Mic Kaczmarczik's Tubeinformation

Total Page:16

File Type:pdf, Size:1020Kb

Mic Kaczmarczik's Tubeinformation Mic Kaczmarczik's Tube Information This directory contains USENET articles Mic has saved about guitars, equipment, pickup, techniques, players, and so on. Mic has graciously granted permission to post the stuff on the JT30 page on the off chance that it might be useful in the context of Blues Harmonica. Mic is not responsible for the content, just the collection. He must have quite alot of free time. 12AX7-Comparisons 26-Mar-1998 15:31 2k 12AX7-gain-test 26-Mar-1995 14:37 2k 12AX7-vs-12AT7 20-Aug-1995 09:53 3k 12AX7-vs-5751 19-Aug-1995 20:34 1k 12AX7-vs-7025 27-Aug-1994 09:01 2k 5881-in-Deluxe 20-Dec-1994 11:19 3k 5881=6L6GB 20-Nov-1994 09:58 3k 5AR4-Typing 01-Mar-1996 16:52 3k 5AR4-data 14-Dec-1995 11:50 14k 5V4-for-5AR4 06-Apr-1996 14:18 1k 62-Twin-Speakers 17-Dec-1995 17:15 3k 6550s-in-Twin 03-Sep-1996 09:41 2k 6EY6 09-Jan-1997 10:39 1k 6EY6-Characteristics 21-May-1997 16:43 1k 6EY6-close-to-6V6 05-Jan-1997 22:03 1k 6EY6-rating-vs-6V6 03-Dec-1997 20:24 2k 6L6-GC-meaning 28-May-1995 10:32 1k 6L6-Taste-Tests 31-Jul-1999 10:39 11k 6L6-Types 20-Jan-1996 15:41 3k 6L6GC-ID 27-Aug-1998 09:02 2k 6L6WGB-vs-7581 12-May-1997 10:22 6k 6MB8-tube-specs 30-Jan-1995 10:35 1k 6V6-6L6-swaps 14-Jan-1997 10:42 3k 6V6-NOS-vs-Sovtek 27-Sep-1996 15:27 2k 6V6-Ratings 29-Jul-1996 10:38 4k 6V6-Russian-RCA-Copies 29-Jan-1999 12:36 2k 6V6-Types 07-Nov-1998 10:50 3k 6V6-duty-cycle 25-Nov-1995 00:12 4k 6V6-to-EL84-Cathode-..> 08-Nov-1998 11:37 3k 6V6=7408 09-Jul-1996 01:03 1k 6V6EH-Taste-Test 21-Dec-1999 13:14 13k 6V6EH-vs-RCA-Blackpl..> 19-Apr-2000 14:02 1k 6V6GT-Types 09-Feb-1999 16:20 2k 6V6GT-vs-GTA 19-Aug-1995 00:08 2k 6V6s-in-6L6-amps 27-Mar-1996 13:32 6k 7408-info 05-Jun-1997 11:39 2k 7581A-tubes 19-May-1995 22:39 1k 7868-equivalents 05-Oct-1996 13:16 1k Amperex-history 16-Mar-1997 02:10 3k Best-6V6 27-Aug-1998 09:00 2k Blue-Glow-Sylvania 18-Jan-1998 10:20 3k Breaking-in-Tubes 18-Jun-1995 09:45 2k Breathe-on-tubes 24-Aug-1995 15:02 1k Brimar-Special-Quality 17-Oct-1996 11:57 3k CEI-6V6GTs 23-Oct-1998 09:22 1k Chinese-12AT7s 01-Dec-1995 10:37 2k Chinese-6V6GTBC 12-Sep-1995 22:45 2k Design-Max-Rating 31-Dec-1995 10:52 2k EL34-coding-explained 06-Apr-1995 10:09 2k Euro-Tube-Code 23-Jan-1997 00:04 11k Fingerprints 21-Jan-1996 19:55 3k Fuzzy-Cathodes 18-Jun-1997 17:24 4k GE-and-Sylvania 26-Aug-1995 22:14 1k GZ34-Varieties 20-Jan-1998 23:06 2k GZ34-types 13-May-1998 15:19 2k GZ37-vs-5U4 03-Apr-1997 12:42 1k Groove-Tubes 01-Oct-1994 00:22 3k Groove-Tubes-6V6HD 27-Nov-1994 17:04 6k Groove-Tubes-testing 23-Sep-1998 09:11 7k How-Are-Tubes-Made 10-Mar-1997 22:11 3k Hytron-tubes 18-Oct-1996 10:02 2k ID-Tube-Makers 17-Dec-1997 12:44 3k Identify-Tube-Makers 31-Jan-1997 20:48 6k Is-Tube-Matching-Needed 14-Oct-1994 11:17 3k LV-Visseaux-6V6-Warning 30-Apr-1999 09:18 2k M.O.Valve-Gold-Lion 30-Apr-1997 19:26 2k Making-Tubes 06-Sep-1997 10:11 4k Mazda-History 13-May-1998 13:50 5k Metal-6V6s 25-Jun-1995 09:53 3k More-M.O.Valve-History 06-May-1997 16:49 7k New-US-6L6GCs 21-Nov-1996 13:44 2k No-More-Chinese-12AX7s 17-Feb-1998 09:30 2k Overvoltage-Effects 10-Aug-1997 21:34 6k Phillips-6L6GB-JAN 13-Jun-1996 09:58 1k Photon-Noise 20-Jun-1998 11:27 4k RTV-Tube-Damping 19-Jan-1997 10:58 5k Real-Mullard-GZ34s 12-Jul-1996 20:46 3k Relabeling 23-Mar-1997 20:01 2k Ruby-6V6GTBC 19-Nov-1995 10:55 2k SPICE-tube-models 22-Aug-1995 09:25 1k SV-6L6GC 24-Oct-1996 20:41 1k Sovtek-12AT7EH-5751-..> 21-Sep-2000 10:14 6k Sovtek-5881 31-Aug-1996 09:46 4k Sovtek-5881-Confusion 24-Sep-1996 13:15 2k Sovtek-5881-data 17-Apr-1996 00:57 7k Sovtek-5881-for-7027 19-Sep-1995 11:35 2k Sovtek-5881-specs 03-Nov-1995 11:01 3k Sovtek-5881WXT 24-Feb-1996 11:06 3k Sovtek-6CA7-problems 01-Jun-1995 00:00 4k Sovtek-6L6WXT+ 11-Aug-1998 10:49 2k Sovtek-Midget 28-Jul-1995 15:31 2k Sovtek-Online 03-Jun-1996 00:14 1k Sovtek-Tube-specs 08-Aug-1995 11:34 3k Sovtek-page 24-May-1995 17:47 1k Standby-Switches 02-Oct-1999 13:55 4k Svetlana-6550s 07-Nov-1995 11:01 4k Svetlana-6L6GC 26-Oct-1996 00:18 2k Svetlana-7591A 28-Oct-1996 20:13 1k Svetlana-EL34-review 16-May-1996 10:18 6k Telefunken-Tubes 16-Oct-1994 09:36 1k Telefunken-placement 08-Dec-1995 12:47 1k Tesla-12AX7 18-Feb-1998 11:07 2k Tesla-6L6GC 21-Oct-1996 00:50 1k Tomorrows-tubes 31-Aug-1995 22:03 9k Tube-Amp-Books 17-Feb-1995 12:10 3k Tube-Amp-FAQ-Feb-96 01-Mar-1996 18:51 65k Tube-Chickens 24-Apr-1997 12:20 5k Tube-Curve-Tracers 12-Apr-1996 20:36 1k Tube-Data-Page 31-Jan-1998 23:44 1k Tube-Data-Web-site 03-Feb-1996 19:24 1k Tube-Failures 21-Mar-1996 12:58 2k Tube-Manufacturers 13-Dec-1997 00:31 7k Tube-Mfgr-Codes 17-Dec-1996 15:46 3k Tube-Naming-Explained 30-May-1995 22:42 5k Tube-Relabeling 07-Nov-1998 18:47 4k Tube-Stability 12-Aug-1999 11:45 2k Tube-amp-books 12-May-1995 12:40 10k Tube-gas-avalanche 26-Jun-1995 21:11 2k Tube-heating-effects 24-Mar-1994 12:37 4k Tube-mismatch-harmonics 26-Aug-1995 22:23 5k Tube-rejuvenation 18-Apr-1996 12:11 2k Tube-types 13-Aug-1994 16:19 5k Tubes-vs-SS 07-Jul-1995 11:23 4k Visseaux-6V6 06-Feb-1999 13:28 4k Visseaux-6V6-Warning 30-Apr-1999 13:27 7k Vudu-Tube-Replacement 01-Sep-1995 08:14 1k What-Does-6L6GC-Mean 12-Apr-1999 10:20 1k What-is-5881 23-May-1997 20:53 9k What-is-7027 31-Mar-1998 22:19 2k Which-Rectifier 25-Nov-1995 00:18 3k Why-5V-rectifier-vs-..> 23-Mar-1998 13:10 3k Why-6.3V-Filaments 19-Nov-1996 19:25 4k Why-Tubes-Coated-Inside 05-May-1998 08:53 5k Worn-Out-GZ34s 19-Sep-1998 15:35 2k YA-tube-page 28-Aug-1996 21:39 2k From [email protected] Thu Mar 26 15:31:21 CST 1998 Article: 93367 of alt.guitar.amps Path: geraldo.cc.utexas.edu!cs.utexas.edu!news.maxwell.syr.edu!news-peer.sprintlink.net!news-backup-west.sprintlink.net!news-in- west.sprintlink.net!news.sprintlink.net!Sprint!204.181.176.6!ux2.accesscom.net!not-for-mail From: "Ted Breaux" Newsgroups: alt.guitar.amps Subject: Re: 12AX7 Tube Comparisons? Date: 25 Mar 1998 09:24:57 GMT Organization: AccessCom, THE New Orleans Internet Provider Lines: 43 Message-ID: <01bd5801$40e67aa0$02bdb5cc@default> References: <[email protected]> NNTP-Posting-Host: p302.accesscom.net X-Newsreader: Microsoft Internet News 4.70.1155 Xref: geraldo.cc.utexas.edu alt.guitar.amps:93367 > I have an Ampeg Superjet with Sovteks and would like to swap the tubes > and see what tonal changes are affected, but I don't want to go out and > buy a couple of each different types? > > Any ideas? > Yes. I have done quite a bit of time consuming, tedious research with different preamp tubes in different amps. In a nutshell, here are some plain and simple guidelines which will get you where you want to go all for about any amp application: With respect to my NOS Mullards as a basis of comparison... Chinese 12AX7A - Harsh, not very musical. Avoid. Sovtek 12AX7WA - Brittle, thin, low gain. Avoid. Sovtek 12AX7WB - Darker than the WA, better gain. Sovtek 12AX7WXT - Better, quieter still, but more $$. Better suited for audio amps. Tesla ECC83 - Good gain, quiet, best tube for drier sounding high gain amps (i.e. modern Marshalls). Robust internal structure, well balanced sound. Tesla E83CC - High priced, very low noise. Save your $$, as this is only an advantage in phono preamps! Ei ECC83 - (Yugoslavian) - Great gain, very noticeably warmer sound, and will warm up any amp. Best tube for Vox, Fender, vintage Marshall, and any other vintage amp. Telefunken 'diamond' copy, but not as quiet. Some are a little microphonic. Ruby 7025STR - An upgraded, premium Chinese made tube. Anodized plates. Reported (by "Lord Valve") to be much better and quieter. Production ceased. To sum it up, I find that if you are buying Tesla and/or Ei, that you really don't need other brands.
Recommended publications
  • MI Amplification
    MI Amplification Owner’s Manual 1 1. Welcome ....................................................................................................................................... 4 2. Precautions................................................................................................................................... 5 3. Amp Overview .............................................................................................................................. 6 3.1. Preamp.............................................................................................................................................. 6 3.2. Power Amp ....................................................................................................................................... 6 3.3. FX Loops .......................................................................................................................................... 7 3.4. Operating Modes ............................................................................................................................. 7 4. Getting Started ............................................................................................................................. 8 5. The Channels ............................................................................................................................... 9 5.1. Introduction ..................................................................................................................................... 9 5.2. Channel 1 .........................................................................................................................................
    [Show full text]
  • The Magnificent Seven: American Telephony's Deregulatory Shootout, 50 Hastings L.J
    Hastings Law Journal Volume 50 | Issue 6 Article 5 1-1999 The aM gnificent Seven: American Telephony's Deregulatory Shootout Jim Chen Follow this and additional works at: https://repository.uchastings.edu/hastings_law_journal Part of the Law Commons Recommended Citation Jim Chen, The Magnificent Seven: American Telephony's Deregulatory Shootout, 50 Hastings L.J. 1503 (1999). Available at: https://repository.uchastings.edu/hastings_law_journal/vol50/iss6/5 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Law Journal by an authorized editor of UC Hastings Scholarship Repository. The Magnificent Seven: American Telephony's Deregulatory Shootout by JIM CHEN* Table of Contents I. High N oon .................................................................................. 1504 II. The Gunslingers, Then and Now ...................... 1506 A. The Opening Round ........................................................... 1507 B. The Magnificent Seven ...................................................... 1511 (1) POTS and PANS, Hedgehogs and Foxes ................... 1511 (2) Lord Low Everything Else ................. 1513 III. The Legal Mothers of Merger Mania ...................................... 1514 A. Statutory Starters .............. ............ 1515 (1) Section 251 and Allied Provisions ............................... 1516 (2) Section 271: BOC Entry into InterLATA Carriage .1519 * Professor of Law and Vance K. Opperman Research
    [Show full text]
  • 2013 Full Line Catalog 2013
    Electric Guitars, Electric Basses, Acoustic Guitars, Amplifiers, Effects & Accessories 2013 Accessories Effects & Amplifiers, Guitars, Electric Acoustic Electric Basses, Guitars, www.ibanez.com 1726 Winchester Road, Bensalem, PA 19020 · U.S.A. · ©2012 Printed in Japan NOV12928 (U) For Authorized Dealers Only - All finishes shown are as close as four-color printing allows. CATALOG - All specifications and prices are subject to change without notice. 2013 FULL LINE Table of Contents Solid Body Electric Guitars Signature Models 6-10 Iron Label RG/S 11-13 RG/GRG/GRX/MIKRO 13-26 RGA 26 RGD 27 S 28-31 X 32-33 FR 33 ARZ 34 AR 34-35 ART 35-36 Jumpstart 37 Hollow Body Electric Guitars Signature Models 40-41 Artstar 41 Artcore Expressionist 42-44 Artcore 44-47 Electric Basses Signature Models 50-51 SR 51-61 Grooveline 62-63 BTB 64-65 ATK 66-67 Artcore 67-68 GSR/MIKRO 68-73 Jumpstart 73 Acoustic Guitars Signature Models 76 Artwood 77-81 PF 82-85 SAGE 85 AEG 86 AEL 87 AEF 88-89 EW 90-91 Talman 91-92 AEB 92 SAGE Bass 93 Classical 93-95 Ukulele 95-96 Banjo 96 Resonator 96 Mandolin 97 Jampack 98 Amplifiers/Effects/Accessories Tube Screamer Amplifier 100-101 Wholetone 101 Promethean 102-103 Sound Wave 103 Troubadour 104-105 IBZ 105 Tube Screamer 106 9 Series 107 Echo Shifter 108 Signature Effect Pedal 109 Wah Pedals 109 Tuners 110 Cables & Adapter 110 Stand 111 Tremolo Arm 111 Picks 111 Cases/Straps 112 Bags/Microphone Stand 113 02 for more information visit www.Ibanez.com for more information visit www.Ibanez.com 03 04 for more information visit www.Ibanez.com
    [Show full text]
  • Ronnie Earl for a Blackface Vibroverb Today? Surely Something North of $4,000
    Mountainview Publishing, LLC INSIDE the The Truth… Rarely given, we know it when we hear it, and you The Player’s Guide to Ultimate Tone TM can only get it here… $15.00 US, December 2013/Vol.15 NO.2 Report The Kansas Tornado… Another immensely tone- Truth ful classic amp that went unclaimed “Three chords and the truth – that’s what a country song is.” – Willie Nelson Size matters… Pressure is being asked point-blank which guitar, amplifier or pickup to buy. This happens frequent- The Warehouse ly enough that we have learned to pose probing personal questions in search of an answer… Well, G15A Alnico what do you think you might want and why? We don’t always know what we want until we want it, Big Fifteen and we still couldn’t always tell you why. Sometimes the things that last seem to materialize out of no where with little forethought or insight, as if we were meant to have them, and that’s the truth. 4 Richard Goodsell and the evolution of the Goodsell Super 17 Our review of the Super 17 Mark IV 10 The Goodsell overdrive 10 John McGuire Guitars Our interview with John McGuire & review of the McGuire Tradition 14 The Eastwood Jupiter Pro… We also must confess that we don’t always understand what motivates guitar players when it Simply cool comes to choosing amplifiers today. This is nothing new – most of the amps we own are immensely in every way toneful classic keepers that were ignored by potential buyers due to stripped or recovered original cabinets or a replaced transformer.
    [Show full text]
  • Valve Biasing
    VALVE AMP BIASING Biased information How have valve amps survived over 30 years of change? Derek Rocco explains why they are still a vital ingredient in music making, and talks you through the mysteries of biasing N THE LAST DECADE WE HAVE a signal to the grid it causes a water as an electrical current, you alter the negative grid voltage by seen huge advances in current to flow from the cathode to will never be confused again. When replacing the resistor I technology which have the plate. The grid is also known as your tap is turned off you get no to gain the current draw required. profoundly changed the way we the control grid, as by varying the water flowing through. With your Cathode bias amplifiers have work. Despite the rise in voltage on the grid you can control amp if you have too much negative become very sought after. They solid-state and digital modelling how much current is passed from voltage on the grid you will stop have a sweet organic sound that technology, virtually every high- the cathode to the plate. This is the electrical current from flowing. has a rich harmonic sustain and profile guitarist and even recording known as the grid bias of your amp This is known as they produce a powerful studios still rely on good ol’ – the correct bias level is vital to the ’over-biased’ soundstage. Examples of these fashioned valves. operation and tone of the amplifier. and the amp are most of the original 1950’s By varying the negative grid will produce Fender tweed amps such as the What is a valve? bias the technician can correctly an unbearable Deluxe and, of course, the Hopefully, a brief explanation will set up your amp for maximum distortion at all legendary Vox AC30.
    [Show full text]
  • Commonwealth of Massachusetts Department of Telecommunications and Energy Cable Television Division
    COMMONWEALTH OF MASSACHUSETTS DEPARTMENT OF TELECOMMUNICATIONS AND ENERGY CABLE TELEVISION DIVISION MediaOne of Massachusetts, Inc., MediaOne Group, Inc., and AT&T Corp., Appellants, v. CTV 99-2 Board of Selectmen of the Town of North Andover, Appellee. OPPOSITION OF TOWN OF NORTH ANDOVER TO MOTION FOR EXPEDITED PROCESSING OF APPEAL The Town of North Andover ("North Andover") opposes the motion of MediaOne of Massachusetts, Inc, MediaOne Group, Inc., and AT&T Corp. (collectively, “Appellants”) to expedite the hearing or processing of this matter. For the reasons set forth below, the Massachusetts Department of Telecommunication and Energy, Cable Television Division (the "Division"), should deny the Appellants’ motion to expedite this proceeding and should schedule this matter for a full evidentiary hearing, giving appropriate consideration to the complex legal and factual matters at issue in the case. I. Introduction North Andover has moved that the Division consolidate any and all hearings with respect to the review of decisions by North Andover (CTV 99-2), Cambridge (CTV 99-4), Quincy (CTV 99-3) and Somerville (CTV 99-5) to deny or to conditionally approve the transfer of cable licenses from MediaOne Group, Inc. ("MediaOne") to AT&T Corp. ("AT&T") pursuant to M.G.L. c. 166A §7 and applicable regulations. Each of the decisions has as a common requirement that AT&T provide open or nondiscriminatory access to cable broadband for Internet and on-line services. The open access requirement, which preserves consumer choice and preserves competition among Internet and on-line service providers, should be reviewed by the Division in a consolidated evidentiary hearing that will allow for a complete and efficient presentation of this critical public policy question.
    [Show full text]
  • The EL34 Power Tube HI-'I
    The EL34 Power Tube HI-'I .... o.l"r A lp Musical Evaluations of a Classic Design .... A_I . 4.551 Single. Ended EL·84 Stereo Amp ~ _ .... ,���\� . -""" ".. - ...-., p.,.��",-, �. 1""""' -�,�.. � . oPf' ' ".".. ._ '" "'� .,_ "'�•• '" "'� ...- ' ,t\1".' ,w ' � "'\)U'�..,. ,\ 1\ ' ��-;---""\.\. ",.-" " ".,... "", ""�_ " tt"�" ,....-" ...........,...1"'" '�" ""t\1 _,.,.""" ....'" 'r·\ �'� . � ......,. �,,,. � ,..' ",...., \PJOl8'i .... �,�oPf',.,....;:.. O\ �,cl\ ., .... " , � ...,,.. AA �r- . · :::- ,,<,<, ,. ..""'"':k ...0'\1. � ':;: "",;: .. .._ " r ,...,.. _ "" " .-;.,,...""".... ",.... ......,.,.,,, -;;. ,... :;..,� _ """;.... -� . 0 """ " . ,,..,. ,t" ,,'" <""" , .-_,.;.;.''' � .. '''''''-o<f' _ ....;;; .,;::; , -- '" " ,.,...,.. "" .'" ::, ,t"� ��. ...,.,..,.;.;."1"" ''/'''' � _.� "" f"'� . � ' M'''" ' "- """",,; ,.of .,.,..� .. ...,. ' "' 1" '". '_1"""' . .. " ,,,,,,,,,,,,,,,_ f"""";""';..::: .,... " '�,;;.;:' ' ......,,..,..,. _-:: -__':1oPf' ::;;'", --''''"", ""","" ", ' �':::', � ' ""r; """"-"' .''''''''�}.. ,t\1 \ �·, � ot ,;: "" � ,.,. ---� , _.at" � t\JV" �� � 'i"'f'- " .::... .. .... �. , ,�,....,.' .....;. _ ...-:> ".... JC8'I\\ -, \�..- WOl\ """,.""''1"'"- �""'" � '-,�� 6<1\"""- ' ""'..,... � ...... � 6U'." �. - ,t\1 , . _ , "'" 1J>b\"� ��, oPf''' .,..-._ " "" .0. " ..... ���_���\t"�'".. ' ....... "" "",",. N ��:L [\l\'J � ��i y< • D T 0 • , 5 P A G • A N D N D u 5 T • y N • w 5 Beware of FakeNOS Tubes! CE Distribution US Distributor for Electronic Tubes VTV Issue # 1 6 JJ Over the last year or so, we have JJ Electronic,
    [Show full text]
  • Operation, Tetrode, Pentode in the Single-Ended, Class-A
    10-76 10. Guitar Amplifiers 10.5.1 Single-ended (class A)-operation, tetrode, pentode In the single-ended, class-A power-stage, one (single) power-tube operates in common- cathode configuration with the output transformer being part of the plate circuit (transformer- coupling). Without AC-drive (“quiescent state”), a stable balance appears – it is called the operating point (OPP). The characteristics shown in Fig. 10.5.2 yield an OPP at 250 V and 48 mA, if a voltage of -7.5 V between (control) grid (g1) and cathode is chosen. This can be done e.g. by using a cathode-resistor of 142 Ω. The cathode-current (the sum of the 48-mA- plate-current and the 5-mA-screen-grid-current) will then generate a positive cathode-voltage of + 7.5 V (relative to ground). With the control-grid at ground-potential (Ug1 = 0) a control- grid-to-cathode-voltage of -7.5 V results (i.e. the control grid is negative vs. the cathode). Fig. 10.5.2: Output characteristics of the EL84, power-stage circuit (single-ended class-A operation). AP = OPP As a drive signal appears (Ug1 ≠ 0), plate-voltage and –current change. As a first approach, it will be sufficient to consider the transformer in the plate-circuit as a large inductance connected in parallel with an ohmic resistor (Chapter 10.6). In this model we have only pure DC flowing through the inductance, and only pure AC flowing through the resistor. With a drive-signal present, the Ua/Ia-point will move along the load-line given in Fig.
    [Show full text]
  • Line 6 HX Stomp XL Cheat Sheet-Rev A, English
    ® 3.0 OWNER’S MANUAL 40-00-0500 Rev A (For use with HX Stomp XL Firmware v3.0) © 2021 Yamaha Guitar Group, Inc. All rights reserved. 0•1 Contents Welcome to HX Stomp XL 4 The Blocks 25 Command Center 50 What’s In the Box? 4 Input 25 Assigning a Command 50 Common Terminology 4 Outputs 25 Copying and Pasting a Command 53 HX Edit Application 5 Signal Present and Clip Indicators 26 Copying and Pasting All Commands 53 Updating HX Stomp XL Firmware 5 Effects 26 Clearing a Command 53 Marketplace 5 Amp+Cab 32 Clearing All Commands 53 The Hardware 6 Amp 34 Global EQ 54 Quick Start 9 Preamp 34 Cab 34 Resetting Global EQ 54 Hooking It All Up 9 Impulse Response (IR) 36 Global Settings 55 Play View 12 Send/Return 37 Looper 38 Setting Proper Levels 55 Stomp Footswitch Mode 12 Split 40 Resetting All Global Settings 55 Preset List 13 Mixer 40 Global Settings > Ins/Outs 56 Preset Footswitch Mode 13 U.S. Registered Trademarks 41 Global Settings > Preferences 57 Snapshot Footswitch Mode 14 Global Settings > Footswitches 58 Pedal Edit Mode 14 Snapshots 42 Global Settings > EXP Pedals 59 Edit View 16 Using Snapshots 42 Global Settings > MIDI/Tempo 60 SnapshotBlockBypassOn/Off 43 Global Settings > Displays 60 Selecting Blocks/Adjusting Parameters 17 Copying/Pasting a Snapshot 44 USB Audio 61 Bypassing a Block 17 Swapping Snapshots 44 Bypassing HX Stomp XL Completely 17 Saving Snapshots 44 Hardware Monitoring vs. DAW Software Monitoring 61 Choosing a Block’s Model 18 Determining Snapshot Edit Behavior 44 DI Recording and Re-amping 62 Moving Blocks 18 Core Audio
    [Show full text]
  • HEADRUSH MODELS LIST ALL MODELS and REAL REFERMENT TABLE Headrush Firmware 2.1.1
    HEADRUSH MODELS LIST ALL MODELS AND REAL REFERMENT TABLE Headrush Firmware 2.1.1 AMPLIFIERS MODEL NAME TYPE BASED ON 1 59 TWEED BASS Combo Fender ’59 Bassman 2 59 TWEED DELUXE Combo Fender Tweed Deluxe 59 DELUXE GAIN Fender Tweed Deluxe 3 Combo MOD (Gain Mod) 4 59 TWEED PRINCE Combo Fender ’59 Princeton Fender Deluxe Reverb 5 64 BLACK LUX NORM Combo (Normal) Fender Deluxe Reverb 6 64 BLACK LUX VIB Combo (Vibrato) 7 64 BLACK VIB Combo Fender Vibroverb 8 65 BLACK MINI Combo Fender Champ 6w 9 65 BLACK PRINCE Combo Fender Princeton www.robyrocks.it 12.10.2019 - Roby Rocks 65 BLACK PRINCE 10 Combo Fender Princeton Reverb REV Fender Super Reverb 11 65 BLACK SR Combo “Blackface” Fender Twin Reverb 12 67 BLACK DUO Combo “Blackface” 13 67 BLACK SHIMMER Stack Fender Dual Showman 14 66 AC HI BOOST Combo Vox AC30 Top Boost 66 AC HI BOOST Vox AC30 Top Boost 15 Combo MOD (Mod) 16 66 FLIP BASS Stack Ampeg Portaflex B15-N 17 BLUE LINE BASS Stack Ampeg SVT 300w 69 BLUE LINE Ampeg SVT 300w 18 Stack SCOOP (Scooped) 19 65 J45 Stack Marshall JTM45 Marshall Super Lead Plexi 20 67 PLEXIGAS VARI Stack (Variac Mod) Marshall Super Lead Plexi 21 68 PLEXI EL84 MOD Stack (EL34 tubes mod) www.robyrocks.it 12.10.2019 - Roby Rocks Marshall Super Lead Plexi 22 68 PLEXIGLAS 100W Stack 100W Marshall Super Lead Plexi 23 68 PLEXIGLAS 50W Stack 50W Marshall JCM800 24 82 LEAD 800 100W Stack (Normal) 25 82 LEAD 800 50W Stack Marshall JCM800 50w 82 LEAD 800 BASS Marshall JCM800 (Bass 26 Stack MOD Mod) 82 LEAD 800 27 Stack Marshall JCM800 (Bright) BRIGHT 82 LEAD 800 TS Marshall
    [Show full text]
  • Der Verzerrte Gitarrensound Entsteht, Wenn Bei Einem Reinen Gitarrensignal Zusätzliche, Ursprünglich Nicht Enthaltene Teiltöne Hervorgerufen Werden
    J. J. Altersberger 2 Distorted Sound. Die Verstärkung [...] Inhaltsverzeichnis 1. Einleitung ..................................................................................................................... 5 1.1 Fragestellung und Zielsetzung.................................................................................... 5 1.2 Vorgehensweise und Methodik .................................................................................. 6 1.3 Untersuchungszeitraum .............................................................................................. 6 1.4 Begriffserklärungen.................................................................................................... 7 1.4.1 Der Sound................................................................................................................ 7 1.4.2 Verzerrung............................................................................................................... 8 1.4.3 Spielweisen............................................................................................................ 10 1.4.4 Die instrumentale Rockmusik im Zusammenhang mit der elektrischen Gitarre... 11 2. Die elektrische Gitarre................................................................................................ 13 2.1 Akustische Gitarre mit Stahlsaiten, die Archtop Gitarre und die Resonator Gitarre 13 2.2 Die Entwicklung der ersten elektromagnetischen Tonabnehmer............................. 15 2.2.1 Das Prinzip des Tonabnehmers ............................................................................
    [Show full text]
  • TWO LOUIES, January 2003 TWO LOUIES, January 2003 - Page 3 the Surf Cowboys Open for the Fi Nal Billy Rancher Gig
    OREGON MUSIC / JANUARY 2003 photo Buko Page 2 - TWO LOUIES, January 2003 TWO LOUIES, January 2003 - Page 3 The Surf Cowboys open for the fi nal Billy Rancher gig. photo Jack Dean hile recording a new “hard coun- have never been mentioned anywhere in print as opening for Billy. The whole band was. I remem- try” song the other day with my holding the distinction for playing the last “Unreal bered when our set ended and I was walking off Wamigo, Chris Charles I came across Gods” show. I left right after our set, but heard they the Starry Night stage and Billy walked toward this picture that I had never seen hanging on his broke up right on stage that night. me, whom I did not know personally. I said “hi” wall. It is a photograph of my former band, The Many young players and fans in Portland to him and he smiled and nodded as he walked by Surf Cowboys, opening at Starry Night in 1985, today probably don’t even know who Billy looking very confi dent and great and kinda like for the last Billy Rancher & The Unreal Gods show. Rancher is. Allow me to embellish youngsters an “Unreal God.” I’m sure you recognize the telltale yellow gear set There has never been a bigger, more fl amboyant, I’m sure I speak for many when I say we miss up behind us. more glossy “Rockstar” from this town than Billy you Billy Rancher, and we also miss that era too. Opening for Billy Rancher was really a big Rancher.
    [Show full text]