Plexiglass shields

[steve_k]

turn the cab around backwards, against a wall and mic it.

steve

 

[Audioholic]

to much bad reflections with plexi, and this includes using them for drums as well..

 

[degenaro]

I definitely wouldn't use a hotplate with a 180 watt amp. The hotplate maxes out at 150-175 watts I think (Ed knows for sure) and that's probably peaks not average power. That herbert will produce peaks well above 180 watts which could be why the Hotplate is not sounding so hot.....hot, ha I made a funny.

rms 185...but I look at it as peaks at 180.
No I wouldn't use any single attenuator on a 180 watt head, we used to mod them for 300 watts but those resistors are no longer available. Also I don't hang here to hock gear...I come because of the hang. So...point is...yank a pair of tubes and make it a 120 watter and blast side ways.

 

[degenaro]

Its a Diezel Herbert.

I've yet to crank it past 11 o'clock, and that was without the band.


I really wish it was a smaller wattage amp (30-or so) so I could let it cook.


As it stands, its quite loud and overpowers the stage volume if I get anywhere near that loud.




My friend up there mentioned it was Joe Bonamassa who had the shield and that is where I read it. Joe talks about a shield that is four part and makes a "M" shape (to combat the reflection issue you mention, Ed), but the carpet does seem like a good idea as well.

How would you gig the 180 watts m? I'm totally up for suggestion.


I havent tried the Hot Plate on this amp, but it always feels like a blanket over my cab when I've tried it before. Sort of like wearing ear plugs... all the tone (highs/mids) is gone.


I know you work for THD and probably wont/cant talk about other products, but maybe there are other attenuators that will keep those high frequencies that I seem to miss with the Hot Plate?

I thought the whole point of a 180 watt power section was just to amplify the preamp, not to get the power tubes to cook/overdrive/clip. If you want more poweramp in your sound, you might want to get another amp...

Wouldn't power tube distortion really muddy up the Herbert's preamp based tone and/or make it messy sounding?

why can't i talk about other products?
Take a look at my interview in GP mag.
but yes on an amp like that the last thing you want is power amp crunch on an amp like that, that said you don't crank and the way the speaker reacts will be all wrong.

As for HPs being a blanket...lets put it like this there isn't any method of lowering volume i like listening too...but behind a mic it'll work just fine.

 

[skoora]

I tried facing a plexi reissue towards the back of a club one time (El Corazon in Seattle when it was the Off Ramp) to avoid an attenuator........one time.

 

[degenaro]

I tried facing a plexi reissue towards the back of a club one time (El Corazon in Seattle when it was the Off Ramp) to avoid an attenuator........one time.

Why would you have ever given a shit at that place? Never used anything but a cranked 100 watter at that shit hole.

 

[skoora]

I tried facing a plexi reissue towards the back of a club one time (El Corazon in Seattle when it was the Off Ramp) to avoid an attenuator........one time.

Why would you have ever given a shit at that place? Never used anything but a cranked 100 watter at that shit hole.

Shit hole is pretty generous for that shit hole. Two chords and I new that it was insanely loud (even at my tender age of 25). Problem is too that at soundcheck there's no-one there to soak it up. It's funny how shitholes when you're in your early 20's seem so rock 'n' roll. By the time I was 30 I was all about give me an attempt at decor, a clean place to sit and possibly some light where I can see my damn guitar (stringing etc.) Oh and a cooler full of beer helps. I may have described The Sunset tavern in Ballard. I swear 4 O'Clock rock (Sunday's) became my fav gig to play. It was so mellow, people would still show up and I was loaded out and done by 8pm. Awesome. Now I got to go to the "honored guest" dinner at Shari's.

Anyway back to stage volume and attenuators. I've never played a master volume head other than a Hiwatt that really benefitted from having the master super high as far as what a mic puts in the P.A. I've done many tests on recording a 2203 I used to own where I would attenuate with the master cranked/pre low and then record with the pre up some more with the master down, un-attenuated. You could barely tell any difference and honestly what difference there was, it sounded better to me using the master on the amp than attenuating it. Speaker response is somewhat negated as a distinguishing factor as overall volume is the same. You're Herbert is like someone thinking they really need to get the power tubes cooking on their Triple Rec. It's just not how those amps are intended. The only benefit I could think on the herbert cranking is in the studio so you could capture some strong ambient tracks.

 

[degenaro]

I tried facing a plexi reissue towards the back of a club one time (El Corazon in Seattle when it was the Off Ramp) to avoid an attenuator........one time.

Why would you have ever given a shit at that place? Never used anything but a cranked 100 watter at that shit hole.

Shit hole is pretty generous for that shit hole. Two chords and I new that it was insanely loud (even at my tender age of 25). Problem is too that at soundcheck there's no-one there to soak it up. It's funny how shitholes when you're in your early 20's seem so rock 'n' roll. By the time I was 30 I was all about give me an attempt at decor, a clean place to sit and possibly some light where I can see my damn guitar (stringing etc.) Oh and a cooler full of beer helps. I may have described The Sunset tavern in Ballard. I swear 4 O'Clock rock (Sunday's) became my fav gig to play. It was so mellow, people would still show up and I was loaded out and done by 8pm. Awesome. Now I got to go to the "honored guest" dinner at Shari's.

Anyway back to stage volume and attenuators. I've never played a master volume head other than a Hiwatt that really benefitted from having the master super high as far as what a mic puts in the P.A. I've done many tests on recording a 2203 I used to own where I would attenuate with the master cranked/pre low and then record with the pre up some more with the master down, un-attenuated. You could barely tell any difference and honestly what difference there was, it sounded better to me using the master on the amp than attenuating it. Speaker response is somewhat negated as a distinguishing factor as overall volume is the same. You're Herbert is like someone thinking they really need to get the power tubes cooking on their Triple Rec. It's just not how those amps are intended. The only benefit I could think on the herbert cranking is in the studio so you could capture some strong ambient tracks.

Yup, youth wasted on the young...
Tell you what I started using Hot Plates to have a line tap to run a delay post a cranked power section on old Marshalls. Not until I started recording at home did I start using it as an attenuator.

 

[Shiny_Surface]

why can't i talk about other products?
Take a look at my interview in GP mag.
but yes on an amp like that the last thing you want is power amp crunch on an amp like that, that said you don't crank and the way the speaker reacts will be all wrong.

As for HPs being a blanket...lets put it like this there isn't any method of lowering volume i like listening too...but behind a mic it'll work just fine.

I was addressing the OP in my reply Ed, sorry for the confusion with my quoting...