recreating a blackface super reverb

One simple change I made to my Super that made it sound smoother and break up nicer - I changed the 12AT7 driver tube to a 12AX7.
 
Radley said:
Here's the clean sound of my '64 Super-Reverb, as recorded in a small club (Baked Potato in LA) with a cell phone - even so, you can still hear the fidelity and finesse of the high end. It is rather embarrassing that the camera is on my mug the whole time, but this was not my video :(

Hadley Hockensmith with Abraham Laboriel "Koinonia" Band - YouTube
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And that's why we need one! That's a great sounding one there. Although I suspect you might have had something to do with that Radley...
 
I like the sound of a Super up around 7 on the volume. Great that the amp can go from beautiful classy cleans to full on snarl. It's a wolverine with a manicure.
 
wezx said:
Is that just direct into the amp? Are you running any pedals there? It sounds great!
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For that gig, I used a GT-10 into the Super (not room for much else on that tiny stage). I have long been fond of Boss compression, and I'm using some of that on these clean sounds....
 
Radley said:
For that gig, I used a GT-10 into the Super (not room for much else on that tiny stage). I have long been fond of Boss compression, and I'm using some of that on these clean sounds....
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Yeah you can here the compressor working away in that clips, it sounds great.
 
javajunkie said:
Yeah you can here the compressor working away in that clips, it sounds great.
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Hey, nice sound there! Would love to have that amp as well.
Yes, there´s something about the Boss compressor. My old rig were/are based on two Boss GX700, and the compressor settings together with Korg DL8000R (in the FX-loop, parallell connected) sometimes sound super. Never really cared too much about it at the time, but when trying to re-create the same response in the Axe (Ultra/II), I find it hard to nail a setting I´m satisfied with. Seems that I have to take a closer look in those old units to see what I´ve done wrong... :lol

/Mike
 
I get the feeling that the Boss compression uses pre-emphasis of the high end to make the high notes squash a little more than the low notes, thereby avoiding excessive muddiness/low end buildup - I believe the DynaComp and Ross compressors do the same... Regardless, I believe it is rather difficult to reproduce the smooth Boss compression - Line 6's Boss comp models are just awful!
 
Radley said:
I get the feeling that the Boss compression uses pre-emphasis of the high end to make the high notes squash a little more than the low notes, thereby avoiding excessive muddiness/low end buildup - I believe the DynaComp and Ross compressors do the same... Regardless, I believe it is rather difficult to reproduce the smooth Boss compression - Line 6's Boss comp models are just awful!
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I haven't tried using the AxeFx compressor's sidechain, SCSEL. I wonder if you could split a row in the grid and put a filter block in front of the sidechain to simultate that preemphasis?

Richard
 
barhrecords said:
I haven't tried using the AxeFx compressor's sidechain, SCSEL. I wonder if you could split a row in the grid and put a filter block in front of the sidechain to simultate that preemphasis?

Richard
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Yes. that would work. But, there is a filter parameter that already does that for the lows.

A multiband compressor can be even more targeted.
 
Radley said:
I get the feeling that the Boss compression uses pre-emphasis of the high end to make the high notes squash a little more than the low notes, thereby avoiding excessive muddiness/low end buildup - I believe the DynaComp and Ross compressors do the same... Regardless, I believe it is rather difficult to reproduce the smooth Boss compression - Line 6's Boss comp models are just awful!
Click to expand...

Wouldn't exactly the opposite happen? If the high end gets compressed more than the low end isn't it going to seem like the low end is building up?
 
barhrecords said:
I didn't recall a builtin filter on the compressor block.

Richard
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It is on the studio algorithm:
FILTER — Sets the frequency of a high-pass filter on the input of the compressor’s detector stage. Raising the filter frequency can help prevent low frequencies from “pumping” the entire mix. Does NOT affect the tone.

 
Radley said:
Here's the clean sound of my '64 Super-Reverb, as recorded in a small club (Baked Potato in LA) with a cell phone - even so, you can still hear the fidelity and finesse of the high end. It is rather embarrassing that the camera is on my mug the whole time, but this was not my video :(

Hadley Hockensmith with Abraham Laboriel "Koinonia" Band - YouTube
Click to expand...


Great playing!! With Abe, none the less!!!! Sweet as, mate. Sweet as

PS. LOVE the band name.. HAHA :) Soli Deo Gloria!
 
The treble pre-emphasis helps to minimize low end 'thumping' as well, but also adds more sustain to to the higher (and weaker) notes, which need it the most....
 
Radley said:
The treble pre-emphasis helps to minimize low end 'thumping' as well, but also adds more sustain to to the higher (and weaker) notes, which need it the most....
Click to expand...

I'd try upping the frequency of the built-in high pass filter, it should be more effective. I'd have thought treble pre-emphasis will kill the high-end, this is why de-essers boost the sidechain signal in the freq range they're aiming to cut.

Different in a multiband situation where you can alter the compression and make-up gain per band, in this scenario you could compress the highs more to add more sustain up there but you'd have to compensate with more gain.

cheers
 
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