12 Series plexi sound clips

texwest · Post by **texwest** » Sun Jan 01, 2006 3:17 am

Hey George

I've listened to all the clips a few times. Yeah the 400 vs 500 is very noticable and makes THE difference in the amount of crunchiness, richness and hair. The quality and quantity of distortion of your amp has definitely nailed VH no doubt. The main difference I hear compared to VH is that there seems to be a little more high end sparkle and clarity in VH's tone. The earlier clips sounded a little dark compared to VH. The latest clip of unchained with the lespaul is getting very close. It would be nice to hear "you really got me" again with the new mike set up. I just think it is a good base song to work with to hear the basic tone of the amp. Don't take any of this as a criticism. You are sooo close. The distortion is nailed beautifully, I would just want to hear a little more sparkle.

How the amp makes the strings feel is just as important to me as the sound of the amp. I've always wanted an amp where the notes just jumped out and sparkled off my fingers. Is that what it feels like?

Wes

texwest · Post by **texwest** » Sun Jan 01, 2006 3:22 am

I've been thinking about this high end sparkle thing. The amp sounds so amazingly close. I wonder if those reputed JBL's in VH's cabinet may be the difference that I hear.

By the way it was very cool to hear Carry On. I've always thought the guitar tone on that song was one of the very best of 70's classic rock. Very Cool!

BrownSound1 · Post by **BrownSound1** » Sun Jan 01, 2006 4:45 am

Well you've also got to take into account that a lot of those old VH tunes were played with a Phase 90 set on the lowest sweep setting. That'll give you a bit of added bite, but it is very subtle.

I do think you are right about You Really Got Me being a good barometer for the tone.

tWreCK · Post by **tWreCK** » Sun Jan 01, 2006 8:33 am

You also have to take into account the studio "wizardry" that took place with Templeman/Landee. I think alot of people overlook the fact that it was all recorded in a high dollar studio at the time with all the benefits that gives you. Think of all the recording equipment used such as Neve consoles, Studer analog tape machines, a myriad of high end mics, etc etc. Last but not least let's not forget Edward's hands/touch/feel.

Now compare that to what George is using to record this 12000 series amp and I think we all can agree that it's as close to VH as it's humanly possible to be considering the circumstances. I'm sure if we had a time machine and could get this amp in the studio with Ed back in '78 it would have sounded the same as his "fabled" '67..............

I'll be ordering one soon George

SoZo · Post by **SoZo** » Sun Jan 01, 2006 9:27 am

If he used NOS tubes like Sylvania's and Mullards per say, It would be virtually identical. Also a hard ash body is part of the clarity.

Post by **VelvetGeorge** » Sun Jan 01, 2006 11:17 am

Thanks for the feedback guys. I agree on the sparkle thing. I'm just experimenting with the mics to get it right. There is definately no lack of bite, in fact I wonder if there's too much at times.

I really believe this amp does the 12 series to a T. I just need to get the mics adjusted right to illustrate that.
I'll update the clips as I make new ones. I agree that You Really Got Me is a good, stripped down clip to use.

I don't think I'll nail the EVH stuff exactly with my LP. But you will hear the gain and voicing is right.

Happy 2006!

George

texwest · Post by **texwest** » Sun Jan 01, 2006 2:30 pm

tWreCK wrote:You also have to take into account the studio "wizardry" that took place with Templeman/Landee. I think alot of people overlook the fact that it was all recorded in a high dollar studio at the time with all the benefits that gives you. Think of all the recording equipment used such as Neve consoles, Studer analog tape machines, a myriad of high end mics, etc etc. \

Definitely an excellent point. Obviously George's recording situation is not the same. Good feedback from everyone in fact.

And Sozo's comment about the ash body. Also, the maple fingerboard would bring out higher harmonics and therefore a brighter tone.

Another good reason to use You really got me; correct me if I'm wrong but wasn't it was recorded on Eddie's es335 or an LP. Well at least we know for sure the solo wasn't on his frankenstrat because of the stutters at the end.

Happy New Year!

Post by **VelvetGeorge** » Sun Jan 01, 2006 2:39 pm

The really got me clip on page 2 of this thread is now updated. The 500V one.

The blend of both mics is giving a better idea of the sound in the room.

george

Post by **VelvetGeorge** » Sun Jan 01, 2006 2:45 pm

Did I mention that clips is with everything on 10? Even the bass!

george

sub · Post by **sub** » Sun Jan 01, 2006 2:46 pm

VelvetGeorge wrote:Did I mention that clips is with everything on 10? Even the bass!

george

Cool! i like better 500v setting.

Guest · Post by **Guest** » Sun Jan 01, 2006 3:22 pm

Hey George,
Could you post some clips without the amp set to 10 all the way round?
Set more like the ac/dc clips you did?
Also,I thought I read a post where you said you were recording from a mackie board.That would definately explain the lack of sparkle someone mentioned earlier.Mackies smear the sound pretty bad from my experience.Thanks!

customgtr90 · Post by **customgtr90** » Sun Jan 01, 2006 5:32 pm

ah!
sounds great. if i had the money i'd buy one

Crunchboy · Post by **Crunchboy** » Sun Jan 01, 2006 9:32 pm

texwest wrote:
tWreCK wrote:You also have to take into account the studio "wizardry" that took place with Templeman/Landee. I think alot of people overlook the fact that it was all recorded in a high dollar studio at the time with all the benefits that gives you. Think of all the recording equipment used such as Neve consoles, Studer analog tape machines, a myriad of high end mics, etc etc. \
Definitely an excellent point. Obviously George's recording situation is not the same. Good feedback from everyone in fact.

And Sozo's comment about the ash body. Also, the maple fingerboard would bring out higher harmonics and therefore a brighter tone.

Another good reason to use You really got me; correct me if I'm wrong but wasn't it was recorded on Eddie's es335 or an LP. Well at least we know for sure the solo wasn't on his frankenstrat because of the stutters at the end.

Happy New Year!

"You Really Got Me" was recorded entirely with a korina wood Ibanez Destroyer with rewound Gibson PAF. Those "stutters" are done by flipping the pickup selector back and forth ffrom the neck to the bridge position. You turn the volume off on the neck pickup. Actually, that guitar had the neck pickup taken out .

Guest · Post by **Guest** » Sun Jan 01, 2006 10:24 pm

texwest wrote: The latest clip of unchained with the lespaul is getting very close.

HOLY HELL is all I can say.

VH in a box!!!! Marshall missed there chance BIG TIME

If that amps at NAMM people are gonna go crazy for it

Get the frankenstrat Guitar/Pick up combo sorted, Take the Les Paul with you and that Cabinet and you are going to be the new star of the amp world

tonejones · Post by **tonejones** » Sun Jan 01, 2006 10:28 pm

I must agree about the lack of high end sparkle as well.....

.....but......

besides the modded phase stomp, didn't Ed also use a MXR graphic EQ pedal before the amp as well???

Am also wondering about the studio wizardry as well.....

And I also wonder many times....about all of us lunatic guitar players.....

trying to get certain sounds we hear from other artists...who may have had their signal run thru $200,000 worth of studio processors by the final mix....

I do have a decent ear for studio processing...but things are getting so damn subtle these days.........

It's getting harder and harder to tell......