i found your missing high end

Not to knock the little Yamaha or the tiny JBL, but this:

jon said:
I'd recommend something like some reference monitors or even a small (quality) PA to tweak like the zxa1, you will get WAAAY better results, I guarantee it.
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I don't consider high end to be "missing" (esp with fw10+), but I played with HF res on about 20 different presets/amps and get what @shatteredsquare is saying. It's an easy way to fill out (or accentuate) some notched mid/high frequencies of some amp/speaker combinations. Too much can make it sound hi-fi (and less amp+cab like) but it's yet another tool in this crazy creative box.
 
don't forget, I'm trying to get a modeled amp to sound the way I think I remember hearing a non modeled amp sounding, some 10 odd years ago, generally, with no available point of reference, objective criteria, or quantifiable end state. It all sounds great already, I'm just searching for a particular bandwidth of high mids that was prominent in production models during a particular time period, that's no longer prevalent in the current production model, for whatever reason...not knowing where those high mids were coming from, or what is different between amp construction to cause the output frequency differential. I keep digging, I know its mainly in the speaker/Xformer now...
 
Thread title was a little clickbait-ish out of context. The first 3 channel dual recs produced from 2001 to about 2008 or so have a different sound compared to the current 3 channel multi-watt dual recs, especially in gain knob ranges between 9 o clock and 12 noon. There is a prominent high mid peak and clear presence to those early 3 channels that's not in the multi watt 3 channels or the roadster/roadking.

I've always been trying to dig up that high end, lots of ways to do that in the wonder box, speaker HF resonance is one place I just found, I guess that's equivalent to a putting in a modified V30, or whatever speaker model the recto loads as a default.

I'm pretty sure though the difference between the amps that makes most of the difference is mainly the gain pot bright cap, FAS say different amps of the same model show up with different bright cap values and gain pot values. Putting the bright cap value up to about 1200-1500 instantly brings out that high mid I'm looking for in the same way, at gain ranges from 9 to 12 noon. I think I'll get on gear page or grailtone and querry owners on what values their gain pot bright caps are.
 
When tweaking anything you really owe it to yourself (and your bandmates) to have the best reference monitors you can possible afford. At home and in hotel rooms I use these, Genelec 8010 Bi-Amplified Active Monitors. When I'm home I have access to a very nice studio with very nice monitors where I can check my work. At the studio I can hear most of the parameters that I tweak on and most of the parameters in the many demo videos ( you know, the ones you listen to on your laptop and think, What are they hearing?) . Anyway, give these a try.

https://www.bhphotovideo.com/c/product/1025382-REG/genelec_8010_3_2_way_active_monitor.html


I'm not trying to sound snobby, but this is the least that I would consider using. ( I'm sure there are great monitors in this price range or even cheaper. These work best for my home and travel needs.) Otherwise, wait until you are at the gig or rehearsal to tweak very important settings like the top end openess of an amp. Concentrate on the mechanics and function of the patch because 95% of the factory amplifier setting regarding the top end openess are going to yield great results.

The Genelecs and a bit of room treatment are very good. They are not the best, but they are one of the best for the price.
 
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the current multi watt gain pot is probably also a different taper or value from the early 3 channel dual/triple recs. Down on super low gain settings, 1.50ish it's still breaking up like crazy. High mids pop out there too, without adjusting the default bright cap value.
 
shatteredsquare said:
Down on super low gain settings, 1.50ish it's still breaking up like crazy.
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it only does that when speaker impedance knob and Xformer match knob are down at 0.5...i think the early 3 channel dual recs used way smaller transformers than the current production multi-watt rectos do, either that or the recto models aren't at the right default speaker impedance right now...on 1.0 it's super stiff, putting speaker impedance down to 0.5 sounds like going from a 16 ohm G12T-75 1960a cab to a 8 ohm V30 mesa...the breakup characteristic at default values is way too stiff, but it's not preamps fault...turning off all the power amp stuff is like Recto Recording Preamp H E A V E N...it's feels so good
 
shatteredsquare said:
turn down the speaker HF Res Freq from wherever it's set at down to between 500Hz and 900Hz... :openmouth:

lowering speaker impedance to 0.5 ish has a similar effect

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I just thought about this: WHO was missing high end?
Someone made me think about this in another post when i was talkin about brightening my already SUPER bright pickups
it came off sarcastic, but now, I just think you need new pickups dude ;)

EDIT - i see some others said the same thing.....GET NEW PICKUPS BRO. Fishman Fluence + Axe FX III = digital electric guitar perfection
 
shatteredsquare said:
There is a prominent high mid peak and clear presence to those early 3 channels that's not in the multi watt 3 channels or the roadster/roadking.
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wroooooooong, it's there in Rec 2 Orange Modern...Roadster/Roadking stopped doing the channel clone thing where Channel 3 and 4 are identical, channel 3 and 4 have different presence pot values and with Roadster/Roadking I'm pretty sure different low end voicing (subtle low end resonance point shift). The modeled Recto 2 is multi-watt with cumulative mesa recto-land updates so I bet those voicing changes from the Roadster/Roadking made it into the multi-watt, they just kept the top end generally more open in the dual/triple rec.
 
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