Blues jr red fang speaker
Small combos are the workhorses of the guitar amp world. They are highly portable, plenty loud enough for nearly every scenario, and have tonal characteristics that work well for most musical styles. Whether for economic or practical reasons a small combo is the only amp that many guitar players own, using the same one for woodshedding, rehearsals, live gigs, and studio work, all activities that combo amps excel at. Powerful and efficient modern PA systems have made small combos even more versatile, as even the biggest arena rockers no longer have any practical need for the towering stacks of guitar amplification that roared mightily from the stages of yesteryear. Just grab a 1x12 combo amp, crank it to the sweet spot, and put a microphone in front of it.
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Read on for 50 pro and expert tone tips to find out how you can sound better today without breaking the bank…. NO FX! Any additional cabling will introduce extra capacitance, which in turn contributes to high-end roll off. Try plugging a quality lead straight into your amp and compare it to the sound with your pedals or pedalboard in the chain. I am actually inspired more by limitations than by options. The organic, simple approach inspires me. Tastes have evolved and this simple mod transforms the versatility of the Strat bridge pickup, giving you access to humbucker-like tones, especially in combination with mid-rich drive: locate the wire that connects the second tone pot to the switch and solder a short section of wire between that tag and the next tag along towards the middle of the switch.
Your rear tone control now rolls off highs from your bridge pickup, too. Small gig, small amp. Not necessarily, and it all depends on how clean you need your tone to be.
When it comes to perceived volume, speaker efficiency plays its part see tip 6 , as does the position of your amp see tip 8. Every time I play guitar or do a gig, afterwards I stretch. I have five or six stretches on each hand, my fingers, palms and tendons from my forearms through to my fingers. It [guitar playing] is an unnatural activity and not very good for you. Nearly 15 years ago, I had tendonitis in my shoulder and had to have surgery.
If you need more grunt to compete with a hamfisted oaf of a drummer, try something super-efficient such as an Eminence Red Fang Conversely, a much less efficient ceramic driver such as a Jensen C12N Luther Perkins, the Reverend Billy F Gibbons, Eddie Van Halen and Billie Joe Armstrong have all enjoyed the visceral thrill of a single bridge-pickup electric guitar over the years, and you should give it a whirl, too.
Try comparing the way an otherwise identical Tele and Esquire or LP Junior and Special sound and feel — you will likely be able to perceive a difference acoustically, and this will become marked when you plug in. The difference between picking hard down at the bridge and softly near the neck with the fleshy part of your fingers is dramatic.
When it comes to optimum cabinet position onstage, opinions differ. Some people use a stand to bring the speakers closer to head height, others enjoy the way the coupling effect with the stage reinforces bass frequencies. Some players love the three-dimensional acoustic properties of open-back pine cabs; others prefer a heavy, closed-back ply cabinet that keeps bass tight and defined and has a laser-like directional quality.
I tried it, and it sounded so much better. A good bass player knows that the kick and snare drum are their twin gods and that locking in with the drummer — even to the extent of mirroring the way they accent drum fills — makes for a tight-sounding performance or recording. Simple things played well and in time will always sound better, and get you more gigs, than sloppy histrionics.
Try to avoid anything with a moulded plug. Instead of threading the strings through the back of your tailpiece in the traditional manner, thread them in from the front and wrap them back over the top. We think it gives Gibsons a slinkier feel, and Bonamassa swears that it makes a set of 11s feel like a set of Adding a short, always-on slapback echo to the end of your effects chain or in your effects loop can give your sound a more three-dimensional quality. Some players like the treble roll-off of an analogue unit, while others prefer the crispness of a digital delay — the choice is yours.
FOAM PARTY If you prefer the feel of round-wound strings to flats but are looking to achieve a more old-school, upright-style thump from your electric bass, then lightly dampening your strings down at the bridge is a quick and easy fix. Simply keep trimming and experiment with position until you get the desired sound: the tension of the strings will hold the foam in place even in sweaty gig conditions.
Funk Brother Bob Babbitt used this method, and he knew a thing or two. If it was good enough for him…. If it sounds good, it is good. There were points where Rich would have my guitar going through 16 pedals. Rich is a bit of a vibe merchant.
Does it sound good or not? And always stay out of the way of the lead vocal. Endless flurries are tiresome listening for the audience and dilute the impact of any fireworks you do throw in. Brand-new strings can introduce nasty clanks and top-end zing that can cause problems later in the mix.
We always prefer the warmer sound of played-in acoustic strings, while legend has it that James Jamerson never changed his bass strings unless they broke. He sounded pretty good.
Running a TS Mini Tube Screamer set to a medium gain level and J Rockett Archer Ikon set as a clean boost into a clean-ish amp, as per the picture above, gives you four distinct gears: the pure sound of the amp itself, a boosted amp tone Archer only , a dirtier crunch tone Tube Screamer only and a harmonically rich lead tone with plenty of sustain both pedals on.
As usual, experimentation is key…. Some also wire a resistor typically k for a k pot or k for a k pot in parallel. Every notch of the volume knob has completely different tonal textures. The lower my volume goes, the more jangly my sound becomes because of the capacitor. On a standard Strat, when you pull the volume back the sound becomes muffled as if the top end has been shaved off. As soon as you put on a capacitor and you take your volume down, it starts to bleed treble back into the circuit, so you get more of a silvery texture.
Just in your volume knob, there is a world of different textures. The whole playing experience becomes more expressive and if you dabble with slide, you might even find that your action is now high enough to negate the need for a separate guitar for bottleneck duties.
I use one of the brown Fender spring reverbs, but you can use a brown or a blackface one. A reissue is fine, they all sound the same. I always leave the reverb on a little bit and it just gives it a nice sheen.
You might be surprised! Dynamic mics with high SPL handling are generally the best option in the cut and thrust of a loud stage environment, but for quieter gigs and studio recording, ribbon and condenser units — or even a combination of two or three different mic types — may better capture the subtleties of your performance and offer a smoother, more 3D representation of the sound coming out of the cabinet.
Experiment with angles and proximity, too. Not very. Generally speaking, we prefer the sound and feel of a set of at least. Try going up a gauge — you may need to tighten your truss rod a quarter turn to compensate — and see if you enjoy the extra physical and tonal girth.
Amps have their own individual voicings and quirks and are best regarded as instruments in their own right — you should always ensure that you adjust the EQ at the volume at which you are playing and not default to bedroom-friendly settings in a band mix.
If you were to look at my EQ, it would look like a frown rather than a smile. I liked the mids, because everything else I could get from my head. The EQ would start at zero and go all the way up for the mids and then back down to zero for the treble. It made them full and chunky. It might not be the sound of your bandmates complaining; it could be because your pedalboard is suffering from PSU issues.
A proper, isolated power supply is a must if you are serious about maximising the sonic potential of your gear. As always, consult the manual first. Head to thegigrig. Through a fat tweed amp, vintage-style Fender bridge pickups are a different animal altogether, capable of real power and raunch. Aside from benefits in sustain and tuning stability, bone is also mildly self-lubricating and porous, so it absorbs any additional lube applied and stays slippery, reducing friction.
Most bone used in guitar manufacture is a by-product of animal farming — vegetarian and vegan-friendly alternatives include Micarta a compound of phenolic resins and Tusq a man-made alternative to ivory. At least once, all guitarists owe it to themselves to stand in front of a Marshall stack, turn the volume up to 10 and bang out a few powerchords.
Back in the realms of everyday rehearsals, gigs and home noodling sessions, a good power attenuator can be the key to achieving a decent-sounding compromise and allow you to turn your amp up while turning your overall level down. As usual, our resident genius Huw Price has the solution.
We can confirm that his Elevenator design works brilliantly and requires only a basic grasp of electronics to put together. Visit bit. Record your practice sessions and rehearsals and review the results in the cold light of day — it can give you useful pointers about your tone and your playing, which are two sides of the same coin.
Maybe that verse section needs a lighter touch? Perhaps that solo boost needs more treble to help it cut through? Yes, really. In the studio, setting up a microphone to record the natural acoustic sound of the guitar strings can add percussive character when blended with the amplified sound, especially if you are aiming to capture old-school archtop tones for jazz or roots styles such as Western swing. For best results, the guitar needs to be isolated from the amp to prevent excessive bleed.
This technique gives a good front-end attack to the sound and plenty of definition, which can be mixed in with the amplified sound to taste. However, there is a school of thought that says removing the plate improves the acoustic and amplified voice of the instrument by negating the dampening effect of the plastic.
Add spring reverb and the subtle throb of a vintage amp-style tremolo circuit to the mix and enjoy…. Different materials of varying thicknesses attenuate treble frequencies to a greater or lesser degree, with thin nickel silver preserving more treble content than heavy copper.
Over the years, Telecaster players inparticular have often struggled to dial in an amp tone that balances the bite of the bridge pickup with the warmth of the neck unit, but there are a couple of simple and free modifications that can help. If you want more clarity, you can improve matters by snipping the small wire that connects the cover to ground. To really open out your tone, try removing the cover completely: it can give your neck- position tone more of a Strat-like brightness and snap.
Modern pickups may have tape wrapped around the coil for protection, but vintage-style pickups are likely to have exposed coils. IT HAS SONGS IN IT If you do have to shell out your hard-earned cash on a new or new-to-you guitar or bass, instead of spending hours browsing online getting hung up on the minutiae of the specifications, the year of manufacture or the country of origin, get out there into the real world and play as many guitars as you can.
You might find that you are drawn to something unexpected, such as a strangely attractive vintage curio — but if you find said instrument inspiring, then it could prove to be the launchpad that allows you to embark upon a whole new era of guitar tone.
In the scheme of things, what people care about are songs, not licks. Some of you might never have even plugged into it, writing it off immediately. Less is less. The idea that less is more is illogical.
Any Blues Junior fans out there???
Try out PMC Labs and tell us what you think. Learn More. In this study, featuring a free sorting task and a visual search task comparing Mongolian and Chinese performances, the results show that both universal and relativistic forces are at play. Chinese Mandarin and Mongolian color terms divide the blue spectrum differently but the green spectrum, similarly. In Chinese, however, both light blue and dark blue are simply described by one word, lan , and both light green and dark green are described by a single word, lv. The current study used a free-sorting task and a visual search task to investigate whether this linguistic difference between Chinese and Mongolian speakers leads to a difference in color discrimination.
50 Low-Cost Ways To Improve Your Guitar Tone
Ohhhh, SH! The Greenbacks was a second option, but lost out as the C. Rex has a better bottom end! Hence me wamting one bad! I feel the my '05 BJr. What type of personallity are you looking for in the speaker? Ah that makes sense Blues Juniors from early and before are darker than the recent ones, so that would be a good match for you indeed.
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Log in or Sign up. Gretsch-Talk Forum. I like both. I am curious what to expect?
Eminence Red Fang Alnico 12 Inch 50 Watt 8 Ohm Guitar Speaker as
Read times. Pages: [ 1 ] Go Down. Previously I had the opportunity to play with a few hemp cone drivers in open back. The material has been used primarily in guitar and bass speakers in an effort to produce a certain tonal signature voicing. These speakers are typically highly efficient but their response curves can be a bit ragged for home hi-fi. There are however a few hemp based drivers that seem to be the exception to the rule.
Will a Red Fang fit in a Blues Junior?
Read on for 50 pro and expert tone tips to find out how you can sound better today without breaking the bank…. NO FX! Any additional cabling will introduce extra capacitance, which in turn contributes to high-end roll off. Try plugging a quality lead straight into your amp and compare it to the sound with your pedals or pedalboard in the chain. I am actually inspired more by limitations than by options. The organic, simple approach inspires me. Tastes have evolved and this simple mod transforms the versatility of the Strat bridge pickup, giving you access to humbucker-like tones, especially in combination with mid-rich drive: locate the wire that connects the second tone pot to the switch and solder a short section of wire between that tag and the next tag along towards the middle of the switch. Your rear tone control now rolls off highs from your bridge pickup, too.
Both my Campellones are spot on every string at the 12th with ebony saddles. My Gibson's need toms. My ears are ok with being a little flat but sharp drives me crazy which my Gibson's Bob Benedetto is exactly correct the best intonation is the straight saddle.
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Comments FAQ. Soundside Kemper profiles captures each amp as close as possible. We carefully selected the best sounding speaker, microphones, microphone position and preamp combinations.
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