S.I.R. 100W SuperLead Schematic pt. II

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Unique
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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by Unique » Wed Oct 26, 2022 8:39 pm

blacklabel wrote:
Wed Oct 26, 2022 3:24 pm
Unique wrote:
Wed Oct 26, 2022 1:33 pm
Here's the settings I always use and pretty much nails the #34 sound for me:

P - 0
B - 0
M - 6.5
T - 5.5
Mstr - 8
PA - 1.75

As far as how you set your PA goes, I think it really depends on the preamp tubes you're using. Like, do they have a lot of gain/drive, or, do they tend to have a little less gain? Not all tubes were/are created equal, and some will have more gain than others, like the 80's Beijing Military 6N4's. With these, you can set your PA a little lower and get the right distortion character you want. Where as, tubes with slightly less gain, you might need to turn the PA up a tad bit to get the sound you want.

Also, I find rolling the bass down to zero works very similar to having a HP filter on. This seems to bring out more character with the sound. Funny thing is, since there's not much low frequencies to this mod, you don't really miss the bass, unless you're one who turns the bass up pretty high to begin with. Then it might sound a little too sharp and edgy for you. Or maybe not?
Hi Unique!

thanks for your advice, as I said it would be better to try the APH1s because the 498T is really pushed.
It is however interesting to use other guitars and pickups that are not specifically a reissue or standard.
I use this gibson custom stock or with a Dirty Finger 80s with a mesa mark :D

Anyway your settings have been useful to me, I recorded an audio, listen to it tell me what you think of the sound and of course I prefer the raw truth. I'm trying to figure out how to use the greenback and actually setting the EQ with the bass to 0 in my opinion works.

despite having set the gain to 1.5, there is a lot of gain due to the 498T, tomorrow I'll replace it with the aph1 :)

https://www.dropbox.com/s/4akzi316pky0m ... T.wav?dl=0
That sounded great! Did you still use the HP filter with these settings in this recording?

How are you setting up your mic? I like setting my mic off-center a bit, on the edge where the dust cap meets the cone, pointing straight at the speaker, about 2" away. Don't point it at the dust cap, keep it straight like you would when mic'ing center and up close, pointing at the edge of the dust cap, or wherever you set it. This will give you a fuller sound versus the mic being dead-on center, up close, and you get more of everything (guitar, amp, speaker, room, ect.) in the recording. It's not as brash sounding, but it's still aggressive with an in your face type of sound.

One reason, I'm confident, why UYI's #34 sound is different than most of Slash's other albums, where that half-cocked wah sound with this mod seems to be stronger, almost kind of like a reverb effect (besides actual reverbs or delays being used in mixing) with UYI than other recordings, is most likely due to how they set up and mixed in room mics with the tracks. Case in point, for those who have a #34, and even #36 mod, in their amps, and records them, probably notices that this sound with their mods is stronger when playing their amps live versus recording them and listing back to it. That's because where you're sitting when you play, you're hearing things from a 'room' perspective and you're hearing the whole sum of your guitar, amp, speakers, and room. Room mics in a recording capture this type of sound. Then when mixed in, depending on how you mix them in, they be used as a natural reverb, or as a perspective to give the listener an 'in the room' sound.

Mic'ing up close is great for just wanting to capture a guitar without any other sounds getting picked up, while setting the mic back a little further can get you more information in the recording. But be advised, if you set up your mic too far away from the speaker, and if your recording with your computer in the room, or an AC or heater vent close to your speaker, these things can get picked up as well. Not only that, but all rooms have their own sound, based on what's in the room, how much space there is, the shape of it, if you have curtains, or anything hanging on the walls that can cause odd reflections, even the type of flooring you have plays a part in the final sound. These things can reflect sound in odd ways creating unique, or odd, reverbs. Also, where your speaker cabinet sets in the room, how high it is, or the mic is off the floor, these things too will have an effect on the sound. Some things, like curtains and drapes, absorb sound at various frequencies depending on the the material they are made from. Studio use these types of things to 'fine tune' their rooms. However, just backing the mic off a tiny bit can do wonders for your sound without capturing too much of what's in the room. Even the littlest adjustment to the mic will have an impact on the sound one way or another. So play around with it and see what you like.

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by CoffeeTones » Wed Oct 26, 2022 8:51 pm

I think the pickup change will be a great improvement. The eq will probably be a bit different.

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by blacklabel » Thu Oct 27, 2022 2:05 am

Unique wrote:
Wed Oct 26, 2022 8:39 pm

That sounded great! Did you still use the HP filter with these settings in this recording?

How are you setting up your mic? I like setting my mic off-center a bit, on the edge where the dust cap meets the cone, pointing straight at the speaker, about 2" away. Don't point it at the dust cap, keep it straight like you would when mic'ing center and up close, pointing at the edge of the dust cap, or wherever you set it. This will give you a fuller sound versus the mic being dead-on center, up close, and you get more of everything (guitar, amp, speaker, room, ect.) in the recording. It's not as brash sounding, but it's still aggressive with an in your face type of sound.

One reason, I'm confident, why UYI's #34 sound is different than most of Slash's other albums, where that half-cocked wah sound with this mod seems to be stronger, almost kind of like a reverb effect (besides actual reverbs or delays being used in mixing) with UYI than other recordings, is most likely due to how they set up and mixed in room mics with the tracks. Case in point, for those who have a #34, and even #36 mod, in their amps, and records them, probably notices that this sound with their mods is stronger when playing their amps live versus recording them and listing back to it. That's because where you're sitting when you play, you're hearing things from a 'room' perspective and you're hearing the whole sum of your guitar, amp, speakers, and room. Room mics in a recording capture this type of sound. Then when mixed in, depending on how you mix them in, they be used as a natural reverb, or as a perspective to give the listener an 'in the room' sound.
No, I didn't use it, I deactivated the eq plugin because I thought it wasn't necessary, for both clips recorded with different settings.
However I prefer it with less bass, maybe 0 is excessive but so, as you said, you can hear more the wah cocked effect of # 34 (with also the low gain).
Then I still haven't figured out if the sound of my # 34 is right, but in the next post I'll show you pictures of the inside of the jcm800.

The sm57 mic should be inside the cap, 2cm away from the grill.
I don't know if I specified it, I recorded the greenback in a grossmann isobox where unfortunately I cannot use distant condenserà mic room. This isobox sounds very good and the designer recommends a 3-frequency boost / cut EQ to use to remedy the closed sound in the isobox.
I generally use sm57 with a clone of 121 both closed.

Today I try to follow your advice and position the 57 at the capedge where the cap meets the cone and move the microphone away by another 2 or 3 cm.

For the rest, we know that there is a lot of work on an album. The necessary thing to do, as you say, is to find good reverb settings so as to give the sound spatiality.
I have a roland srv2000, to use it I have to connect it to the line mixer which, however, modifies the sound of the amp giving it a harder sound.

Today we have fun :)

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by Unique » Thu Oct 27, 2022 11:21 am

blacklabel wrote:
Thu Oct 27, 2022 2:05 am
Unique wrote:
Wed Oct 26, 2022 8:39 pm

That sounded great! Did you still use the HP filter with these settings in this recording?

How are you setting up your mic? I like setting my mic off-center a bit, on the edge where the dust cap meets the cone, pointing straight at the speaker, about 2" away. Don't point it at the dust cap, keep it straight like you would when mic'ing center and up close, pointing at the edge of the dust cap, or wherever you set it. This will give you a fuller sound versus the mic being dead-on center, up close, and you get more of everything (guitar, amp, speaker, room, ect.) in the recording. It's not as brash sounding, but it's still aggressive with an in your face type of sound.

One reason, I'm confident, why UYI's #34 sound is different than most of Slash's other albums, where that half-cocked wah sound with this mod seems to be stronger, almost kind of like a reverb effect (besides actual reverbs or delays being used in mixing) with UYI than other recordings, is most likely due to how they set up and mixed in room mics with the tracks. Case in point, for those who have a #34, and even #36 mod, in their amps, and records them, probably notices that this sound with their mods is stronger when playing their amps live versus recording them and listing back to it. That's because where you're sitting when you play, you're hearing things from a 'room' perspective and you're hearing the whole sum of your guitar, amp, speakers, and room. Room mics in a recording capture this type of sound. Then when mixed in, depending on how you mix them in, they be used as a natural reverb, or as a perspective to give the listener an 'in the room' sound.
No, I didn't use it, I deactivated the eq plugin because I thought it wasn't necessary, for both clips recorded with different settings.
However I prefer it with less bass, maybe 0 is excessive but so, as you said, you can hear more the wah cocked effect of # 34 (with also the low gain).
Then I still haven't figured out if the sound of my # 34 is right, but in the next post I'll show you pictures of the inside of the jcm800.

The sm57 mic should be inside the cap, 2cm away from the grill.
I don't know if I specified it, I recorded the greenback in a grossmann isobox where unfortunately I cannot use distant condenserà mic room. This isobox sounds very good and the designer recommends a 3-frequency boost / cut EQ to use to remedy the closed sound in the isobox.
I generally use sm57 with a clone of 121 both closed.

Today I try to follow your advice and position the 57 at the capedge where the cap meets the cone and move the microphone away by another 2 or 3 cm.

For the rest, we know that there is a lot of work on an album. The necessary thing to do, as you say, is to find good reverb settings so as to give the sound spatiality.
I have a roland srv2000, to use it I have to connect it to the line mixer which, however, modifies the sound of the amp giving it a harder sound.

Today we have fun :)
I figured you didn't use the HP filter with this recording, but thought I'd ask anyway. Yes, turning down the bass to 0 cleans up the sound quite a bit and you hear more of the amps character, especially that half-cocked wah effect this mod has more clearly. I actually got those settings from an old pic of #34 in the studio during one of the Snakepit albums. I came across it 10-12 years ago, had it downloaded on my old computer, and now I can't find that pic anywhere online.

Using an Iso box will definitely have a different sound than mic'ing up in a room, and a lot of variables go into that as well. One thing to keep in mind, when comparing your amp to others, like on YouTube, take what you hear with a grain of salt. You never know the process people actually use when recording their amps then posting them, especially those who record with phones or cameras, because their frequency response cuts out a lot of low frequencies and enhances the mid range as they are made for capturing vocals more clearly. As such, these types of devices make the amp sound brighter and more aggressive, not really giving you a genuine transparent sound of the amp itself. Also, YouTube's audio quality gets downgraded quite a bit, but you can take some steps to prepare your tracks for that. So, it's a give and take type of deal.

Comparing your takes with commercial made CD's is not the best way either. If you were able to solo out any of Slash's tracks from UYI alone, they would not sound to good alone. It would probably surprise many what they actually sound like by themselves. But in the mix, they sound great. The best way to compare your amp to the real #34 is to use the demo recordings that are out there as these don't have much processing on them. The AFD 100 video where Slash is playing #34 would be a good one as well. I think he has all knobs set on 7 in that video, if I remember correctly. Set your amp up the same way, then see how it compares to the video. I imagine that Santiago recorded the amp with mics set up, then used that audio for the video.

I believe your amp has all of the right character traits there and sounds good. I think you just need to figure out your settings, pickup height, and your approach to recording, as in, how to capture the amp at its the best. Getting your APH-1's will make a difference once you get them in and set up correctly. I hear a lot of these mods on YouTube that are mostly just treble and gain, where they lack the half-cocked wah sound, as well as that mid range honk #34 has, that to me, embodies the character of this mod, and shapes it's distortion, making it unique (I'll say the same about #36, but maybe it's not quite as honky). It's getting these things right with this mod that separates the wheat from the chaff.

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by reychapa » Fri Oct 28, 2022 10:30 am

blacklabel wrote:
Thu Oct 27, 2022 2:05 am
Unique wrote:
Wed Oct 26, 2022 8:39 pm

That sounded great! Did you still use the HP filter with these settings in this recording?

How are you setting up your mic? I like setting my mic off-center a bit, on the edge where the dust cap meets the cone, pointing straight at the speaker, about 2" away. Don't point it at the dust cap, keep it straight like you would when mic'ing center and up close, pointing at the edge of the dust cap, or wherever you set it. This will give you a fuller sound versus the mic being dead-on center, up close, and you get more of everything (guitar, amp, speaker, room, ect.) in the recording. It's not as brash sounding, but it's still aggressive with an in your face type of sound.

One reason, I'm confident, why UYI's #34 sound is different than most of Slash's other albums, where that half-cocked wah sound with this mod seems to be stronger, almost kind of like a reverb effect (besides actual reverbs or delays being used in mixing) with UYI than other recordings, is most likely due to how they set up and mixed in room mics with the tracks. Case in point, for those who have a #34, and even #36 mod, in their amps, and records them, probably notices that this sound with their mods is stronger when playing their amps live versus recording them and listing back to it. That's because where you're sitting when you play, you're hearing things from a 'room' perspective and you're hearing the whole sum of your guitar, amp, speakers, and room. Room mics in a recording capture this type of sound. Then when mixed in, depending on how you mix them in, they be used as a natural reverb, or as a perspective to give the listener an 'in the room' sound.
No, I didn't use it, I deactivated the eq plugin because I thought it wasn't necessary, for both clips recorded with different settings.
However I prefer it with less bass, maybe 0 is excessive but so, as you said, you can hear more the wah cocked effect of # 34 (with also the low gain).
Then I still haven't figured out if the sound of my # 34 is right, but in the next post I'll show you pictures of the inside of the jcm800.

The sm57 mic should be inside the cap, 2cm away from the grill.
I don't know if I specified it, I recorded the greenback in a grossmann isobox where unfortunately I cannot use distant condenserà mic room. This isobox sounds very good and the designer recommends a 3-frequency boost / cut EQ to use to remedy the closed sound in the isobox.
I generally use sm57 with a clone of 121 both closed.

Today I try to follow your advice and position the 57 at the capedge where the cap meets the cone and move the microphone away by another 2 or 3 cm.

For the rest, we know that there is a lot of work on an album. The necessary thing to do, as you say, is to find good reverb settings so as to give the sound spatiality.
I have a roland srv2000, to use it I have to connect it to the line mixer which, however, modifies the sound of the amp giving it a harder sound.

Today we have fun :)
I don't remember where I read the configuration, that the bass is at 8, which I don't like when I have the amplifier in front of me, and it's precisely because of what you say here, that subtracts that characteristic of medium sound, with wah

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by Unique » Fri Oct 28, 2022 5:51 pm

reychapa wrote:
Fri Oct 28, 2022 10:30 am
blacklabel wrote:
Thu Oct 27, 2022 2:05 am
Unique wrote:
Wed Oct 26, 2022 8:39 pm

That sounded great! Did you still use the HP filter with these settings in this recording?

How are you setting up your mic? I like setting my mic off-center a bit, on the edge where the dust cap meets the cone, pointing straight at the speaker, about 2" away. Don't point it at the dust cap, keep it straight like you would when mic'ing center and up close, pointing at the edge of the dust cap, or wherever you set it. This will give you a fuller sound versus the mic being dead-on center, up close, and you get more of everything (guitar, amp, speaker, room, ect.) in the recording. It's not as brash sounding, but it's still aggressive with an in your face type of sound.

One reason, I'm confident, why UYI's #34 sound is different than most of Slash's other albums, where that half-cocked wah sound with this mod seems to be stronger, almost kind of like a reverb effect (besides actual reverbs or delays being used in mixing) with UYI than other recordings, is most likely due to how they set up and mixed in room mics with the tracks. Case in point, for those who have a #34, and even #36 mod, in their amps, and records them, probably notices that this sound with their mods is stronger when playing their amps live versus recording them and listing back to it. That's because where you're sitting when you play, you're hearing things from a 'room' perspective and you're hearing the whole sum of your guitar, amp, speakers, and room. Room mics in a recording capture this type of sound. Then when mixed in, depending on how you mix them in, they be used as a natural reverb, or as a perspective to give the listener an 'in the room' sound.
No, I didn't use it, I deactivated the eq plugin because I thought it wasn't necessary, for both clips recorded with different settings.
However I prefer it with less bass, maybe 0 is excessive but so, as you said, you can hear more the wah cocked effect of # 34 (with also the low gain).
Then I still haven't figured out if the sound of my # 34 is right, but in the next post I'll show you pictures of the inside of the jcm800.

The sm57 mic should be inside the cap, 2cm away from the grill.
I don't know if I specified it, I recorded the greenback in a grossmann isobox where unfortunately I cannot use distant condenserà mic room. This isobox sounds very good and the designer recommends a 3-frequency boost / cut EQ to use to remedy the closed sound in the isobox.
I generally use sm57 with a clone of 121 both closed.

Today I try to follow your advice and position the 57 at the capedge where the cap meets the cone and move the microphone away by another 2 or 3 cm.

For the rest, we know that there is a lot of work on an album. The necessary thing to do, as you say, is to find good reverb settings so as to give the sound spatiality.
I have a roland srv2000, to use it I have to connect it to the line mixer which, however, modifies the sound of the amp giving it a harder sound.

Today we have fun :)
I don't remember where I read the configuration, that the bass is at 8, which I don't like when I have the amplifier in front of me, and it's precisely because of what you say here, that subtracts that characteristic of medium sound, with wah
The idea of setting the bass at "8" comes from the magic marker settings on #34's front panel. Really, no one knows what those big black magic marker setting were put there for, except Slash, Adam Day, and anyone else in Slash's camp. For all we know, they could be his "November Rain" lead guitar settings for that goldtop he used to have, or they could be settings he used when he would use his Wah pedal? Or maybe they are there for when Slash wanted a certain sound for a certain song part? Who knows? Besides, those aren't the only settings marked on the front panel of #34, they are just the most noticeable.

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by dukeamps » Tue Nov 29, 2022 2:49 am


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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by CoffeeTones » Tue Nov 29, 2022 8:49 am

Nice sounding TeleGib. How ya been?

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by dukeamps » Tue Nov 29, 2022 10:46 am

CoffeeTones wrote:
Tue Nov 29, 2022 8:49 am
Nice sounding TeleGib. How ya been?
Keeping ok, and you ?

I build this Tele with the same wood you would use for a LP, HB are A5, the amp spec is a tweaked Levi 36 mod, speakers G12m25w BB

:toast:

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by Unique » Tue Nov 29, 2022 12:11 pm

Sounds great as always! That's a very nice looking Tele, I love the red!

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by CoffeeTones » Tue Nov 29, 2022 12:36 pm

dukeamps wrote:
Tue Nov 29, 2022 10:46 am
CoffeeTones wrote:
Tue Nov 29, 2022 8:49 am
Nice sounding TeleGib. How ya been?
Keeping ok, and you ?

I build this Tele with the same wood you would use for a LP, HB are A5, the amp spec is a tweaked Levi 36 mod, speakers G12m25w BB

:toast:
Keeping okay, except a broken toe.

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by dukeamps » Wed Nov 30, 2022 1:35 am

Unique wrote:
Tue Nov 29, 2022 12:11 pm
Sounds great as always! That's a very nice looking Tele, I love the red!
Cheers :) I'm very happy with the colour too :toast:

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by dukeamps » Wed Nov 30, 2022 1:55 am

CoffeeTones wrote:
Tue Nov 29, 2022 12:36 pm
dukeamps wrote:
Tue Nov 29, 2022 10:46 am
CoffeeTones wrote:
Tue Nov 29, 2022 8:49 am
Nice sounding TeleGib. How ya been?
Keeping ok, and you ?

I build this Tele with the same wood you would use for a LP, HB are A5, the amp spec is a tweaked Levi 36 mod, speakers G12m25w BB

:toast:
Keeping okay, except a broken toe.
Broken Toe, not nice, get well soon :)

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by CoffeeTones » Wed Nov 30, 2022 9:25 am

dukeamps wrote:
Tue Nov 29, 2022 10:46 am
CoffeeTones wrote:
Tue Nov 29, 2022 8:49 am
Nice sounding TeleGib. How ya been?
Keeping ok, and you ?

I build this Tele with the same wood you would use for a LP, HB are A5, the amp spec is a tweaked Levi 36 mod, speakers G12m25w BB

:toast:
Which exact bridge plate did you use?

I need to get some pics of my Tele. It has a Warmoth ash body, translucent butterscotch, forearm drop upper bout, Duncan pearly gates Tele size bridge, SM1 mini humbucker neck pickup set. Fender deluxe neck 9.5 radius IIRC. I built it several years ago.

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Re: S.I.R. 100W SuperLead Schematic pt. II

Post by CoffeeTones » Wed Nov 30, 2022 9:43 am

No hot shield yet. A tweak or two to come.

https://drive.google.com/file/d/1kaSz-T ... share_link

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