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New Old Cab Day -- EA VL110

Discussion in 'Amps, Mics & Pickups [DB]' started by Sam Sherry, Dec 22, 2013.

  1. Sam Sherry

    Sam Sherry Inadvertent Microtonalist Supporting Member

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    Disclosures:
    Euphonic Audio "Player"
    Guitar Center had a well-used Euphonic Audio VL-110 for a Peavey price. How could I say no?

    After previously owning VL-208s and a Wizzy 10, my main box for the past couple of years has been a Wizzy 12. I was curious to scope the W12 side-by-each with the VL-110, each driven by my Underwood --> 1985 Walter Woods MI-225 setup.

    Quantity-wise, the 8-Ohm VL-110 specs as 95 dB at 1W/1m. The 4-Ohm W12 specs as 103 dB. 8 decibels is something you notice right away. I rarely turn the master volume up to 12pm with the W12. Providing stage monitor for a 16-piece band last night, the VL-110 was run at about 1pm.

    Sonically, I'm glad to have a VL box back in the house. The W12 is a great-sounding unit with a certain "forward" characteristic to the sound -- it's all on the table; I don't get the feeling that there's anything holding back. The VL-110 sounds smoother. Even driving the big band with C-extension excursions, the feeling is, "There's more. Don't you worry." It's also very nice to have the individual tweeter and midrange rheostats. (Tweeter is just about off; mid is rolled back to around 1pm. I'm not done tweaking the mid-range.)

    I ran VL-208s for 10+ years. The VL-208 was the ultimate in high-fidelity sound for my ear. The VL-110 is not quite that smooth but I suspect that most or all of the difference is lost in a performance setting. On top of that the VL-208 is too heavy for one-tripping and even today it's pretty expensive.

    At this point I'm keeping both the W12 and the VL-110. If I had to keep one, it would be hard to say right now. Choices are what makes the worm turn . . .
  2. bassgeek

    bassgeek

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    I've been digging the Vl-110 as well for about a year now. I run TWO of them with my Doubler. I could probably get away with one, but two of them gets me a little more power out of the Doubler.

    It would be interesting to A/B with the Wizzy...I haven't had the chance to do that.

    The VLs certainly are clear..maybe "too clear" sometimes. I'm using a dpa mic and a K&K into the Doubler.

    Sounds like I should try (based on your experiences with the big band) using just a single VL110.

    BTW, Two VL110s with the Doubler using electric bass in an outdoor setting is barely do-able in my experience.
  3. Ric Vice

    Ric Vice Gold Supporting Member

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    There seem to be more of the VL 110's out there for some reason, probably because the VL 208's and VL 210's were very expensive and also very heavy.



    One of the trade offs with the entire VL series was they were power hungry, mostly due to the significant low end they produced.


    The beautiful thing about the VL's is the way they sound onstage standing right besides them. You, and the members of the band hear the entire frequency range of the instrument, it's a very balanced sound. Having two attenuators, gives you the ability to really fine tune and balance the midrange and treble.


    I still have mine, but it's at the house, I rarely use it on gigs. Since it's got a full D'Appolito array the midrange coming off the VL 208 is more even and balanced than the VL 110.


    True
  4. KUNGfuSHERIFF

    KUNGfuSHERIFF

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    What Walter told me to do to get the most out of his older amps is to turn the master volume to 10 and use the input gain to set your overall volume level. It made a big difference for me.

    To be perfectly clear, that tidbit applies ONLY to the MI-series amps. If an Electracoustic amp is run hard in this fashion, it will not be a happy amp. In extreme cases, the magic smoke may escape.
  5. Ric Vice

    Ric Vice Gold Supporting Member

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    +1 Walter's MI series, emulate tube amps that had individual channel volume controls, and a single master volume. You need run the master wide open for the best sound from those amps. The other difference was that the EQ on Channel 2 was "optimized" for Double Bass, which is slightly counterintuitive.

    Ric
  6. drurb

    drurb Oracle, Ancient Order of Rass Hattur; Mem. #1, EPC Supporting Member

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    Indeed. These cabs are typically spec'ed in the midrange-- typically around 1 kHz. An 8-dB decrease in sensitivity corresponds to the requirement for more than six times the power to achieve the same sound-pressure level. Of course, all is not equal. The VL 110 apparently has anextended low-end.

    It's a demand of physics. The rule in design is that you can have only two of the following three:

    1) Extended low end
    2) Small size
    3) Sensitvity (or efficiency)

    By turning the master up, you are allowing the input gain to access the full potential of the power amp. You're basically "fully opening the valve" into it. This is true for any amp with a master and input gain. There are, however, potential drawbacks to the practice. They are 1) non-optimal signal-to-noise ratio which, frankly, isn't likely to be a big issue once the music starts and 2) potential speaker damage. The second arises because, with the power-amp wide open, any errors in connecting/disconnecting cords, etc., depending upon where in the circuit they occur, can produce transients that will pass unimpeded to the power-amp section and right into the cab.
  7. Jake deVilliers

    Jake deVilliers Supporting Member

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    Disclosures:
    Owner/The Bass Spa, String Repairman/L & M Vancouver
  8. KUNGfuSHERIFF

    KUNGfuSHERIFF

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    See, that's how you make money. Find a need, and fill it!

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