Looking & sounding good, mate. Man, cameras and mics and stuff can be a real rabbithole. All that research and money and work invested just to get trolls telling us we're shit. Lol!
I have a 70s Twin Ultra Linear. A while back I completely dismantled it and built a new cabinet because the old one was completely broken. The inside was totally coated in wax. Every part was removed and wax cleaned off and wiring tidied. It was a huge job. Power caps were replaced which made a huge difference. It’s now working perfect except the trem still clicks which it did before.
For the transients you just need to snip more quietly, you need to "stealth snip". Seriously, we're not here like audiophiles listening to a Steely Dan album. We're here for the nuts and bolts (or the screws and solder, if you will). Ah, the smell of solder in the morning...
I quite agree, I've never been let down by the audio or video quality here, primarily because I'm concentrating on the work being done. But I think Lyle has the sort of mindset where he wants to do everything as well as he possibly can and is always striving to improve. Which I can understand, as I suffer from the same affliction!😁
I kept them in. What you hear in this video are the transients lowered by 18dB. Unaltered they are much louder than the voice. I made them sound natural here in the playback.
Hmm, I didn't do anything differently in this than I did before. Just a better look at the work, with the voiceover improving soon (it's a process). But shooting this in 4K HDR (and some other technical camera stuff the lights let me get away with) allows me to zoom in really close to anything I need to show without it getting grainy or blurry. But I'm not changing "what I do."
My buddy found an OLD silver face twin reverb in a basement closet of his church. It hadn't been used in probably 35 years. He didn't play guitar and I was in a band so he let me swing by and pick it up to try it out. I brought it to the practice space and checked it out. It looked ok so I powered it up and it ran ok. I plugged my 82 Gibson L6s into it and IMMEDIATELY lost my mind. I've never had tone like that before....I had been using a late 2000's high gain amp up until then but I had to rewrite all my parts for minimal distortion with reverb and delay. It was an experience that I wish everyone could have as a guitar player. It changed how I look at guitar, how I write, and how I play. He obviously took it back to the church and it has been my dream to find another old Twin Reverb. One day.....
I know, I know... a million 'suggestions'... Google click pop elimination or removal in Logic.... I have had good fortune with clock/pop plugins too... benefit is just letting it grab them (no automation)... you can load them as a vst in Premiere too. Here to help if needed... email on channel. I just did the recap on my original '65 Twin because I could not get a tech in my area to return a call... part of the confidence to go for it was due to your channel and very sobering instruction (and my man Marshall at SetupbyMarshall)... so thanks for that. Oh, and I am thankful I learned about those cap leads under that board BEFORE starting... watching still gave me just a little PTSD... ha ha
I'll take a video, a free video at that, about the work over listening out for transient peaks any day. I have more important things to worry about. Like picking up on the details of what to look out for when amp shopping and finding an amp repairer when I need one.
External noises makes the thing real, personally I don't mind about perfect audio quality. Btw ... when watching the channel I need to turn off the bass boost on my listening device ... you got enough bass when talking ... lol
Thanks for the video. What's your opinion on Solen caps for the power supply? I know that they're much more expensive, just wondered if you have any opinion there.
Hello Lyle, I have a question for you: I have some nice vintage amps at home that I don't use anymore since I stopped my gigging activity a couple of years back. I turn them on once in a while and let them run for a few hours in order to not let the amp go south for prolonged inactivity , but I don't have any real chance to use them , considering the volume I can effort to use at home . I am considering to buy an attenuator but I am afraid that put a potato in the exhaust of a tube amp might be not optimal . Two notes and Tone king are the products I am considering. Are active loads safe to use on tube amps? THANKS FOR YOUR GREAT CHANNEL
Izotope's RX suite should have you covered with de-click, de-noise, etc. Even a fast compressor or de-esser with the right sidechain settings should cover you. With a bit of experimentation you should be able to have some set-and-forget settings that cover you. I know how it feels to get worked up about audio quality, and sometimes it's worth remembering that "perfect is the enemy of good". Never had issues with the sound in your videos before this one, so if anything don't change unless you had a huge manual workflow for that (in which case, try automating it with Izotope).
A transient designer plugin, multiband compressor, or side chain ducking (use an eq on a bus to isolate the transient, use that to trigger a compressor on the main bus) are all ways you can resolve the transient issue. :)
I just did a Volume Automation in Logic, then copied/pasted to each transient. My analog console brain is still trying to figure out all the plugins in Logic. But I can still "ride faders!"
@@PsionicAudio start with the compressor plug-in. Set it 20:1, then set the threshold so that only the transients cause reduction. Set the attack to very short, and the release to medium short. Gain reduction to taste. That will get you ballpark and is the same as analog :)
Hi Lyle - off-video-topic query: on your website you refer to the "London Power Scaling" technology which you can install. I've searched your channel, but couldn't find anything discussing this. Any chance of something on this in future? (I did appreciate your "bedroom levels" Vox AC15C1 video from a few weeks back which scratches this itch.) Thanks!
The video from the new camera looks very crisp. I do have to say that I prefer the sound of the old mic more though, this mic also seems to do a thing where it almost sounds "voice activated" so theres not even any background noise when you're not talking which can sound weird at times.
It's the same mic but it's hard to set the level right without occasionally clipping, because my choice is either "automatic gain control" (which is a horrible sounding compressor) or no gain limiting, so clipping is possible. I erred a little bit on the too-safe side as I began this, which gave a bad signal to noise ratio. The voice when the playing happens was better. But as the bulk of the video had the wrong S:N ratio, there was hiss when I brought the levels up and compressed. Which was distracting. So I did a noise reduction on the in-between bits. If I was doing a typical RU-vid video with background music you might not even notice, but it stands out here. But hey, the guitar sounds great! I'm still working on the voiceover audio. Given that I'm talking as I work rather than just being a talking head, I can't really do a shotgun mic or just sit in front of an SM7 or similar. But I need to get a better lav mic that works with XLR so I can use the mic pre in the Focusrite instead of going straight into the Mac or the iPhone with this TRRS Shure lav I have now. Once I have XLR into the Focusrite I will have a much lower noise floor so today's problem will be gone.
Master volume & pull boosters? Are you swapping out those awful 620 Ohm reverb driver cathode resistors for a 2200s with a 22uF shunt caps or not? I remove that volume boost just for GP. If I can get paid for it I have a tone stack mod I like to do that uses that pull switch to run some relays. It's NOT anything I'd switch mid song but I can add a 7 mS pop mute.
Was interested to see you put an orange drop in the PI. Have you compared the results tonally with ceramic disc and found you preferred the OD? I've always just used 1000pf ceramic myself. I found poly caps "duller" sounding.
1000pF is great in the PIs with 1M leaks. With the 330Ks in this era, the stock 10nF has too much low end so I choose 3.3nF which gives the same low end the 1nF/1M AB73 circuit has. My preference in Fenders is for ceramic dics, but I was out of 3.3nF ceramics and it's not as critical in the PI input position as it is in the tone stack or bright cap. Cap materials do affect sound, but it's cumulative. No one will hear any diffference between film and ceramic in this location that has no high DC. But they will hear the better low end response of the 3.3nF.
The audio is fine IMHO for the purpose . Better audio applies to your playing the voice is fine save time for the important parts. Videos are improving nicely.
Vishay ASM. There’s a number with that but I don’t remember. 021ASM? They’re “only” rated for 1000 hours but that’s at 63VDC. Realistically with the 1-2VDC present on most Fender cathodes they’ll last decades.
I would suggest a omnidirectional condenser for your videos talking sections. It will pick up room ambiance of what's going on, but you'll have a consistent level and tone. It will also be easier for you to work with your hands free.
When they changed the PI circuit they decreased the grid leaks by a factor of 3 but increased the input cap by a factor of 10. This lets in too much low end. Changing this cap to 3nf makes the sound more like the AB763.
Can i mod my super reverb for getting super clean and bright tones like "twin reverb"? Please guide and help me if possible for you that what changes i should do
With the master volume on 10, how different do these sound compared to the black panel twins? I own a SF Twin (now sadly inoperable) but I've never played through a 60s twin...
With the master on ten, they do sound different. Different taper pots, UL output sections, some changes to the preamp supply. Not better, not worse, just different. Cleaner, louder, at the cost of some snarl and attitude. At the same time, more prone to noise issues (the wax on the board becomes microphonic), can be a little congested due to all the spaghetti wiring and the snubber caps Fender added to offset the issues the excess wiring created. But that can all be undone by a good tech. The late '70s cabinets are nowhere near as high quality as the pre-'73 amps. All that said, after any needed restoration they are better quality amps than most of what's on the market today. Even if they aren't quite as good as a '64.
CBS took over in '65. Changes didn't really start until '67, but were more apparent in '68/'69. But a '69 Super Reverb still sounds like a '66 Super Reverb. The real changes that impact sound (UL, different pots, MV, boost, reverb driver changes, PI changes) came later than '69.
@@PsionicAudio From my experience 1968 versions still have pre cbs wiring and components, 1969 they went to the vinyl wiring and the brown blob tone caps
@@PsionicAudio Relating to the comment above; Everybody seems to talk badly about the post '69 "brown blob/chocolate drop" caps... They do look cheap and nasty compared to the Blue Molded caps, but do you have an opinion about them...?
I'm going to probably buy a Fender Twin Reverb Wednesday and besides redoing the cloth with original Fender design how and where do I look for year? It's been 40 years since encountered one.
You can find the serial number on the rear control panel and look it up online. Transformer EIA codes will indicate the year produced. Same with the EIA codes on the speakers (unless they are JBL's, which I don't think ever joined the EIA protocol). Some chassis have a production date stamped on the inside, near the power transformer.
Not really but I'll have my son's help.I would be up for giving the newer "Tone Master" a go but really don't have a long track record and the price of the Twin Reverb and I know the history( pretty much) of the owner that passed had done to the "Twin".This made my back and my ears ring already!🙄lol.
Yeah, but hypercardioids have such a huge proximity effect. My voice is already pretty bassy even with this little omni lav mic. I looked at Adam Savage's rig, as he's the only guy I know of doing anything really like what I'm up to (at least at any sound quality level I would aspire to). But he's using several $$$$ shotgun mics.
@@PsionicAudio Yes, good quality shotguns are expensive. I know some people use ear buds (you could use Apple ones with the iPhone), but I'm not sure how flat the EQ curve on those are. You also end up with the "having to keep them charged ready for when you want them" issue. The sound quality on the Lav mic is pretty good, it's really about rejecting the transients from your tools, isn't it. BTW I really love the way you cover the work you are doing. Thanks for your efforts and what you say.
I don't mind ducking the occasional tool sound. The real issues are signal to noise ratio with the TRRS lav mic (vs XLR) and that when I'm alternating talking and playing the transition can be abrupt. I have to remove the guitar signal the lav pics up, and if I don't pause enough in the moment, the change can be abrupt. Hmm, there's also the issue that the voiceover needs to be compressed for RU-vid but I don't want to compress the guitar recording. I first did it so the voice peaked at (and was consistentely hitting) -3dB with a LUFS average at -18dB (which is the RU-vid ideal for voice) but then the voice was much louder than most of the guitar. I backed the VO level down by 3dB but it still jumps out compared to the guitar. I'm thinking I'm going to have future voiceovers not as compressed/loud as other RU-vid channels but it will be more naturally balanced with the guitar recordings. So peaking occastionally at -6dB but more often peaking at -9dB (less compressed overall) or so with a LUFS average around -22dB. Somewhere in that vicinity. Should still be very audible but without the voice shouting down the guitar signal. Most channnels aren't trying to mix 60dB spoken word with 80+dB guitar. I've noticed that the guys on That Pedal Show run into some of the same issues, and they have a much bigger budget than I do.
The snipping isn't intrusive on my headphones, and it adds to the vibe, so I'd leave it. Otherwise, it sounds like you might need to use a limiter or a frequency-specific notch filter to tame them.
I can hear the problems in the audio even through my mobile phones speaker - but I can also see the problems you face. If you compress the voiceover too much it will also bring up the level of any tool related noises, as well as compressing any guitar playing recorded through the lav mic. Using a standard shotgun mic doesn't give you the flexibility to move around as much. Experience tells me that whilst plugins could help the problem, the old adage about getting the recording right in the first place so you don't have to fix it, is brought to mind.
Thinking logically about it, if I was doing what you are doing, I would probably look into those headset microphones like fitness instructors and sports broadcasters use - as they are very focused on cutting down on background noise. In theory that should allow you to compress your voiceover without the problems caused by background noises. I would then either used my phone's built in microphone to catch any impromptu amp demos, or use a second room microphone to pick that up if the phones microphone was clipping. Just thinking out loud!
You say that because you hear the version with those transients lowered in level. They are a good 12+dB louder than my speaking voice. You don't want to hear them as the mic hears them.
