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Everything posted by boyce89976

  1. Read radatats writeup... should be everything you need to know.
  2. Interesting. The DT amps are getting harder to find, but that's a weird opening slogan for a tube amp? "Let there be Loud"... I don't want a loud tube amp, I want a tube amp with TONE... which my DT25 seems to have in spades. I agree with the stagesource speculation.
  3. Hooray! Got the tubes this afternoon, but unfortunately, I'm under the weather, and running a fever so was only able to get them installed, bias the amp and play for about 15 minutes. * First of all, even though I am a self proclaimed do-it-yourself-er, this is a technical process involving a lot of current/amps/voltage. I describe the process as being fairly easy, but I WAS nervous. Make no mistake, any time you reach into the back of an amp under power, you are AT RISK of injury or death, and I am not responsible for you if you decide to try this. If you are not completely comfortable with the process DO NOT DO IT. Your life is worth much more than the $100 or so a tech would charge to do it for you. A couple of observations: Should have checked the bias setting for the old tubes (just out of curiosity) I wasted a bunch of time trying to remove the amp from the chassis, unsuccessfully. In hindsight, this is not necessary. Wish I'd bought a few more of these JJ's tubes so I would have more than one matched backup set Once I decided to try adjusting the bias with the amp still in the chassis, it was literally a 10 minute job. The bias contacts and the bias pot are all on the underside of the amp next to the tube sockets, and, for the most part, easily reachable once the two tolex back panels are removed. The bias pot is a little difficult to get to due to the speaker magnet, but a small phillips-head solved that, even though it kept getting stuck on the magnet. Below was my process: I layed the amp over on it's face and unplugged everything. Once I had the tolex back panels removed (and after giving up on removing the amp from the chassis) I used a latex glove to grip and pull the old tubes, and insert the new tubes, as I didn't want to get finger oils on the glass... not sure this is necessary, but... Once the three new tubes were in (1 ECC83S in the phase inverter position, 2 EL84's in the power positions) I made sure they were fully seated a couple of times, and then plugged the speaker in, and a guitar and turned on the power. I also made sure it was set to Class A/B and the volume was about halfway up on each of the gain stages (Drive, Channel Volume and Master Volume). V3 lights up first (I guess because it's first in line from the power supplies), then V2 and V1. I sat there for a few minutes while it warmed up in standby, and used the opportunity to power up my multimeter and set it to DC Volts in the mV scale. Then I sat there for a few more minutes with a flashlight eyeballing the bias contact points, thinking about the old game "Operation" wondering if I could get the spare rib, broken heart and brain freeze out without getting "buzzed"! After deciding there was really nothing underneath the chassis to be concerned about (not a good assumption as there is a massive power supply right next to V3). I inserted the black probe in the hole labeled "ground" and the red probe in the hole labeled "bias" for V2..... Nothing. No reading... must have missed the contact points... after several more attempts, and getting a little frustrated, I wiggled the black probe just right, and found an indention in the bias contact. Found the same indention with the red probe, and viola... 16.7mV... wait, it's supposed to be 25mV +/- 3. So I moved the red probe over to the V3 bias contact, and made the same measurement... 18.2mV... Now you see why I was wondering what the old tubes were biased at... if they were that cold, it's great for tube life, but not for tone, and could explain why my highs sounded brittle, the lows were muddy and breakup was a little harsh, with the old tubes. I pulled the probes and inserted the phillips-head into the bias adjustment pot and gave it a VERY slight turn to the right... seriously, maybe only an 1/8 of a turn at most... re-checked the bias on V2... 34.2mV... whoops, too much... readjusted the bias and checked again... 24.8mV on V2... okay, that's good, checked V3 and it was 26.2mV... pulled the probes, wondering what I'd done wrong (ha ha), and then rechecked it again... same reading. Powered everything down, pulled the power cord and guitar cable, re-attached the two tolex pieces, sat the amp upright, and moved it back to it's usual resting place. Reconnected everything and powered it back up with a guitar plugged into the front input (I don't usually use the amp this way, it was just a test to make sure I had sound). I did! Played for a few minutes on "American Clean" and "Brit Crunch". Sounds good, but since I don't usually play the amp like that I couldn't compare to the way the amp sounded before. Plugged into my POD HD, and reconnected the L6 Link and played through some familiar patches. Here are a few observations after 15 mins of playing: On cleans (in Topology I, Pentode and Class A/B mode, but with various amps): Low end is definitely tighter with a more defined pick attack and better thump and compression High end is cleaner, and meatier with better extension - definitely more of that "jangle" EL84s are known for Mids have more body Sustain is clearly longer than before and there is more clean headroom... harder to drive the amp into breakup through aggressive picking, at least at moderate to moderately loud volume levels On overdriven tones (same settings, but mainly with the PHD Motorway): More "air" in split coil settings (a recent mod to the bridge pickup of my Charvel Pro Mod) Fat, bluesy tones through the SH1-59 neck pickup, with plenty of pick attack and more sustain than before Better low-end definition from the bridge humbucker, while also being meatier with a subtle, but crunchy, staccato pick attack (This is the closest I've gotten to the sound of Warren DiMartini's guitar sound on the opening riff of "Lay it down". The low "D" was clear and thumped like I always thought it should). Through my Strat with the N3 Noiseless pickups, in position 2 (without the S1 switch engaged) the cleans had the body I always wanted from this setting, while still retaining that high-end sparkle Strats are known for. Overall, I am VERY pleased with the JJ's over the stock EH's and Chinese 12AX7. Especially since they biased to within 1.4mV of each other - that's pretty good matching! Again, I do not recommend this if you have never done it before or aren't completely comfortable with partially taking your amp apart, and replacing parts and reaching your hands in... If you try this, you do so AT YOUR OWN RISK!
  4. Well, it seems my tubes have taken a detour on their way from Eurotubes in Portland. I was hoping to get them today, but it's likely they won't be here until Saturday, or maybe early next week. The JJ's from Eurotubes are pretty cheap... and you can buy matched pairs, quads or even in sets of eight. I bought quads for a couple of reasons: 1. I have a backup set that are the same plate voltage, so no re-biasing should I need to use one or both of the back ups 2. I have a backup set for when the first set starts to age, and they'll sound just like the first two. The four EL84's and the ECC83S (12AX7) were just over $61 plus shipping. Pretty cheap.
  5. ^ This is exactly how I do it too... LVM just seems a little too sterile. The way radatats explains gives you tube warmth all the time. I have changed a couple of old patches over to the PHD (mainly for the songs I play on the Strat)... gives the Strat a really ballsy, fat sound without loosing the jangle.
  6. I think you mean that the other way around? Class A is 10 watts, Class A/B is 25. Class A will run out of headroom and begin to clip/saturate much sooner as you increase volume. For some reason (I haven't played with it enough yet to figure out why) Class A is louder than Class A/B up to a point. Almost all power amps run in Class A up to a certain output. For example, my Parasound Halo runs Class A up to about 25 watts, then switches automatically to Class A/B when the required load exceeds the Class A bias. So, it may have something to do with the fact that you can SELECT Class A or Class A/B and "lock in" that class in the DT's, or it could be the way the power amp section in the DT's is biased. Would love for someone to chime in here that knows more about this stuff than I do.
  7. Hi STPLE, I did a ton of research on this over the past 30 days. Most of the current production tubes are made by only a couple of companies, and many seem to be of questionable quality, with a few bright spots (Genelex - which are now made by Electro-harmonix). Based on my research, I just ordered 4 matched JJ EL84's and a balanced and matched JJ 12AX7. According to Micheal at Eurotubes, the JJ's should give a cleaner more bell-like high end, a harmonically rich mid, and a tight, deep low end compared to the stock Electro-harmonix EL84's. I should have them later this week and will report the findings.
  8. I don't think you'd be able to hear a difference with this test... volume is too low. The idea radatats was trying to convey is that there is greater headroom available if the DT Master is all the way up using the POD Master to control output volume... to hear the difference, you'd have to play at such a volume for the "High POD Master/Low DT Master" scenario to clip. Another way to think about it is in live sound you run your power amps at full gain, to get the most headroom and control the output volume with the mixing console master faders.
  9. I think you just answered your own question... Channel volume is in the amp block, before the mixer and post-amp effects. POD Master volume is post everything, including post-amp effects. That's a big difference in functionality! It might help to think of Channel volume as part of the pre-amp gain control and the Master volume as just that.
  10. This is how I understand it: Channel volume is in the amp block and affects the amp block volume PRE-mixer. POD Master volume is at the very end of the signal chain in the POD and affects the POD output POST-mixer.
  11. Try the PHD Motorway too... With the drive all the way up in the amp model, I couldn't get any real saturation out of it at any volume. The drive control seems to do a good job of emulating the tube compression of the original, resulting in singing sustain with a clean sound. It's also the thickest sounding clean tone I've been able to get out of the POD. Great for a Strat or a Tele.
  12. Agreed! I set my master on the DT up around 75-90%. Used the PHD Motorway to build a couple of patches for the first time today, using a pretty healthy volume (about what it would be set at in the amp closet at church), and the sustain/creamy overdrive was simply marvelous. It was so creamy, lead lines sounded clean, and just rang out forever.
  13. Played with this a little bit today. Wife and kids were gone, so I took the opportunity to "dime" the DT to full master volume. Master on the POD HD was at about 3 o'clock... REALLY LOUD! I only did it for a literally a couple of minutes, and my ears were actually ringing afterwards. But, I was able to get pristine cleans at that volume. Overdrive patches were equally stunning! Using the Blackface LUX PRE, in Class A/B, Pentode, Topology 3 for the clean sound.
  14. This is what I was thinking too. Sounds like it might be set to Studio/Direct.
  15. I got my HD500x about a month ago and this forum has been incredibly helpful! There are so many knowledgable contributors willing to share, most times in great detail, what they know about this system. Thank you, Merry Christmas and Happy New Year!
  16. Link is the simplest way to connect it. You can link the POD with multiple DT amps using the Link.
  17. Path A & B are "combined " at the output of the mixer into a summed stereo feed (L/R from path A + L/R from path B ). So if you want the effects in Path A with a dual amp setup, you'll need to place them before the mixer in Path A. If only using one amp block, you can place them post mixer. In this case you might want to center the pan control on the mixer so you are getting the output from both the L/R channel of Path A and mute Path B.
  18. Played with Dimension a little tonight, and you're right. Still need to fiddle with it a little bit, but I was easily able to get a good result with it.
  19. One way to get unity gain that seems to work for me is to use an SPL meter to check the level of a straight tone with no amp block, then build the tone from there checking the level with each added effect. I'll usually turn off each effect after adding it so I'm only getting the gain of the new effect being added and can adjust to parity with the original dry signal measurement. I'm not sure it matters whether you turn off each effect before you add the next one, but it works for me.
  20. You should be able to get a clean tone with the master up past 12. What are your other settings? Drive? Pentode/triode? Class A/AB? Topology I, II , III, IV? What pickups are you using?
  21. I've made that Andy Summers tone and it sounds good... Very close to the tone from "Every Breath You Take". He uses a flanger in the video... When I feel like I need a more aggressive chorus, I've used a light flanger to good effect.
  22. ^ Agreed. I have had good success getting everything from a nice subtle chorus, to a really deep, thick chorus. Depending on the patch I'll place it either before or after the amp block to get the desired sound.
  23. If you are getting too much "fizz" you may have a setting wrong. Are your outputs set correctly (studio/direct; amp combo; etc...) for the rig you are using? Also if you are using PRE models of some amps and running studio/direct it can be a little harsh. Try the FULL models in this case.
  24. Yes liked Olympia a lot. Thought you did a nice job capturing the different pacing of the three legs of a triathlon in the first song as well. Kind of reminded me of how well the John Tesh Tour de France music done. I found myself drifting back to my own swim, bike, run days. Nice tones too.
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