Metropoulos Forum

Here is the 12 series again reamped (slaved) into my 76' 50w non master

Hats off to George again for a terrific sounding amp!

Sounds great! Do you have a slave out on the back of the 12xxx amp? How did you re-amp it?

Allen

Sounds GREAT

Just had to bump this thread up again. I missed it the first time around. That is simply an awesome tone. Another one cracks the nut.

Hey Guys!
Sorry...for some reason my email didn't notify me of any responses..,uh, I must have screwed something up.. (surprise, surprise)

Regarding the reamping, there is no slave out. It's George's stock 12 series. The trick (if you can call it that) lies in the right guitar, amp and SPEAKERS! 2 quality attenuators don't hurt either.

I am running straight into the 12xxx, dimed into a Faustine Phantom, PF's line out into the high, bright INPUT on my stock 76' 50w metal face (also att'd w/ ultimate att..this is not imperative but very helpful if you want to nail the tone without deafening yourself or pissing off the neighbors!)). Experimenting with the line out level of the PF as well as vol and tone settings on the 50w can yield dramatic tonal/textural differences. Listening for the sound of the cab in the room is also very deceptive and IMO, where most people miss the mark. You really have to listen to what the microphone (57 in this case) is hearing if you are recording. When done properly..you will need little if any eq. The clip I posted has slight low end roll off from about 150kz/200 and on down.
Another key point and perhaps equally as important as the amp setup are the speakers...to the tune of 85 to 90%.

I have used every different spkr. out there (webers, scumbacks,heritage's, etc.) and while the scumbacks are my 2nd fav (in a pinch) NOTHING will touch a real T1221 02 003 20w or 25w PRE ROLA Celestion for THAT sound. A good cabinet is a plus to be sure (I am using a 69' slant) but plays a much lesser role in the overall tone than the spkrs themselves. The louder you record the more the cab comes into play. The further off the cab the mic is, the more it pays to have a quality cab.
This clip was single/close mic'd at a relatively low volume.
I don't believe EVH recorded insanely loud at all. He needed guitar cab interaction but by virtue of slaving the signal becomes MUCH hotter at any volume.
While doing this setup it became VERY clear to me why Eddie never had any real extensive need for gain/dist. pedals.

I will post some more with my old script phase 90 as well as my 70's EP-3 in front soon (orbit is refurbing the E-plex right now.)

Thanks for reading!