Ah... 5150.
One of my friends had the first combo version circa mid 90's. Such a killer amp, with a life of it's own...
It is one of those amps which needed to be pushed to the point they almost melted... a PITA ! Lol.
I'm more into drop A things than VH i confess. 😉
Thank you pointing to the Laney. I once been tempted by a 'tiny terror' but... i imagine the face of that big beard biker's looking guy with the Fryette/ Pitbull (owner) if i would suggest to track through it!
A cultural thing... 😉
One of my friends had the first combo version circa mid 90's. Such a killer amp, with a life of it's own...
It is one of those amps which needed to be pushed to the point they almost melted... a PITA ! Lol.
I'm more into drop A things than VH i confess. 😉
Thank you pointing to the Laney. I once been tempted by a 'tiny terror' but... i imagine the face of that big beard biker's looking guy with the Fryette/ Pitbull (owner) if i would suggest to track through it!
A cultural thing... 😉
2 x W fold horns for the TV! ... now that's a nice modest little setup... I tip my hat sir 🎩🎩🎩... You do know that horns are a longer throw format though? If your room is small bass reflex would have been more appropriate... but still... 😁😁😁
Drop A.. Yeah to us older guys it's like playing rubber bands... What guitars do you use for drop A?
Orange tiny terror has pristine distortion tone, the only reason I chose the IRT was because of its unrivalled versatility.
My favourite little orange amp is the Jim Root Terror. It just has something special about the voicing🤘
When the big biker hears the tone he would be happy, they are very small though 🤗
Yeah if you didn't know about the IRT studio... Check it out... I tried loads of amps and for recording you can't beat it... It was designed for modern metal but equally at home clean playing country twang on a tele and everything in between. Auto dummy load when speaker unplugged, on board USB interface, although I DI it through a Joe Meek VC3Q for the pre-amp and Meek compression... Yeah get a test on one... You can get that volume @11 tone to track with any monitoring volume you want.
It's the best piece of recording gear I've come across in years... makes up for a whole room full of different amps... 👌
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Yeah drop tuning can be nightmare for instruments.
In last band i was involved they played Japan axe, Ibanez and Yamaha both 7 strings. But we weren't in A. Regular B. I was in drop though as i don't play 5 strings.
I've got a german made Warwick 1995 Fortress-1 with wenge neck. Stiff as hell didn't move a mm. The issue come from the bridge which is a PITA to have low action and a dynamic b string. Labella exposed core to help.
Most of youngsters in drop A have ESP, Solaris, things like that. Often 7 strings too.
Yeah string feel is weird on this low tuned instruments. I once had a customer with a large scale warwick dedicated to this ( Corvette Taranis). It brings back the tension on string but it's painful to play for me, can't stand 5min on this one but he had bigger diam strings than mine which didn't help.
When played by the owner it had incredible transient/attack. Very dynamic sound played with plecter.
The big beard biker played a Schecter. Diezel stomp into Randall, VHT straigth. Mics used sm57, md421 and e609, my own tube mic design as room mic/distant one for soli ( cathode follower a la C-37 with a k87 capsule into an m49 clone body). Cabinet was a custom closed box 2x12" loaded with greenback iirc. I didn't wrote it in my notes.
In last band i was involved they played Japan axe, Ibanez and Yamaha both 7 strings. But we weren't in A. Regular B. I was in drop though as i don't play 5 strings.
I've got a german made Warwick 1995 Fortress-1 with wenge neck. Stiff as hell didn't move a mm. The issue come from the bridge which is a PITA to have low action and a dynamic b string. Labella exposed core to help.
Most of youngsters in drop A have ESP, Solaris, things like that. Often 7 strings too.
Yeah string feel is weird on this low tuned instruments. I once had a customer with a large scale warwick dedicated to this ( Corvette Taranis). It brings back the tension on string but it's painful to play for me, can't stand 5min on this one but he had bigger diam strings than mine which didn't help.
When played by the owner it had incredible transient/attack. Very dynamic sound played with plecter.
The big beard biker played a Schecter. Diezel stomp into Randall, VHT straigth. Mics used sm57, md421 and e609, my own tube mic design as room mic/distant one for soli ( cathode follower a la C-37 with a k87 capsule into an m49 clone body). Cabinet was a custom closed box 2x12" loaded with greenback iirc. I didn't wrote it in my notes.
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Why do you think it's the bridge? Exposed core are worse for buzzing... what height is your action on outside strings?
I know it is the bridge as i visited a luthier and he/we investigated why i couldn't reach the same kind of action i was looking for ( unrealistic lowest possible of course! 🙂 ). We started with 'regular' strings and tried different setups to end with the Labella's which is the less bothersome setup. At 12th fret i think i've got something like 1,3mm iirc. I use light set 5 string ( with the highest string discarded... the c? The g?... I can't remember don't need it it's guitar territory... 🙂 ) so 118 for b.
Anyway it makes fret noise ( a bit)... it's part of what i'm looking for.
I had this strange B string missing punch thing too we investigated. From his pov it could be the warwick nut ( those are the old school brass ones with screwed sadlle enabling height change) or the bridge. I could had the nut easily changed to a custom one but i disliked the sound of the plastic one we tried.
The bridge would have been a nightmare to change so...
Don't want to butcher the bass so it stays with it's flaws... anyway as i have a distortion running most of time it doesn't change a lot of things. Finger played it bother me sometimes.
Anyway it makes fret noise ( a bit)... it's part of what i'm looking for.
I had this strange B string missing punch thing too we investigated. From his pov it could be the warwick nut ( those are the old school brass ones with screwed sadlle enabling height change) or the bridge. I could had the nut easily changed to a custom one but i disliked the sound of the plastic one we tried.
The bridge would have been a nightmare to change so...
Don't want to butcher the bass so it stays with it's flaws... anyway as i have a distortion running most of time it doesn't change a lot of things. Finger played it bother me sometimes.
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Anybody looking for great recording amp check this IRT link out, although chapman's playing doesn't do the amp justice.. It sounds MUCH better in the flesh... 😜
Guitar lutherie is mainly what I do now, and specialise in low action basses... Here's a rare Fender Pj Lyte on my neck jig getting intricate fret dressing for super low action...
New custom cut brass nut too.. you'd be amazed the difference a properly cut nut makes, even just the depth the string sits in it.
I'm sure I could help you out but the travelling expense would be a bit excessive LOL... 🤔
Holly molly! Such a workshop!
That nut is GORGEOUS!
Do you have pictures of fret dressing?
Where are you located?
I'am absolutely convinced a corectly cut nut makes all the difference! If the luthier had offered something like the one you pictured i would have jumped to it instantly!
Oh no... we are way off topic. Please forgive us...
That nut is GORGEOUS!
Do you have pictures of fret dressing?
Where are you located?
I'am absolutely convinced a corectly cut nut makes all the difference! If the luthier had offered something like the one you pictured i would have jumped to it instantly!
Oh no... we are way off topic. Please forgive us...
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The nut is custom cut for the string gauge... 1/1000" each side of string to allow free tuning but not excess movement. The file on top was just doing a bit of spot work. The actual precision dressing is done with a 600mm beam that I got milled at an aerospace engineering firm so all frets are evenly abraded. No pictures of finished but all you would see are shiny frets. I am in Bonnie Scotland.. I've been doing it for over 35 years now and have also been on tour as a guitar tech. In the early 90's but not with anybody who made it big... 🙂
Yes we're off topic, back to recording & bass amps... 😁
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The room is quite large and 5m high, the bass DSP'd for it. They are considered medium long throw. I used 4 of the Electro Voice Eliminator W-bin's for mobile disco when I was at school, just with another (horn) top. 3-way. Very nice for Disco, funk and dynamic music that is not reaching too deep in frequency range. At that time (1980) considered a smalI PA system. Got two of them back 25 years ago and restored them. Had them in the workshop for some years. They do 104dB 1W/m and put out a real life sound. HWat else, they are made for life music. Watching music video's from youtube or concert blue ray is really fun.
I just showed them for the thread starter to demonstrate that I understand very well what he wants and needs.
I don't want my daughter to tell me later in life that I did not take her ambitions serious and wrecked her dreams.
The little amp is what I mainly wanted to show him. It is just amazing what this little thing does. It can even be powerd by battery's. Without some kind of amp modeling an e-guitar just does not sound as you expect it. Some may hate these digital emulated tube sound because of ideologic reasons, but you get tears in your eyes when the kid plays the intro from Stairway To Heaven over it. When she tunes her guitar using the PA speaker, you think Hendrix came over for a visit.
Don't think this was expensive. All carefully picked second hand. A lot of entry level pro music stuff never sees a stage.
You are not this far away... 😏🤔
I can't help myself: what are the gauge for? Tension i presume but...?
I agree with Turbowatch2, amazing work.
@Randy Bassinga may I ask you to share some photos of your Logitech enclosure, and some details about how you tapped into Logitech electronics? Or perhaps you mentioned a separate thread? Whatever works for you. This thread, and an earlier one between you and Gnobuddy already contains a lot of info, they could be linked or copied from perhaps.
Also, how did you arrive at Z623 specifically? I am not following computer/gaming tech, so perhaps it is a well-known thing in that community, or perhaps you simply had it at hand, and it is good enough?
Actually, @Randy Bassinga , I've reread your thread from a year ago, and it has very nice pictures of the enclosure. I would still appreciate some details on the electronics: both how you tapped in, and how you mounted it. Thanks!
And I see that you had access to the used Z623s at near-zero prices - very good. Are there other models that are equally suitable or Z623 is special?
And I see that you had access to the used Z623s at near-zero prices - very good. Are there other models that are equally suitable or Z623 is special?
What's all the rods and micrometers do? How do you account for the lack of string tension against the truss rod force? How on earth do you cut nut slots +/+ 0.001"?
Not expecting you to give your hard earned secrets away, just to let you know thoughts are provoked ;')
In case Randy bowed out, by the prices commanded, I'd say the Z623 is special. https://www.ebay.com/itm/144970115220
I m as curious as you are.
I suppose rods apply force on neck to simulate strings and micrometer ( gauge) check forces applied.
I think there is no secrets but know how.
Check12, about being big as an artist: the best musicians i've heard had no big crowd following them. Success and masses preferences are strange things to me.
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