Växhuset Session Behringer BG412F

Created: 2018-08-13 20:14:15

Uploaded by: soundwoofer

First batch of Impulse Responses recorded by Soundwoofer at Växhuset in Västerås, Sweden.


Behringer Ultrastack BG412F | Cabinet | Behringer - BG412F

4x12 Guitar Cabinet OWNER: Musikshopen Behringer is an audio equipment company founded by the Swiss engineer Uli Behringer in 1989, in Willich, Germany. Behringer was listed as the 14th largest manufacturer of music products in 2007. Behringer is a multinational group of companies, with direct marketing presence in 10 countries or territories and a sales network in over 130 countries around the world. Though originally a German manufacturer, the company now makes its products in China. The company is owned by Music Group, a holding company chaired by Uli Behringer, which also owns other audio companies such as Midas, Klark Teknik and Bugera, as well as Electronic Manufacturing Services company Eurotec. In June 2012, Music Group also acquired Turbosound company, which designs and manufactures professional loudspeaker systems and was formerly owned by Harman. Source: Wikipedia

Peavey 6505 | Amplifier | Peavey - 6505

120W Guitar Amplifier OWNER: Carl Gustavsson The Peavey 5150 is an all-tube guitar amplifier made by Peavey Electronics from 1992 on, initially as a signature model for Eddie Van Halen. Since Van Halen and Peavey parted ways in 2004, the name of the model was changed to Peavey 6505, with Van Halen taking the 5150 name for his company, EVH, to name his 5150 III amplifier. The 6505 was named in celebration of Peavey's 40th anniversary (1965–2005). Several aspects of the amplifier, likely responsible for its success, are its rigid construction and reliability, excellent frequency response (largely attributable to the vacuum tube amplification), and clarity with heavy gain, a feature generally synonymous with the amplifier's image in its market demographic. The amplifier's design begun in 1990 and it became a flagship project for Peavey and for then lead engineer James Brown (who has since founded Amptweaker), lasting for about 13 years, comprising the 5150 and 5150 II, until 2004. While the product was designed around a centered printed circuit board (PCB), an aspect sometimes considered "impure" among audiophiles, its cascading five preamps (actually four preamplifiers and one phase inverter) and four tube amplifiers were implemented in a very simple manner. This design and implementation allowed the individual components to carry themselves (such as by placing the transformer so as to ensure acoustical integrity by minimizing transconductance), in addition to commonizing the system's ground by way of a multilayer PCB, thereby avoiding a large source of unwanted nuances in most poorly grounded musical applications. The Peavey 5150 I shipped with four Sylvania 6L6 Power Tubes, later with Ruby Tube 6L6 Power Tubes,when Peavey's Sylvania supply was exhausted ( as per James Brown, "Tone-Talk", Ep. 17), and five 12AX7 Tubes in the preamplifier staging (with one as a phase inverter.) Despite its shared "plain" PCB, each component was generally high quality, allowing manufacturing ease while providing high quality tone at an affordable price. A defining attribute largely responsible for the 5150 sound is the fixed bias. Commonly described as an analog to a car engine and its respective idle, the 5150 bias was set to a lower value (lower engine "idle") which resulted in the Power Tubes running at a lower energy commonly known as "cold-biased." While the electrical theory behind this can easily be examined and theoreticized, the 5150 and its configuration resulted in a more controllable gain setting (i.e. having a more forgiving sonic range than similarly "hot-biased" configurations. This engineering choice set the 5150 up to intrinsically sound its best with minimal augmentation. Since tube-amps are still uncontested in music amplification as far as tonal quality is concerned, (see hard-clipping) the optimal setting for tubes are when they are pushed to natural distortion (i.e. Increases in "volume" or Bells(dB).) Thus, by allowing such a heavy amount of gain to be applied without sacrificing tonal definition, the amplifier could then be pushed due to the "colder" biasing requiring more current, versus a "hotter" setting from the beginning (volume knob or potentiometer knob "value of 1.") While able to stand among modern technology as a relatively "simple" design, especially in comparison to boutique "hand-wired" variants, the reliability and era its inception welcomed helped verify its cultural significance in Hard Rock, later Metal, as a unique product with a unique tone. Both the 5150 and the 6505 are well known for its high gain overdrive channel, and has seen widespread use by rock, hardcore and metal guitarists. An early breakthrough was its use by Colin Richardson and Andy Sneap, two "seminal" British producers of heavy metal; especially Machine Head's Burn My Eyes (1994) helped the 5150 gain a reputation for its sound, which "defined a generation of guitar tone". Other notable artists and producers to use the 5150/6505 include Jason Suecof, Matt Tuck and Dino Cazares. Source: Wikipedia



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