When did the GT-75 hate start? You’re deaf, clips inside.

GJgo said:
I really liked the Redbacks at first. Then I recorded them, and heard the thin raspy fizz hiding underneath that I personally don't care for, and then I could never un-hear it.



Click to expand...

Redbacks jive alot better with a Marshall style circuit, as evidenced at the 9:00 min mark here:

 
I can’t stand the 8 ohm redbacks in the least…. 16 ohms is a different story, 8 is far too dark but has phenomenal low end
 
thegame said:
Redbacks jive alot better with a Marshall style circuit, as evidenced at the 9:00 min mark here:

Click to expand...

Then you can just blame the amp for the fizz. :ROFLMAO:

I can hear the top end hiss in this recording as well. It's an overtone way on top of the darkness.
 
Pre-92 Celestion speakers seem to be better. Sounds like the date of the non-Mesa V30 befell the 75 and the CL 80.
 
I've got an Egnater Armageddon cab with 2 T75's and 2 K100's in an x pattern. I love T75's by themselves in Marshall 1960A and 1960B cabs. I HATE the K100's by themselves but the combination of T75's and K100's in my Egnater closed back 4x12 sounds really good. I used to run a Peavey 5150 combo through that cab and damn it sounded like a wicked modded Marshall.
 
Last edited:
thegame said:
Redbacks jive alot better with a Marshall style circuit, as evidenced at the 9:00 min mark here:

Click to expand...

I’ve been liking mine with all the amps I’ve tried so far, but my Marshall’s and SLO do work particularly well, but I also mix them with brighter speakers. As a whole quad maybe I wouldn’t care for them, but as I’ve learned from Beyond Black there’s a unique chewy quality it has in the low mids that I haven’t heard in anything else yet and it’s become addictive. Other than that one thing I actually thought they’re just another bland, meh non-vintage speaker, but that one quality is enough for me to make it the one non-vintage speaker I’ve really enjoyed vs my best ones
 
VESmedic said:
I’m obsessed with these speakers, and these aren’t even the older 80s vented models. Little too much low end but who cares, this is so sick to me. Little messy because of the Octive pedal as well but it adds to the vibe of the riff, just thought it was cool.
Jackson B7 dimarzio deactivators
Recto orange modern
Real pepers dirty tree


https://www.dropbox.com/scl/fi/rl6o...aish.wav?rlkey=a87eerjqc35nxd6n1gx45nd9z&dl=0
Click to expand...
Your stuff always sounds great man, no exception here.

Personally, I'm not a fan because at heart I'm more of a classic to hard rock guy. For Plexi to modded 2203 tones I find the voicing of the 'new' T75's pretty unpleasant. My partner in crime though is all about the filth, and is a big fan for of the T75 and V30 for debauched metal tones.

No, I don't wear tan pants. And if I did, I would lie about it on this forum. But I don't, honestly.
 
CrazyNutz said:
It's because the midrange scoop era throughout the 90's (which the T-75's worked perfectly for) , people got tired of that sound, and started shitting on it, and anything associated with it.

I remember hating anything vintage during this time. You could buy old plexis, and LPs for cheap back then because people didn't want them, they wanted a scooped recto type thing 🤷‍♂️

Honestly everything comes back around. It'll all become desirable again at some point.
Click to expand...
I think the real problem was that the speakers already balance out mid heavy amps and people were scooping all the mids and boosting highs and running gain maxed. Late 90’s and early 2000’s I remember playing shows with lots of bands doing that. Usually JCM 2000’s or 900’s with the 1960 cab, mids at 0 or close, highs and lows boosted and gain up high. It was just pure non consensual ear rape.

But it was not the T75’s fault. They dindu nuffin.
 
VESmedic said:
I just absolutely don’t think they are scooped sounding at all. I mean hell, if I look at the graph on pro q 3 the only place they are semi scooped MAYBE is in the shit area you wanna cut midrange anyways, around 3-500 hz. Which I cut everytime in a mix. And honestly, they have just as much midrange as any other speaker in the same realm to me. There is no huge dips at all when looking at the graph with them on pro q 3 at all, pretty flat across the spectrum except for the extended high highs and low lows.
Click to expand...
They do sound scooped compared to V30’s just because the latter has such a focused, tight and mid-forward sound, but the 75 does have plenty of mids. They remind me a little bit of greenbacks with less boxiness and lots more power. However they get very grating sounding if someone dials in a shitty overly scooped tone because the 75 has the more extended high frequencies. If they aren’t worn in it is way worse.

My (way) oversized 2x12 with old white label 75’s is just about my favorite cab. It is a little harder to mic up for recording but with Marks and Marshalls it balances out the boxy and honky frequencies and with some volume just has a killer growl to chords and everything.
 
Had a 1960 cab with 75's from 1998. Tried to like it. It was a happy day when the cab left my house for the last time. Few years later found a pair of 75's made in '87. I use these speakers in an oversized 2x12 Avatar partial open back cab and my Friedman and Marshall amps sound great.
 
Bardagh said:
I think the real problem was that the speakers already balance out mid heavy amps and people were scooping all the mids and boosting highs and running gain maxed. Late 90’s and early 2000’s I remember playing shows with lots of bands doing that. Usually JCM 2000’s or 900’s with the 1960 cab, mids at 0 or close, highs and lows boosted and gain up high. It was just pure non consensual ear rape.

But it was not the T75’s fault. They dindu nuffin.
Click to expand...

Never said it was the t-75 fault. They just worked better for that scooped style than the v30.
 
braintheory said:
I’ve been liking mine with all the amps I’ve tried so far, but my Marshall’s and SLO do work particularly well, but I also mix them with brighter speakers. As a whole quad maybe I wouldn’t care for them, but as I’ve learned from Beyond Black there’s a unique chewy quality it has in the low mids that I haven’t heard in anything else yet and it’s become addictive. Other than that one thing I actually thought they’re just another bland, meh non-vintage speaker, but that one quality is enough for me to make it the one non-vintage speaker I’ve really enjoyed vs my best ones
Click to expand...
I put two on the bottom with two Marshall Vintages on top. With the Redbacks added, it was like I turned off a high pass filter, such was the low frequency extension. They didn't smear the articulation of the top speakers either, just added to it. They do a better job than most of 'getting out of the way' of the brighter speaker in the mix, so to speak. True, the Redbacks are not the most exciting on their own but they made me rethink the benefits of mixing, after years of avoiding it.

I don't often mix speakers, but when I do, I prefer Redbacks.
 
thegame said:
I put two on the bottom with two Marshall Vintages on top. With the Redbacks added, it was like I turned off a high pass filter, such was the low frequency extension. They didn't smear the articulation of the top speakers either, just added to it. They do a better job than most of 'getting out of the way' of the brighter speaker in the mix, so to speak. True, the Redbacks are not the most exciting on their own but they made me rethink the benefits of mixing, after years of avoiding it.

I don't often mix speakers, but when I do, I prefer Redbacks.
Click to expand...
Yep agreed, I think they're a good blend speaker.

What amp(s) are you running out of interest?
 
I don't mind 75's in the room, personally.

I just never know where you're supposed to point the mic in those. The dust cap is so huge, and there are usually no visual aids like with V30's or Greenbacks. If you point the mic where the dustap meets the cone, they sound so dull (if you use your ears to dial in the amp to get an in-the-room sound that translates to a recording kinda like how you would with V30's). And if you start moving the mic in, it's hard to tell when you've moved it in too much unless you're using a dynamount or something like that.

I mean... I like DHIADW as much as anyone for the fact that the tone is so unique compared to pretty much anything else Andy Sneap. It's Andy Sneap, after all. People can argue all they want about how his mixes are so generic and whatnot, but they're "generic" because everyone is trying to copy him. But even by his standards, that tone is pretty unique.

And I didn't know Hearwork was T-75's. I would have never guessed. That tone is so up-front and I associate T-75's with more laid back mix-filling (kinda like DHIADW) rather than mix-slicing tones.

My own 75's were from 2013. I'm not sure if mine were from a good year or not, but I always thought mine had almost Eminence-y mids. Kinda hollow, and even phase-y-ish. I didn't love them for that reason, but TBH, those are the only 75's I ever tried mic'ing.
 
Last edited:
Rex Rocker said:
I don't mind 75's in the room, personally.

I just never know where you're supposed to point the mic in those. The dust cap is so huge, and there are usually no visual aids like with V30's or Greenbacks. If you point the mic where the dustap meets the cone, they sound so dull (if you use your ears to dial in the amp to get an in-the-room sound that translates to a recording kinda like how you would with V30's). And if you start moving the mic in, it's hard to tell when you've moved it in too much unless you're using a dynamount or something like that.

I mean... I like DHIADW as much as anyone for the fact that the tone is so unique compared to pretty much anything else Andy Sneap. It's Andy Sneap, after all. People can argue all they want about how his mixes are so generic and whatnot, but they're "generic" because everyone is trying to copy him. But even by his standards, that tone is pretty unique.

And I didn't know Hearwork was T-75's. I would have never guessed. That tone is so up-front and I associate T-75's with more laid back mix-filling (kinda like DHIADW) rather than mix-slicing tones.

My own 75's were from 2013. I'm not sure if mine were from a good year or not, but I always thought mine had almost Eminence-y mids. Kinda hollow, and even phase-y-ish. I didn't love them for that reason, but TBH, those are the only 75's I ever tried mic'ing.
Click to expand...


That clip I did for reference was dead freakin center. That’s something else I like about them: they are extremely forgiving with mic placement, probably due to the larger dust cap as you said. Heartwork for reference was one 57 dead center, and then another “dark” 57 on the edge blended in. But honestly, dead center works just fine. Terry Date does this all the time as well.

DHIADW is quite unique yes, but all of Andy’s records at THAT time were unique. The gathering I just remembered is another T75 album….. tempo of the damned….damn, the list just goes on and on.
 
I have a quad of G12-T75s in boxes. I’m not selling them because i actually like them and the only reason they’re not installed is because they are noticeably quieter than my G12-K100s and Vintage 30s. They just don’t mix well with other speakers. However, alone they are excellent.
 
You must log in or register to reply here.
Back
Top