or just buy instead small amp 20w, Orange or Vox AC 30??
Small tube amps => Epi Valve Junior (5W)! But, you will still need the attenuator to be able to crank it.I
I'm getting confused....
I need attenuator to crank 5W amp?
Sorry...
Rock will never die
I just read Brian May used 1W amp.... but not always, I guess?
What is reasonable wattage amp for apartment to use it cranked with a Treble Booster ( germanium parts and such), perhaps some Dallas Rangemaster clone?
Rock will never die
Even a 20 Watt amp will need an attenuator to sound good.
A 1W amp will be ok without an attenuator, but a good 1w amp costs ALOT of money.
Most amps under 20w have questionable speakers and other cheap components to keep costs down.
I haven't played with the Epi Jr. so can't speak to that specifically.
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." -- HST
5 watts can be pretty loud. I'm not sure, but 5 watts cranked could be as loud or louder than a good stereo system - and depending on your neighbors, that could be too loud. I've also noticed that bass frequencies carry a lot easier through walls and floors and ceilings, so if you don't have a lot of bass frequency going through the amp it might be less of a problem. Usually smaller amps and combos have smaller speakers, hence less bass frequencies, plus you want treble boost so the problem should be less.
Those 1 watt (or less) amps that were mentioned, are usually hand-wired jobs that are real expensive, but when cranked they're supposed to be about as loud as someone talking in a conversational tone in a room, which would be perfect. As mentioned several times, an attenuator would be great to lower the overall volume while still getting that gritty, cranked sound you're after.
And to say something about an earlier question about why treble boosters were used; the older amps didn't have a lot of tone shaping circuitry, especiallyin the top end. Hence the Vox top-boost amps and all the treble boosters put out in the 60s. You could still employ a treble booster to get the tone, but to keep the neighbors happy, either a real low wattage amp or the use of an attenuator would probably help a lot.
It would also be less expensive than renting a rehearsal hall just to record the guitar parts on a laptop or something. I guess if I wanted to add speaker distortion and heavy feedback into a track, I'd maybe rent a big amp and rehearsal room, set up my recording and then just put the thing on 10, but I get close enough with the POD most times.
Also, if you haven't tried it you can put your treble booster inline into the POD you already have and pick one of the British type amp models. Fool around with the booster's and amp's settings and you might come out with exactly what you want.
Thank you all! :!:
At this point I guess I have no further questions, the rest is up to me. I'll do my best.
I appreciate everybody's input (knowledge and time)!
Great forum, great people. Rock forever, everyone!
Thanks! Thanks! Thanks!!!
Mike
P.S. I'll keep checking for a while if anything else added to this topic. Just in case :)
Wait a minute!
The latest thought - fake everything using POD, Amplitude, Guitar rig etc recording also clean guitar sound too, then re amping all clean tracks in one session using big amp in rehearsal space (or somebody else house.... :lol: )
Man! One more question before I'll go:
Is it a big trouble to do re amping? Re amping is a theoretical thought yet, I never did it, just read about it recently.
All I know everything goes backwards, so to speak...
Does it work? Any thoughts on re amping?
I'll try it....
Rock will never die
Maybe this is an idiot's point of view:
Two things I would consider: 1-Mic choice 2-the room.
With a lot of Zep's stuff or any of the really classic rock, the room was involved to some extent. Whne you think of Zep 1, Page did a lot of experimenting. Putting his amp in stairwells, hallways. Wasn't Physical Graffiti recorded in Aleister Crowley's house? I can't remember. At any rate, you can hear when he is using the natural verb in a room. It's that much wider, and three dimentional.
A lot of the tone is in the fingers. How you attack the strings. The aggresiveness or subltety of your playing.
As far as Mic choice. I like the Sm 57 but I'm partial to the (Sennheiser)MD 421 for close micing. The 421 has a bit more edge. for distant micing find the best condensor you can afford to buy or rent a good one. Neumann U47 of course would be nice but a Studio Project C3 or an AKG 3535 or C414 would do. Careful with phasing problems if you decide to mic in stereo.
At any rate, I'm a recording hack so take it all with a good spoonful of salt. That spoon. That spoon. That spoonful.
Thanks on mics!
How you do levels? What I should do to get the same level from recorder going into amp as if it was my guitar?
Rock will never die
Thanks on mics!
How you do levels? What I should do to get the same level from recorder going into amp as if it was my guitar?
Not sure what you're asking. Basically you want to get the most gain without unwanted distortion in the preamp/interface line in. You can always turn it down in the mix but if it's too quiet to begin with you'll just end up boosting noise if you try to boost the gain.
If you are talking about re-amping an already recorded track, you'll need to get a "reverse DI" box. Basically it's a box specifically designed to turn your low impedance line level into a high impedance instrument level output.
DI box could be the answer.
What I mean is: I want my amp read output from recorder exactly as if I pluged my guitar, not the output from my Protools Digi 002, into my amp.
I know, if I reduced volume on my guitar (or boosted it), and if I tweaked tone knobs on my guitar, my tone changes; it affects tone I'm getting out of my amp.
Now. I'm using DI and reamper, OK!
What recording levels on Protools I have to go for? (I have a lot of room there). How I can judge what level I should record with?? (With no compression, with no EQ, I believe)
How I can keep all levels under control? Into Protools and out of Protools levels...
I want the same amp tone I'm getting....
I suppose, when I got tone I liked, and I recorded clear guitar track into Protools, using the same tone knobs and volume knob positions on my guitar as they where when it sounded great iusing my amp (and I'm keeping track on amp setting for each track I'm recording), in theory I can get the same tone when I'm playing back recorded "dry" or "clean" guitar.
For this all I need is to get the same "level" of recorded signal out, as if it was when I played my guitar into amp.
Is it possible to have control over it? Or I have to tweak my amp or output all over again? Using another preamp with EQ on output from Protools, perhaps?
:?:
Rock will never die
