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Post by Tommy Boy on Apr 22, 2006 11:16:33 GMT -7
All,
Any thoughts out there on the Bad Cat Cub II NR as compared to the Maz 18jr NR?
My initial impression is that it looks to be a good amp. Without going into detials I did get a little taste of Z customer sales service verses Bad Cat and let me say Z seems much better in that department (and that counts in my book).
Thanks in advance,
Newbie
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Post by John on Apr 22, 2006 11:56:41 GMT -7
Newbie, you're back.
I've followed (and helped) you on your other posts, asking questions about amps and such, but now you're starting to split hairs....asking if one high end item is better than another. They're both great amps, and quite similar (hand wired-cathode biased el84 combos). At this level, it's a matter of taste and tone. If you can afford to purchase a Paul Reed Smith and a MAZ Jr. for your FIRST electric guitar/amp purchase, then I'd say get BOTH the Maz and the Bad Cat.
(no offense intended)
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Post by Tommy Boy on Apr 22, 2006 12:07:37 GMT -7
Thanks Gtrman3, As usual, I appreciate your thoughts. I am just trying to get some information/opinions. I didn't think it was possible to split hairs on this board when discussion amps. As you probably saw, a similar question around the LSS and 18jr created a lot of great discussion. In the end, I would like to think a few people (me included) learned something. Purchasing both is a little much for me. Regards, Newbie
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Post by prowler on Apr 22, 2006 16:39:25 GMT -7
I would go with what your ears tell you. Try to spend some time with each amp. I played a few Bad Cats but I never got the right vibes from them. Not bad amps, just not for me. I'm very partial toward Z amps. They have indeed cured my tonesick blues.
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Post by Greg G. on Apr 22, 2006 18:20:11 GMT -7
go with the tone, and you know what we all think , but we're not the most objective bunch! ;D Let me just say that after having to deal with the Doc on a couple of questions, his level of professionalism and customer service has been top notch, and I'm a customer for life. I've never tried any of the Bad Cats, I'm sure they sound amazing. But, for me, after Dr. Z I'm just not interested in trying anything else. His consistency in quality and the labor of love that is apparent in his amps is truley unique in this industry. That's my take on it. I'll never be able to try every high end or vintage hand-wired amp on the market, but I just don't care any more, and that feels good ;D. -Greg
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Post by Tommy Boy on Apr 22, 2006 19:46:57 GMT -7
Tone,
Good point about dealing with Doc. I have to admit that, even with the small interactions I have had with those at Bad Cat and Z, I can tell that the Doc seems to run a class act shop.
Cheers,
Newbie
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Post by JASON (aka jgleaton) on Apr 22, 2006 20:15:56 GMT -7
Hey newbie,
I loved the Matchless I used to have and should have NEVER gotten rid of it (95' sampson era HC-30)... and I've played the Badcats.... I liked the Hot cat REAL different than what I've gotten used to with the DR Z's but I could see some folks lovin it... alot of distortion/ drive available...
and I played what I think your talkin about.... it wasn't the Hotcat... it was more like my old matchless and I really liked it cause it WAS more like the old matchless... very similar to the Z's as far as tubes/ cathode bias and such but really different flavors of high quality well designed amps...
It's a matter of taste really, and I just happen to like Docs flavor better... and I DON'T miss how much that Matchless (and those badcats) weigh!! that sucker was SUPER HEAVY!
Docs Customer service CAN'T be beat!!!
Jason
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Post by mazmaster on Apr 24, 2006 9:44:30 GMT -7
All, Any thoughts out there on the Bad Cat Cub II NR as compared to the Maz 18jr NR? My initial impression is that it looks to be a good amp. Without going into detials I did get a little taste of Z customer sales service verses Bad Cat and let me say Z seems much better in that department (and that counts in my book). Thanks in advance, Newbie Hey Newbie, I've never heard the Cub, but I do own a Hot Cat 30R combo and a Maz 18 Jr NR head. The clean channel on the HC30R is wonderful, but a different animal than the Maz. It's chimier and thinner, but doesn't take pedals as well. Of course, the HC30R clean channel only has a 5-position "Tone" knob and no Master, so it's hard to compare. I'd take the Maz 18 any day over the HC30R clean channel. However, with its greater versatility, the Cub would be interesting to A/B with the Maz. As for customer service, there's no comparision. Customer service is almost non-existent with Bad Cat.
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Post by mazmaster on Apr 24, 2006 9:47:38 GMT -7
Oh, one other thing. The Z is a helluva lot less expensive, even though the technologies are almost identical. The Z value is tough to beat!
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Odin
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Post by Odin on Apr 24, 2006 10:52:55 GMT -7
I'll throw my $.02 in here.
I would go with the Maz 18 Jr (reverb or not, whatever floats your boat). Not because one amp is "better" than the other, because I've seen the insides of both and I would say that both are built as good as they can be built, meaning that won't be an issue.
I'd go with the Z because I just can't stand 2 things about Mark Sampson's amps. Don't misunderstand me when I say this, because it's not a slam of Mark or his amps, it's just my personal opinion. Every Matchless/Panther/Bad Cat that I've ever played had 2 traits that made the amp unusable to me.
First, no matter how hard I try I cannot dial out that harsh icepick treble top end. The Maz cut control (which is set very low or even off) does a good job of dialing in some sparkle, but the amp can be smoothed out. I can't smooth out a Bad Cat.
Second, the Bad Cat has a flabby and loose bottom end. It mushes out on chords when driven hard. My Maz 38 2x10 has a tighter low end than my Super Reverb and rivals a Twin for tight focused low end.
Before the Bad Cat owners jump on me I will say that I've heard some players make the Bad Cat's sound great, but every time I sit down with a Bad Cat I leave disappointed for the two reasons listed above.
On the other hand, I've never sat down and played a Dr Z amp that I didn't want to take home with me, and while not all Dr Z amps are right for my current gig I can see where I would like all of them for something. I can't say that about any other amp company. In my opinion and experience, Dr Z amps are consistently excellent and the knobs can't be set to achieve a bad tone.
On the other subject of customer service, I have played my Maz 38 hard for many years of beating around in and out of clubs 100 nights per year and only had 1 service issue. Not only did Dr Z answer the phone himself, when I got the problem diagnosed he sent me what I needed to fix the amp the same day. It was an odd problem and he went above and beyond to make it right. Most amp makers would tell you to send it in and wait. Very few people are that good to deal with these days, and when I find one I make sure to take that into account when I spend my money.
If you like the sound of one amp better than the other then buy that one - they're both great amps. My vote goes to the Maz 18 NR (which I own one of).
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Post by mazmaster on Apr 24, 2006 13:05:49 GMT -7
I'll throw my $.02 in here. I would go with the Maz 18 Jr (reverb or not, whatever floats your boat). Not because one amp is "better" than the other, because I've seen the insides of both and I would say that both are built as good as they can be built, meaning that won't be an issue. I'd go with the Z because I just can't stand 2 things about Mark Sampson's amps. Don't misunderstand me when I say this, because it's not a slam of Mark or his amps, it's just my personal opinion. Every Matchless/Panther/Bad Cat that I've ever played had 2 traits that made the amp unusable to me. First, no matter how hard I try I cannot dial out that harsh icepick treble top end. The Maz cut control (which is set very low or even off) does a good job of dialing in some sparkle, but the amp can be smoothed out. I can't smooth out a Bad Cat. Second, the Bad Cat has a flabby and loose bottom end. It mushes out on chords when driven hard. My Maz 38 2x10 has a tighter low end than my Super Reverb and rivals a Twin for tight focused low end. Before the Bad Cat owners jump on me I will say that I've heard some players make the Bad Cat's sound great, but every time I sit down with a Bad Cat I leave disappointed for the two reasons listed above. On the other hand, I've never sat down and played a Dr Z amp that I didn't want to take home with me, and while not all Dr Z amps are right for my current gig I can see where I would like all of them for something. I can't say that about any other amp company. In my opinion and experience, Dr Z amps are consistently excellent and the knobs can't be set to achieve a bad tone. On the other subject of customer service, I have played my Maz 38 hard for many years of beating around in and out of clubs 100 nights per year and only had 1 service issue. Not only did Dr Z answer the phone himself, when I got the problem diagnosed he sent me what I needed to fix the amp the same day. It was an odd problem and he went above and beyond to make it right. Most amp makers would tell you to send it in and wait. Very few people are that good to deal with these days, and when I find one I make sure to take that into account when I spend my money. If you like the sound of one amp better than the other then buy that one - they're both great amps. My vote goes to the Maz 18 NR (which I own one of). I think you're pretty much right on track about the Bad Cats, although I've only owned/played one of them (HC30R). However, regarding high end on the Maz 18, I MAX the Cut knob because it makes OD pedals so unbelievably rich, fat and sustaining. Then I just run the Treble down to compensate. So, you don't necessarily have to run the Cut way down to get a balanced tone out of the Maz 18. Running it up adds needed gain and articulation for OD pedals and whatever highs are accentuated can be rolled back via the Treble. But, however you like to run the Maz 18, it's a great amp and the only amp in my current collection that I would never sell!
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Odin
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Post by Odin on Apr 24, 2006 14:09:52 GMT -7
I think you're pretty much right on track about the Bad Cats, although I've only owned/played one of them (HC30R). However, regarding high end on the Maz 18, I MAX the Cut knob because it makes OD pedals so unbelievably rich, fat and sustaining. Then I just run the Treble down to compensate. So, you don't necessarily have to run the Cut way down to get a balanced tone out of the Maz 18. Running it up adds needed gain and articulation for OD pedals and whatever highs are accentuated can be rolled back via the Treble. But, however you like to run the Maz 18, it's a great amp and the only amp in my current collection that I would never sell! How I set the Cut control depends on two things - the guitar and how I set the Volume control. With single coils the cut will be lower, with humbuckers a little higher. When the amp is set up cleaner I can run the cut control higher and still sound good to my ears. As the Volume control gets higher I find that I have to lower the Cut control, because the amp gets brighter the higher the Volume control is set. When the Volume control gets past about 2 o'clock I find that the Cut control needs to be pretty much at or below 9 o'clock. I'm using a Maz 38 Reverb 2x10 set pretty clean and warm (just a little breakup with humbuckers when played hard) for a "clean" channel and a Maz 18 NR head into the same 2x10 cab for the "dirty" channel. When used this way I'm running the Maz 18 NR Volume control between 3 o'clock and wide open, and I set the Cut control between 8 o'clock and off. With the Cut control very low or off I set the Treble control between 2 o'clock and wide open. I find that when the Volume control is maxed out the amp can get a little "buzzy" unless the Cut is set very low or even off. Try the amp with the Cut off, the Volume and Treble dimed. Then bring up just a hair of Cut, and maybe back down just a hair of Treble, until the "blanket" comes off the amp. If you use the neck pickup a lot on a humbucker guitar you'll need a little more Cut than if you use the bridge a lot. You may like this sound, or you may hate it. My ears can't take a bright, biting tone, I prefer a warmer sound. The way I set up the amp it gets a really good "Waitin' For The Bus" tone with my PRS CU22 bridge pickup. All that aside, my relationship with the Cut control is a love/hate one. Some days I find myslef cranking up the Cut, some days I turn it all the way down. But what really counts (for me) is how the amp sounds live at a gig. And 95% of the time at a gig, I end up with the Cut control at 9 o'clock or below for cleaner sounds and almost off or completely off for cranked Volume sounds. As always, YMMV. The only consistent thing is that you can't make a Maz amp sound bad no matter how you set the controls. Don't believe me? Try it. Dial in the worst looking EQ setting you can think of and play a minute. It doesn't sound bad. Amazing.
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Post by JChance on Apr 24, 2006 14:19:37 GMT -7
I've played a lot of Bad Cats & Matchless amps. Absolutely love 'em. Espcially a really good one. I think it's safe to say that they are among the "elite" in terms of construction and tone. With that said, the Cub series, Lightning, and MAZ 18 are all their own thing... (blah...blah....) The Cubs and Lightning's I've played had this cool, detailed tone that just exploded when pushed. Best "modern Vox" sounds going. The MAZ 18, while certainly in the same tonal ballpark, has more of the "signature" Dr. Z gutty, throaty thing going on. Aggressive, and a definite push in some of the lower-mid frequencies. If you absolutely have to have the Matchless/Bad Cat type sound, then go for it. You can't go wrong. But, you could also be absolutely just as content with saving a few $$$ and getting a Z. I've A/B'd my MAZ 18 and 38 with countless DC30's, Black Cats, Lightnings, Cubs, etc.. and come to the conclusion that my Z's take a back seat to NONE of them. A couple of weeks ago, I did a gig with another guy who was using a Matchless Brave with 1 12" V30. I took my MAZ 18 210. *He* was coming over to me at breaks, saying things like," damn, your rig sounds righteous." His rig sounded great, too, but I think he was realizing that when playing with a band, my MAZ 18 was carrying the ball, so to speak. Can't go wrong with a Z- J
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Post by mazmaster on Apr 24, 2006 14:32:39 GMT -7
I think you're pretty much right on track about the Bad Cats, although I've only owned/played one of them (HC30R). However, regarding high end on the Maz 18, I MAX the Cut knob because it makes OD pedals so unbelievably rich, fat and sustaining. Then I just run the Treble down to compensate. So, you don't necessarily have to run the Cut way down to get a balanced tone out of the Maz 18. Running it up adds needed gain and articulation for OD pedals and whatever highs are accentuated can be rolled back via the Treble. But, however you like to run the Maz 18, it's a great amp and the only amp in my current collection that I would never sell! How I set the Cut control depends on two things - the guitar and how I set the Volume control. With single coils the cut will be lower, with humbuckers a little higher. When the amp is set up cleaner I can run the cut control higher and still sound good to my ears. As the Volume control gets higher I find that I have to lower the Cut control, because the amp gets brighter the higher the Volume control is set. When the Volume control gets past about 2 o'clock I find that the Cut control needs to be pretty much at or below 9 o'clock. I'm using a Maz 38 Reverb 2x10 set pretty clean and warm (just a little breakup with humbuckers when played hard) for a "clean" channel and a Maz 18 NR head into the same 2x10 cab for the "dirty" channel. When used this way I'm running the Maz 18 NR Volume control between 3 o'clock and wide open, and I set the Cut control between 8 o'clock and off. With the Cut control very low or off I set the Treble control between 2 o'clock and wide open. I find that when the Volume control is maxed out the amp can get a little "buzzy" unless the Cut is set very low or even off. Try the amp with the Cut off, the Volume and Treble dimed. Then bring up just a hair of Cut, and maybe back down just a hair of Treble, until the "blanket" comes off the amp. If you use the neck pickup a lot on a humbucker guitar you'll need a little more Cut than if you use the bridge a lot. You may like this sound, or you may hate it. My ears can't take a bright, biting tone, I prefer a warmer sound. The way I set up the amp it gets a really good "Waitin' For The Bus" tone with my PRS CU22 bridge pickup. All that aside, my relationship with the Cut control is a love/hate one. Some days I find myslef cranking up the Cut, some days I turn it all the way down. But what really counts (for me) is how the amp sounds live at a gig. And 95% of the time at a gig, I end up with the Cut control at 9 o'clock or below for cleaner sounds and almost off or completely off for cranked Volume sounds. As always, YMMV. The only consistent thing is that you can't make a Maz amp sound bad no matter how you set the controls. Don't believe me? Try it. Dial in the worst looking EQ setting you can think of and play a minute. It doesn't sound bad. Amazing. I agree completely regarding the Volume adding sizzle as it's cranked. But three things (or a combination thereof) can be done to compensate and actually take advantage of that fact. 1.) Use #4 GT-EL84-S instead of #6. I just tried this recently and it results in far more usable range in Cut and Treble settings when cranking the amp for distortion. It's a gorgeous cranked tone with these tubes. That biting high end is enormously tamed and the Volume knof adding brightness actually helps to compensate for the rolling off of high end as the #4s saturate. Somebody told me that the doctor originally voiced the amp for #4s and, based on this experiment, I believe it! 2.) Keep the Volume below the point where it gets too bright and increase the Master instead. Using higher gain 12AX7s (Tung Sols are my fave) helps to make up for some of the preamp gain lost by not diming the Volume. 3.) Maxing the Cut (or, running it very high, but not maxed) adds gain and fullness (that cannot added any other way) while dropping the Treble down to the 9:00 region will offset the added brightness. Also, that added gain from the MAX'ed Cut will allow you to keep the Volume a little lower (less brightness) but still get the gain you need. But, I've tried your approach too and it's also awesome!
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Post by mazmaster on Apr 24, 2006 14:40:40 GMT -7
I've played a lot of Bad Cats & Matchless amps. Absolutely love 'em. Espcially a really good one. I think it's safe to say that they are among the "elite" in terms of construction and tone. With that said, the Cub series, Lightning, and MAZ 18 are all their own thing... (blah...blah....) The Cubs and Lightning's I've played had this cool, detailed tone that just exploded when pushed. Best "modern Vox" sounds going. The MAZ 18, while certainly in the same tonal ballpark, has more of the "signature" Dr. Z gutty, throaty thing going on. Aggressive, and a definite push in some of the lower-mid frequencies. If you absolutely have to have the Matchless/Bad Cat type sound, then go for it. You can't go wrong. But, you could also be absolutely just as content with saving a few $$$ and getting a Z. I've A/B'd my MAZ 18 and 38 with countless DC30's, Black Cats, Lightnings, Cubs, etc.. and come to the conclusion that my Z's take a back seat to NONE of them. A couple of weeks ago, I did a gig with another guy who was using a Matchless Brave with 1 12" V30. I took my MAZ 18 210. *He* was coming over to me at breaks, saying things like," damn, your rig sounds righteous." His rig sounded great, too, but I think he was realizing that when playing with a band, my MAZ 18 was carrying the ball, so to speak. Can't go wrong with a Z- J I have run my Maz 18 and Hot Cat 30R side-by-side at gigs several times and my bandmates and the people I queried in the house liked the Maz better, unanimously. They say it's warmer, smoother, more articulate (especially the distortion tones), "bigger" sounding and stands out in the mix better, but without any harshness. That said, nobody said the Bad Cat sounded bad! They thought both sounded awesome, but the Maz was "better" for their tastes, etc.
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Odin
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Post by Odin on Apr 24, 2006 15:40:11 GMT -7
The Cubs and Lightning's I've played had this cool, detailed tone that just exploded when pushed. Best "modern Vox" sounds going. The MAZ 18, while certainly in the same tonal ballpark, has more of the "signature" Dr. Z gutty, throaty thing going on. Aggressive, and a definite push in some of the lower-mid frequencies. I think that's a good way to describe the Maz in relation to the Matchless-type amps. Throaty, aggressive and a push in the lower mids. Which I find makes all the difference when cutting through the mix. For guys who gig, this is key. For guys who mostly record or play at home this might not be a big deal. A couple of weeks ago, I did a gig with another guy who was using a Matchless Brave with 1 12" V30. I took my MAZ 18 210. *He* was coming over to me at breaks, saying things like," damn, your rig sounds righteous." His rig sounded great, too, but I think he was realizing that when playing with a band, my MAZ 18 was carrying the ball, so to speak. I have had this happen more than once. Dr Z amps, every one I've gigged (KT45, RT66, Maz38, Maz18) have an uncanny ability to cut through a mix without being louder or more brash or cranking up the mids - they just cut through and the sound of your amp actually makes it out to the audience. With too many amps this just doesn't happen. Also, playing in a power trio gives you a lot more room to be heard. I play in a 6-piece with 2 guitars and keys, so in order for my guitar to cut through the mix with many amps I either have to play louder (not good) or boost certain mid freq's (not good). With a Dr Z amp I can play at a "professional" volume and still be clearly heard in the mix. It's like magic, and once you find it you have a hard time gigging other amps.
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Odin
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Post by Odin on Apr 24, 2006 15:50:47 GMT -7
I agree completely regarding the Volume adding sizzle as it's cranked. But three things (or a combination thereof) can be done to compensate and actually take advantage of that fact. 1.) Use #4 GT-EL84-S instead of #6. I just tried this recently and it results in far more usable range in Cut and Treble settings when cranking the amp for distortion. It's a gorgeous cranked tone with these tubes. That biting high end is enormously tamed and the Volume knof adding brightness actually helps to compensate for the rolling off of high end as the #4s saturate. Somebody told me that the doctor originally voiced the amp for #4s and, based on this experiment, I believe it! 2.) Keep the Volume below the point where it gets too bright and increase the Master instead. Using higher gain 12AX7s (Tung Sols are my fave) helps to make up for some of the preamp gain lost by not diming the Volume. 3.) Maxing the Cut (or, running it very high, but not maxed) adds gain and fullness (that cannot added any other way) while dropping the Treble down to the 9:00 region will offset the added brightness. Also, that added gain from the MAX'ed Cut will allow you to keep the Volume a little lower (less brightness) but still get the gain you need. But, I've tried your approach too and it's also awesome! I'll try both your recommendation of power tubes and settings. I always use JJ/Tesla EL84's in my Maz38 so I have plenty around here (the GT EL84S is a Tesla), I'll check for some slightly hotter matched tubes to approximate the #4 GT rating. I'll have to experiment more with the Cut control set higher at gig volumes. All these years I've gigged with the Cut set low on the Maz38, but maybe there's a whole 'nuther sound that I haven't found yet in the amp.
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Post by mazmaster on Apr 25, 2006 12:46:24 GMT -7
I agree completely regarding the Volume adding sizzle as it's cranked. But three things (or a combination thereof) can be done to compensate and actually take advantage of that fact. 1.) Use #4 GT-EL84-S instead of #6. I just tried this recently and it results in far more usable range in Cut and Treble settings when cranking the amp for distortion. It's a gorgeous cranked tone with these tubes. That biting high end is enormously tamed and the Volume knof adding brightness actually helps to compensate for the rolling off of high end as the #4s saturate. Somebody told me that the doctor originally voiced the amp for #4s and, based on this experiment, I believe it! 2.) Keep the Volume below the point where it gets too bright and increase the Master instead. Using higher gain 12AX7s (Tung Sols are my fave) helps to make up for some of the preamp gain lost by not diming the Volume. 3.) Maxing the Cut (or, running it very high, but not maxed) adds gain and fullness (that cannot added any other way) while dropping the Treble down to the 9:00 region will offset the added brightness. Also, that added gain from the MAX'ed Cut will allow you to keep the Volume a little lower (less brightness) but still get the gain you need. But, I've tried your approach too and it's also awesome! I'll try both your recommendation of power tubes and settings. I always use JJ/Tesla EL84's in my Maz38 so I have plenty around here (the GT EL84S is a Tesla), I'll check for some slightly hotter matched tubes to approximate the #4 GT rating. I'll have to experiment more with the Cut control set higher at gig volumes. All these years I've gigged with the Cut set low on the Maz38, but maybe there's a whole 'nuther sound that I haven't found yet in the amp. Watch out for trying to approximate the GT hardness rating. As an EE myself, I thought they were all wet, until I tried to duplicate their process via other distributors. It doesn't work! GT gain/distortion ratio matching cannot be easily approximated through other distributors because they're not measuring the same things. Static plate current and transconductance are not enough. You need to match under dynamic conditions in order to sort out harder sounding tubes from softer ones and match them up. You can have two tubes matched for static transconductance, but one may still distort sooner than the other under dynamic load. But, GT matches for that...and, it really works! I recently bought a pair of JJ EL84s from Tube Store and asked them to approximate the GT #6 rating. When I popped in their tubes and compared them to real #6s from GT, they sounded totally different...much, much harder sounding...very unpleasant! I've done that same thing with EL34s. So, I'm really sold on the GT process and have found the #4s are really beautiful sounding in the Maz 18 for what I'm after. I don't think you're gonna' get that sound from other tube distributors.
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Post by mazmaster on Apr 25, 2006 14:53:40 GMT -7
I agree completely regarding the Volume adding sizzle as it's cranked. But three things (or a combination thereof) can be done to compensate and actually take advantage of that fact. 1.) Use #4 GT-EL84-S instead of #6. I just tried this recently and it results in far more usable range in Cut and Treble settings when cranking the amp for distortion. It's a gorgeous cranked tone with these tubes. That biting high end is enormously tamed and the Volume knof adding brightness actually helps to compensate for the rolling off of high end as the #4s saturate. Somebody told me that the doctor originally voiced the amp for #4s and, based on this experiment, I believe it! 2.) Keep the Volume below the point where it gets too bright and increase the Master instead. Using higher gain 12AX7s (Tung Sols are my fave) helps to make up for some of the preamp gain lost by not diming the Volume. 3.) Maxing the Cut (or, running it very high, but not maxed) adds gain and fullness (that cannot added any other way) while dropping the Treble down to the 9:00 region will offset the added brightness. Also, that added gain from the MAX'ed Cut will allow you to keep the Volume a little lower (less brightness) but still get the gain you need. But, I've tried your approach too and it's also awesome! I'll try both your recommendation of power tubes and settings. I always use JJ/Tesla EL84's in my Maz38 so I have plenty around here (the GT EL84S is a Tesla), I'll check for some slightly hotter matched tubes to approximate the #4 GT rating. I'll have to experiment more with the Cut control set higher at gig volumes. All these years I've gigged with the Cut set low on the Maz38, but maybe there's a whole 'nuther sound that I haven't found yet in the amp. The high Cut settings (tamed back down with Treble) are most useful when using OD pedals for distortion. It makes them sound so much fatter and smoother and gainier (but in a good way). If I were cranking the amp for distortion or looking for the absolute best clean tones, I probably wouldn't max the Cut. But, when using OD pedals out front, it really "improves" the overall tone and feel, IMO (with the Volume set about 12:00). And, the cleans are still excellent too. Hey, give it a try! One other guy on the forum here, who was having troubles getting the pedal OD tones he wanted in a band context, was really sold after trying the settings/tubes I suggested (i.e. maxing Cut, rolling highs back with Treble, Volume at noon, Mids about 1:30, Tung Sol 12AX7s, etc).
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