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Reiner Amplification Megathread

#761
Got my GigSkinz bag this morning: it's excellent, definitely worthy of the Studio 1200! Better padding, and a LOT more pocket room than the SKB bag I'd been using (which, to be fair, was forty bucks cheaper). My initial concern was that it's slightly shorter than the SKB bag, so it was a really tight fit with the amp in vertically (back panel on the bottom). Then I remembered that the amp should be put in sideways (D'OH) and sure enough, it's a perfect fit! The power and speaker cables no longer fit alongside the amp, but that's fine... plenty of pocket room, as I said! I think Jon is correct that the TH500 would fit in the large pocket, but heck with that, I'm using that space for cables and maybe even a pedal or two.

Yes, a custom flight case would be the very best option for the 1200, but I'm no rock star, just a local cover band guy.
 
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#762
Back in the 'office' today. My Reiner 6SL7 pre into an LA2A then into an API Legacy console. Mostly playing my Dingwall Super J/P4 with DR Lo Rider SS strings, though the good ol' P bass with flats is always near by
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#763
I received #5 on Monday. Here are some first impressions:
  • Positive reaction right out of the box. Many times you get a new amp and are wanting to like it, but quickly are thinking, "Oh brother, was this a mistake?" So you end up twiddling knobs and tinkering with settings because it doesn't seem quite "there." Opposite reaction here.
  • Excellent tonal slotting. This is the first amp I've ever purchased where I played it for the first few hours without wanting to change a single knob from the 12:00 position (except master volume!).
  • Can't sound "bad." I have been unable to get a "bad," non-musical sound out of this amp no matter where any of the knobs are turned. In fact, I've twisted some (like the mid and upper-mid) in directions that I'd never dream of going and like 'em all. Again, first time I've ever experienced this with an amp.
  • Power section slams. I've read previous comments and thought, "Yeah, right, maybe it's close to a lead sled but no way a replacement." I take that back. You can feel the visceral kick in this amp. At low volume, the headroom is like a hot rod ready to jolt from a crouch. My Greenboy Audio Fearless 210 sounds as massive as an 810. I added my F110 into 2.7ohm stack and it sounds like an 815. (is there such a thing?)
  • Great tone for live rock. With the gain at noon or higher, this amp's definitely a rocker. On the other hand....
  • Great tone for more mellow music. Just turn the gain below noon. Instantly becomes a jazz/ballad/whatever machine.
  • My Fender P-bass sounds amazing. Crystal clear, articulate, honest sound. Almost startlingly so. But not sterile, which is a term that applies more to other amps, such as the EA Micro and EA iAMP Pro, which I've both owned and gigged.
  • But my Rob Allen Deep 4 fretless ABG has never sounded more gorgeous. And interesting ... usually I've had to use an Fdeck HPF with the Deep 4 because there is so much low end information passing through. Not necessary with the Studio 1200. I didn't want to stop playing it! I'm definitely no Ray Brown ... but I can't help but believe he'd be very pleased with this tone!
  • Did a quick test recording with the DI in pre- and post-DI modes. Popped the recording into my Presonus Studio One DAW and it sounded wonderful! Same class/neighborhood as the REDDI & Sonic Farm 2di4. Those are top drawer DIs - especially the 2di4. There is a certain "je ne sais quoi" harmonic complexity with the 2di4 that I didn't quite hear in the quick test, but honestly I did not do any A/B comparisons, nor was I stressing upper register notes which is where differences usually are noticed. Emotionally, my first impression is not feeling like I've sacrificed capture quality by selling the 2di4. Time will tell. And of course, there's the whole regime of post-production tricks that probably level the field here. Frankly, I don't think you'll ever get any group of TB experts to agree on which of these tube DIs is "best." :D
  • Seems lighter than 13.5 pounds. Good form factor (wouldn't want it to be larger, however). Very reasonable tradeoff for the power and features. Combining the tonal performance/DI/power capability into an integrated, lightweight, portable package was my primary goal. Mission accomplished!
  • I'm not really a pedal guy. I use a Totally Awesome Fuzz Machine for occasional songs. I tried it with the Studio 1200 and was surprised at how much better it sounds through the 3-tube preamp. Gorgeous detail. I also just acquired a Darkglass Vintage Microtubes to instantly kick in some low-key dirt in certain music (esp. rockers with a pick); also sounded very good. I'm still learning how to use this pedal so I'll refrain more comments until I get more application skill.
  • First class construction.
  • Excellent product support from JGR who is knowledgeable, eager to please, and seems to have done plenty of deep thinking as he planned, designed, and built this invention. Congratulations Jonathan!
 
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#764
Thanks for the review Ukiah. I'm eagerly awaiting mine, and it's getting closer by the day (thanks for the email update @JGR).

Has anyone tried this with headphones? I just sold my house and haven't bought a new one yet. During this interim period I'm in an apartment and am relegated to headphones for practicing. Given the Seattle housing market's current insane state, I might be here for a while. Is the preamp out on the back the best place for this, and if so, how are the results?
 
#765
Can't help you, silky. I'm in a condo apartment for the foreseeable future, but haven't tried headphones. I sit the 1200 on top of a Berg CN112 which is sitting on top of an Auralex Gramma pad (wasn't my intended use for the Gramma, but it seems to be the best). Of course I keep the volume low, and never play after 9pm.

Consider this a bump for headphone usage advice. I do occasionally want to rehearse later than 9pm.
 
#767
Regarding the headphone questions above, I haven't looked into a more elegant solution, but I run the preamp or DI out into my tiny Mackie mixer and then plug my headphones into that. There might be a standalone device I'm not aware of, but I think your best bet is to feed a small mixer that has a headphone jack so that you get the correct level and impedance matching.
 
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#772
N. Kentucky Bass said:
It's getting harder every day to be a biggotted fanboy of just one device! So much bass goodness to go around....
Click to expand...

Ha! This is why my living room is full of gear.

With the JGR though, I find it hard to stump it. The pre amp has minimal knobs. Gain, bass, low mid, high mid, highs, volume (deep/tight switch). And yet it does just about everything tonally. Great rock tone, some finger funk, slap and pop if you are so inclined.
 
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#774
Well, I've become a fanboy of the Studio 1200. For some reason, I like it even better than my Reiner 1U into a beefier power amp (Stewart 2.1, close to 2000W). Two gigs ago I thought the honeymoon was ending...... but then I realized the strings on my Martin Keith bass had faded. Replaced the strings, and the honeymoon has resumed!



Ukiah, interesting coincidence: I just got the Darkglass Vintage Deluxe pedal. Love my Darkglass B7K for modern rock, but I wanted a more traditional OD for classic rock/Motown. My Vintage Deluxe just arrived yesterday -- haven't yet tried it with the Studio 1200 but I think it's what I was looking for. I probably should have gotten the Vintage Microtubes as you did (same OD but in a smaller box, no 3-band EQ).
 
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#775
Fuzzbass said:
Ukiah, interesting coincidence: I just got the Darkglass Vintage Deluxe pedal. Love my Darkglass B7K for modern rock, but I wanted a more traditional OD for classic rock/Motown. My Vintage Deluxe just arrived yesterday -- haven't yet tried it with the Studio 1200 but I think it's what I was looking for. I probably should have gotten the Vintage Microtubes as you did (same OD but in a smaller box, no 3-band EQ).
Click to expand...

I see a lot of agonizing over OD pedals. Not sure why, although it probably relates to my own bias that OD is often most effective when it's on the subtle side - you notice the difference when it's switched off (especially with bass only) but in the mix, it simple "fills out" the bass tone in a pleasing way. Especially for more rockified songs. I especially like it with a pick. It also helps make the bass more robust if the guitar is being played in the same register. You can get some OD with the S1200 but it's easier to step on the pedal switch and pop it on and off as songs are whizzing by in a gig.
 
#776
Regarding ODs, and the Darkglass ones in particular: The B3K has a major dip around 400hz, whereas the VMT has a major hump around 300hz (if memory serves). These EQ characteristics either really jive with folks, or they don't. I just got rid of my VMT, and very nearly picked up a B3K but have since gone another route.

Regarding headphones: @JGR do you foresee any issues with just using the preamp output jack on the back panel for headphone use?
 
#777
Fuzzbass said:
Well, I've become a fanboy of the Studio 1200. For some reason, I like it even better than my Reiner 1U into a beefier power amp (Stewart 2.1, close to 2000W). Two gigs ago I thought the honeymoon was ending...... but then I realized the strings on my Martin Keith bass had faded. Replaced the strings, and the honeymoon has resumed!



Ukiah, interesting coincidence: I just got the Darkglass Vintage Deluxe pedal. Love my Darkglass B7K for modern rock, but I wanted a more traditional OD for classic rock/Motown. My Vintage Deluxe just arrived yesterday -- haven't yet tried it with the Studio 1200 but I think it's what I was looking for. I probably should have gotten the Vintage Microtubes as you did (same OD but in a smaller box, no 3-band EQ).
Click to expand...

Not to get too far off point, but one of the things I like about the VMT is the ability to shape the character of the overdrive with the EQ, especially the Mid band.
 
#778
I'll
silky smoove said:
Regarding ODs, and the Darkglass ones in particular: The B3K has a major dip around 400hz, whereas the VMT has a major hump around 300hz (if memory serves). These EQ characteristics either really jive with folks, or they don't. I just got rid of my VMT, and very nearly picked up a B3K but have since gone another route.

Regarding headphones: @JGR do you foresee any issues with just using the preamp output jack on the back panel for headphone use?
Click to expand...
I'll have to give it a try but I think there may be some impedance mismatch issues that will result in tone suck.
 
#779
N. Kentucky Bass said:
You can get some OD with the S1200 but it's easier to step on the pedal switch and pop it on and off as songs are whizzing by in a gig.
Click to expand...

Agree completely. With the higher-gain JGR 1U pre I had fun dialing in heavy OD for Cream covers, but of course getting from clean-ish to Jack Bruce and back required significant tweakage.


silky smoove said:
Regarding ODs, and the Darkglass ones in particular: The B3K has a major dip around 400hz, whereas the VMT has a major hump around 300hz (if memory serves). These EQ characteristics either really jive with folks, or they don't. I just got rid of my VMT, and very nearly picked up a B3K but have since gone another route.
Click to expand...

The frequency specs are interesting -- agonizing to some, as Ukiah said -- but not a big concern for me. Of course I understand that some want OD with as little coloration as possible, so a flatter pedal might be better for them. However OD by its nature provides tone coloration.

I love having the Studio 1200 as a blank canvas, and coloring it with my bass, cab*, technique, and (occasionally) OD pedals.


*no such thing as a flat speaker cab
 
#780
I rarely keep an OD pedal for long...just hard for me to accept how they alter and often suck tone. My current favorite is the Brimstone XD-1. Haven't tried the XD-2 yet. Not sure the Fairfield Barbershop will stay on my board or not, but it's pretty cool. The Mesa Flux Drive is actually pretty good, but I set my dirt boxes pretty subtle because to me, the best dirt sound is still beating the snot out of a bass with a pick :)
 
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