#tube bass amp

[deebeeus]

I can't get enough of my buddy @tomgibson3783's '68 Paisley build. The finish by @greatlakescustomcolour is just spectacular.

Oh and the 1968 #Traynor#BassMate in original and super clean condition is awesome too.

[guitarbomb]

Jimmy Page Super Dragon half-stack guitar amplifier

After a three-year break, Jimmy Page is reigniting the Sundragon brand with a new exclusive product: the Super Dragon half-stack guitar amplifier. This latest creation follows the brand’s debut at the 2019 Winter NAMM, marking a collaboration between Page, Perry Margouleff, and Mitch Colby. Jimmy Page Super Dragon The Sundragon journey began with the Sundragon Limited, followed by the Sundragon…

[ilovecupcakesandtea]

Chapter one Chapter four My master list

Title: Chapter three

Word Count: 1397

Archive Warnings: Smut in future chapters. Slight angst. Alcohol misuse.

Rating: E

Pairing(s): Eddie Munson/Steve Harrington Robin Buckley/Chrissy Cunningham

Character(s): Eddie Munson, Steve Harrington, Robin Buckley, Chrissy Cunningham, Benny, Uncle Wayne & The Party

Tags: Smut. Angst. Steddie. Buckingham. Steve Harrington. Eddie Munson. Robin Buckley. Chrissy Cunningham. Band AU. TW Alcohol use.

Summary (optional): Two different styles of music, two boys that really don't like each other. What could possibly go wrong?

Beta Reader: Thank you so much to my beautiful beta readers @slippy-slip @ladydarklord & @dontwasteyourchances

Art link and credit: Art is by the wonderfully talented @pink-luna-moth (as is the banner)

Fic link and credit: Ao3 Link

AN: First off thank you to Alex for the art and being just amazing to work alongside. Thank you to Slip for dragging me back from the edge so many times over this. I really am so excited to have this out here!!

I wrote this for the @strangerthingsreversebigbang event and had a lot of fun doing so!!

Divider links: reblog and music notes

A week later saw Eddie and Chrissy in her garage moving boxes around and laying a huge blanket over a couch to make the space bigger and more comfortable. Both of them had brought their own amps and set them up too. They had even found an old mini fridge and stocked it with chocolate, cans of soda, and bottles of water ready for practice. 

"Hey bunny" Robin greeted Chrissy with a kiss as soon as she stepped into the garage later that evening, 

"Stop being so gross and put each other down." Eddie grumbled at the pair. 

"No need to be so homophobic, Munson" came the response of Steve as he also walked to the garage. 

"Yes, me, a bit of a whore in the local gay scene, homophobic, that checks out." Eddie rolled his eyes before he walked away and picked his guitar up and made sure it was in tune.

"Chrissy, where did you want me to set this up?" Steve asked Chrissy, pointing down at the big bag he had brought in with him.  

"Towards the back, kind of centre if you want, makes the most sense," Chrissy answered, pointing at a vague space towards the middle of the garage. 

“So Robin, this is the first time we’ve properly spoken since you started dating my little Chrissy, she won’t tell me so I know it’s got to be embarrassing, how did you and Chrissy get talking enough for you to end up together a few weeks later.” Eddie quizzed, noting Chrissy blushing out of the corner of his eye.

“Oh, there’s not really a lot to tell to be honest, she sat next to me on the bus, asked me what I was listening to, I said The Clash, she said she loves them, we listened together and then switched between our styles of music” Robin shrugged as Chrissy got redder and redder. 

“Fuck off did she, what a lying little bitch. Christina Cunningham, why would you tell such a lie? You hate The Clash, always have .” Eddie cackled, turning to look at Chrissy who was bright red and trying to hide behind her hair. 

“I just wanted to listen to music with the cute girl from band, ok? so sue me.” She replied, sighing, his reaction was exactly why she hadn’t told Eddie the full story when he asked weeks ago. “Can we just play something now please?”

Five minutes later and the band was ready to start playing together. Steve sat behind his drums and everyone else picked up their instruments.

"Chrissy, you want to start a beat on the bass? Steve, try not to sound like shit ok, we all know punk drums are a mess and don't hold a rhythm." Eddie said, getting himself comfortable with his guitar.

Chrissy started with a beat that Steve apparently knew the drums to, and soon enough Eddie was leaning into the mic and singing. 

"I sit around and watch the tube But nothing's on I change the channels for an hour or two Twiddle my thumbs just for a bit I'm sick of all the same old shit In a house with unlocked doors and I'm fuckin' lazy" Eddie sang as he started to play the guitar with it. 

"Bite my lip and close my eyes Take me away to paradise I'm so damn bored, I'm going blind And I smell like shit" Robin joined in the singing and playing her own guitar with him. 

The four of them played the whole song and didn't miss a beat, ending with all four of them laughing. 

Steve and Eddie caught each other's eyes and stopped laughing straight away.

"I guess for a couple punks you two can play well enough" Eddie sniffed, putting his guitar down and heading to the mini-fridge. 

"The fuck is your problem, Munson?" Steve asked defensively. 

"I just don't want us sounding just like noise, bad noise at that when we play." Eddie replied, whilst drinking his water.

"So what? All punk is just bad noise to you?" Steve questioned, standing up from his drums clearly unimpressed.

"Yeah, it is. Just bad drums, bad guitar, bad vocals. I guess it’s good that most punk songs are really short." Eddie shrugged. 

"Fuck you, punk is more than the music, more than the drums, guitar, and vocals. It's about the people, the lyrics, the message behind the songs." Steve seethed, moving towards Eddie. 

"Oh yeah, because metal isn't political at all?" Eddie asked, raising an eyebrow. 

"It's really not," Steve responded, clearly pissed off at the other brunette.

"Alright princess, sit down and let me play a few songs for you that show you that a song can be both political and actually good." Eddie rolled his eyes and grabbed his phone. 

"No, enough of this dick-measuring contest, ok. Either shut the fuck up so we can continue to play or take this tension to a bedroom, giving you 5 seconds to decide." Chrissy said loudly, pointing between the two of them.

"Chris, baby, we both know they aren't going to fuck just yet. They need to pretend to hate each other first before it happens" Robin laughed. 

Both boys stepped away from each other. Eddie drank more of his water and Steve went to grab his own, throwing one to Robin who caught it without looking.

"I'm down to play more if Munson can stop being a bitch and play something that isn't just loud guitar and screaming." Steve shrugged, sitting down behind the drums again.

"I give it 3 weeks before they're fucking" Robin giggled, earning her a death glare from Steve.

“Well that was fun,” Robin said sitting in the passenger seat of Steve’s car. “It was really nice to spend more time with Chrissy. I still haven’t asked her to be my girlfriend by the way. Do you think she’ll say yes? I’m not sure she wants that.” she continued to ramble. 

“It was something, I really hope he gets that stick out of his ass before next practice, I can't be bothered with that each time. But yes, she will say yes if you ask her out.” Steve said, sounding exasperated. 

“You just want the stick out of his ass so you can stick…”

“You can walk home if you finish that sentence,” Steve interrupted her. 

Robin laughed, buckled her belt, and sat back in her seat. Steve sighed, started the car, and drove her home. Neither of them talked about how right she was.

“Eddie, can you play nicely with Steve next time we have practice? I’d really like this band thing to work, ok? Even if it doesn't really go anywhere I want to have fun and enjoy this.” Chrissy pleaded. 

“Fine I’ll play with the punk jock so you can have fun with your girlfriend” Eddie replied dodging a half-empty bottle Chrissy threw at him before falling over dramatically. “Tell my mother I love her,” he said, throwing himself to the ground clutching his arm.

“Lord help me” Chrissy laughed.

The following week after the first practice found them all sat around in Chrissy’s garage talking about the band and the music they should play. 

“We write enough songs between us, we could just do original stuff. I will say this isn't bad, Munson” Steve commented, reading through Eddie’s finished songs and notes for other songs. 

“Approval from Harrington, just what I've always wanted” Eddie replied, rolling his eyes. 

“Eddie for fuck’s sake, that's enough. He was being nice and you were a peanut head! That wasn't nice at all.” Chrissy snapped, punching his arm lightly. 

“Yeah, you're right. I'm sorry” Eddie mumbled in the direction of Steve. 

“Shall we talk about band names?” Robin put in, trying to change the subject. 

“ My list for names so far is this,” Eddie said, turning to a page in his notebook and turning it so everyone could read.

Corroded Coffin 

Be My Coffin

Your Coffin

Six Feet Under

Corroding My Coffin

Distort Mission

“They all suck to various degrees” Chrissy replied, pushing the notebook back towards Eddie. 

The four of them sat around for another 20 minutes or so discussing band names before Robin finally suggested The Spitfires. 

“Yes, I love it,” Chrissy said excitedly. 

“Of course you love the only one Robin suggests” Steve commented, rolling his eyes, earning him a laugh from Eddie.

[hypnoneghoul]

A question for all the people out there who may be looking to buy their first bass/guitar but don't know what to do.

What brand/make of instrument, and what kind of equipment do you think is best for beginners (or those looking to get back into playing)?

with brands id say cort, fender squire or yamaha, both for guitars and basses.

for the effects zoom pedals are cool, not only to start with but also in general. its like 1746187337 in one lmao

amps, it depends if u want big or small and how much money u have to spend hahahah

big tube amps are the best, especially old american ones (ave peavey) but there's a lot of new... "designs", small and powerful that even have bluetooth or shit. fender has cool ones

[audio-luddite]

Big is the word.

Franken-Amp is running. It sounds BIG. It is that simple. Right now it is playing Sting's Soul cages. That is a weird QSound mix, but the impression is size. It sounds BIG.

The Clarity is amazing. This is an early 1970's circuit scheme yes with tweaks by a guy who knew enough to be dangerous. I do not even have the 1,000,000 microfarads of extra capacitance plugged in. Just the 16 output transistors and a few film caps in the signal path.

This is literally night and day compared to the HK Citation 12. There is height and depth and impact. She is 4 times as powerful as the HK and the ARC. It makes a difference. All old school bipolar transistors. Well there is a handful of FETs and a tube in the preamp.

This is what I feel after a nice steak and a half bottle of a nice red wine.

This is a cool album. This is not Sting of the Police. The album is full of space and I like it. Complex and the beast untangles all the waves and gives them to you. Did I mention the Bass?

Yes the beautiful textures and warm reddish sunset light of the ARC are gone, but there is this other thing. Size and presence. Transistors have Bass gotta give them that. The kind you feel as much as hear. Oh I may have turned her up a bit, but hey its my house.

I now know I missed this. The ARC is like a pretty girl sweet and lovely. The F-A is like a tall lithe beauty who can run marathons all day in the bright sun. I write like this with wine in me. There is scotch in the cabinet. Hmmm.

Come fall I will look forward to the golden magic. She has her own charms.

I gotta play pawnshop. It has not been piped through the F-A yet.

Oh the keyboard sounds out past the left speaker. No wall there it is not a reflection. I guess QSound can work. Dint with the ARC.

Back on the solid state team droogs.

[dustedmagazine]

Writhing Squares — Mythology (Trouble In Mind)

If one wanted to know what 1971 sounded like — not the world outside so much as the broader weltgeist, especially the male one, with Cold War anxiety and light mystical curiosity mixed with unprocessed feelings about gender roles and a frankly reasonable fear of technological calamity— all transduced into sick octave-fuzz riffs and blasted through a tube amp one could do worse than to consult the archives of the Flower Travellin’ Band. That group, in addition to being extraordinary, leaves palpable historical artifacts of some complex feelings that were powerfully musicalized as hard rock, in similar ways from Tokyo to Birmingham to Los Angeles.

Notably, the ur-sounds of hard rock remain very much with us today, sometimes ironically and other times very seriously, doing different sorts of work for different artists as well as listeners. Writhing Squares, a Philadelphia duo, are firmly in this lineage, particularly with their new album, Mythology. The ethos of 1971 is all over the record’s eight tracks, from hulking guitar ostinatos to patchworks of feedback. There are aesthetic elaborations that harken to other times and ideas, perhaps most notably the occasional seeming reference to hardcore in the vocals as well as the regular presence of the saxophone in a James Chance vein, not to mention synths and drum machines here and there. Mythology is inventively sketched. It is not doctrinally 1971. But it is spiritually kindred to that time, in a palpable way, to the Flower Travellin’ Band’s Satori for instance, not to mention Aqualung and Fragile and Master of Reality. It revels in an aesthetic that confesses some vulnerability even as it takes license to scream its emotions as loud as the singer feels like.

The album is for the most part relentless, with nearly all of the tracks anchored by chunky guitar lines that operate like fugal phrases on which saxophone or voice build over time. The exceptions are the third track, “Ferrell,” which recedes into a low-key free jazz space, adding dramatic tension. (This is, as it happens, a move specifically reminiscent of the Flower Travellin’ Band). The other exception, the sixth track (“Chromatophage”), foregrounds bass and a virtuosic messiness in the manner of Sly Stone, another anchor of 1971 and its recognizable microvibe. Aside from these two tracks, though, the album runs at more or less maximum intensity throughout. By the time of the last track, “The Damned Thing,” it is no surprise to encounter an eight-minute jam that marries synth, sax and guitar, often playing the very same riff at the same time, falling into a kind of heavy oblivion, then brought to the finale by a fluttering flute. The shameless and undeniable silliness of that instrument is perhaps the most 1971 moment of all, a baroque gesture that seems to admit a softer side even as it functions as a set-up for one final, evil guitar sortie.  

Benjamin Tausig

[bowmanstudios]

GEAR

Microphones:

Sure sm57

Sure sm58

Audix i5

Sure Beta 52

Blue Snowball

Behringer C-2 (pair)

Samson C01

Rode NT1A

Hardware:

Scarlett 18i0 audio interface

Mackie 1402-VLZ PRO 14 channel mic/line analog mixer

Guitar amps and pedals:

Helix HX STOMP

Ibanez Turbo Tube screamer

Guitars:

Fender GC140SCE Concert Acoustic-Electric

Yamaha FX335C Dreadnought Acoustic-Electric

Ovation 1311 Natural Acoustic

Fender Nashville Telecaster

Fender Squire Bullet Telecaster

Fender Squire Jazz Bass

Mitchell MU40 Soprano Natural Ukulele

Yamaha CGS 102A Classical Guitar

Keyboards:

Nektar Impact LX61+

Roland U-20

Drums and percussion:

1 big tambourine

1 small tambourine

LP Medium twist shakers

Simmons Titan 50 electronic drum set

Sound Monitoring:

JBL Professional Linear Spatial Reference 3 Series powered studio monitors (pair)

Sony Professional MDR-7506 studio headphones

Sennheiser HD 201 studio headphones

KRK Classic 5 studio monitors (pair)

Computers and visuals:

Apple MacBook Pro 13 inch

Dell flat panel monitor

DAW/software:

Logic Pro X

Pro Tools 12

GarageBand

Avid/Apple/Native Instruments/SoundToys/FabFilter/Waves plugins

Helix HX Edit

Plugins:

Digital EQ’s:

Waves V-EQ4

Fabfilter Pro-Q

Digital Reverbs:

Waves Abbey Road Chambers

Waves H-Reverb Hybrid Verb

Waves Renaissance Reverb

Waves Manny Marroquin Reverb

Relab Development LX480 Reverb

Digital Compressors:

Waves Renaissance Compressor

Waves CLA-3A Compressor/Limiter

Waves Smack Attack

Waves DeEsser

Extras:

Waves SSL G-Channel

Waves Nx Ocean Way Nashville

Waves Z-Noise

Waves WLM Plus Loudness Meter

Waves Tune Real-Time

Waves Vocal Bender

Waves Torque

Waves CLA Bass

Waves Abbey Road J37 Tape

SoundToys Echoboy

VST’s:

Spectronics Keyscapes

Native Instruments Battery

Toontrack EZdrummer 3

Native Instruments Kontakt Electric Guitar

Accessories/miscellaneous/other studio features:

4 XLR cables

4 1/4 inch jack cables

Power supply cables

USB outlet strip

High speed internet and free WIFI

Pencils, pens and paper

Wireless printer available

5 mic stands

Shock mount, pop filter, and 3 windscreens

HEAROS Ultimate Softness earplugs

Mini Samsung T.V. with Roku entertainment

RIF6 electric record player with built-in speakers

Dean Markley Pro Mag humbucker pickup

Culilux 1/4” audio splitter

Rioddas external ODD&HDD disc drive

Pack of CDs for burning

Guitar pick maker with appropriate paper

3 microphone clips

Alesis sustain pedal

Radial PRO-DI passive direct box

DeltaLab digital metronome

AKAI MPD218 beat pad

GiveBest electric heater

Behringer ULTRAACOUSTIC AT109 15-WATT acoustic guitar amplifier

OWC thunderbolt USB-C dock

APC surge protector

MOONGEL damper pads

Pick holder filled with guitar picks (floppy and hard) and a set of thumb picks

2 capos and clip on tuner

KORG TM-50 combo tuner and metronome

Mackie 1402-VLZ PRO 14 channel mic/line analog mixer

NEXIGO web cam

Big Knob passive monitor controller

The Bowman Studios, Dallas, Texas

Producers: Mason Bowman

[retrofret]

Just arrived a 1969 Marshall Super Bass 100 Watt Plexi Tube Amplifier! “LOCAL PICKUP ONLY “ - Link in our profile. - Marshall amps are certainly a rock legend, with a sound that has defined both an entire style and era of music. This unusually early red Super Bass full stack is a real monster, both in volume and tone. Marshall amps owe their humble beginnings to the Fender Bassman 5F6-A, the original subject re-interpreted using English components and originally sold exclusively through Jim Marshall's London shop. Both the circuit design and sound soon evolved from the Fender paradigm into something entirely their own. (at Retrofret Vintage Guitars) https://www.instagram.com/p/Cj0mVkxOkFg/?igshid=NGJjMDIxMWI=

[effectsdatabase]

Weekly overview (2023, week 07): 16 new brands and 34 new pedals

16 new brands

Ando Effects

AP Boutique

Audio Surplus Effects

Boulevard Effects

Daniel Pedals

Don-Kraft Effectors

Electric Eye Audio

Fowl Sounds

Giudis Pedals

Great Eastern FX

KarDiaN

Kinotone Audio

Rare Buzz Effects

Rhodium Electronics

SoundSlice FX

Wolf Devices

34 new effects

Boomer WF-24 8-Tr Fuzz Wah

Chorus TS-3 Tube Screamer

Colorsound Micro Mix

Copilot FX Arrow Airwaves Supreme

Cranetortoise SEL-1 A/B Box with Tuner Out

David Ross Musical Instruments Winter Storm

Davoli TSR/3 Tremolo / Sustain / Reverb

Dazatronyx THD Metal Distortion & Hybrid Germanium Fuzz

Dazatronyx TSX Overdrive

Death By Audio + EarthQuaker Devices Time Shadows

Deep Space Devices Boomburst

Devi Ever : CYMRU Godzilla

Donner Beltway Looper

Donner Path Seeker - ABY Switcher

Donner Triple Looper

Dr. Scientist Dusk - Analog Filter

DSM Noisemaker Sub Atomic - X-Over CMOS Bass Drive

Durham Electronics Quatro Plex

Ear Fuzz Effects Ear Bender MkI

EarthQuaker Devices Sunn O))) Life Pedal - Octave Distortion + Booster

Electro-Harmonix 5mm Power Amp

Electro-Harmonix EHX-2020 Mini Tuner Pedal

Electro-Harmonix Mini Slap-Back Echo - Analog Delay Reissue Pedal

Electro-Harmonix MOP-D10 Isolated Power Supply

Electro-Harmonix Nano Deluxe Memory Man

Electro-Harmonix Nano Eddy - Analog Vibrato/Chorus

Electro-Harmonix Nano Intelligent Harmony Machine - Harmonizer/Pitch Shifter

Electro-Harmonix Nano J Mascis Ram's Head Big Muff PI

Electro-Harmonix Nano Mainframe Bit Crusher

Electro-Harmonix Nano Operation Overlord - Nano Overdrive

Electro-Harmonix Triple Foot Controller

Fuzzrocious + Electro-Faustus EF110G Maggotor Gated Fuzz

Hall and Collins Signature Echo

nuX (Reissue series) Analog Chorus

1 new article

Last week's top 20 videos (2023, week 06)

Overviews of the previous weeks: https://www.effectsdatabase.com/updates/weekly

from Effects Database https://bit.ly/3lPsyjq

[gtas]

New Amp Day! 2011 Two-Rock Studio Pro 35 guitar amplifier. 35 watt combo utilizing 2 6L6 power tubes with tube driven spring reverb and push/pull boosts for treble, mids and bass. Amazing clean tones! #guitar #amplifier #guitaramplifier #guitaramp #tubeamplifier #valveamplifier #tworock #studiopro35 #tworockstudiopro35 #6l6 #6l6tubes #tworockamplification #premierbuildersguild (at Oakmont, Pennsylvania) https://www.instagram.com/p/CpZDagNtS3r/?igshid=NGJjMDIxMWI=

[deebeeus]

I haven't even heard it yet but it's already my favourite amplifier! 🥰

1966 @traynor_amps#YGA1 A Signature amp. I bought it* because it's a cool old script logo #Traynor, and although I had never seen one before, I didn't realize just how rare this model is until I posted it in the Traynor Facebook group. The word "unicorn" is not bandied about lightly by those Traynor nerds, lemme tell you!** 😉

I just know it is going to be a beast. It's basically a guitar version of the more famous YBA1 bass amp, so it packs 45 watts into a single 15" speaker. It's filthy because it has been in storage since 1971, but all original right down to the two pronger. I dare not flip that power switch on because all sorts of bad things can happen when an amplifier has been sitting for years and you run full wall voltage into it all at once. My amp tech @marshalllespaulfan will be doing a complete checkup before bringing it up slowly on a VARIAC (a device that allows you to gradually increase the voltage from 0 to the full 120 volts of North American AC, rather than just hitting the amp with the full wall current straight away). I am guessing he also has some kind of light-bulb contraption that acts as a current limiter (if there is a short circuit anywhere in the amp, the bulb takes the full brunt of the uncontrolled current flow instead of the amp components being damaged). He is also going to test the original tubes to see if they are still within spec.

Can't wait until it's up and running again (and CLEAN)! 😂

*OK, technically my buddy @tomgibson3783 bought it for me, but I digress... 🤣 ** If you are interested in Traynors, and still have a Facebook account (lol) check it out "The TAO of Tone" group. Tell Nick, the admin, that your pal DeeBeeUs™ sent you. It won't get you anything special but please do it anyway! PS: TAO stands for "Traynor Amp Owners" making this the most cleverly named group on social media full stop.😂

#guitar#guitars#amp#amps#amplifiers#vintageguitars#vintageamps#traynoramp#vintagetraynor#tubeamp#tone#guitargear#guitarsdaily#guitarsofinstagram#geartalk#guitarsdaily#tryanorsofinstagram#guitarphotography#ampphotography

[aaryan-mwa-blogs]

The Importance of High-Quality Amplifiers for Professional Sound

The secret of great sound in live performances, events, or studio recordings is the quality of your amplifiers. It is the key for clear, powerful sound and exactly how you want it to be heard by your audience. Let’s quickly go through why high quality amplifiers are must.

Let’s start with what are Amplifier & its role.

An Audio amplifier is an electronic device which increases the power of an audio signal.  The main role of Amplifier is to take a weak audio signal from your instrument, microphone, or mixer and boosts it so that your speakers can play it loud and clear. Without an amplifier, the sound quality would be too quiet or muddy.

Why High-Quality Amplifiers Matter

There are many types of Amplifiers, and when it comes to professional sound, the difference is huge. A high-quality amplifier will make your sound louder & it also ensure that the sound is clean, clear, and powerful. Below are a few reasons why a good amplifier makes all the difference:

1. No Distortion at High Volumes 

 At a high volume, a poor amplifier can make your sound distorted and unclear whereas a high-quality amplifier allows you increase the volume without losing the details, to hear every note, beat, and word perfectly.

2. Better Sound Quality

A good amplifier will never change the natural sound of your music or voice. Everything remains clear and true to the original, even if you’re playing bass-heavy beats or soft vocals. So your audience can get the best version of your sound every time.

3. Long-Lasting and Reliable 

Professional events and gigs are more demanding these days & a low-quality amplifier might overheat or break down after heavy use. High-quality amplifiers are built to last, handling long hours of operation without a problem.

What to Look for in a High-Quality Amplifier

How to check if an amplifier is high-quality? Here are a few features to consider:

Power Output 

Amplifiers with more power has more control over the sound. So if you are planning to perform in larger spaces, you’ll need an amplifier with more power so the sound reaches every corner of the room without straining.

Low Distortion 

High-quality amplifiers keep distortion low, which means your sound stays crisp even at louder volumes. A good Tip always check for amplifiers that have low total harmonic distortion (THD) for the clearest sound.

Durability 

Look for solid, well-built amplifiers that are designed for long-term use so they don’t fall halfway through a gig. Professional-grade amplifiers are capable of handling the wear and tear of regular performances and events.

Types of Amplifiers

There are different types of amplifiers, and the one you choose depends on your needs:

Power Amplifiers 

These are designed to work with passive speakers and are often used in live performances or larger venues. They boost the audio signal and make sure your sound reaches everyone in the audience.

Integrated Amplifiers 

These combine a preamp and power amp into one unit, making them a good choice for home studios or simpler setups. They provide clean sound and are easier to manage for smaller gigs or recording sessions.

Tube vs. Solid-State Amplifiers 

Tube amplifiers are known for their warm sound, while solid-state amplifiers are more reliable and require less maintenance. If you’re after a rich, old-school sound, tubes are great. For reliability and consistency, go solid-state.

Why Professionals always Choose High-Quality Amplifiers

Professional musicians, DJs, and sound engineers understand that their sound system is only as good as its amplifier. Without a high-quality amp, even the best speakers, mics, and instruments won’t sound their best. An amplifier ensures that every part of your audio system works in harmony, giving you powerful, high-quality sound.

Conclusion

High-quality amplifiers are essential for anyone looking to deliver professional sound. You can check them yourselves by visiting some professional audio shops like VIP PRO AUDIO in Brooklyn. They provide the power, clarity, and durability needed to ensure your music or speech sounds its best, whether you’re performing live, recording in a studio, or hosting an event. Don’t overlook the importance of a great amplifier, it's a small piece of equipment that makes a big impact on your overall sound quality!

[maximuswolf]

Whats the Best 'High end audio interface' with 8 channels?

Whats the Best 'High end audio interface' with 8 channels? Hi guys! I currently own an "RME baby face pro fs" in my home studio. Looking to upgrade to an '8 channel audio interface' to record our band live.Setup will be:Drums: 2 mics: (Eden LT- 386 hanging overhead and sm7b kick)Electric: 2 mics: (sm57 through a Twin Finity, 'NOS Tunsgram Tube'(Taming those mids) and Beyer m160) Mullards are crazy-ass expensive, FMLBass: 1 mic on the amp (Beyer MC 930) and DI'd through an Avalon U5 (**Recommendations on your favorite bass amp Plugin?)Lead Vox: Audix VX5This is my first big jump into a new terrain. Honestly, this is my first band ever joined, and it's all friends who play music, but we haven't jammed in a room together yet. Royalty splits will all be even, that way our egos are balanced, and each band member has equal power. I'm trusting my gut, though.. not too sure if the band will work, but heck, I'm only gonna live once and would love to make a career out of this. LET ME DREAM YOU PIECES OF SHIT! Where was I? Oh.. I love audio engineering and singing, so I was down. On that pussy. Hmm, I'm not too sure on how Imma get IEMs to all band members (hopefully the device posted has that), but I'll save that for another post if need be. Srry mamma

[teardownit]

DIY ProCo RAT: The True Vintage Distortion Pedal

Hello, and welcome to my guitar effects workshop! This circuit has existed for 46 years and is not that popular today. But if you want tons of vintage mojo, you should consider buying or making a ProCo RAT yourself.

This is one of the world's first full-fledged distortion pedals. Do you know why they stand out among other overload effects?

Fuzz is a highly high-gain pedal; it distorts the signal significantly and gives it a very specific sound, completely different from tube amplifier overdrive. However, fuzz is not technically an amplifier. The fuzz needs an amplifier with a cabinet to create the timbre of the sound. Adding fuzz to the line input will be a mistake; the sound will be terrible.

Overdrive, on the other hand, is a moderate gain pedal. Combined with the clean channel of a Fender-like amp, it gives the sound-breaking blues vibe. If connected to the input of an already overdriven amp like Marshall or Orange, the overdrive pedal not only pumps up the gain but also focuses the sound, emphasizing certain frequency bands and suppressing others.

Overdrives have built-in signal limiters on diodes, LEDs, or MOSFETs. Still, setting the gain so high that the limit triggers is unnecessary. It is assumed that we're clipping an overdriven amp plus the internal clipping of the overdrive pedal.

Boosters should also be mentioned; when the headroom is large, they do not limit the signal but simply increase its amplitude. Today, they are often built into electric guitars, especially bass guitars.

Some pickups, like the EMG and Fishman Fluence, have built-in boosts. And for electro-acoustic guitars with piezoelectric pickups, a built-in preamplifier is a must, taking into consideration the high output impedance and weak signal of the piezo pickup.

Transparent boosters have an amplitude-frequency response close to linear, like the 1968 Electro-Harmonix LPB-1 Linear Power Booster does.

A variation called Screaming Bird was released in 1970, and it was a treble booster, a much-needed item for many vintage tube amps.

Thanks to the Screaming Bird, the clean sound became crisper, individual notes were clearer, and the presence of the guitar in the mix was more obvious. The amplifier did not choke on the bass when overloaded, so the result was not fuzz but overdrive or distortion.

Here is the 1965 diagram of the British Dallas Rangemaster Treble Booster. I won't claim that Mike Matthews copied it when developing the EHX LPB-1; it's just a transistor stage with a common emitter. Such stages are found in many pedals, radios, and so on. But I won’t rule out this possibility either; we learn from each other.

Guitar amplifiers were also produced under the Dallas Rangemaster brand.

Besides the Linear Power Booster and Screaming Bird Treble Booster, as you might have guessed from the diagram, EHX released the Mole Bass Booster.

The pedal-style version of the bass booster was called Hog's Foot.

Finally, some buffers do not only change the frequency spectrum of the signal but also its amplitude. Simply put, they have high input and low output impedance, thus helping to mitigate signal losses in the effects chain. The loss of high frequencies due to the influence of cable capacitance is the primary candidate for such an application.

The amplification devices between the electric guitar and the amplifier input can differ. Then what is distortion?

A full-fledged distortion is already a preamplifier, equipped with clipping and timbre shaping. Theoretically, it can be connected to the input of a power amplifier with a guitar cabinet for a fair level of sound quality.

Not every distortion pedal is an amp in a box. And most amps in a box sound even better when connected to the input of a tube amp rather than a power amp. However, each distortion pedal has its own character and recognizable sound.

So here we have the 1978 ProCo RAT circuit diagram. If you're familiar with guitar pedal circuitry, you know that most distortion circuits look similar or have similar building blocks. Because it was ProCo RAT that laid these circuitry foundations.

Many filters will catch your eye if you know what to look for in the diagram. First, an input filter consists of a 22 nF series capacitor, a 1 kΩ resistor, and a grounded 1 nF capacitor.

The 30 pF capacitor is a standard component to compensate for the frequency characteristics of the good ol' LM308 op-amp.

It is believed that only the LM308 can provide authentic RAT sound. That's true; the circuit is very dependent on the specific characteristics of the op-amp, namely frequency response and slew rate.

Since 2005, ProCo RAT pedals have been using OP07 operational amplifiers, almost a complete analog of the LM308. With the LM741, the circuit also works and sounds fine, but nothing like the original one.

A 100 pF capacitor between the output and the inverting input is found in many pedal circuits. It prevents the op-amp from self-oscillating and generating unpleasant high-frequency sound components called "sand."

There are as many as two RC circuits between the op amp's non-inverting input and ground: 4.7 uF 560 ohms and 2.2 uF 47 ohms. From previous articles on guitar pedals, we already know that such a filter stage determines the frequency structure of the overdrive.

Pedals like the Hermida Zendrive and Horizon Devices Precision Drive feature a reconfigurable filter. And ProCo RAT has two of those. This is one of the secrets to the pedal's famous sound character.

Next, a limiter on two back-to-back diodes is included, followed by another filter acting as a tone regulator.

Finally, the pedal's output includes a JFET buffer and volume control.

The Landtone kit I've assembled has an original vintage LM308 with signs of re-soldering. RAT distortion sounds the way it should with this chip.

[audio-luddite]

Solid Stuff.

Lets talk about transistors. There are many types and methods and there have been many products made with them. It is rather silly to lump them all into one bin and complain.

Transistors are actually quantum devices. They use fields and potentials and extra electrons or holes in the orbitals of solid materials. They make possible all those things we all associate with modern life. Your smart phone uses millions of transistors. Even the screen is an array of transistors controlling what you see. Such stuff would be physically impossible with vacuum tubes.

They go back pretty far you probably didn't know. Basically as old as vacuum tubes in theory. The Field effect transistor was first described in 1925 conceptually. The common Bipolar Junction type was demonstrated in 1947 and commercialized in the 1950s. The 6550 vacuum tube was also developed in the 1950s. The MOSFET was invented in 1959 and had many advantages especially in energy efficiency. All that real work was done at BELL Labs a private research lab owned by Bell Telephone.

In Audio the challenge was finding ways to control ever more power. Up until the late 1960s a powerful home amplifier was about 60 Watts. That was the best you could do with using either Tubes or Transistors. Very clever designers worked both ways. Harman Kardon and Dynaco both sold factory made and Kits of audio stuff as the interest was mostly in hobbyists. Both companies used tube and transistor methods and moved from one to the other as soon as they could. But they sold both tubes and Transistor equipment for some time.

Why did they change? They found transistors better. They liked the performance and manufacturing advantages. A stereo tube amplifier uses three big transformers. A transistor type needs one. Tube amplifiers use lethal voltages and are fragile. Transistors don't and aren't. And in the late 60s to early 70s transistors sounded better. Such was the opinion of the Original golden ear J Gordon Holt.

Tubes were "fuzzy" and obscured detail. Tubes had weak or muddy Bass. Transistors had clarity and speed and Power. One of the best amplifiers of that age was the Harman Kardon Citation 12. 60 Watts dual mono with quasi-complementary output transistors. Some people still say quasi is better than actual full complementary as you can properly match the transistors. That HK still sounds really good. Better than a newer Carver amp I have.

The age of the super amp was all transistor. SAE, Dynaco, Phase Linear all just added more transistors to the output and got 100, 200, 250, and then 350 Watts per channel. That followed the development of better transistors that could push more current and volts. People liked what they could do.

As in everything they were not perfect. Nothing is perfect. And today there is an avalanche of marketing and nonsense. This is best, that is best. Companies come and go. Old ways are rediscovered and called new.

Hey it is not over. People spend crazy money on the latest thing. It has a lot in common with joining a Cult. I refuse to drink the Kool Aid.

It took me a while to realize that it is not about best, or even better, just different. There are different things to hear. My lovely 1990s era tube amp has wonderful textures, but obscures tiny details I know are there. I miss them, but will forgive it for now.

I think I should just start calling it my winter amp. Toasty warm like a nice fire in the fireplace. It will rest in the summer, and I will get my tiny details back. Not about better.

There are obsolete technologies revived like tiny Single End Triode "Class A" amplifiers and big horn speakers. People can forgive flaws and limitations if they really want to. Hey I do. Old designs from the 1950s are recreated and people really like them. You can buy a brand new recreation of the Harman Kardon Citation I and II classic tube preamp and amp set. Just like the original only new parts. Old "Classic" equipment is lovingly restored to as new, but this returning to the roots still sounds like the 1950s. It wasn't that good people.

I have LPs that are pure analogue. Performance to professional tape to disc. They sound really good. I have LPs that were recorded digitally and they sound great too. I have really good CDs. So the newer technology is not automatically worse. Some is, but that is the production chain and often commercial pressures to "sound good on AM radio" like that Carly Simon LP I got.

You can build a justifiably high end system with transistors. It will sound great and be reliable. You do not have to apologize, and yes you can still socialize with the tube people.

[soundwave021]

All You Need to Know About Buying an Amplifier for IEMs

Amplifiers are a crucial part of any sound system-be it for In-ear monitors, home theatre, car stereos or professional musical instruments.

In general, an audio amplifier is an electronic device that can make the audio signal louder. Audiophiles are already aware of the role that portable amplifiers play in the In-Ear monitors or sound systems.

However, those people who are still new in the field of sound & music should know that an amplifier is the main component to bring about the feeling of the perfect audio quality. 

A great amplifier can give you the impression of being at a live concert with soaring highs, deep bass notes, and crystal-clear sound. The market is flooded with amplifiers and a beginner would surely have a tough time choosing the right amplifier for themselves.

Thus, it is so important to recognize different kinds of amps as well as what factors to look at when purchasing them. So, be it your desire to enhance your sound system, buy new studio equipment, or just want to do it for the love of audio technology, this blog will let you know some of the best tips for buying an amplifier for your needs. So, let’s get started with the basics of the amplifiers. 

What are Amplifiers?

Amplifiers are electronic devices that are used to increase the power, current and voltage of a signal.

In digital audio and communications systems, they are the building blocks, which produce stronger signals from the received signals, thus enabling their further processing.

Whether it is an amplifier for In-ear monitors or a professional power amplifier for instruments, it amplifies the sound and boosts the performance of sound quality.

Exploring the Different Types of Amplifiers

The amplifiers can be divided into various categories: Preamplifier, Power amplifiers, Headphone amplifiers, Integrated amplifiers, Tube Amplifiers and more. 

Most preamplifiers and power amplifiers are designed with inputs and outputs that are broadly compatible. This means that you don’t always have to use the same brand for both devices all the time.

If your amp is separate from your preamp, you can upgrade it without changing anything else.  Some power amps come with a “trigger” connection which is typically a 3.5mm socket.

When this socket is connected to a compatible audio preamplifier, turning on the preamp will also turn on the power amplifier.

Preamplifiers

Preamplifiers, which are also known as preamps, are made to amplify low-level audio signals from sources like turntables, microphones and musical instruments. They are also popular for providing basic tone control as well as signal-switching functionalities. These devices usually serve as a means by which signals can be read for further amplification through a power amplifier.

Power Amplifiers

Power amplifiers are the elements liable for giving enough power to the speakers. They receive and magnify the signal which has been already amplified by a preamplifier up to the needed level for the speakers to produce noticeable sound. Power amps find extensive application in household audio systems, live sound settings, and professional audio equipment generally.

Headphone Amplifiers 

Headphone amplifiers are also popularly known as headset amplifiers. These are the devices specifically designed to drive headphones. Many music players, mobile phones and laptops do not have the power to drive high-impedance headphones to their full capability. That's the reason why headphone amplifiers are used. A headphone amp has the capacity to resolve these issues by offering them enough power & control. By utilising headphone amplifiers, devices are able to deliver rich, vibrant, and more dynamic listening experiences. 

Integrated Amplifiers

Integrated amplifiers combine the functions of preamplifiers and power amplifiers together as one unit. They are convenient all-in-one audio solutions that let you simplify your setup without sacrificing sound quality. Additionally, they have inputs for various sources and built-in power for driving speakers too. 

Tube Amplifiers 

Tube amplifiers are generally popular for their warm and natural sound characteristics. However, these amplifiers are different from those solid-state amplifiers that use transistors. Basically, it relies on vacuum tubes to amplify audio signals, resulting in pleasing harmonic distortion production for an engaging listening experience. These tube amps are generally used in premium music audio systems and by the guitarist looking for that classic tube tone. These amplifiers require some extra maintenance compared to their solid-state counterparts, as the tubes need to be replaced periodically. Overall, the feedback from the audiophiles concludes that it offers a superior sound quality which can bring a new dimension to your music listening. 

Exploring the Different Classes of Amplifiers 

Class A

Class A amplifiers are popular in the audio category for their high fidelity and excellent linearity. These amplifiers run by the output transistors conducting for the whole 360 degrees of the input signal cycle, making them constantly on. This further leads to highly accurate and linear amplification, making the Class A amps the best one to consider for high-end audio applications where sound is the only main priority. However, their continuous operation also results in a high level of heat generation, and power inefficiency. Therefore, much energy is dissipated as heat rather than being converted to useful output power. So, they are less practical for applications where efficiency is key. 

Class AB

Class AB amplifiers are a balance of Class A and Class B amplifiers. In Class AB amplifiers, each transistor conducts for more than 180 degrees but less than 360 degrees of the input signal cycle. This further regulates a slight overlap when both the transistors are conducting. Furthermore, this minimizes the crossover distortion typically associated with Class B amplifiers. In other words, Class AB amplifiers consume more power than Class A amplifiers but still manage to maintain an acceptable level of distortion, which makes them very popular among audio source applications. 

Class B

Class B amplifiers are designed to increase the efficiency of the device. Each of the output transistors operates precisely for 180 degrees of the input signal cycle. So, in the process, one of the transistors takes over the positive half of the waveform. While the other transistor works on the negative half.

The great thing about this method is that it requires much less power and generates less heat than Class A amplifiers do. And it happens since a transistor is off for each half of the cycle. This switching of the transistors introduces a kind of distortion called crossover distortion which comes about when the signal steps from one transistor to the other. The consequence here is that Class B amps are considered less appropriate for the purpose of high-fidelity audio amplifications. However, they are more likely used in setting out the efficiency criteria rather than the sound quality.  

Class C

Class C amplifiers operate by minimising the conducting time of each output transistor. In Class amplifiers, each output transistor works for the input signal cycle of less than 180 degrees. Such amplifiers are most efficient because these output transistors are off most of the time. Therefore, it generates less heat and small power, making it ideal for various sound applications. However, these amplifiers are not suitable for audio applications where sound is the ultimate priority. It is because of their distortion in the output signal. Instead, these Class C amps are widely used in RF (radio frequency) applications, such as in transmitters where amplified signals can be filtered to remove the distortion. Hence, these highly efficient amplifiers are perfect for these specialised applications where power efficiency is of utmost importance

5 Specifications to Consider While Buying an Amplifier 

Power Output

The power output of an amplifier is a key thing to look at because it determines both the volume and the dynamics of the sound. It is usually measured in watts and should match with the suitability of the speakers. 

Noise & Distortion 

The term Total Harmonic Distortion + Noise (THD+N) describes the amplifier’s level of distortion and interference. A lower THD+N value means that the produced sound is more clear and accurate. So, when shopping for an amplifier, you should look for an amplifier that has low THD+N values to ensure high-fidelity audio output.

Signal-to-Noise Ratio 

When looking for an amplifier the importance of the signal-to-noise ratio (SNR) should not be underestimated. It signifies the ratio of the desired audio signal to background noise. The higher this value is the better because it means that the audio amplifier will produce clearer and more detailed sound, especially at lower volumes. Therefore, if you want your music or movies to be of high quality make sure you have a good SNR.

Crosstalk

Crosstalk is the interference between the left and right channels of a stereo. It can ruin the stereo image and also the overall sound quality. In choosing an amplifier, take note of its crosstalk specification as this will help reduce any unwanted signal jumping from one channel to another. Thus providing you with a more immersive music listening experience.

Inputs and Connections

To determine the versatility and convenience of an amplifier, you may look at the inputs and connections it offers. You should also check the compatibility with audio sources through the kinds and quantity of inputs like RCA and digital inputs. Besides, features such as Bluetooth connectivity or USB input may also help in increasing functionality as well as ease of operation for the amplifier.

Key Takeaway!

Overall, Amplifiers are the most important part of a sound system whether it is an IEM or a speaker without which one can never have a good listening experience. So, knowing about the amplifiers in detail and the specifications is so much of importance. While purchasing an amplifier, being mindful of these specifications will definitely help you in finding the ideal one for you. So, get the right one now!