Art SLA Revelation

P

paulmapp8306

Fractal Fanatic
Well, maybe not quite a revelation.

I have been happy with my SLA-1 for nearly a year now. I didnt quite get what people were talking about when saying it was "flat" or "lifeless". While I could see it being more middy, and maybe duller than a real amps power section, Id put it down to being flatter, and compensated with some slight EQ.

Ive always used Georgle Ls cable between my Axe and SLA, using the O/P2 1/4 jack out on the Axe. This was so I could sent the XLRs from O/P1 to either my Pro tools, or FOH (adding the cab block and an EQ after the send to O/P 1).

After reading some comments on the Fratomic, using the 1/4 v XLR outputs on the Axe, I tried using XLR to connec the Art to the Axe.

Well, its different. Not so much that I needed to re-EQ my patches but:

1. Clean sounds are more open and sparkly.
2. High gain sounds are tighter.
3. Crunch tones were more lively - less "flat" sounding (for want of another description).

No idea why, I have compensated for the hotter signal from the XLRs so its not that. Whatever, my sounds are now even better :D

The only problem now is I need to unplug the XLR when I want to record, and if I want to send a signal to FOH (only 10% of giggs) I have to default to 1/4 outs to my Art/cab (and the now duller sounding sounds this gives). A bit of a hassle, but worth it. I just wish we had XLR outs for both O/Ps now !!!
 
Hmmm... I'm interested now to know from all the other ART power amp users what are the exact cable configurations from the Axe FX to the poweramp they are using, as well as any comments and pros/cons of each configuration.
 
Interesting.... I never bothered to try hooking it up that way. I can't imagine why it would be different, if you have compensated for the level increse I would think it would be the same. What method did you use to get from XLR to TS, Did you use a DI box or an XLR to TS cable ?.

Another thought here, the Georg L stuff with their mechanical connections can be tricky. It's possable you have a bad connection in your cables and it's lopping off the highend from the Axe. I have never been a big fan of the Georg L cable systems. A soldered type of connection is always superior when it comes to your signal path. Oh they look real pretty and neat but in the end the connection points are always questionable.
 
some info on George L cables from a study of cables posted by Lava Cables. "A comprehensive review and comparison of the top cables available for guitar and speaker applications - By Eric Kirkland, for Vintage Guitar Magazine, May 2003"
http://lavacable.com/pdfs/CableSummit4.pdf

lava_georgel_graph.gif


Overall score: 75.25
George’L cable is well known as one of the industry standards. And, don’t let its
diminutive size fool you. Most of Nashville and infamously particular players, like Eric
Johnson, rely on its consistently great sound. What’s so attractive about the cable is its
harmonious relationship between clarity and feel, with an upper mid presence that adds
lots of punch. Unique to the George’L are the specially designed solderless plugs, which
allow the user to cut and re-terminate to any length in mere seconds; pedalboards and
rack systems are ideal applications. This is a cable that will be around for years to come,
with a sound that defines classic guitar tone and a low price that belies its proven
performance. Flexible and easy to work with in small spaces, George’L cable is very
durable when properly cared for—don’t yank it out of amps from across the stage. This
cable is typically not a good match for high gain styles. And, take care when choosing
nickel, gold or brass plugs; they all sound different.

George L’s; http://www.georgels.com; (615) 868-6976
Instrument .155 diameter: $0.70/ft, Gold plated straight plug: $6.50/ea.
 
rsf1977 said:
some info on George L cables from a study of cables posted by Lava Cables.
Click to expand...
This is worthless in the context of this thread. The only position in which cabling will make a sonic difference - meaning you can reliably identify it blindfolded - is the connection to the guitar output. The "quality" of cabling - assuming a functional minimum is met - between the Axe-Fx output and the power amp input is sonically irrelevant. The difference between unbalanced and balanced outputs might be noticeable, however. It would depend very much on the specifics of the input to the power amp.
 
Sixstring said:
Interesting.... I never bothered to try hooking it up that way. I can't imagine why it would be different, if you have compensated for the level increse I would think it would be the same. What method did you use to get from XLR to TS, Did you use a DI box or an XLR to TS cable ?.

Another thought here, the Georg L stuff with their mechanical connections can be tricky. It's possable you have a bad connection in your cables and it's lopping off the highend from the Axe. I have never been a big fan of the Georg L cable systems. A soldered type of connection is always superior when it comes to your signal path. Oh they look real pretty and neat but in the end the connection points are always questionable.
Click to expand...

I didnt convert XLR to TS. I used to run TS out of the Axe to TS into the Art. Now Im running XLR out of the Axe into the XLR in on the Art. I took the global O/P setting down by 6db to accout for the hotter (by 6db iir) XLR out.

i have no idea if Id see the same going XLR out of the Axe to TS in on the Art - or indeed TS out of the Axe to XLR in on the Art.

The George Ls Ive used for around 6 years on pedal boards and Im aware of the possible problems and effects of a bad connection. There was nothing wrong with the connection IMO.
 
Jay Mitchell said:
rsf1977 said:
some info on George L cables from a study of cables posted by Lava Cables.
Click to expand...
This is worthless in the context of this thread. The only position in which cabling will make a sonic difference - meaning you can reliably identify it blindfolded - is the connection to the guitar output. The "quality" of cabling - assuming a functional minimum is met - between the Axe-Fx output and the power amp input is sonically irrelevant. The difference between unbalanced and balanced outputs might be noticeable, however. It would depend very much on the specifics of the input to the power amp.
Click to expand...

hey Jay, does the XLR or 1/4 path into the power amp effect the frequency response in any way. Is one clearer or tighter or whatever sounding.
 
Doesn't make any sense at all, but I can verify this. I've been hooking up my SLA-2 to the Axe via XLRs - no reason, just did. I tried unbalanced 1/4" (TS) today and sure enough it sounded... muted? flat? Not as good for sure.
 
Jay Mitchell said:
This is worthless in the context of this thread. The only position in which cabling will make a sonic difference - meaning you can reliably identify it blindfolded - is the connection to the guitar output. The "quality" of cabling - assuming a functional minimum is met - between the Axe-Fx output and the power amp input is sonically irrelevant.
Click to expand...

I've heard this before, and of course I believe it when you say it, but I just wonder why?
Why is it that the quality of a cable doesnt matter at all when used between units, except when hooked into the guitar?
 
danielodland said:
Jay Mitchell said:
This is worthless in the context of this thread. The only position in which cabling will make a sonic difference - meaning you can reliably identify it blindfolded - is the connection to the guitar output. The "quality" of cabling - assuming a functional minimum is met - between the Axe-Fx output and the power amp input is sonically irrelevant.
Click to expand...

I've heard this before, and of course I believe it when you say it, but I just wonder why?
Why is it that the quality of a cable doesn't matter at all when used between units, except when hooked into the guitar?
Click to expand...

I took a stab at answering this (at least in part) in the Ten Biggest Lies In Audio thread - it has a lot to do with pre-amp signal vs. post-amp signal.
 
rsf1977 said:
some info on George L cables from a study of cables posted by Lava Cables. "A comprehensive review and comparison of the top cables available for guitar and speaker applications - By Eric Kirkland, for Vintage Guitar Magazine, May 2003"
http://lavacable.com/pdfs/CableSummit4.pdf

lava_georgel_graph.gif


Overall score: 75.25
George’L cable is well known as one of the industry standards. And, don’t let its
diminutive size fool you. Most of Nashville and infamously particular players, like Eric
Johnson, rely on its consistently great sound. What’s so attractive about the cable is its
harmonious relationship between clarity and feel, with an upper mid presence that adds
lots of punch. Unique to the George’L are the specially designed solderless plugs, which
allow the user to cut and re-terminate to any length in mere seconds; pedalboards and
rack systems are ideal applications. This is a cable that will be around for years to come,
with a sound that defines classic guitar tone and a low price that belies its proven
performance. Flexible and easy to work with in small spaces, George’L cable is very
durable when properly cared for—don’t yank it out of amps from across the stage. This
cable is typically not a good match for high gain styles. And, take care when choosing
nickel, gold or brass plugs; they all sound different.

George L’s; http://www.georgels.com; (615) 868-6976
Instrument .155 diameter: $0.70/ft, Gold plated straight plug: $6.50/ea.
Click to expand...
This is just too funny :D They can measure "Feel", "Stylistic Range" and "Transparency" etc to 3 significant digits! Wow! I wonder what the technical specs are and what calibrated test equipment they used to measure it? Even funnier that these characteristics are mapped to a frequency response curve - apparently "Stylistic Range" affects the mids - I didn't know that before. :D
 
danielodland said:
Jay Mitchell said:
This is worthless in the context of this thread. The only position in which cabling will make a sonic difference - meaning you can reliably identify it blindfolded - is the connection to the guitar output. The "quality" of cabling - assuming a functional minimum is met - between the Axe-Fx output and the power amp input is sonically irrelevant.
Click to expand...

I've heard this before, and of course I believe it when you say it, but I just wonder why?
Why is it that the quality of a cable doesnt matter at all when used between units, except when hooked into the guitar?
Click to expand...

I believe - though J may well know better - its to do with impedance.

Guitars signals have a high impedance, and so cable capacitance has a bigger effect on the signal. Speaker signals are Low impedance so the cable capacitance has a much lower effect.

Its the capacitance of the cable that efects the tone. I believe it alters the freq response, and reduces high freq in particular. Its why the longer the cable used, the more total capacitance and the greater the effect.
 
rsf1977 said:
hey Jay, does the XLR or 1/4 path into the power amp effect the frequency response in any way. Is one clearer or tighter or whatever sounding.
Click to expand...
I don't have an SLA, and I don't have access to one. It really shouldn't make any difference whether you use the balanced or unbalanced input, but that's not to say that it doesn't.
 
I've always used the XLR outs into my SLA2. I'll try the 1/4" out to compare but I think what people are hearing is the volume difference with the +6db increase in the XLR outs. If you could switch back and forth and instantly adjust for the volume difference before hearing the 1/4" outs, I would think it would be identical. There's no reason for there to be any difference in frequency repsonse.
 
kev said:
I've always used the XLR outs into my SLA2. I'll try the 1/4" out to compare but I think what people are hearing is the volume difference with the +6db increase in the XLR outs.
Click to expand...
Not according to paulmapp8306. When he changed to balanced, he reduced the Axe-Fx output level by 6dB.
 
You'd think so, but it deffinately improves with the XLR.

Its NOT the volume difference.

When i swopped for XLRs, I dropped the global out by 6db. I A/Bd them several times to be sure - but even taking into account that the A/B ing isnt instant - there is deffinately more of something with the XLRs.
 
i tried the 1/4 out and the XLR reduced 6db on my Carvin and it was identical. But there might be some other thing going on with the Art SLA
 
paulmapp8306 said:
[
I didnt convert XLR to TS. I used to run TS out of the Axe to TS into the Art. Now Im running XLR out of the Axe into the XLR in on the Art. I took the global O/P setting down by 6db to accout for the hotter (by 6db iir) XLR out.

i have no idea if Id see the same going XLR out of the Axe to TS in on the Art - or indeed TS out of the Axe to XLR in on the Art.

The George Ls Ive used for around 6 years on pedal boards and Im aware of the possible problems and effects of a bad connection. There was nothing wrong with the connection IMO.
Click to expand...

For a similar setup, I made a couple of TS>XLR adapters - made with George L btw, because I had a bunch left over from the pedal board I no longer need. I had to use right angle XLR's to fit into my rack. My amp is a Crown XTi, which has XLR inputs only. The AxeFX' Output 2 through the adapters worked just fine for this, plenty of headroom.
 
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