So would something like the $250 Torpedo reactive box be better, using it only for the -20db output? Seems like it has a bunch of features I don’t need, but if the attenuation output is good, it’s a reasonable price.
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Recording V-4B using attenuator, load etc.
- Thread starter Adg672
- Start date
So would something like the $250 Torpedo reactive box be better, using it only for the -20db output? Seems like it has a bunch of features I don’t need, but if the attenuation output is good, it’s a reasonable price.
The point of this thread seems to have drifted.
One has to define the goal.
I'm assuming the reason for this lower volume application is for studio use; if not buy a smaller amp for home use / home recording; I have yet to find a small amp that sounded like an SVT or other higher power big OP transformer, or without moving some air (which gets back to lound)
I'm assuming this is for a bass amp and not a guitar.
I'm assuming cleanish; if you want dirty and can't mic a cab or use hi tech software, buy a distorion box.
If you need a pro sound, mic the cab, Pro Tools, other high tech software, or a modeler
-everything else is a compromise-
A decent sounding compromise is a giant resistor to protect the amp and taking a line out
One could experiment with some sort of reactive load; I have yet to hear one that was singificantly better than a cabinet, or software, or load resistor
If someone can find and document this, I'm interested
In reality I doubt that many pro or otherwise players could tell the difference of any decent amp sound when mixed with a pro Di like a Reddi
With a dense rock mix, you're not going to be able to hear this subtle detail unless you solo the track
In a sparse mix, there is a much better chance of hearing this subtle detail
The player makes a far greater difference than the brand or size of the bass amp IMO
There are 2080 hours in a buisness year assuming 2 weeks vacation; I have well over 10,000 hours
Not meaning to preach but I have been done this road many times.
Speculation is cool but the bottom line is in the final mixes
My advice: decide with your ears and not a spec sheet
.02
One has to define the goal.
I'm assuming the reason for this lower volume application is for studio use; if not buy a smaller amp for home use / home recording; I have yet to find a small amp that sounded like an SVT or other higher power big OP transformer, or without moving some air (which gets back to lound)
I'm assuming this is for a bass amp and not a guitar.
I'm assuming cleanish; if you want dirty and can't mic a cab or use hi tech software, buy a distorion box.
If you need a pro sound, mic the cab, Pro Tools, other high tech software, or a modeler
-everything else is a compromise-
A decent sounding compromise is a giant resistor to protect the amp and taking a line out
One could experiment with some sort of reactive load; I have yet to hear one that was singificantly better than a cabinet, or software, or load resistor
If someone can find and document this, I'm interested
In reality I doubt that many pro or otherwise players could tell the difference of any decent amp sound when mixed with a pro Di like a Reddi
With a dense rock mix, you're not going to be able to hear this subtle detail unless you solo the track
In a sparse mix, there is a much better chance of hearing this subtle detail
The player makes a far greater difference than the brand or size of the bass amp IMO
There are 2080 hours in a buisness year assuming 2 weeks vacation; I have well over 10,000 hours
Not meaning to preach but I have been done this road many times.
Speculation is cool but the bottom line is in the final mixes
My advice: decide with your ears and not a spec sheet
.02
This is simply an extension of the very very useful tool used in guitar recording of reducing amp output after the power stage. My Vox has it, and it sounds glorious - and no pedal I've ever heard is even close. Since there are no super low power tube bass amps on the market, it makes perfect sense to extend the concept. This has nothing to do with spec sheets or player talent.
The Fryette does everything you need and more if you can live with the price and fan. Sounds pretty good as an amp/DI in its own right too
Thanks. I looked at it, but I'm concerned I'd be paying for features I don't need. I only want the attenuated speaker output.
An attenuator rated for 100W RMS should be sufficient for the PF-50T. Whether a fixed attenuation level of -20dB will meet your needs???
I'll see how loud it gets in next week and do some measurements with an SPL meter. Well, a phone app, anyway.
I have a v4b and bought the new torpedo captor x in order to have silent rehearsals and record. The unit is rated at 8ohms and 100 watts. I’m noticing that it clips (red light on captor x) when I drive the amp in its sweet spot so I’m thinking perhaps I need to add a second load box to the amp. Will that send only 50 W to each load box? So if i have two 8ohm load boxes, I connect them to two 4ohm outputs on the v4b?
If that works I’ll just get a 2nd cheap load box and use the IR and cab modeling from the torpedo.
If that works I’ll just get a 2nd cheap load box and use the IR and cab modeling from the torpedo.
Yes, that is the way it should work in theory. And you would use the two 4 ohm speaker outs. Having never tried it, I don't know if it works, but sounds good on paper.
1st...you should probably turn down to avoid damaging the Captor X.
The best solution IMHO would probably be to get the Torpedo Reload which is rated for 150W RMS...unfortunately it costs $750. The V4B pushed totally over the edge is likely to put out more than 150W, but I believe that's okay as 150RMS is really more of an average value, I.E. occasional peaks above 150W are fine.
I do think that using two 8 ohm load boxes in parallel would work since the V4B has two 4 ohm outputs. Before you buy a second load box, I suggest contacting Two Notes to make sure.
Back in the 80's I bought this 300 watt, 4 Ohms ballast resistor from Digikey.
Its is about 1" in diameter and about 10" long.
Made two aluminum brackets; painted a 2x4 x (1' long) baby blue (because that's the only color in the shop); mounted resistor to board; use a piece of lamp cord to a quality 1/4" jack.
We used that thing for years. I'll see if it's in the garage. Just as crude as hell bought I thought it sounded great when connected to the amp output, and pre amp out straight to console.
OTOH, no big experience, but I think a guitar needs an active load.
BTW- I picked 300 watts as I thought we could use it with an SVT.
Never got around to it as the V4B sounded slighter better (to me).
Its is about 1" in diameter and about 10" long.
Made two aluminum brackets; painted a 2x4 x (1' long) baby blue (because that's the only color in the shop); mounted resistor to board; use a piece of lamp cord to a quality 1/4" jack.
We used that thing for years. I'll see if it's in the garage. Just as crude as hell bought I thought it sounded great when connected to the amp output, and pre amp out straight to console.
OTOH, no big experience, but I think a guitar needs an active load.
BTW- I picked 300 watts as I thought we could use it with an SVT.
Never got around to it as the V4B sounded slighter better (to me).
Hey, what do you know. I made an 8 Ohm version too. Of course now I can't find the 4 Ohm.
I know, it was built in about 15 minutes and looks ugly but a safe way to run a tube amp and take a preamp out to the console for recording.
I know, it was built in about 15 minutes and looks ugly but a safe way to run a tube amp and take a preamp out to the console for recording.
Even with a attuator
"30 watts" is smoking loud
If you want to reduce SPL
You don't record with a 2x12 or 410 or 1x15
Just use a 1x10 sensitivity is poor.
Around 91 to 94dB
Not 98 to 101dB like a larger cab with x2 or x4 speakers. 1x15 is still 97 to 100 dB at 1 watt
Guitar players use attuator to make power section break up at 103 dB not 118dB
It's still at band levels though for a drummer
If a speaker is 91dB at one watt.
Then guess what? Even at 1 watt your at 91dB...... smoking loud in a recording room.
Doesn't matter if your at 2 watts 10 watts 30 watts or 50 watts.
Getting output tube saturation in the studio will be loud. No matter what. At 1 watt.
You can use a isolation box....or you line
A small room and close the door.
Such as foam or blankets fully covering a closet and close the door.
But you just use a 30 to 50 watt amp.
Also EL34 is notorious for easier saturation
6L6 is harder to breakup. But has a more distinct distortion when it finally does.
Live nothing beats tube amp
Feel is completely different.
On tape/digital your looking for the sound
Not the feel.
Unfortunately simulations get it spot on.
For recordings. Live.... obviously nothing beats real tubes.
"30 watts" is smoking loud
If you want to reduce SPL
You don't record with a 2x12 or 410 or 1x15
Just use a 1x10 sensitivity is poor.
Around 91 to 94dB
Not 98 to 101dB like a larger cab with x2 or x4 speakers. 1x15 is still 97 to 100 dB at 1 watt
Guitar players use attuator to make power section break up at 103 dB not 118dB
It's still at band levels though for a drummer
If a speaker is 91dB at one watt.
Then guess what? Even at 1 watt your at 91dB...... smoking loud in a recording room.
Doesn't matter if your at 2 watts 10 watts 30 watts or 50 watts.
Getting output tube saturation in the studio will be loud. No matter what. At 1 watt.
You can use a isolation box....or you line
A small room and close the door.
Such as foam or blankets fully covering a closet and close the door.
But you just use a 30 to 50 watt amp.
Also EL34 is notorious for easier saturation
6L6 is harder to breakup. But has a more distinct distortion when it finally does.
Live nothing beats tube amp
Feel is completely different.
On tape/digital your looking for the sound
Not the feel.
Unfortunately simulations get it spot on.
For recordings. Live.... obviously nothing beats real tubes.
Or a reactive one...
Unfortunately a reactive atenuator simulate a impedance curve for a specific speaker, and the resistor for a compensated speaker. Many commercials are designed for geetar aplication more or less to copy a response by a 4x12 guitar cab. I.m afraid for bass you.ll be forced to pay for a custom one
Unfortunately a reactive atenuator simulate a impedance curve for a specific speaker, and the resistor for a compensated speaker. Many commercials are designed for geetar aplication more or less to copy a response by a 4x12 guitar cab. I.m afraid for bass you.ll be forced to pay for a custom one
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