But I will have to test further to confirm. I think it is possible that the hiss on test 3 might be coming from the AC power that the amp was plugged into. I know because I used a couple of casual listeners to help me listen back to these tests. Again, a casual listener would have to be told what to listen for before they noticed it. The biting high-end edge was back that was lost in test 2, but the hiss was really bugging my. Test 3: Surprisingly, the tone was pretty much exact to the audio from test 1, except there is a type of "hiss" similar to white noise present in the track. But most casual listeners would not notice, but I noticed, and anyone who is in audio recording would notice. There was definately less of an edge on this one. It had bite, depth, and everything that I heard coming from the amp while listening in the room. I recorded the same guitar riff to a metronome in tests 1 and 2, of course text 3 was the exact same performance as test 2. Test 3: I took the direct clean guitar that was recorded from test 2, ran it out to my ReAmp Box, and back into the Peavey XXX. But the mics and cab were all the same and in the same spot etc. Of course there was also a mic cable going from the Radial J48 into a pre-amp in my system so I could record the direct guitar signal. So the chain was Guitar to Radial J48 to Peavey XXX. Test 2: Same as above but with a Radial J48 Active Direct Box in the chain. The chain was.guitar to Peavey XXX, miced up with a pair of Shure SM57's (in Phase) on a Celestian Vintage 30 inside a 2X12 Genz Benz cab. Test 1: The guitar plugged directly to the amp with nothing in-between. I wanted to know if and how the guitar tone was affected or how it was changed (if at all) by re-amping. I have more in depth info, but to quickly post my most important findings. I have done some testing on everything involved with re-amping back to areal amp. As mentioned above the real trick is to match your impedence of the DI track that is being outputed from your system to the amp. The key thing again was to drastically reduce the level of the output from line level down to something reasonable. When I used to do the same thing using amps I never found the need to worry about the impedance presented to the amp by the interface - any fx in the run will alter the impedance seen by the amp from that of the guitar and generally speaking most guitarists don't find that much of a problem. No need to match the interface's output impedance with the sansamp as they handle it fine, just reduce the level coming out of the interface until the gain sounds sensible. If I don't like it I just run the "clean" signal through the same sansamp set differently or to the other one. The sansamp then goes to another interface input and I record both. Guitar goes to all (analogue) fx then a DI box with the direct out feeding the sansamp and the XLR feeding a mic input. Please also review the Safety page on this site.I still use the record the amp+the "clean" guitar as my usual way of working, only I use sansamps, character series Blonde and Leeds (I can't use a real amp at "meaningful" volume without more than upsetting the neighbours). S-PRE – London Power Spectrum Bass PreampĬombine a tube preamp with PSU-PRE to make a stand-alone preamp. LP-PRE – London Power 2-Channel Guitar Preamp The Preamp Series Kits include: Preamp Kits by London Power Pssst!… We now offer a variety of chassis suitable for preamp kits and other projects – see our Rack-Mount Chassis page, or view them under Building Supplies. Tubes, wire and chassis are not included, as each builder will have his own preferences and aesthetic requirements. Tubes and PCBs can be mounted in any orientation in larger chassis. Component packages include metal-film resistors, plastic and electrolytic capacitors and 16mm pots that accept push-on knobs.Īll boards and assemblies will fit within a 1U rack-mount chassis height (we have these here). Kits include instructions, the printed circuit board (PCB), socket(s) and electronic components. For elaborate preamps incorporating up to 21 tubes, use the PSU-10 actively regulated power supply.Įach kit uses a silk-screened fibreglass-epoxy printed circuit board to make assembly quick. London Power’s Galactic Ground is used for low noise and low hum. The PSU-PRE power supply supports up to four tubes and allows multiple preamp kits to be combined to create a multi-voice system. The London Power Preamp Kits series allows hobbyists to build a stand-alone tube preamp for guitar or bass. Cathode-Bias/Fixed-Bias Switching in Tube Power Ampsīuild a Stand-Alone Tube Preamp for Guitar or Bass.RBX Raw Bias Auxiliary Supply – When Do You Need It?. This one is a DIY kit which means that you’re going to have to build it yourself from the ground up. In order to use this reamp, you’re going to need to do some soldering first. Power Scaling for Tube Amplifiers – Q&A DIY kit See price DIYRE Best features and specs.Independent Reviews of The Ultimate Tone Book Series.Hammond Transformers for Tube Audio Amplifiers.
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