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Thread: More Things To Love About The HX/DA

  1. #81
    Rigid Member Sekunda's Avatar
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    Yes sir, it does work... but, it's just not the same as when it's cranked and the power section is throbbing with energy... There are some tones there that just don't appear when it's turned down. That's what I'm wanting... It's just so much warmer and full at high volume. I'm just looking for some ideas... I appreciate anyones input though!
    ~ Matt

    PRS HX/DA | 2x12 Stealth Cab | 2011 Stripped 58 - Angry Larry | 2000 Custom 22 - Dark Cherry Burst
    1985 Takamine GX-100 | 1993 Jackson Soloist XL Pro |Martin Acoustic | Ibanez Acoustic

  2. #82
    SuperD Boogie's Avatar
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    Quote Originally Posted by docbennett View Post
    Before Les gets a chance to chime in...let me say that with the HX/DA..... the master volume WORKS. You can get fantastic tone at bedroom volume with this amp, and you don't need an attenuator at all.
    I agree, in general, but I completely understand what Sekunda is searching for. Some amps take an attenuator well, others don't. And it depends on the specific attenuator, too. The speaker response with that level of voltage hitting it also lends to the warmth, which dissipates when you cut the signal. So you're stuck in a catch 22. This is also why I really believe I need a small amp and a 50 watt. You can't get the same tone - depending on your music - if the master is engaged at all. The Super Dallas is in the same league but louder, however I'm lucky to get very good response from the master as long as it's above 2:00.

  3. #83
    Shoegazing Member Serious Poo's Avatar
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    Quote Originally Posted by docbennett View Post
    Before Les gets a chance to chime in...let me say that with the HX/DA..... the master volume WORKS. You can get fantastic tone at bedroom volume with this amp, and you don't need an attenuator at all.
    +1

    Agreed, it's a great circuit. Doug just nailed it with this design.

    Les brought up a good point earlier, and that's the effect reverb has one a guitar tone at higher gain settings. I like some ambience, but greatly prefer using a delay in the effect loop for that, reverbs can sound "tinny" to my ears as well. I just got a Blue Sky for use with some clean stuff I'm writing, but who knows - that pedal might sound really musical on higher gain parts, I really don't know. Right now I'm just loving my El Cap for leads, I'll have to see how the Blue Sky sounds. Strymon has really impressed me with their stuff lately. Glad I asked Doug to put a loop in m HX/DA!
    Be.
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  4. #84
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    Quote Originally Posted by Boogie View Post
    I agree, in general, but I completely understand what Sekunda is searching for. Some amps take an attenuator well, others don't. And it depends on the specific attenuator, too. The speaker response with that level of voltage hitting it also lends to the warmth, which dissipates when you cut the signal. So you're stuck in a catch 22. This is also why I really believe I need a small amp and a 50 watt. You can't get the same tone - depending on your music - if the master is engaged at all. The Super Dallas is in the same league but louder, however I'm lucky to get very good response from the master as long as it's above 2:00.
    Agreed. I wound up selling my Soldano SLO 100, Cornford Hellcat and Elmwood 3100 all because they were all "timid" at volumes below 12 o'clock...and once you hit that midway point on the master volume....the walls started to literally shake. I never even dimed these amps (or in the Soldano's case, took it to "11"), as I would have rocked the house's foundation.
    And all of them never really sounded "right" with an attenuator in front of them. So, I let them go in favor of less powerful amps that could be used at their full potential in my basement.

  5. #85
    Quote Originally Posted by Sekunda View Post
    Question for you LSchefman, have you thought about using an attenuator to get a better sound out of your HX/DA without all the volume? I really like the sound of the cranked amp, but my neighbors might not appreciate the quality of it. I have never used one before but I'm thinking about at least trying one out to see if it gives me that great tone at a lower volume. Any thoughts? Suggestions?
    Matt, I don't use an attenuator. For just practicing, I find the MV all I need, and for use in the studio, volume isn't really a big concern.

    I usually run the amp at around 11:30 o'clock to noon for recording, and it isn't all that crazy loud with a closed-back 212 cab (currently a Mesa). For practicing, I am not as picky as some, because all I want to get is a listenable sound. After all, I'm practicing, not entertaining myself!

    Wish I could answer your question better!

  6. #86
    Let's talk volume/power differences for a moment...

    Doubling the power theoretically provides only a 3 db increase in volume. If you realize that a decibel is the lowest volume difference the human ear can even hear, 3 db isn't all that much. That kind of thing should be well in the range of any amp's good-sounding volume range. And subjectively, some amps are louder than their wattage rating might imply, the AC-30 being legendary for being very, very loud.

    My Roccaforte Rockie 30 watt is LOUD, certainly subjectively as loud as the HX/DA (though I realize that it should be about 2 db quieter in theory); maybe that's because it doesn't have a master volume, and you really need to crank it to get the goods, as with a good AC30. But probably its inherent brightness is part of what makes it seem so loud...

    Point is, you can't really count on merely getting a lower volume amp to be able to get great tone at lower volumes. I don't really notice much difference in overall volume between most 30-50 watt amps; get down to around 15 watts, and sure, you're going to hear it clearly.

    There are an awful lot of variables around this stuff...not a cut and dried answer in all cases.

  7. #87
    Rigid Member Sekunda's Avatar
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    Quote Originally Posted by LSchefman View Post
    Matt, I don't use an attenuator. For just practicing, I find the MV all I need, and for use in the studio, volume isn't really a big concern.

    I usually run the amp at around 11:30 o'clock to noon for recording, and it isn't all that crazy loud with a closed-back 212 cab (currently a Mesa). For practicing, I am not as picky as some, because all I want to get is a listenable sound. After all, I'm practicing, not entertaining myself!

    Wish I could answer your question better!
    Thanks for the input! It's just that the really good sounds are with the master pegged at 10. If you check out the vids of Paul and Mike doing the demo, thats where it is to get that beautiful tone... I did this at home and opened it up, thats where I had my aha! moment. I just want to find that tone without the ear splitting volume. I'll just keep moving it around and find the best balance I guess.

    Check out the video, you can see where Paul is setting the controls about :47 in, the master is cranked. That would surely place the best load on the power section. I just don't want to break my fish tank open

    ~ Matt

    PRS HX/DA | 2x12 Stealth Cab | 2011 Stripped 58 - Angry Larry | 2000 Custom 22 - Dark Cherry Burst
    1985 Takamine GX-100 | 1993 Jackson Soloist XL Pro |Martin Acoustic | Ibanez Acoustic

  8. #88
    Quote Originally Posted by Sekunda View Post
    Thanks for the input! It's just that the really good sounds are with the master pegged at 10. If you check out the vids of Paul and Mike doing the demo, thats where it is to get that beautiful tone... I did this at home and opened it up, thats where I had my aha! moment. I just want to find that tone without the ear splitting volume. I'll just keep moving it around and find the best balance I guess.

    Check out the video, you can see where Paul is setting the controls about :47 in, the master is cranked. That would surely place the best load on the power section. I just don't want to break my fish tank open
    That's the very video that sold me on the amp. Very familiar with it.

    You're going to get a top notch sound with the MV up...no question. I've tried it, and the last bit of rock and roll goodness is definitely achieved that way. Of course, Paul's got the speaker cab in another room in those videos!

    Honestly, I am really happy with what I get using the Master. Just my own experience with the amp, and heck, we're all different! But my needs are met.

  9. #89
    SuperD Boogie's Avatar
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    Quote Originally Posted by LSchefman View Post
    Point is, you can't really count on merely getting a lower volume amp to be able to get great tone at lower volumes. I don't really notice much difference in overall volume between most 30-50 watt amps; get down to around 15 watts, and sure, you're going to hear it clearly.
    Exactly! This is where something like the Sweet 16 comes into play. Clearly a smaller amp and will achieve power stage meltdown at a noticeably lower SPL than a 50 watt. Your reasoning is also why I don't necessarily subscribe to the "use a smaller cab for lower output" line of thinking. A single driver pushed by the same amp is focusing all of that energy behind one point. Sure it's not moving as much air volume in comparison to multiple speakers but the focal point of output is perceived as louder. I'm happy to cover one of the speakers with my guitar case.

  10. #90
    Quote Originally Posted by Boogie View Post
    Exactly! This is where something like the Sweet 16 comes into play. Clearly a smaller amp and will achieve power stage meltdown at a noticeably lower SPL than a 50 watt. Your reasoning is also why I don't necessarily subscribe to the "use a smaller cab for lower output" line of thinking. A single driver pushed by the same amp is focusing all of that energy behind one point. Sure it's not moving as much air volume in comparison to multiple speakers but the focal point of output is perceived as louder. I'm happy to cover one of the speakers with my guitar case.
    Yup, the Sweet 16 is a great choice.

    And you're absolutely right about the cab issue.

  11. #91
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    I went to Music 49 today to try out a few guitars. I played them through an HX/DA. I want one bad now.

  12. #92
    Quote Originally Posted by dsenoj View Post
    I went to Music 49 today to try out a few guitars. I played them through an HX/DA. I want one bad now.
    It's a most addictive experience, isn't it?

    I want to get a second one and stash it away in a vault so I'll never be without one, ever!

  13. #93
    Rigid Member Sekunda's Avatar
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    I finally got to let my HX/DA loose with some volume along with drums and bass... wow! I was so impressed with the sound that I got goosebumps while I was playing. This was definitely the right choice in amps. The guys were amazed at the sounds I was getting with just slight changes of the guitar volume. Then when I kicked on my Keeley modded TS-9 Tube Screamer... ummm... let me just say that Ted Nugent entered the building for about 20 minutes. I can say that this is for sure the BEST sounding amp for classic rock I have ever heard, and the most exciting amp I have ever had the privilege to own.

    Also, my whole question of using an attenuator was voided with a live band volume in a bigger room. Yes, I am a happy camper!

    ~ Matt

    PRS HX/DA | 2x12 Stealth Cab | 2011 Stripped 58 - Angry Larry | 2000 Custom 22 - Dark Cherry Burst
    1985 Takamine GX-100 | 1993 Jackson Soloist XL Pro |Martin Acoustic | Ibanez Acoustic

  14. #94
    Quote Originally Posted by Sekunda View Post
    I finally got to let my HX/DA loose with some volume along with drums and bass... wow! I was so impressed with the sound that I got goosebumps while I was playing. This was definitely the right choice in amps. The guys were amazed at the sounds I was getting with just slight changes of the guitar volume. Then when I kicked on my Keeley modded TS-9 Tube Screamer... ummm... let me just say that Ted Nugent entered the building for about 20 minutes. I can say that this is for sure the BEST sounding amp for classic rock I have ever heard, and the most exciting amp I have ever had the privilege to own.

    Also, my whole question of using an attenuator was voided with a live band volume in a bigger room. Yes, I am a happy camper!

    Awesome!

  15. #95
    SuperD Boogie's Avatar
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    Quote Originally Posted by Sekunda View Post
    ...this is for sure the BEST sounding amp for classic rock I have ever heard, and the most exciting amp I have ever had the privilege to own.
    Now THAT'S an endorsement! And I can't agree more with the Keeley TS-9. Secret sauce, baby! Congrats on the revelation.

  16. #96
    I've been running the 408 pickups through the amp, clean, and just wow.

  17. #97
    Rigid Member Sekunda's Avatar
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    I've mostly been using the Custom 22 with Dragon 1 pups, but apparently the guys love the sound of the Stripped 58 better... it has more body (literally). It seems more appropriate for the Southern rock anyway.

    Just added a Strymon El Capistan delay pedal as well... gorgeous sounds from this pedal!
    ~ Matt

    PRS HX/DA | 2x12 Stealth Cab | 2011 Stripped 58 - Angry Larry | 2000 Custom 22 - Dark Cherry Burst
    1985 Takamine GX-100 | 1993 Jackson Soloist XL Pro |Martin Acoustic | Ibanez Acoustic

  18. #98
    Some call me.... Tim
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    Now I'm real curious. Has anyone compared the HX/DA to the Original Sewell. If I recall, the Sewell was the basis for the 25th Anniv, which in turn was the basis for the HX/DA, correct? So, can an Original Sewell be modded to be an HX/DA?

  19. #99
    Quote Originally Posted by Sekunda View Post
    Just added a Strymon El Capistan delay pedal as well... gorgeous sounds from this pedal!
    Is the Strymon hissy when you turn the gain up on the HXDA? The TC Nova Delay can add a bit of hiss, and I'd like to eliminate that problem from my rig (although I like a lot of what the Nova does).

  20. #100
    Rigid Member Sekunda's Avatar
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    Quote Originally Posted by LSchefman View Post
    Is the Strymon hissy when you turn the gain up on the HXDA? The TC Nova Delay can add a bit of hiss, and I'd like to eliminate that problem from my rig (although I like a lot of what the Nova does).
    I have the gain set at about 1:00 and there seems to be no noticeable noise so far... the bass gain is set at about 9:00. EQ settings are pretty much from the PRS video above: Treble 1/3, Mids 2/3, Bass 2/3, presence is very low. I'm still trying to dial that in... The El Capistan is an awesome pedal... I'm just using it for a solo sound with tempo tap at the moment, but it has multiple uses, even a looper if set properly. It is very clean just like the Flint. Every Strymon pedal I have tried has been top-notch. Its a very nice change to have an amp that shows all of the intricacies of quality pedals for a change. If you order the pedal straight from Strymon they have a return if its not what you want policy. I'm also thinking about getting the new Boss PS-6 Harmonist for some of our Southern rock harmony parts where 2 guitars just cant cover all the parts.

    http://www.strymon.net
    ~ Matt

    PRS HX/DA | 2x12 Stealth Cab | 2011 Stripped 58 - Angry Larry | 2000 Custom 22 - Dark Cherry Burst
    1985 Takamine GX-100 | 1993 Jackson Soloist XL Pro |Martin Acoustic | Ibanez Acoustic

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