- Jun 29, 2006
- 5,148
- 3,217
- Disclosures
- President, CEO, CFO, CIO, Chief Engineer, Technician, Janitor - Reiner Amplification
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Sincere apologies to everyone for my utterly random noodling... I'm no Ed Friedland, 'nuff said. 
TomB mentioned the Jack Read Purity pre. I used to own one -- and before that I used an Alembic F2B for ~20 years -- and the comparison to JGR's work is spot on: pure tube tone (as pure as you can get when adding EQ circuitry). I sold my Read to thin the herd, holding on to preamps that provided more powerful EQ and overdrive. JGR's 1U preamp was exactly what I was looking for, so I jumped on it. The micro is less dirty, even with the 12ax7, but the tone/EQ are amazing... even more amazing.
The cleaner tone is fine with me: I plan to use the JGR micro with bands that don't rock as hard as my busiest/loudest band. I don't need 1200W with those bands because they play at reasonable volume, but "better to have it and not need it" as they say. We cranked the Micro (see below), and the 1200W module seems to have more than enough juice for the hard rock band, which occasionally plays "stupid loud", i.e. too loud for an Aguilar TH500. So, it's great to know that I could use this "micro" for any gig.
I've wobbled back and forth between preference for 2U rackmount or current box form. I'd get a micro either way, but have decided I prefer the box. JGR has a perfect soft case for it. When packed it has over twice the bulk and weight of my Aguilar TH500 in its shoulder bag -- but so what, it's still an easy carry. Point is, I want the JGR micro to replace the Aggie. If it's a rack unit (removable ears or not) then I'll throw it in a rack which means it's no longer micro.
Note: I'm happy with the TH500, it has killer tone and volume, but the JGR is nicer in both respects: you get what you pay for.
I knew I'd love the micro. The YouTube videos capture it well, but of course it sounds so much better in person. I'm also impressed with JGR's speaker cabs! We started with the Berg NV412 (not designed/built by JGR, obviously) -- I've always loved that and the NV610. I'd already heard JGR's General Sherman 18/10: it's an absolute monster, and when combined with the JGR micro it should be classified as a WMD. But his new 2x10 kills, and so does the latest configuration of his sealed 15/8, it's the best yet.
Back to the micro: some are concerned that the EQ is too powerful, but I don't think so. I get it: on some preamps, a small nudge can make a big difference. On the micro, however, the knobs have a nice taper: subtle tweaking is easy if you stay between 3 and 9'oclock on the dial.
I realize I sound like a fanboy, but look, it's a boutique amp with a boutique price. At this level, negatives are a matter of preference: some want specific features (rackmountable, FX loop, etc), some want a signature tone (contour/slap switch), etc. Nothing can please everyone. Bottom line is that it is what it is: techies understand that it's high quality, and the tone is there... that is, if there's any coloration, I can't hear it.
HELLA LOUD.
At one point, JGR totally cranked the micro through his General Sherman cab. That thing was rattling my bones; you should have seen the cone flapping on the 18"! I couldn't stop smiling. His large basement is not as big as the rooms I have to fill on those occasions I get no FOH, but I can't imagine needing more power at a gig. That is, if I ever DID need more power (outdoors, maybe?) then I'd also need more speakers.
I agree with you that cutting is as effective as boosting, however for me to hear how an EQ is voiced, I have to hear the boost. So, I understand why Jon tends to boost rather than cut. As noted, he did cut in one of the videos. The cut seems more powerful than the boost, but again, the taper is just right: you don't notice an extreme change until you go past 3 or 9 o'clock.
TomB mentioned the Jack Read Purity pre. I used to own one -- and before that I used an Alembic F2B for ~20 years -- and the comparison to JGR's work is spot on: pure tube tone (as pure as you can get when adding EQ circuitry). I sold my Read to thin the herd, holding on to preamps that provided more powerful EQ and overdrive. JGR's 1U preamp was exactly what I was looking for, so I jumped on it. The micro is less dirty, even with the 12ax7, but the tone/EQ are amazing... even more amazing.
The cleaner tone is fine with me: I plan to use the JGR micro with bands that don't rock as hard as my busiest/loudest band. I don't need 1200W with those bands because they play at reasonable volume, but "better to have it and not need it" as they say. We cranked the Micro (see below), and the 1200W module seems to have more than enough juice for the hard rock band, which occasionally plays "stupid loud", i.e. too loud for an Aguilar TH500. So, it's great to know that I could use this "micro" for any gig.
I've wobbled back and forth between preference for 2U rackmount or current box form. I'd get a micro either way, but have decided I prefer the box. JGR has a perfect soft case for it. When packed it has over twice the bulk and weight of my Aguilar TH500 in its shoulder bag -- but so what, it's still an easy carry. Point is, I want the JGR micro to replace the Aggie. If it's a rack unit (removable ears or not) then I'll throw it in a rack which means it's no longer micro.
Note: I'm happy with the TH500, it has killer tone and volume, but the JGR is nicer in both respects: you get what you pay for.
I knew I'd love the micro. The YouTube videos capture it well, but of course it sounds so much better in person. I'm also impressed with JGR's speaker cabs! We started with the Berg NV412 (not designed/built by JGR, obviously) -- I've always loved that and the NV610. I'd already heard JGR's General Sherman 18/10: it's an absolute monster, and when combined with the JGR micro it should be classified as a WMD. But his new 2x10 kills, and so does the latest configuration of his sealed 15/8, it's the best yet.
Back to the micro: some are concerned that the EQ is too powerful, but I don't think so. I get it: on some preamps, a small nudge can make a big difference. On the micro, however, the knobs have a nice taper: subtle tweaking is easy if you stay between 3 and 9'oclock on the dial.
I realize I sound like a fanboy, but look, it's a boutique amp with a boutique price. At this level, negatives are a matter of preference: some want specific features (rackmountable, FX loop, etc), some want a signature tone (contour/slap switch), etc. Nothing can please everyone. Bottom line is that it is what it is: techies understand that it's high quality, and the tone is there... that is, if there's any coloration, I can't hear it.
HELLA LOUD.
At one point, JGR totally cranked the micro through his General Sherman cab. That thing was rattling my bones; you should have seen the cone flapping on the 18"! I couldn't stop smiling. His large basement is not as big as the rooms I have to fill on those occasions I get no FOH, but I can't imagine needing more power at a gig. That is, if I ever DID need more power (outdoors, maybe?) then I'd also need more speakers.I agree with you that cutting is as effective as boosting, however for me to hear how an EQ is voiced, I have to hear the boost. So, I understand why Jon tends to boost rather than cut. As noted, he did cut in one of the videos. The cut seems more powerful than the boost, but again, the taper is just right: you don't notice an extreme change until you go past 3 or 9 o'clock.
In case anyone's curious: the videos featured my two newest basses, a custom Nordy dual-P (blue) and Martin Keith Elfin Plus (red). I also brought Blackie, my favorite Sadowsky, but she'd been featured in previous JGR videos.
All basses are active. Output on the Nordy and Keith basses ie similar: hotter than Fender passive I'm sure, but not as hot as Sadowsky.
The Nordy has a pair of Nordstrand P5 pickups, and a 3-band 9v preamp (Nordstrand... I think) that I kept flat. Strings: Dunlop nickels (not the new Bright Nickels), fairly fresh.
The Martin Keith has a reverse Nordstrand P5 pickup toward the neck, and a Nordstrand Music Man pickup toward the bridge. It has an 18V Aguilar OBP-1 preamp with passive tone control, plus boost-only treble and bass. EQ was kept close to flat: maybe a slight bit of treble and/or bass boost in some of the videos, don't recall. Strings: D'Addario EXL nickel wounds, fresh as of the previous night.
All basses are active. Output on the Nordy and Keith basses ie similar: hotter than Fender passive I'm sure, but not as hot as Sadowsky.
The Nordy has a pair of Nordstrand P5 pickups, and a 3-band 9v preamp (Nordstrand... I think) that I kept flat. Strings: Dunlop nickels (not the new Bright Nickels), fairly fresh.
The Martin Keith has a reverse Nordstrand P5 pickup toward the neck, and a Nordstrand Music Man pickup toward the bridge. It has an 18V Aguilar OBP-1 preamp with passive tone control, plus boost-only treble and bass. EQ was kept close to flat: maybe a slight bit of treble and/or bass boost in some of the videos, don't recall. Strings: D'Addario EXL nickel wounds, fresh as of the previous night.
I'm not on Facebook either but can see his page without any trouble. I can't leave comments, however, and I'm sure JGR is just fine with that!
https://www.facebook.com/reineramplification/timeline?ref=page_internal
- Jun 29, 2006
- 5,148
- 3,217
- Disclosures
- President, CEO, CFO, CIO, Chief Engineer, Technician, Janitor - Reiner Amplification
I'm not a FB fan either FWIW; as was mentioned before, you can see everything, you just can't post. And of course you can always ask here! 
I'm going to finish up the faceplate design this weekend and order next week. I placed the order for the ICE modules yesterday!!!!!!!! and they should be here in November which is cool. I've got one on hand for SN1. Got five chassis and board blanks in, so I'm going to try to get a lot of that done up front which should speed up the first run. Got a bunch of electrical bits in this week as well.
I'm going to finish up the faceplate design this weekend and order next week. I placed the order for the ICE modules yesterday!!!!!!!! and they should be here in November which is cool. I've got one on hand for SN1. Got five chassis and board blanks in, so I'm going to try to get a lot of that done up front which should speed up the first run. Got a bunch of electrical bits in this week as well.
I'm excited to see the faceplate design. I'm assuming that will also be the reveal for the amp's name... Yes?
- Jun 29, 2006
- 5,148
- 3,217
- Disclosures
- President, CEO, CFO, CIO, Chief Engineer, Technician, Janitor - Reiner Amplification
I'm sticking with the original "Studio 1200". I'm sure that's somewhat anticlimactic but I like the more subtle/fly below the radar approach for stuff like this.
Passinwind
I know nothing.
- Dec 3, 2003
- 23,076
- 46,032
- Disclosures
- Designer/Toaster Tech @ Passinwind Electronics
That must be one big ass studio if you need 1200 Watts to fill it. I'm guessing you record in an aircraft hanger.
Not Jonathan's fault. It's keeping up with those dang guitars!!!!
Holy Cow! I was going to make a similar remark about 1200 watts in a studio? but I guess I won't
- Jun 29, 2006
- 5,148
- 3,217
- Disclosures
- President, CEO, CFO, CIO, Chief Engineer, Technician, Janitor - Reiner Amplification
Did anyone else catch this?
(Copied from mobile app, so it might not work properly on a desktop)
https://m.facebook.com/story.php?story_fbid=717686644982187&substory_index=0&id=700122066738645
(Copied from mobile app, so it might not work properly on a desktop)
https://m.facebook.com/story.php?story_fbid=717686644982187&substory_index=0&id=700122066738645
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