia head seems to be the common "swiss army knife" in most of the studios I work at. This amp is currently used in at least 7 pretty major studios that I can think of off the top of my head.

 

With a large diaphram studio mic, at straight up on the volume with a humbucker, it records "bigger" than a full stack as it does not overload the large diaphram (and more accurate) studio high end tube mics.

 

At 9'o'clock with a strat set at 8, it's clean and big sounding, with all sorts of cool harmonic overtones.

 

Its the amp used at A&M and The Complex for most of the commericals you are hearing these days, whether clean or over the top hard core rock.

So Myles, you would recommend the Ghia over the UniValve? Thanks for your help.

 

Another question, related to studio amps:

 

A lot of studios these days have a 1/4" wall jack in the control room to plug a speaker cable into from an amp head. This goes to the tracking room with another jack to plug your speaker cab into. These runs might be 75 to 100 feet with 2 connection jacks in between. How does this effect the tone on the amp/speaker? Does this load it down?

 

Thanks again............

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I read a chart concerning speaker wire gauge and length a long time ago. When I built my mains, I used lengths of 100 feet for each snake and cut them in half so I ended up with about 34' for one side (where the amp rack set) and 66' for the other side. For the long side it worked out to:

 

16 gauge for the 16 ohm horns

14 gauge for the 8 ohm mid cabs

12 gauge for the 4 ohm bass bins

 

For a run like described, I'd say you'd be safe with 12 gauge cable for an 8 or 16 ohm guitar cab.

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