ColonelForbin

Dang, it just keeps getting cooler.... Profiling a rotary speaker cabinet The Kemper Profiling Amp already ships with some rotary speaker profiles and rigs which were captured from the real thing, but if you have access to a different brand of rotary speaker, you can take your own profiles, too. To do this, first set up the rotary speaker as you would in a normal recording situation. Next, connect the whole chain to the PROFILER, just as you would with a guitar amp. This time, however, two microphones should be used to capture the cabinet - one for the bass rotor, and one for the tweeter horn. Connect the microphones to a mixer, create a mono mix of the two, and send this to the PROFILER’s RETURN INPUT. The idea is for both microphones to be captured at the same time, resulting in a single profile. Now, switch your Rotary speaker to high speed and start the profiling procedure. The profiling process will ignore the rotation of the cabinet and only capture the typical sound character. The resulting profile will probably sound weird and uninspiring on its own, but when you engage the “Rotary speaker†stomp in the MOD module, you’ll hear the rich and animated sound of your original rotary cabinet. ✔ Tip: Although the profile is captured in mono, you can use the “Rotary speaker†stomp in the MOD or X slot to recreate the typical stereo movement of the signal. The Rotary speaker effect will automatically separate the bass rotor from the tweeter horn.

I have been reading the Kemper manuals and in particular, the section on how the thing profiles the amp. Definitely an eye opening read; worth taking some time to learn how the process works; I didn't have a clue how it worked, and it's worth noting the process for profiling the amp is very different from profiling the cabinet and mic. Interesting how they note that it doesn't profile modeled amps as well as it does "real" amps. Not surprising, but in essence, they have created a computer algorithm for ears and a brain! The manner in which it sends preconfigured audio to the amp being modeled, then analyzes that audio.. Wayyyy cool... Scary expensive, but heck, what are tax returns for, right>? lol :) If you want some reading material to pass the time, good stuff: http://www.kemper-amps.com/page/render/lang/en/p/221/id/27/cat/30/do/Kemper_Profiling_Amplifier___Downloads.html "In order to make a profile, the original amplifier (which we will refer to as the “reference ampâ€) has to be connected to the PROFILER using the DIRECT OUTPUT and the RETURN INPUT on the back. The PROFILER then sends various tones and signals into the reference amp — it will sound like warbles and static at various pitches and intensities, in other words: not too musical! To get technical for a moment: these dynamically-changing sounds allow the PROFILER to learn about the nonlinear behavior of the tube architecture and the dimensions of the passive components in the original amp. The PROFILER then listens to how the reference amp reproduces these sounds and analyzes the results. These characteristics are then recreated in the virtual signal flow of the PROFILER. Even the characteristics of the speaker cabinet and microphones, including all the frequency buildups and cancellations, are detected and become a part of the profile. If that sounds a bit complicated, don’t worry about it. The important thing to understand is that those weird sounds are how the PROFILER determines the unique way that your reference amp changes the sound of your guitar dynamically over time. With the information the PROFILER gets from those weird sounds, it is able to create a digital profile of your reference amp. You can also profile solid-state amps and modeling amps, although the results from profiling modeled amps can sometimes be underwhelming. The reason for this is that some emulations try to mimic the typical tube sound using techniques that don’t necessarily match the analog reality' So yeah; I wonder if anyone would want to use a Kemper to profile their favorite HD500 + DT configurations!!......

I have been looking at the new Kemper "bundles", with the foot controller - it's a fair bit more than $500 vs $2000...You gotta remember the HD500x is a foot controller and processor all in one. The Kemper "bundle" on Sweetwater is $2,579. http://www.sweetwater.com/store/detail/ProfileRkwRmt http://www.sweetwater.com/store/detail/ProfAmpBKwRMT That being said, I have totally been drooling over those things for a while now. I am not in the band wagon of "this gear vs that gear" so much; I tend to be a bit of a gear hoarder, and only get rid of stuff when I am in need of the $$, or some other plausible way to justify spending too much $$ on gear that I use 100% in a hobby sense. I love my band, we're working on a five song EP right now, and then we're going to do some gigs this Spring and Summer. Not counting on it for income though; I work full time, and I enjoy being able to do music for the sake of music, rather than gigging to pay rent. So, when it comes to gear, there is really no justification I can offer other than "I want it!!!"....I've got an HD500, a HD500x, an ElevenRack, a whole pedalboard of analog Keeley pedals, and of course I want a Kemper too!!!! I think the HD500 series does some great stuff with the amp modeling, and though I rarely use all of it's functionality, I am at a point where I am comfortable knowing how to make it sound good. I lean heavily on the DT amps to "get me there", and to take out some of the extra tweaking tendency. I think the Kemper is a totally DIFFERENT approach to this idea of replacing actual amps with amp emulations, models, profiles - whatever you want to call them. The Line6 approach, for one, relies on their design engine to produce new amp models, and with the upcoming model packs, cost additional $$ to get them. With Kemper, because the device itself is designed to CREATE those amp models, the end use of the amp models comes in part from the time invested in mic'ing up a real world amp, in as ideal set of conditions as possible, so that imprint can be adjusted and dialed up later. Rather than embed the alterations to the tone in digital programming, it seems like the Kemper allows users to populate amp audio data into a set of preconfigured slots so to speak. Otherwise, you would be just playing samples or something unrelated to the Kemper's perception of the amp and it's speaker and it's tones. I haven't read any of the Kemper manuals, so I don't really know what the process is. I can imagine becoming a Kemper profiling expert will be a "job" for people who are good at making amps, mics, rooms and cabinets sound good. I mean, you can buy Kemper profiles, you can download some for free, and you can create your own. One thing that speaks for itself, is the shear quantity of amps and cabs that come loaded on it from the start - not to mention all that you can add. I mean; this list is INSANE!!! http://www.kemper-amps.com/page/render/lang/en/p/219/do/Factory_Rigs__Amp__Cab___Mic_Reference_List.html For direct comparison in value between the HD500 series and the Kemper, take into consideration the upcoming HD model pack expansion. It's $100; you get approximately ten new HD amps? And the series already has 28 or something - so less than 50 total. By comparison, the total # of amp models available on Kemper is at least four times that, just for the initial price - and the total number of amp models available is virtually limitless. That notion completely reinvents the game. You are not sharing patches, or tones within a limited set of parameters, you have now opened the Pandora's box of speculative tone searching. To a certain extent, in support of the Line6 HD gear; the Line6 approach is still quite nuanced, as you can change cabinets and mic models on individual amp models, because the data is still able to be reconfigured on the fly, to a certain extent. And, as far as the Line6Link integration between the DT amps and the HD units, nothing else out there is doing that. How much of what the Kemper hears is audio, how much is data, and how it's programmed to interpret all of that to a useable tone machine, is what makes it a unique entry. Since the profile experience involves a mic hearing an amp cabinet combination, it's still a bit simpler I would guess, in terms of how it - in their word - "hears the DNA of your amp". It's always been easy to compare Axe-FX to POD, because despite the price and country of manufacture difference, they are basically comparable. The Kemper is in it's own league at the moment, and quite frankly, $2,000 is a bargain. Consider the notion that non-Kemper equipment could come along that is compatible with the Kemper profiles. Where does the amp "live"? Is it embedded in the physical unit itself? Clearly not, you can share the profiles. So what about the merging of the profiles with the Kemper hardware and programming make it unique? I can imagine at some point you will be able to load Kemper Profiles into ProTools as a plugin for re-amping. As much as there are experts who build and repair amps, there will be experts who build Kemper Profiles of amps. What's the going rate for a Kemper profiling studio session? That little thing made JOBS for people! It's that you can take that thing to the ends of the Earth, and bring home amps that otherwise would never be available to anyone other than their owners. I can see a Kemper Studio's release.. Something like, the worlds best Kemper profiler experts bring a host of amazing gear to Abbey Road, and Electric Ladyland, or any number of other famous rooms - the Grand Ole Oprey, Red Rocks, etc. And profile the amps there at Abbey Road in optimal conditions.. To a certain extent, they are already doing that.. http://www.kemper-amps.com/page/render/lang/en/p/221/id/27/cat/35/do/Kemper_Profiling_Amplifier___Downloads.html The shear volume of expansion options is unprecedented with Kemper. I don't envy the marketing, R&D teams of the competition. It's like they combined dropping the mic with throwing down the gauntlet all in one move! :) All that aside, I am quite at home with my Line6 gear, and I don't have any immediate plans to change all that around just to try something new. It is what it is, not everything will give you every option. I can see the allure of the Kemper; even the DT25 is a heavy amp, and when your tones are dependent on lifting heavy gear, it can get tiresome. Plus, Kemper is just scratching the surface with what can be profiled. It's more than just amps, I would imagine... The Kemper Effects Profilers! Plug that vintage MuTron in, and now you have a Kemper profile of a MuTron which you can digitally "repair" to remove any flaws of age, design, or damage. Their exact quote on that concept is: "The PROFILER can only accurately profile preamp stomp boxes such as overdrive and distortion pedals, Eqs and filters, tube preamp pedals, and so on." All pure speculation here, but it does appear the future will be fun!

Wishful thinking here; would be pretty sweet if the game developers who do stuff like Rock Band 4 would figure out how to take it to the next level, and add Variax integration!! They could call it "Real Rock Band" :) No more pressing buttons on a fake guitar; you gotta PLAY that riff for real! http://www.harmonixmusic.com/blog/rock-band-4-announced/

That's a cool idea!

https://www.tubesandmore.com/tech_corner/12ax7_comparison_of_current_made_tubes Anyone care to speculate on how the pair of Electro-Harmonix Russian 12AX7 tubes function differently in the DT50 than the single Chinese 12AX7 in the DT25? Never mind; just answered my own question I guess; the DT50 has the variable 12AX7 boost, which the DT25 does not. If it was a preamp tube, it would be a different logic behind why/which/how. Leaves me wondering / curious, why they used two different 12AX7 options between the DT25 and the DT50. I think as spaceatl mentioned, it's not a huge mystery - it seems to be rooted in supply and demand; limited new production tubes that fit within a certain quality range I suppose. Not surprised to find China making strides and improvements in factory production quality - I mean, the DT50, DT25, the HD500x - those are all assembled in China too.... So, Oddly, my first impulse reaction to it being a Chinese tube meaning it was lower quality, was apparently not accurate. Lots of reports saying the newest round of 12AX7B from China are actually being used in a lot of gear these days, and Bogner in particular actually calls them out as being such in the specs of their other amps, based on the slot.

Try setting the FS to 1-8 so you can control 8 effects on/off using the extra four FS as Fx switches instead of patch changes. You can still do patch change in that mode, it just takes two steps instead of one. Add an extra EXP pedal, so you can have a better control over setting the amp gain. Also, you can specify a range for the parameters assigned to the EXP pedals, doesn't need to be 0 to 100. So, set the gain from something usable to something else usable, 44 to 77 or something for example. I use dual inputs from a JTV59 into two amp models, so I actually use two wahs, one for each, and set them to turn on/off using FS 2 and 3 - though I control the sweep range with one EXP, so if they are both on, you can do double wah with one EXP pedal. I can also set them to a "cocked wah" position if I want to use the wah as an effect, rather than use the EXP toe switch to togglee. Get your amp tones dialed in with ZERO effects first. Or minimal FX. Also, and I should have asked this question first - how are you listening / amplifying your sound while editing / dialing in your tones?

Got my fingers crossed. I was hearing some unpleasant general hum and buzz from both the DT25's after I had the shop put the JJ's in all tubes on both. That scared me; because shortly after I was reading all these posts and threads about the Bogner design requiring EH brand only just spooked me too much to use them until I get them retubed with EH. I played some when I got them home; sounded good, just some noise floor / hum / buzz that probably shouldn't be there, or should be lower in volume. I just got the two sets of EH EL84 and EH12AX7 tubes today, all Russian made / Electro-Harmonix brand, so I am hopeful that settles it. Not sure how long I have to wait to find out; dropping them off Friday morning, and will probably have them back this time next week, hopefully sooner..

Also make note of which 12AX7 tube they put in your DT25.. The DT50's get EH brand Russian 12AX7's, the DT25's get Chinese 12AX7; or at least, the stock 12AX7 tubes in both of my DT25's, one from Zzounds and one from Sweetwater both had the Chinese non-branded 12AX7B tube in each, not the Electro-Harmonix labeled, Russian made 12AX7. Wondering if there is some reason for why they didn't stay consistent with the 12AX7 tube choice, and how it matters when retubing the amps. I also just (very recently, less than two weeks ago) had an amp repair show, who are a licensed Line6 repair center, put JJ's tubes in my DT25's, but I am going to have them swapped back out for all EH tubes this Friday - including the EH branded 12AX7, as opposed to the Chinese "which brand?" tube that Line6 chose for the stock 12AX7. Especially given the primary issue and complaint is noise floor, and it would appear the 12AX7 does play some type of role in how much buzz and hum the noise floor of these amps emit. All the focus being placed on the EH brand, Russian made tubes, and they use non-branded Chinese 12AX7 tubes in the DT25 but not the DT50?? Weird.

Regarding the 12AX7 "stock" tube from the DT25 amps, the 12AX7 tubes they took out of my DT25's say "12AX7B", and the word "CHINA" I thought these were not EH brand, but then I just found the same exact thing on Sweetwater: http://www.sweetwater.com/store/detail/EHX12AX7C Interestingly, under the brand EH, Sweetwater offer this tube in four options: (which could be an error on their website..) - 12AX7 Chinese - 12AT7 Tesla/Slovak (JJ) - ECC83 Tesla/Slovak (JJ) - 12AX7 Mullard (made in Russia) I ordered a different pair of EH 12AX7 tubes; these http://www.thetubestore.com/Tubes/12AX7-ECC83-Tube-Types/Electro-Harmonix-12AX7-EH "These are not relabelled Sovtek 12AX7-LPS tubes. There is a marked difference in construction and performance. The 12AX7 EH has a nice balanced sound, fairly low noise floor and excellent performance in terms of microphonics. The lack of microphonics may be in part from the return of the shorter plate structure or materials. ' I am still wondering whether I should have stuck with the balanced triodes option, or if that even matters for the function of the 12AX7 tube in the DT25 amps. Also wondering if the "shorter plate" structure matters. I am confused as to why Sweetwater is using the Electro Harmonix brand for tubes made in China, and then used as stock tubes in the DT25 amplifiers, but not the DT50's. Especially after such a focus on EH brand being the only acceptable option. If it's made in China, it's not Electro Harmonix, or at the very least, it's not comparable to the EH brand tubes made in Russia. For the DT50 amps, they use a pair of "actual" Electro-Harmonix BRANDED, Russian made 12AX7 tubes, not the China labeled version. Near as I can tell, the stock 12AX7 that was in both of my DT25's is this brand, Shuguang - are they also owned by EH? http://www.thetubestore.com/Tubes/12AX7-ECC83-Tube-Types/Shuguang-12AX7-B "The Chinese 12AX7B tube is a good choice for high gain guitar amps. The 12AX7B tube has a little more overdrive than the standard 12AX7A tube and lower noise." "Let's talk Chinese 12ax7's" http://www.thegearpage.net/board/showthread.php?t=797149 "Audio Tubes Valves, 12AX7 ECC83 EH, JJ Tesla, Shuguang" http://www.ebay.com/gds/Audio-Tubes-Valves-12AX7-ECC83-EH-JJ-Tesla-Shuguang-/10000000000932958/g.html "Shuguang (Chinese). Third and last tube to be tested is the Chinese 12AX7B. These tubes have undergone many design changes over the last few years and the Chinese plant has invested heavily in new tooling and materials. The 12AX7B is one of the latest generation tubes to come from the chinese Shuguang factory and we feel is one of the best produced by them. Despite Chinese tubes having a bad reputation over the years we feel this latest tube is excellent. We found that the tube was very well balanced right across the frequency spectrum with little colouration noted in any part of the frequency curve. These tubes worked the best in our Leak 20/20 Hi Fi amplifier where a very articulate and well balanced sound stage was noted. In our guitar amp we were surprised yet again. Clean the tube sounded neutral and the true tone of our Strat and Gibson 355 was faithful. Driven into crunch these valves sounded really bluesy with a massive bottom end. At high gain the tube was not as quiet as the other two tubes tested but this did not cause problems and was only apparent at extremely high gain settings. The overdrive was smooth and detailed producing pleasing harmonics and overtones. We liked these tubes and was surprised at how well they actually performed. particularly clean in Hi Fi and Crunchy blues." http://line6.com/support/topic/930-no-more-hiss-w-new-12ax7-tubes/ So, the ACTUAL stock 12AX7B tube that Line6 / Bogner use in the DT25 is NOT ELECTRO HARMONIX. Not unless EH also owns Shuguang brand too... Hence, made in China, not Russia. Feeling thankful that I saved the two stock "China" 12AX7B tubes that came out of the amps; just in case... Will be having my amp shop put the EH branded Russian 12AX7's in them, wish me luck. http://www.harmonycentral.com/forum/forum/guitar/acapella-28/1481653- For what it's worth, the China 12AX7B is the "9th generation" and is supposedly a better tube than the 8th generation 12AX7A China. Go figure, that's going full circle all the way back to the contested DT25 FAQ that states the DT25's get Chinese 12ax7, the DT50's get EH Russian 12ax7. Chinese Shuguang 12ax7B's.. No wonder Freidman, Splawn, Bogner.. use as stock tubes. http://www.thegearpage.net/board/showthread.php?t=1452243 http://www.rig-talk.com/forum/viewtopic.php?f=3&t=76359 ""As per Charley at Bogner HQ, their latest releases in the XTC and Uberschall are ALL Chinese 12AX7B."

It sounds like either there are major power issues in the space where you are using the DT, or the amp needs to get serviced by Line6... I had crazy weird problems with my gear in our last apartment, made playing guitar at home basically impossible, in terms of using the POD, or amps, or doing recordings, or anything. Moved to a different place, all those problems vanished. My apologies if you mentioned this previously, but have you had a chance to take your gear to a different location, and try it on different power sources? Like, take the DT to a Guitar Center and make up a story, tell them you want to try some guitar they have through your amp to see if you like how they sound together before you consider buying.. Do a test, and note if the symptoms stay with the amp, change, or go away.

I thought this comment was particularly interesting.

Interesting article: Enter Shikari's Rory Clewlow: 'I've Always Had an Interest to Make Music No Matter in What Form or What Instrument' What about the idea of analog versus digital? Weren't the records you listened to and all those guitar sounds you were digging on created on tape? I think digital in general has kind of just reached that point now where a few years ago it wasn't as good as analog. But I think now it's kind of reached that point where generally everything from front-of-house desks [mixing boards] to studio equipment, anything sort of found in my world is all catching up with the analog stuff and the quality of sounds. Once it's caught up in the quality sound then there are so infinitely more options you can use with much more ease. The benefits of digital are just a no-brainer for me really now. What kind of pre-production have you been doing? With this tour in particular, it's been a lot of work and it's probably been the most rehearsals for me personally. Because I'm completely changing my whole rig. You are? Yeah. Do you know the Kemper? Have you ever heard of that? I have. So sorry. You work for a guitar magazine, OK. No problem. Let's talk guitars. You must have heard of the Kemper [profiling amplifier] if you work for Ultimate-Guitar. I'm completely switching my rig over to that. I used to play Peavey 5150 so basically I've just been literally spending the last week fiddling about with tones and Ableton [music software] and trying to get it all synched up. I'm making the analog to digital leap. It's been a lot of work. That must feel like starting over. Yeah, exactly. Our electronics are all run off Ableton and so that's kind of like the brain of the show. That's like the click track to us and the electronics out front obviously and we can play live synths and stuff through that. Now the guitars are also hooked up to that as well. So lately, we're all becoming more and more reliant on this computer [laughs]. Back in the day, it was just plugging a guitar into an amp? Yeah, when we first started, there was no electronics at all. But lately our whole band is getting more and more integrated into technology, which is actually really exciting. You were getting these great guitar sounds with just a guitar and an amp. Why did you want to change to computers and modeling amps? Well, basically I used to carry around two huge amps. One was the Peavey Classic 50, which wasn't huge but it was quite heavy and bulky. Then I had a two 5150s for backup and a cab and loads of effects pedals and everything. Now obviously, I've just got like one relatively tiny like 3U rack size box basically. It's mega-light. Does the Kemper sound as good as the Peaveys? It can make the sounds that are just as good and identical in fact to my previous sounds and infinite other tones, sounds and effects that I previously hadn't been able to get. But now and what I've been working on for the last week or something is I've been making these new tones. I've gone from live having two tones to now with the Kemper in my live set, I've got 25 tones. Has it been difficult to access all these different tones onstage? They switch all automatically so I don't have to be anywhere near my pedalboard. It frees me up to concentrate on performing and playing. I can now be anywhere in the venue and perform from the sound desk if I wanted to. I wouldn't have to worry about pedal changes or anything like that. Have you used any of the Kemper gear on record? Not on record, no. I only discovered it after we finished recording this last record. I can't remember how I discovered it actually. I think it was just like through a friend telling me about it. Oh, no, actually it was our sound guy, our front-of-house guy who worked with another band that used it. And of course when you first hear about it, you don't believe it. It sounds too good to be true and you really have to actually listen it. The fact that the Kemper is a modeling amp versus a regular amp doesn't mean anything to you? A lot of people are quite sentimental about staying with a real amp. But I'm not really a sentimental guitarist. If it sounds good, it sounds good. I don't really care how it's being made as long as it's sounding good. The end justifies the means.

Wow, that would be a pretty sweet package deal.... Variax standard $799.99 Firehawk $449.99 L2m speaker $749.99 total = $1,999.97

It will be interesting to see how the Shuriken guitars sound with palm muting and drop notes, alt tunings ,etc. I recall reading that they were testing a different bridge design all together. It would appear the primary issue is mechanical, as noted above. If that is the case, then it's like computer programming: "garbage in / garbage out" Meaning, if the bridge is transmitting audio that is messing up the Variax processing, especially as it pertains to palm muting notes causing cross talk, then it's a physical change that would need to occur, likely a combination of technique adjustment and physical (bridge related) adjustment. http://line6.com/support/topic/10999-new-shuriken-variax-models/ psarkissian: Posted 26 December 2014 - 10:03 AM LR Baggs bridge, with piezos, like your JTV-89 (with the Japanese kanji on it)? By the way, how is it? How's the updated electronics on that one doing? TwelveFootNinja: Posted 27 December 2014 - 09:35 PM We're testing a different bridge all together ;) TwelveFootNinja: Posted 04 January 2015 - 08:02 PM Yeah for some reason it does sound a lot better physically tuned to D when playing in drop A. Posted 04 January 2015 - 06:26 PM For clarity: physically the strings never go lower than D, A, D, G, B, E

I think they probably had that conversation with a combination of engineers, product development, accountants, and marketing. If I had to guess, the response was something to the effect of, if you sell the Firehawk for $50 less than the HD500x, and include the Line6Link, then you basically undercut the status of the HD500x unit. It's likely down the road when they have some more mileage from the HD500(x) series that the "next" flagship level processor will have the L6Link. I see Firehawk as an extension of the AMPLIfi platform, more than as an alternate to the HD series, despite the inclusion of the HD amp models and FX. Just guessing...

Good luck! I hear ya, it's frustrating waiting on repair shops. I took mine to an authorized L6 service center, and paid them to rebias and put JJ's tubes in it, but then shortly after found out the DT amps all require Electro Harmonix tubes ONLY, and so I am going to be taking the DT25's back less than two weeks after I just got them done, to get EH tubes in and rebias. Apparently, the primary issues, are when an amp tech uses non EH tubes, and uses the EH bias spec, it can cause problems. The bias spec is for a matched pair of EH tubes; and that spec is not compatible with other tube brands. For what it's worth, here are some specific comments, including the contact info of the Line6 amp tech - connect your amp tech with this guy if your amp repair shop has any questions / is confused... RIght now, I am in the hole for an extra set of tubes for two DT25's (basically $100) plus the cost of redoing the amps - they are going to cut me some slack on the price, but it will still amount to at least a $100 mis step on my part... I will be able to get the $ back from thetubestore.com for the JJ's, they are being really cool as well. Don't assume that because a shop is an authorized L6 service center, they will stop you from doing the wrong thing - I told them to use JJ's tubes, so they did! Would have been nice if Line6 had been more direct in explaining that their authorized service centers should only use EH brand tubes when doing DT retubes, but, like most things in life, we learn the hard way. Here are some thread links, look for all the comments made by 'psarkissian': Partev Sarkissian Repair Technician, Repair Dept Line 6, Inc. 26664 Agoura Rd Calabasas, CA 91302 phone: 818-575-3600 http://line6.com/support/topic/2998-is-it-a-tube-problem/ http://line6.com/support/topic/12006-dt-tubes-is-there-only-one-choice/ Read this before you change the tubes in your DT amplifiers! The key points: · For DT50 amps: use matched pair of Electro Harmonix EL34 power amp tubes with a pair of Electro Harmonix 12AX7 tubes. · For DT25 amps: use matched pair of Electro Harmonix EL84 power amp tubes with a single Electro Harmonix 12AX7 tube. Use ONLY Electro Harmonix brand tubes in your DT amplifiers! · JJ's have a tendency to damage certain parts of the processor board · Mesa's tend to "red plate" · Groove tubes tend to do a host of other damages Because of the way Bogner designs the tube portions of these amps, and that this is a hybrid and not the usual bill-of-fare tube amp, you should re-tube using the specified EH from Electro-Harmonix tubes. You can't use the EH bias spec on other tubes. The spec is dialed in for the EH's. All too often these come across our bench for no other reason than having non-specified tube inside (JJ's, Mesa, Groove Tube), using the specified bias. That does not work.

I wonder if it really matters that the Variax portion is 'reversed' for the left handed guitar? For example, the Shuriken guitars incorporating the Variax tech - those are going to be using the existing variax "guts" - they specifically state that "left hand models will be available at no extra charge". That would imply that the design of the guitar and layout can, for whatever reason, support a reversal of the technology without requiring a special build of the Variax portions. I would guess you just spin it around, and figure out how to make the knobs and wiring harness all make sense. Won't be an easy switch, but apparently someone is thinking about how to do it... Would be nice for the lefty's among us to be able to get a proper lefty Variax for less than $4k! But does make a person wonder. You figure, the JTV59 uses different variax guts from the JTV69 - the alt tuning selector is totally different. And the yet to be released 'Variax standard' seems to merge the two - it has the JTV59 alt tuning selector positioned among the volume, model and tone knobs - yet has the full 5-way blade model selector instead of the toggle three-way JTV59 selector. So, it seems there is some amount of configuration options ,even within the 'standard' options.

Forum moderators: This summary of the tube issues, and the prior info recommending using only Electro Harmonix brand tubes in the DT amps should be a STICKY POST at the top of the DT forums; with some kind of title like: Read this before you change the tubes in your DT amplifiers! The key points: · For DT50 amps: use matched pair of Electro Harmonix EL34 power amp tubes with a pair of Electro Harmonix 12AX7 tubes. · For DT25 amps: use matched pair of Electro Harmonix EL84 power amp tubes with a single Electro Harmonix 12AX7 tube. Use ONLY Electro Harmonix brand tubes in your DT amplifiers! · JJ's have a tendency to damage certain parts of the processor board · Mesa's tend to "red plate" · Groove tubes tend to do a host of other damages Because of the way Bogner designs the tube portions of these amps, and that this is a hybrid and not the usual bill-of-fare tube amp, you should re-tube using the specified EH from Electro-Harmonix tubes. You can't use the EH bias spec on other tubes. The spec is dialed in for the EH's. All too often these come across our bench for no other reason than having non-specified tube inside (JJ's, Mesa, Groove Tube), using the specified bias. That does not work.

Yeah; I was wishing that was an all new full-HD plexi variac model!! I am still stoked for the rebuilt JCM800 model

Naw, never get sick of it! They are both pretty cool; I prefer the DT anytime I am playing with other musicians involving a drum set. I tend to use more of the studio/direct tones to the L2t's when I am home and want to just attenuate volume without having it change the tone. Recently, I set up my two DT25's and ran the XLR outs to the M20d mixer, sent that output to the L2t's. Interesting to take the basic "amp tone" even just the XLR out (which has always sounded great to me), and then 'tweak' it with the EQ and various other effects and adjustments available to the channel strips on the M20d. I can see where guitarists get too hung up on what is coming out of the amp they are using; vs being able to hear the tone as envisioned by the guy presenting the sound to the main mix, or recording mix. Had a similar experience in studio, not with my gear - but we're recording, and the other guitarist is going from his guitar to a Mesa Boogie 1x12 combo, mic'd up, and I am listening in the control room. I heard the amp when they were dialing it in, then I heard how the recording engineer tweaked what the mic is hearing to fit the mix. That's the thing; your basic guitar and amp tone will always be versatile enough to tweak into a mix, if it's not too extreme or too specific. The more authentic and personal your tone is, the easier it is for a sound guy to help translate "your sound" to the main mix. Why I ultimately prefer the DT amps for live / rehearsal use, is they let me not worry about some of those more "sound guy" specific settings that the HD500 can offer in studio/direct mode. For studio, and for going direct, there isn't much else better! But for when you want to concentrate on your performance, and let someone else worry about getting your sound to fit in the mix for that venue or stage, then the DT's are what I go for.

Anyone tried using the Mesa-Boogie "Cab Clone" for this kind of application? http://www.sweetwater.com/store/detail/CabClone8 "The Mesa/Boogie Cabclone is a speaker cabinet simulator and load box that gives you entirely new ways to use your guitar amplifier on stage or in your studio. Plug your amplifier's speaker output to the Cabclone, and you can connect your amp's tone directly to a mixing console, mic preamp, or even direct to your recording device. Three different cabinet simulation voicings let you emulate the sound of open-back, closed-back, and "vintage" speaker cabinets. You won't need to lug a speaker cabinet with you to get outstanding tone from your amplifier, with the Mesa/Boogie Cabclone."

I thought I needed the bigger monitors, until I got some M-Audio Bx5's on some random sale Guitar Center had, and they are quite loud - but they are not a great speaker, over emphasizes bass. Dialing in your tones can be a lot like mixing, you don't want speakers to over or under exaggerate the low end - your tones will all either be too bassy, or not enough. I like them for watching movies and casual listening; for what I paid, they are just fine. I was looking at the Yamaha HS5 and HS8, those are reported to be extremely even / neutral, as in they shouldn't give you too much or too little bass. If you can, even if you do not intend to buy there, it does help to go to a Guitar Center or Best Buy, anywhere that you can take a look at what that actual size of the 5 vs 8 is, in terms of how much bigger the actual monitor enclosure gets. And for a listen, so you can hear the sense of volume. Take a closer look at the back of the monitors, figure out what kind of inputs you have and if they have any EQ controls, or "room shaping" settings. My M-Audio monitors just have the standard inputs, 1/4" XLR, but no EQ or shaping controls, so that isn't ideal. I also don't have them mounted or padded properly, which doesn't help. So alot of the experience comes down to more than just the speaker choice. Make sure you have a decent stand or means to pad / isolate them from a surface - IE, not on the shelf or desk directly. KRK's are typically reviewed to be extra bassy. Someone was raving about JBL's LSR 305 mid-price 5" monitor, not sure how it fares or compares against the Yamaha HS, other than that they are $50 less /each. http://www.sweetwater.com/store/detail/LSR305 I was also interested in the M-Audio "three way" M3-6 monitors, but I didn't end up going with them, just spent that $ elsewhere on a bunch of other random stuff, and only recently got back to working on the home studio. I still like the way they look, but the way the doubled up the two speakers to make the three way seems a bit odd, not sure how these would do with a POD.. The reviews are mixed, and a lot of the complaints have to do with the tweeter hissing or other high frequency undesirable noise. Might not be able to handle extended rocking out with a POD.. http://www.sweetwater.com/store/detail/M3-6 Basically, it got to the point where for the price, instead of buying a pair of expensive home use monitors, I bought a pair of L2t speakers.. Not exactly the most "budget friendly" choice, but they are quite amazing as studio / home monitors, have decent EQ controls, and then I can take them to rehearsal or stage, and have the same tones..

Nice, good catch! I took a photo of one of mine, said 13 05; (May 2013 it would appear) and I will have to take a look at the other stock tubes, and compare to what I get from the retube.. (taking them in Friday, not sure how long I will have to wait to find out..)