Post by losangeles on Aug 10, 2014 10:07:51 GMT -7
Don't know where to put this as it applies to both the EZG and the Airbrake.
Anyway, as a follow up, I was able to grab an Airbrake attenuator off of reverb and fiddle with settings. Putting the Airbrake at the 4th click, I found a perfect rehearsal/small stage level with the EZG at the edge of breakup (light picking is clean, a big strum has a nice warm compression/clip). On the amp, the pre is at 10:00-ish and the post is at 2:00-ish. Big and full sounding and the EQ still has a lot of influence.
Unfortunately, I do not like the "bedroom" setting at all. It seemed to really kill the tone of the amp, even when the bedroom knob is set at the loudest setting. It seemed almost like the lowest and highest frequencies dropped out of the amp instantly.and it became much more mid-voiced.
Normally, I would think that this is due to the good old fletcher-munsen phenomenon, except for the fact that the 4th click on the left hand knob and the bedroom setting at full volume are not that far apart in terms of volume to my ear, they seem to be really close in SPLs, but the tone is completely different. If it were only the Fletcher Munson curve in play, I don't think the "voicing" would be that dramatically different when the volume is that close.
Lucky for me, the 2nd, 3rd and 4th clicks represent the perfect amount of attenuation for my purposes, so I'll hang on to the Airbrake for now.
Oh, the beast is still loud, but at least I'm not getting angry texts from the neighbors.
Last Edit: Aug 10, 2014 10:09:54 GMT -7 by losangeles
Post by benttop (Steve) on Aug 13, 2014 14:08:19 GMT -7
No question the bedroom setting has the most dramatic affect. You can rule out perception by going to your amp fresh (not after playing it) and setting the Airbrake to maximum attenuation - bedroom, turned all the way down. Power up and fiddle with your amp and see if you can get your sound.
The perception always comes into play when turning down via the Airbrake. You want to invert that by never giving your perception a chance to hear that volume change. By only turning UP, your perceptions will always be more positive.
No guarantees, but this is how I do it and I've got a bunch of recordings of Z amps using my Airbrake on bedroom.
I run my Route 66 with the Airbrake on "bedroom" all the time. It sounds great, as long as I don't switch it from bedroom to 3 or 4, and then switch back. Basically, do what Steve says - start with more attenuation than you need, and get louder from there. Louder=sounds better.
Post by Guitar O' Clock on Sept 22, 2014 20:31:39 GMT -7
My late thoughts: I find that when bedroom knob is all the way up, it seems the next logical level in DB reduction from the other 4. I can only say that what the ear hear and what sounds are objectively produced are two very different things. I find bedroom very nice indeed.
I've been using 2x12 gear and recording equipment to make quick tracks to a DAW with ideas, brief jams for many years. What I observe when I record is that there isn't a big difference in tone through all the Airbrake seeings. Hundreds of 2AM sessions of turning the bedroom knob down to zero, recording my ideas, do show tone loss. I live in an apartment and keep the BR knob turned up as high as I can. Right around 12:00 I hear loss.
As the knob is turned clockwise I hear in increase in the original tone right especially around 2:00. Lots of times during band rehearsal I'll use bedroom mode to introduce or clarify parts. I don't usually hear a huge difference in tone. Just volume. Louder sounds do reveal more to the ear. Just my $0.2.
74 Fender Twin Reverb
65 Fender Bandmaster head
Maz 18 NR head
Port City Dual 50 head
Fenderish Weber Hotbottle Build - Tweed clone open 2x12 combo 5E3X2 "Double deluxe"
Various custom cabs with WGS cones.
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