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Tube Preamp/DI Sound Samples — Noble, Oracle, P-15, Super Stack, REDDI, Tonecraft, Fatboy...

Discussion in 'Effects [BG]' started by scubaduba, Jun 29, 2020.


  1. Noble

    46 vote(s)
    30.3%
  2. Arkham Oracle

    26 vote(s)
    17.1%
  3. Broughton P-15

    27 vote(s)
    17.8%
  4. Broughton Super Stack pedal

    2 vote(s)
    1.3%
  5. Sushi Box Particle Accelerator

    18 vote(s)
    11.8%
  6. Retrospec Squeezebox

    6 vote(s)
    3.9%
  7. RNDI

    3 vote(s)
    2.0%
  8. Khan DI

    1 vote(s)
    0.7%
  9. Groove Tubes The Brick

    3 vote(s)
    2.0%
  10. Teegarden Fatboy

    2 vote(s)
    1.3%
  11. REDDI

    6 vote(s)
    3.9%
  12. Sonic Farm 2DI4

    3 vote(s)
    2.0%
  13. Tonecraft 363

    4 vote(s)
    2.6%
  14. Broughton SSDI

    2 vote(s)
    1.3%
  15. Useful Arts BF-1

    1 vote(s)
    0.7%
  16. Eclair Evil Twin

    0 vote(s)
    0.0%
  17. Ampeg SVT DI

    1 vote(s)
    0.7%
  18. Shaw Audio Tube Injection

    1 vote(s)
    0.7%
  1. scubaduba

    scubaduba Moderator Staff Member Supporting Member

    Dec 23, 2003
    Michigan
    Edited by a moderator October 11, 2020.

    Here are sound samples of several Tube Preamp/DI boxes. Since I have these on hand I figured I should put something out there for people to hear each of them. I am not a sound engineer... but hopefully these clips will be beneficial. I will admit this isn't perfect. If nothing else, it is a good start and I am open to recording more clips.

    The devices recorded
    1. Noble
    2. Arkham Oracle
    3. Broughton P-15
    4. Broughton Super Stack pedal
    5. Sushi Box Particle Accelerator
    6. Retrospec Squeezebox
    7. Khan vs. RNDI
    8. Groove Tubes The Brick
    9. Teegarden Fat Boy
    10. A Designs REDDI
    11. Sonic Farm 2DI4
    12. Tonecraft 363
    13. Broughton SSDI
    14. Broughton SSDI vs. Broughton P-15
    15. Useful Arts BF-1
    16. Eclair Evil Twin
    17. Ampeg SVT DI
    18. Shaw Audio Tube Injection

    Bass used
    Sadowsky NYC Jazz with Sadowsky humcancelling pickups. Bass was set flat with EQ all the way counterclockwise. Vintage Tone Control set approximately 50%. Strings are Sadowsky Blue Label Nickel's and about 2 weeks old with little play time on them.

    Goal
    To record each device set flat (or as flat as possible) and work through a variety of EQ configurations for people to hear a relatively wide range of inherent tonal capabilities.

    Method
    Since each of these devices has one or more tubes I let each warm up for at least 30 minutes before recording. All preamps used their integrated XLR out direct to board into Garage Band except for the Super Stack, Particle Accelerator and Oracle which do not have a XLR out. A Rupert Neve (RNDI) was used for these devices.

    One riff was recorded and looped so there is no difference in each clip. With each device I recorded a flat session first. Then subsequent clips offer different EQ settings. Some devices offer more EQ configurations which is why there are more sequences in the clips. I.E. the Oracle

    I did NOT capture the full sweep of the EQ on each device. That was beyond the scope of this exercise. Obviously you could slightly tweak dials to your hearts content all day.

    There is a lot of talk about compressor pedals in front of preamps. One popular compressor often used is the Cali76 CB. Another is the Effectrode LA-1a. Therefore, I recorded two segments with each preamp/DI including the Cali and LA-1a. With each compressor, I had them set with lower compression ratio (4.1 for Cali and somewhere around there for the LA-1A). I also had the HPF on the Cali at roughly 3:00 which means the compressor was letting the compressor not react too quickly to lows. Again, you could certainly tweak all day and come up with a different flavor which is beyond the scope of this sample.

    Hopefully I captured enough to help you come to your own conclusions about each device.

    Maybe in the future I will add to this list.

    Important
    You must use good headphones. Not iPhone or Android earbuds. Not your Dre Beats with an inflated low end baked in EQ. Ideally you would use something with a flat sound stage that is capable of reproducing accurate frequencies across the spectrum.

    To some degree we are analyzing subtleties here. On the other hand, each of these preamp/DI boxes offer a pretty wide amount of tone shaping.

    Oh, I do realize the Retrospec Squeezebox isn't really considered a "preamp" per se. But in reality it is and people do use it as one. It has an XLR out (albeit mic level). It has tubes and has a tone control that is quite useful. You can engage or disengage the EQ section.

    Let's dive in.

    Noble



    Clip 1: Flat (Bass and Treble all the way counterclockwise)
    Clip 2: Bass 7:00; Treble 7:00
    Clip 3: Bass 9:00; Treble 9:00
    Clip 4: Bass 10:00; Treble 9:00
    Clip 5: Bass noon; Treble noon
    Clip 6: Bass 3:00; Treble noon; HPF switch ON
    Clip 7: Bass 9:00; Treble 9:00; HPF OFF; Cali76 CB ON
    Clip 8: Bass 9:00; Treble 9:00; HPF OFF; LA-1a ON


    Arkham Oracle



    Revised clip (see post #33)


    Clip 1: Flat (All switches off in downward position and all dials at noon); Gain at 10:00
    Clip 2: Bass 2:00; All others flat and all switches still in downward off position; Gain at 10:00
    Clip 3: Bass 3:00; All others flat and all switches still in downward off position; Gain at 10:00
    Clip 4: Bass 3:00; Mid switch ON; All others flat and all other switches still in downward off position; Gain at 10:00
    Clip 5: Bass 3:00; Mid switch ON; Range dial 3:00; All others flat and all other switches still in downward off position; Gain at 10:00
    Clip 6: Bass 3:00; Treble 9:00; Hi switch ON; Mid switch ON; Range 3:00; Low switch still OFF; HPF still OFF; Gain at 10:00
    Clip 7: Bass 3:00; Treble 9:00; Hi switch ON; Low switch ON; Mid switch ON; Range at 3:00; Gain at 10:00
    Clip 8: Bass 3:00; Treble 9:00; Hi switch ON; Low switch ON; Mid switch ON; Range at 3:00; HPF ON; Gain at 10:00
    Clip 9: Bass 1:00; Treble 9:00; Hi switch ON; Low switch OFF; Mid switch ON; Range at 3:00; HPF off; Gain at 3:00
    Clip 10: Same as above but Gain at 9:00
    Clip 11: Bass at 1:00; Treble 9:00; Hi switch ON; Low switch OFF; Mid switch ON; HPF OFF; Range at 3:00; Gain at 9:00; Cali 76 CB ON
    Clip 12: Bass at 1:00; Treble 9:00; Hi switch ON; Low switch OFF; Mid switch ON; HPF OFF; Range at 3:00; Gain at 9:00; LA-1a ON


    Broughton P-15



    Clip 1: Flat (Bass noon; Treble noon)
    Clip 2: Bass 1:00; Treble noon
    Clip 3: Bass 2:00; Treble 1:00
    Clip 4: Bass 3:00; Treble 2:00
    Clip 5: Bass 1:00; Treble 11:00
    Clip 6: Bass 1:00; Treble 11:00; Cali 76 CB ON
    Clip 7: Bass 1:00; Treble 11:00; LA-1a ON


    Broughton Super Stack



    Clip 1: Flat (Bass and Treble all the way counterclockwise; Mid all the way clockwise: Fender/Alembic Tone Stack)
    Clip 2: Bass 9:00; All other FLAT
    Clip 3: Bass 9:00; Treble 9:00; Mid FLAT
    Clip 4: Bass noon; Treble 11:00; Mid FLAT
    Clip 5: Bass noon; Treble 11:00; Mid 3:00
    Clip 6: Bass noon; Treble noon; Mid 3:00
    Clip 7: Bass noon; Treble 2:00; Mid FLAT
    Clip 8: Bass 10:00; Treble FLAT; Mid FLAT; Cali 76 CB ON
    Clip 9: Bass 10:00; Treble FLAT; Mid FLAT; LA-1a ON

    In post #34 there was a comment about using the SuperStack with Bass EQ turned higher. Here's another sequence with the SuperStack recorded with the same riff but with Bass EQ trending higher.



    Clip 1: Flat (Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise — Fender/Alembic tone stack)
    Clip 2: Bass noon; Treble 9:00; Mid flat
    Clip 3: Bass 1:00; Treble 9:00; Mid flat
    Clip 4: Bass 1:00; Treble 10:00; Mid flat
    Clip 5: Bass 2:00; Treble 10:00; Mid flat
    Clip 6: Bass 3:00; Treble 11:00; Mid flat
    Clip 7: Bass: 3:00; Treble noon; Mid flat
    Clip 8: Bass 2:00; Treble 10:00; Mid flat; Cali 76 CB ON
    Clip 9: Bass 2:00; Treble 10:00; Mid flat; LA-1a ON


    Sushi Box Particle Accelerator
    (Running on 12 volts)



    Clip 1: Flat (Bass and Treble all the way counterclockwise; Mid all the way clockwise: Fender/Alembic Tone Stack); Gain 11:00
    Clip 2: Bass 9:00; All other FLAT; Gain 11:00
    Clip 3: Bass 9:00; Treble 9:00; Mid FLAT; Gain 11:00
    Clip 4: Bass noon; Treble 11:00; Mid FLAT; Gain 11:00
    Clip 5: Bass noon; Treble 11:00; Mid 3:00; Gain 11:00
    Clip 6: Bass noon; Treble noon; Mid 3:00; Gain 11:00
    Clip 7: Bass noon; Treble 2:00; Mid FLAT; Gain 11:00
    Clip 8: Bass 10:00; Treble FLAT; Mid FLAT; Gain 2:00
    Clip 9: Bass 10:00; Treble FLAT; Mid FLAT; Gain 11:00; Cali 76 CB ON
    Clip 10: Bass 10:00; Treble FLAT; Mid FLAT; Gain 11:00; LA-1a ON


    Retrospec Squeezebox



    Clip 1: EQ/Preamp off; Just compressor and DI out; Compressor set at 3:1 ratio with average threshold clamping approximately 30% of the time
    Clip 2: EQ/Preamp ON with EQ at 11:00
    Clip 3: EQ/Preamp ON with EQ at 10:00
    Clip 4: EQ/Preamp ON with EQ at 9:00
    Clip 5: EQ/Preamp ON with EQ at 8:00

    You will notice as the EQ is turned more counterclockwise the impression is more highs are being rolled off.


    Khan DI vs. RNDI
    (Added July 22, 2020)




    Groove Tubes The Brick (Added August 9, 2020)



    Clip 1: Bass into The Brick
    Clip 2: Bass into the Cali76CB into The Brick
    Clip 3: Bass into the LA-1A into The Brick


    Teegarden Fatboy (Added August 11, 2020)

    Teegarden Fatboy

    Clip 1: Bass into Fatboy
    Clip 2: Bass into the Cali76CB into Fatboy
    Clip 3: Bass into the LA-1A into Fatboy


    A Designs REDDI (Added August 11, 2020)

    REDDI

    Clip 1: Bass into REDDI
    Clip 2: Bass into the Cali76CB into REDDI
    Clip 3: Bass into the LA-1A into REDDI


    Sonic Farm 2DI4 (Added August 11, 2020)

    Sonic Farm 2DI4

    Clip 1: Triode mode; switches flat
    Clip 2: Triode mode; Lo switch 1; Hi switch 0
    Clip 3: Triode mode; Lo switch 2; Hi switch 0
    Clip 4: Triode mode; Lo switch 0; Hi switch 1
    Clip 5: Triode mode; Lo switch 0; Hi switch 2
    Clip 6: Triode mode; Low switch 1; Hi switch 1
    Clip 7: Triode mode; Low switch 1; Hi switch 2
    Clip 8: Triode mode; Low switch 2; Hi switch 1
    Clip 9: Triode mode; Low switch 2; Hi switch 2
    Clip 10: Triode mode; switches flat
    Clip 11: Pentode mode; switches flat
    Clip 12: Pentode mode; Low switch 1; Hi switch 0
    Clip 13: Pentode mode; Low switch 2; Hi switch 0
    Clip 14: Pentode mode; Low switch 1; Hi switch 1
    Clip 15: Pentode mode; Low switch 1; Hi switch 2
    Clip 16: Pentode mode; Low switch 2; Hi switch 1
    Clip 17: Pentode mode; Low switch 2; Hi switch 2
    Clip 18: Triode mode; switches flat; Cali76 CB
    Clip 19: Pentode mode; switches flat; Cali76 CB
    Clip 20: Triode mode; switches flat; LA-1A
    Clip 21: Pentode mode: switches flat; LA-1A
    Clip 22: Triode mode; Low switch 1; Hi switch 2; Cali76 CB
    Clip 23: Triode mode; Low switch 1; Hi switch 2; LA-1A

    Note: there are other combinations possible but this is plenty to give you a good picture of the tonal diversity inherent to the 2DI4.


    Tonecraft 363 (Added August 21, 2020)

    Tonecraft 363

    Clip 1: EQ off; Volume 11:00; Main Output 1:00
    Clip 2: EQ on; Bass and Treble flat (noon); Volume 11:00; Main Output 1:00
    Clip 3: EQ on; Bass 1:00; Treble 1:00; Volume 11:00; Main Output 1:00
    Clip 4: EQ on; Bass 2:00; Treble 2:00; Volume 11:00; Main Output pulled back a little
    Clip 5: EQ on; Bass Full on: Treble 3:00; Volume 11:00; Main Output pulled back some
    Clip 6: EQ on; Bass and Treble flat (noon); Volume 11:00 with volume dial pulled out; Main output pulled back to compensate for gain boost
    Clip 7: EQ on; Bass 1:00; Treble 1:00; Volume 11:00 with volume dial pulled out; Main output pulled back to compensate for gain boost
    Clip 8: EQ on; Bass 1:00 Treble 1:00; Volume 2:00 with volume dial pulled out; Main output pulled back to compensate for gain boost
    Clip 9: EQ on; Bass and Treble flat (noon); Volume 2:00 with volume dial pulled out; Main output pulled back to compensate for gain boost; Cali76 CB on
    Clip 10: EQ on Bass and Treble flat (noon); Volume 2:00 with volume dial pulled out; Main output pulled back to compensate for gain boost; LA-1A on

    Note: The Volume dial is the main gain control. The Tonecraft provides up to 36db of gain. The Volume dial includes a pull switch that shifts the signal into a higher gain range for added tube saturation and can get into a fuzzy state. The Volume dial is pulled out in clips 6 - 10.


    Broughton SSDI (Added August 24, 2020)

    SSDI

    Note: This is a Fender tone stack.
    Clip 1: Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise
    Clip 2: Bass 9:00; Treble 9:00; Mids all the way clockwise
    Clip 3: Bass 10:00; Treble 10:00; Mids all the way clockwise
    Clip 4: Bass noon; Treble noon; Mids all the way clockwise
    Clip 5: Bass 1:00; Treble 1:00; Mids all the way clockwise
    Clip 6: Bass all the way counterclockwise; Treble all the way counterclockwise; Mids 3:00
    Clip 7: Bass 9:00; Treble 9:00; Mids 1:00
    Clip 8: Bass 11:00; Treble 11:00; Mids 1:00
    Clip 9: Bass all the way counterclockwise, Treble all the way counterclockwise; Mids all the way clockwise; Cali76 CB on
    Clip 10: Bass all the way counterclockwise, Treble all the way counterclockwise; Mids all the way clockwise; LA-1A on
    Clip 11: Bass 9:00; Treble 9:00; Mid all the way clockwise; Cali76 CB on
    Clip 12: Clip 11: Bass 9:00; Treble 9:00; Mid all the way clockwise; LA-1a on


    Broughton SSDI vs. Broughton P-15 (Added August 24, 2020)

    Broughton SSDI and P-15

    Clip 1: SSDI Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise
    Clip 2: P-15 Flat; Bass noon; Treble noon
    Clip 3: SSDI Bass 9:00; Treble 9:00; Mids all the way clockwise
    Clip 4: P-15 Bass 1:00; Treble 1:00
    Clip 5: SSDI Bass 11:00; Treble 11:00; Mids all the way clockwise
    Clip 6: P-15 Bass 2:30; Treble 2:30
    Clip 7: SSDI Bass all the way counterclockwise; Treble all the way counterclockwise; Mids 2:00
    Clip 8: P-15 Bass 11:00; Treble 11:00
    Clip 9: SSDI Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise; Cali76 CB on
    Clip 10: P-15 Bass noon; Treble noon; Cali76 CB on
    Clip 11: SSDI Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise; LA-1A on
    Clip 12: P-15 Bass noon; Treble noon; LA-1A on

    Note: There are certainly other EQ combinations possible but the above should give you the general idea.


    Useful Arts BF-1 (Added August 30, 2020)

    Useful Arts BF-1

    Clip 1: Flat; Pure button out; EQ button out (EQ disengaged)
    Clip 2: EQ button in (engaged); Bass 2; Treble flat
    Clip 3: EQ button in (engaged); Bass 3; Treble 1
    Clip 4: EQ button in (engaged); Bass 5; Treble 3
    Clip 5: EQ button in (engaged); Bass 7: Treble 4
    Clip 6: EQ button in (engaged); Bass 8; Treble 6
    Clip 7: EQ button in (engaged); Bass 4; Treble 2
    Clip 8: EQ button in (engaged); Flat; Cali76 CB on
    Clip 9: EQ button in (engaged); Flat; LA-1A on
    Clip 10: EQ button in (engaged); Bass 3; Treble 1; Cali76 CB on
    Clip 11: EQ button in (engaged); Bass 3; Treble 1; LA-1A on

    Here's a second sampling with Treble flat and varying degrees of increasing Bass dial rotation.

    Useful Arts BF-1 Fatter Tones

    Note: There are certainly other EQ combinations possible but the above should give you the general idea.


    Eclair Evil Twin (Added September 18, 2020)

    Eclair Evil Twin

    Clip 1: Flat; Polarity Pin 2
    Clip 2: Flat; Polarity Pin 3
    Clip 3: 9khz boost; Polarity Pin 2
    Clip 4: 9khz boost, Polarity Pin 3
    Clip 5: 3khz boost; Polarity Pin 2
    Clip 6: 3khz boost; Polarity Pin 3
    Clip 7: Flat; Polarity Pin 2; LA-1A on
    Clip 8: Flat; Polarity Pin 3; LA-1A on


    Ampeg SVT DI (Added October 11, 2020)

    Ampeg SVT DI

    Clip 1: SVT DI with tube disabled
    Clip 2: SVT DI with tube enabled
    Clip 3: REDDI
    Clip 4: LA-1A on into SVT DI
    Clip 5: LA-1A on into REDDI


    Shaw Audio Tube Injection (Added October 11, 2020)

    Shaw Tube Injection

    Clip 1: EQ flat (dials at noon); Mid switch right; Fat off
    Clip 2: EQ flat; Mid switch left; Fat off
    Clip 3: EQ flat; Mid switch center; Fat off
    Clip 4: EQ flat; Mid switch left; Fat on
    Clip 5: Bass 1:30; Treble noon; Mid switch left; Fat on
    Clip 6: Bass 1:30; Treble 11:30; Mid switch left; Fat on
    Clip 7: Bass 1:30; Treble 11:30; Mid switch right; Fat on
    Clip 8: Bass 1:30; Treble 11:30; Mid switch center; Fat on
    Clip 9: EQ flat; Mid switch right; Fat off; LA-1A on
    Clip 10: EQ flat; Mid switch right; Fat on; LA-1A on
    Clip 11: Bass 1:30; Treble 11:30; Mid switch left; Fat on; LA-1A on
    Clip 12: Bass 1:30; Treble 11:30; Mid switch center; Fat on; LA-1A on
    Clip 13: Bass 1:30; Treble 11:30; Mid switch right; Fat on; LA-1A on

    There are certainly other combinations with plenty more EQ but these samples should give you the idea of how the Shaw Tube Injection sounds.


    There you have it folks! Hope this is helpful to you. Lot of tubey goodness in there.
     
    Last edited: Oct 11, 2020
  2. TheLopp

    TheLopp

    Dec 30, 2013
    A lot of tubey goodness for sure! And in the end, this really shows how subtle he differences are. I would have a really hard time to get it right in a studio blind test. Don’t mention in a live setting!

    Thanks for taking your time and doing things like these!

    And although it was subtle, I really like what the LA-1A does. Damn, do I really need a new compressor...
     
  3. Bassworship1

    Bassworship1 Supporting Member

    Jun 20, 2013
    Jackson
    First off killer and thorough demo. Is it just me but is the Noble the most clean of the Tube preamps? I was surprised at how good the Sushi Box sounded. Could definitely tell the LA-1A adds some thickness and weight over the Cali76 compressor which isn't a surprise to me.
    In order of preference:
    Noble
    Broughton P-15
    Sushi
    Oracle
    Broughton Super Stack
    Retrospect

    You couldn't go wrong with either of the preamps though.
     
    Last edited: Jun 29, 2020
  4. kranahan

    kranahan Supporting Member

    Aug 19, 2009
    San Francisco Bay Area
    Incredible! This is what we needed! Unfortunately and fortunately, now you must do this with all of your compressor reviews. ;)
     
    Rev. Cornelius, scubaduba and B-Lo like this.
  5. jacoby75

    jacoby75 Supporting Member

    Mar 11, 2010
    Coldwater, MI
    Endorsing Artist: Mike Lull Custom Guitars, DR Strings
    #HowToWinAtTalkbassing
     
  6. B-Lo

    B-Lo Bassist, Drummer, Sound Tech, part time Ninja... Supporting Member

    Jun 16, 2017
    Northern Alabama
    Similar order of preference as mine except I have the last two swapped.

    Great comparison @scubaduba. You set the bar pretty high there for thorough comparisons!
     
    scubaduba and Bassworship1 like this.
  7. I really dig the squeezebox! Everything else I liked, but I thought sounded better with the la1a. P-15 with la1a was a close second for me. Sushi with la1a or noble with la1a was a tie for 3rd. The sushi really surprised me. They all sounded great! I could live with any of them, but those are my picks. I’ve been using an Edison pre and I’m happy.
     
    Rocksolid, scubaduba and Sushi Box FX like this.
  8. sifrancis

    sifrancis

    Oct 29, 2012
    Belfast
    Darkglass, EQD, Mantic, Source Audio, Yamaha, Delano, Hamstead Soundworks, Warwick RockBoard
    Thanks so much for recording and uploading these - really helpful resource.
    The Arkham Oracle is very much my favourite from those clips, with the Sushi Box and Retrospec close behind.

    I found the compressor clips really interesting, both really impart something to the sound, though I feel the LA-1a comes across as more of a "team player" working with the preamp, whereas the Cali76 really asserts itself - to the point that I struggle to differentiate between the preamps with that engaged.

    Thanks again! Really appreciate the time and effort you continue to go into with this. So valuable for so many, especially considering how expensive and elusive some of these boxes can be.
     
  9. Bassworship1

    Bassworship1 Supporting Member

    Jun 20, 2013
    Jackson
    @scubaduba
    Why don’t you add a poll and allow us to officially vote for what device we liked best?
     
    Sushi Box FX likes this.
  10. kevk

    kevk Supporting Member

    Jan 17, 2014
    Napa Valley
    Wow...great job, Scuba! The two standouts for me were the Oracle and P-15.

    Also, the LA-1A made a noticeable improvement on every preamp you paired with it. Seems to be an absolute core pb essential, if tubes are your thing. Glad I have that puzzle piece on my board!

    You mentioned earlier needing to unload some pedals...hope you keep the three I just mentioned!

    Thanks again for putting this together...very informative! :)
     
    Last edited: Jun 29, 2020
    gh0st42 and scubaduba like this.
  11. scubaduba

    scubaduba Moderator Staff Member Supporting Member

    Dec 23, 2003
    Michigan
    Alright. Let’s do it. Poll added.
     
  12. Ross McLochness

    Ross McLochness Living Room Bassist Extraordinaire Supporting Member

    Aug 20, 2013
    Eden Prairie, MN
    It is amazing (at least to me) how subtle the differences are. Obviously, I don’t have any studio or recording type of experiences whereas I’m guessing many of you do. I liked the P-15 the most. I can’t exactly quantify it, but it seemed to have little more going on in the mid-range. That said, they all sound really good. I was surprised by how good the Retrospect sounded. I tend to always think of it only as a compressor. Lastly, the SuperStack shows you don’t need to spend $900 on a Nobel for legitimate tube tone (not knocking the Noble as it’s gorgeous sounding and has been the standard for a awhile now).
     
  13. kesslari

    kesslari Groovin' with the Fusion Cats Staff Member Gold Supporting Member

    Dec 21, 2007
    Santa Cruz Mtns, California
    Lark in the Morning Instructional Videos; Audix Microphones
    @scubaduba I think that if you lived in the UK you'd be knighted for this... :D
     
    TakeABreak and scubaduba like this.
  14. Awesome job Chris. Thanks so much for taking the time.

    The differences really are quite small. You'd be happy with any of them.

    Loving what the LA-1A adds, and I was really impressed with the Particle Accelerator.
     
  15. This thread reinforces, for me, that the compressor is a major part of the equation to getting that tube feel, without a real tube power amp. Still need that glass somewhere though.
     
  16. Dark Horse

    Dark Horse Supporting Member

    Jul 31, 2008
    Austin, TX
    Very cool thread... thanks for your hard work @scubaduba !
     
  17. jnewmark

    jnewmark Just wanna play the groove. Supporting Member

    Aug 31, 2006
    Stax 1966
    Third St. Cigar Records staff musician.
    Overall I liked the Noble.
     
    Keyser Soze and Bassworship1 like this.
  18. Mosfed

    Mosfed

    Apr 21, 2013
    Washington DC
    Partner - CCP Pedals
    That’s pretty cool and I enjoyed listening. My only gripe is that I wish there was slightly better volume matching as something that is louder always sounds better and I think that’s why the Oracle is doing so well in the poll.

    I did enjoy it though and thank you.
     
  19. hennessybass

    hennessybass Supporting Member

    Oct 11, 2008
    Bayou City
    I'm gonna have to get to this in a few days... looking forward to digging into the sounds.
     
  20. uwrossl

    uwrossl

    Nov 13, 2009
    Huntington Beach
    These clips have me even more stoked to know I have an Oracle inbound this week. Really liked how clear it was on top without ever sounding harsh or hi-fi. Just rich warm tubey goodness across the spectrum. It also seems the most versatile or has the most capability to dial in different sounds/tones based on its tonestack setup with the hi-lo switches, hpf, and range control.
     

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