It all sounds great but the sound of both Marshall and Hiwatt 4x12's is truly stellar in my ears. That focused and huge sound from a single take is what makes it for me! ❤
"As soon as you want to add some room to it, you know, as soon as you back out with the room mic from a little 1x12, you gonna hear the small box. You gonna hear, that it is an entity, that is, you know, the 4th of the size of a human and that's not threatening at all! THAT'S LIKE A SMALL DOG OR SOMETHING LIKE THAT!!!" :):):) LOL! So perfectly metaphorized! Thank you for refining the art of miking!
Fantastic video Johan! The quest for tone takes many paths. I totally agree that 1x12 was spot on after the EQ work, but there is something magical and in your face about the Marshall and the Hiwatt together
What a surprise, the multitracked Bluesbreaker with the compensation on it really does sound ace. But for a live context, wow the Marshall&Hiwatt together are just immense! Btw the "listen to me & don't listen to me at the same time" part sounds almost Jungian, you're pushing your guitar wisdom to a philosophical level 😉 Thanks and huge congrats on the hard earned 100.000 Johan! 👏
After all a 1x12 combo can be used too in bigger venues or the open air with a microphone to PA, sounds clear and powerful. Also 4x12s are mic'd to PA to balance better a live mix. The epic Marshall walls alone are not in favor from quite some years, hard to balance the overall stage sound. My favorite for many years is a Fender Princeton Chorus 2x12 (solid state! ), sounds great with a few pedals and is built like a tank, some 30 years old, never let me down, and it can be crazy loud. Great video Johan, I liked a lot the 1x12 Marshall. Thanks !
Well, I just got me a fullstack from the 80ies.... 1960B and 1982B. And you release the video now Johan? :D I will just going to pretend that I did not see this! Thanks for your videos, they are always very valuable and entertaining at the same time.
I just got the 1x12 Suhr Hombre....best Amp I've ever had!!! I owned a 1987 Fender Blues DeVille 2x12 for 15 years, then I bought the new Magnatone 1x12, then the 2x12 Marshall JvM 205c. This Suhr is the best of the bunch for Southern Rock/ZZTop tone. The Dirt it delivers from volume 5-10 is better than any pedal I've ever had as well. Seriously loud enough for band practice no worries there. At 32 lbs and only $1650 its the best of all worlds, its getn micd at shows.
Wow! Great tones here! I really dig that song/riff! The best cab I used for recording is a very tall early 70's Marshall 2x12" model 1972 I think...equipped with 2 Celestion black back 30 watts speakers....I think that this cab was called an organ cab...The good thing is that it has a port for the low frequencies so you mike one speaker and use another mike in front of the port to balance in more low and low-mid frequencies...Thanks and keep on rockin Johan!
Very awesome and interesting video. Plainly put, depending on what you are doing with your amp. Always a pleasure watching your videos. I love the scenery you and from were you live.
I'm loving the recorded tone of the 1x12 just a bit more. Probably would change my mind in the room with the 4x12, but great video comparison as usual Johan! God bless and rock on 👍😎🎸
The 1X12 delivers beautiful clarity and definition in this setting. What I think I would do next time in a recording session, is record a 1X12 Marshall with close mic and split the signal to a second 4X12 amp to record it with a room mic and there you have it. Thanks Johan
If you record an amp feeding back and re amp you will get the character of that amp and guitar on the di, so guitar feeding back with amp a --- di'd through amp b
For studio recording, I agree based on this here. I also much prefer 12 inch Marshall speakers to the smaller options, for more grunt. Top tone probing.
It all sounds good to my ears. I've been using a 20w Marshall Studio Plexi at home for a few years, going into a Hiwatt 4x12 cab, Celestion greenbacks and G12H speakers. But I'm only using 2 speakers, like a 2x12. When I use all four speakers it's just too much pressure in a relatively small room. But I like the depth of the larger box. Actually had a nosebleed one time using the full 4X12, my neighbours must love me....... Having said that, I find my Vox AC30 with Alnico Blues is phenomenally loud, but being an open back combo it's not as directional. Sometimes a closed back cab can feel like being hit by a fire hose of sound.
As I've just moved to a smaller house I'm really thinking about downsizing speaker cabs. Got two 4X12, two small closed-back 2X12 and a ported 1X12; but recently the bigger Vox-type open-back 2X12 is my fav. It's fat and loud and sounds just about the same standing in front of or beside it. The ported 1X12 is not bad but a bit picky of speaker choice; still the original 2003 8 Ohm V30 is quite good.
I'm a convert to the 2 by 12 as well but I prefer closed back for most things but 2 by 12 open back is fantastic as well for certain sounds .. All my 2 by 12s are open back but when I want the open back feel I will use My DSL 40 which is open back and pair it with one of my closed back 1 by 12s . This is a great sound and I can Cover alot of tones with that set up . Heavy Rock especially sounds good . But closed back 2 by 12 is my favorite set up And if I want more of a 4 by 12 type of sound I just set two 2 by 12s . Great setups for mixing speakers as well.
I agree with you. I have 2 4x12 cabinets here with a be-100 sitting on one, and a Helios Eclipse 100 sitting on the other and they sound awesome no doubt, but when recording, one speaker is enough. I have a 1x12 Creamback 65 cabinet for that. But just for playing here, the 4x12s have no equal. When recording, you only want interaction to be limited to the mic and one speaker. It seems counter-intuitive, but it's true.
I always found the 412 made everything sound thick. My gigging rig was a fender deluxe through a 412 even tho the fender had a great sounding speaker - I would disconnect it and run the marshall cab. (100 JMP was way too loud) Just for fun, I recently plugged in an Orange 3watt mini crush and the cab made it sound huge. Love this video, great playing my friend.
I think that what most of us think of as 'that huge rock n' roll sound' came from small amps, if I remember correctly the solo on Since I've Been Loving You was a little supro amp that Jimmy Page took on the road. Great sound and advice as always!
Johan is on point here, and nice guitar work BTW.. Furthermore when covering a live audience, the 1x12 covers the small venue better then a 4x12. Why? The 1x12 has wider dispersion that covers the sides up to about 60 degrees. The 4x12 focuses energy to the back row, but at the expense of dispersion. It beams the sound. These are the physics of speaker arrays. The 2x12 in a VERTICAL orientation also covers well to the sides on the HORIZONTAL plane and narrow focus on the VERTICAL plane to the back row, win-win! The 4x12 focuses horizontally and vertically. as a function of off-axis delay. The near speaker reaches the ear before the far speaker, causing decrease in treble and articulation, and comb filtering that sounds nasty to the ear. On axis, the 4x12 can be overwhelming in the treble, which is why it requires a LARGE room for the sound to disperse... much like a spot light over some distance that the light beam spreads out!
An open back will increase mid bass to upper bass at the expense of low bass. The rear wall (if there is one) has more interaction with bass, but almost no effect on treble. The open back may help to disperse bass off the back wall (reinforce or cancel depending on the distance) however bass disperses well anyway, for both an open or closed back.
Thank you for your videos on the Marshall 1974x Johan, it was between that and the Suhr Hombre for me. I went with the Suhr, because it wasnt on backorder. And its everything i was hoping for. May get myself the 1974x down the road, but im good now.
The sound is more livable with a 1x12 but the feeling of having a half or full stack is something else. It’s a beast you have to control….but when you do, nothing else can touch it
I believe this is why Phil X used his small Magnatone (and for a while, Supro) combo together with a half stack. While a 4x12 has that big, warm 'thump', it lacks a certain midrange focus/attack that the 1x12 has. The combination fills in the gaps, especially useful for solos. I'd love to see you put this idea of 4x12 vs 4x12 + 1x12 to the test!
Great recording and rhythm Johan! Adding to your conclusion, when recording and touring the Seven Moons album together with Jack Bruce, Robin Trower used two Cornell 1X12 20W "Plexi" combo amps.
I bet your Neighbours say the same thing :-0 I really love that 1x12 sound! Sunny in Sweden, as it was in the UK. I can smell the nasty weather, its on it way!
Weird, I was just thinking about this very topic when I saw your video. So I think there's a real split between those who spent there time listening to tones on record vs those who listened to them at live gigs. You can tell a live gig guy is reviewing a combo version of an iconic head, like the plexi, when you hear them say, "idk, sounds a bit boxy to me". With 4x12 cabs, you're gonna get so much more bottom end and boom (air concussion) in the room and you need that to compete in a live mix, it's more of a "feel" thing than a tone thing. I've got a Fender tweed champ 8" and a Marshall SV20 10", and they'll fill a room; big, lush, 3 dimensional tone. Best part for me, who was always more of a records guy, the frequency response on the small combos is so focused and "shaved" (as would happen on a mixing console anyway, even if you're recording a full stack). So they sound like a record live and in room, no down mixing required. So if your a home player, or a recording artist I agree with you Johan, the small combo will do just fine.
My favorite cabinets are all always 1x12. 2 x 12 always misses something. If the speakers are in parallel the sound is drier than 1x12. If they are in series it’s crazier than 1x12. Which can work to your benefit if you are looking for more distortion and more character in the distortion. But nothing beats a 1x12. It all boils down to whether speakers buffer each other in parallel or make each other crazier in series. Of course most 4 x 12 situations offer both series and parallel. In which case the sound is just worse. It’s never better. Just louder. It would be worthwhile to compare 4 speakers in parallel as in a super reverb versus 4 speakers in series as in... (I don’t know what). Maybe 2. :)
Ac 30 33 watts 2 12s blues. Marshall bluesbreaker with blues or gold or even the original alnico. I really liked the ac15 and the marshall 1974 but both had a very thin sound. It could be just my ears. 4 12s have their place in larger spaces. Even blending different speakers will brighten your sound. A guitar amp tech changed my 800's pre amp to a Fender pre amp which made the amp more alive. Marshall's have always lacked that. That is why I have a spent more money on fenders or ac30s but the bluesbreaker originals are a close race. But that is just my ears. Get to know who are the best amp techs, they know what they are working with. Randy Atkins was a great tech. He shall be missed. Also. The Who who's next, bandmaster tweed 3 10" 1957 26 watts. The 3 10s causes the amp to go into some beautiful harmonics. Same amp Joe Walsh used then was given to Pete Townsend. Dr. Z built a copy, but not the the same. But it could be the speakers. I don't think he is using alnico
Interesting video! I agree that a 1x12 is a more of a precision tool than a 4x12. Instead of just reproducing what's present at input, a 4x12 alters the sound in many ways and is more "a sound" in itself, whereas 1x12 is easier to tweak in one direction or another. Is there a reason the 1x12 is miked with a condenser mic directed at the speaker and panned to the center, whereas the 4x12 is miked with an SM57 facing downwards and panned hard left? Most of the time the 1x12 is much louder in the mix, mostly because of the panning and partly because the SM57 is positioned to capture no direct sound from the speaker, so has way less presence frequencies. Even though I agree with a lot of the reasoning, I have to point out that the audio recordings aren't an apples to apples comparison. At 8:07, when the cabinets are finally at same perceived loudness, the shortcomings of the 1x12 are finely exposed. It's possible to compensate or exaggerate the properties or "faults" of any sound source just by positioning a mic differently. Or use a different type microphone altogether. In the end, the music tells what it needs, and surely there are more than one way to any destination.
In addition to mic positioning, the SM57 on the 1x12 is an under $100 USD dynamic mic, while the Peluso used on the 4x12 is $3,000+ USD large diaphragm condenser mic. These mics have very different characteristics, which may contribute to the sound differences between cabinets. Why not use the same mics on both cabs?
The 1x12 could be made quiet enough for the condenser to take it. I tried to point out that it’s indeed not apples to apples a couple of times in the video but it doesn’t hurt reiterating. I want the 4x12 to win as much as you do 😂
This video inspired me to bring my JCM1 one watter down from upstairs, where it had been sitting on my Marshall Vintage Modern's 4x12 (Greenbacks), and try it out on the Marshall 1912 1x12 cab (Celestion 12b). I tried it last night with a Les Paul and this afternoon with rosewood board Strat and Tele. All 3 sounded awesome-MV about 10 o'clock (much above this it gets loud!) and Preamp about 2-3 o'clock, EQ to taste. Hard to compare as the 4x12 is upstairs in a small bedroom and the 1x12 down in the much larger living room (I must be more scientific). Whatever, the JCM1 and the 1x12 would make an excellent, compact recording rig!
I’m digging the 112. I run a Marshall 20 watt or JMP 50 Watt thru two Boogie cabs, one closed one open back with new British 16ohm 112 25watt greenbacks speakers. 👍
Hi Johan, over the past few years I have downsized from a late '70s 1960A to a vertical 2x12 and now an oversized 1x12: the Bluguitar Fatcab. It is designed to sound like a (baby) basketweave 4x12 and I have to say it sounds massive for its. I only changed the stock speaker to a Fat Jimmy C1265GB which I like much better than the G12M-65 Creamback. So, check out the Bluguitar Fatcab and the Fat Jimmy speakers, they make a 25W G12M style speaker too. :-)
The oversized Mesa 1x12 is amazing at splitting the difference, as long as your amp has a resonance control in the power amp. That cab whooped the 2x12s and some of the 4x12s I played through.
The Marshall 1x12 sounded really good Johan. Though I prefer the fuller sound of a 2x12 to get that bit more depth while still retaining some clarity. For the longest time I've run my old JTM45 (30w RMS) through an early 1980's model:1936 JCM800 2x12 with Marshalls original build pairing of G12T-75 and (much maligned) G12M-70 Celestions and it sounds great to me.
I always have liked the punch on a single 12. Doesn't work for huge amps until recent innovations, but I made an oversized 112 with a swamp thang attached to a Marshall 10 watt SS and it sounds killer.
My immidiate thoughts already 1 second into the video is that I totally agree. I myself likes 10" more, especially fender (Jensen) speakers. Especially when recording I have better experiences using single speakers rather than 4x12 cabs.
Multiple 10s work really well especially if you put them in individual cabs. I use pine cabs. Works w F and M amps. I find it a tad better than 1x12 which i also use.
Hi Johan, have you ever made a video of EQ tone match between 4x12 and 1x12? I remember the one of EQ match between GB pulsonic vs reissue and it was very useful.
Very interesting… differences for sure, but all good sounds in their own way. I’d be curious to see how they worked in a full band mix though… we may be surprised what ends up sounding “better” at that point. Plus huge consideration: what speakers were you using ? I’m assuming the same? Love your channel and no bullshit RocknRoll approach!
Hi! Glad to hear it! I used the Cubase function embedded in the EQ curve where you can match your tone other samples. I used Aces guitar on Deuce 75 to do that. So the EQ is based on your recorded track. In my case it meant heavy boosting over 4k and heavy attenuation under 500k to basically 70k
I love my 2x 1x12 with two 1970 G12H30, prefere it over a 4x12 or 2x12. I finally got three pre rola G12H30, so true they are all a bit different, one is super sweet kinda like your favourite one. Greetings from Germany!
I have a 1x10 that I made that is my favorite sounding cabinet. I sold a 2x12 that I made, I have a very old Vox 2x12 and a 2x15. The order for me is the 110, the 2x15 and then the 212. I made the cab extra deep and it has a reconed EAW in it. I didn’t expect to like it much but that matched to my Univalve fits me.
What speaker are you using in the 110? I made a pine box 110 and a 112. I stuck an alnico gold in the 110 and maybe I want to try something else in there instead.
@@Les537 I was pretty broke at the time and picked up a re coned East Audio Works speaker from Central Florida Speaker Repair with plans to replace it later. That won’t be happening. The cab I made is 2 ply I made out of Mahogany and Poinsettia (on the inside), the cab is 15”h x17”w x 11”d if that helps any. Seeing your handle my first name is Les. Most people find 10’s lacking so it could be just my ear?
It looks like you used a different mic for the 1x12 (large condenser) than the SM57 (dynamic) for the 4x12. Could this be affecting what we are hearing? BTW, I definitely prefer the 1X12 with close mixing! Thanks for this great video!
Hi Johan is there anyway you could load a cab with some of your Peavey Scorpions and play one of your Marshall heads through it as I've read that Nuno Bettencourt had loaded a Marshall 412 cab with Peavey Scorpions during his time in Extreme and his first album but I don't know how accurate that is but am very curious to see what magic you can pull out of the Scorpions as I have an old Bandit with one and would love to hear what the Scorpions are capable of as they must be good if Nuno took out Celestions out of his 412 to.put in scorpions but anyway thank you for your great content and information and awesome playing you give us
I recently switched from a 2x12" to a 1x12" and similarly I like the results better with a single speaker. I am using the Avatar British style 1x12" (similar dimensions to 1974x) with a Scumback pre-rola 30W speaker with various lower wattage amp heads. I still have a couple 100W stacks with Marshall 4x12s, but the 1x12" legit sounds better/way more clear.
Hi Johan, apologies if this was mentioned in the video, but what is the model of Marshall 1x12 used here? Agree great tone! Have been thinking about the sv20H but its a bit trebly and almost voxy to me. This 1x12 sounded great.
It’s great hearing your thoughts and knowledge on this. Awesome tones ✌️😎🤘 Would a closed back 2x12 be a happy medium between the advantages of the 1x12 and 4x12 in your opinion?
Are you a stock finally tuned 1970 Marshall major with an Old for my twelve birch ply. Including the back with 275 W cream backs and 251 red backs for bass ... Hes a big different as opposed to a fight use a 1 by 12 bass ..combo.. No 2 speakers sond the same.. And that's real of the four by twelve bottom bottoms the main frequencies you are able to disperse.. One compensation the other. and I run Vintage Gibson basses.... Thank you again for your beautiful demonstration.❤❤
brings to mind my never ending argument about playing live, nothing beats a half stack or better a full stack, they are just physically and sonically better, if you can wrangle the feedback to the guitar, but all the sound "engineers" out there want absolute control, well... R+R is about not having full control of where it might go, the physical force is as or more important than "having a good mix" its one thing to rein it in in a studio, even then recording the guitars with the amps in another room changes how they react with the instrument, and therefore the player (especially if its someone like Johan, or myself that spends entirely too much time in front of half stacks and can work with that physical interaction between guitar and amp...) Though... I am getting older now... and dragging around 2 half stacks to every show is just painful now, damnit I NEED roadies
Yeah that’s a good point. The physical interaction between a full stack and the guitar in the same room produces sounds that no 1x12 rig can get close to. But it’s so much more difficult to record and actually translate to tape that usually the 1x12 setup is the realistic option
Is that the blues breaker and was that their version of a plexi in a combo ? I forget all this stuff. I want one of this Royalist amps if I had the cash.
Holy shit the tone at 8:05 is crazy. That’s easily one of the best rock guitar sounds I’ve ever heard. Is this just Marshall and Hiwatt double tracked and hard panned with celestions? Or just one guitar through both amps
It’s all subjective to the player and the use of application I guess. Like you said l, there is a back and forth depending on the sound you want on a certain day. It would have been interesting if you had added a 2x12 in the mix since I am a Bluesbreaker player. I have the full stack and the 2x12 so I guess I can do the comparison myself, but you have really turned me on to the 1974X when you swapped a vintage speaker into it. Is that what is still in there for this comparison? Thanks for your curiosity and time to do this for us.
Absolutely great. I see you so rare last time, so I am just enjoying your videos, and trying to make something too. In November we will do the release with HRAD, we made a perfect album, so I will send you the link, when it will be on the YT. I am sure, you will like it. Of course I wrote all songs, like I do last 4 years. French metal is very melodic and I did my best there. See you! MY BEST WISHES FOR YOU, I hope, you will be a little more. I am the old fan of your channel. I guess, 6 years...
For some reason the 4x12 sounds a bit muddy and this doesn't fit with some recordings (just one example Hendrix live recordings) where the 4x12 sounds clear and balanced. For this style of rock perhaps the 1x12 sounds clearer and better but I wonder if a different cab, mic or room or something else would change that. Also I watched the producer of Slash's album show how he micd the 4x12 and I think he used 3 mics and went to a lot of work to place and combine them for the sound. In conclusion, I think the 1x12 sounds excellent but I would go back and try to make the 4x12 sound better, because I think it can sound a lot better. Thank you for your passion and videos.
Imo two speakers sound more three dimensional and open than single speakers. A friend of mine put a slightly tweaked 50w Marshall head into an open back 2x10 combo. The most magical amp ive ever played
@@JohanSegeborn I had the G10L35s 1965 cab and a mosfet lead 100 watt marshall that I traded away for peanuts. They were really bright (one of the half stack also had some Emi ram rods in x pattern ) and a bit thin with the lead 100. The greenbacks don't seem too bright, but I have been playing a lot with Jensen speakers and need a bit more brights as I get older and I lose the treble in my hearing. So they could be bright, but not jensen bright. I also don't have the originally 1965 to compare. Those greenback tens are very under rated. Lots of bass in room. My 410 is a bit deeper than the marshall and the materials are birch instead of the 1965 plywood. Maybe the change in cab is what makes mine less bright??
For recording, the single close-miked 1x12 is very nice and spongy, but once you start stacking them, the lack of low end becomes apparent. But then again, I've never been able to get anything resembling what my amp sounds like in the room by placing an SM57 right on the grille. The close-miked sound is horrible, in my opinion, no matter the type of amp, speakers, cab, etc. With an SM57, what I do is, move the mic close to the surround, about an inch away, and pull it back about four inches. Once I do that, the low end starts sounding very room like, whereas with true close-miking, there is a bass boost that you would have to EQ pretty aggressively to get rid of.
I always preferred a 1x12 as a guitar player (I transitioned to bass about 10 years ago), maybe a 2x12 for bigger stages. Even on massive festival stages, I found a 4x12 cab (let alone a full stack!) to be way too loud to get turned up properly, without absolutely destroying everyone else's mix on stage. And even then, at those big shows, the FOH engineers are still only mic'ing up 1/4 speakers, so I'll have to admit I've never understood the appeal of 4x12 (apart from the "it's big so it's cool" thing). This recording test is no exception; the 1x12 sounds amazing, and the 4x12 sounds like a chunky, muddy mess (to my ears, anyways).
Johan, could you explain the eq compensation you’re using to match thr 74x to Ace’s Alive tone? I too am a huge Ace fan and also have a 74x, so it would be very helpful how you are getting so close EQ wise. Thanks!
I think mic'ing a top rather than bottom speaker on a 4X12 makes more sense. With an angled 4X12 the speaker isn't parallel to the back of the cab which results in better resonance and you are also further from the floor which avoids the bounce from the floor getting into the mic. For the same reason I would get the 1X12 up off the floor.
Have you ever tried plugging the 18w into a 4x12 cab to see how much the tone changes going from EL34 to EL84? I know the sound level would be less with 84s, but not sure if the 'boxy' sound is from the small cab or the tubes.
The slanted 4x12 has a lot of internal phase issues, so the 1x12 will sound somewhat cleaner and more defined. BUT, I prefer the 4x12 for the hugeness. The straight B cabinets has less phase issues than the slanted A cabs.
@8:35 the burning bush! "You should listen to me, or don't listen to me." - I love the humility and comedy
Thanks! 😂 it’s actually an oil refinery behind that forrest.
@@JohanSegeborn Big Deep Purple reference with the fire in the sky!
i am going to purchase the 18 watt 1 x12. Marshall should thank you for helping me to decide on this purchase!
Thanks glad to hear that!
It all sounds great but the sound of both Marshall and Hiwatt 4x12's is truly stellar in my ears. That focused and huge sound from a single take is what makes it for me! ❤
Thanks!
Yeah that's unbelieveble!
As always... came for the scientific comparison, stayed for the awesome riffing and grooving. 🤘🤘
Thanks! I’m so glad to hear that!
"As soon as you want to add some room to it, you know, as soon as you back out with the room mic from a little 1x12, you gonna hear the small box. You gonna hear, that it is an entity, that is, you know, the 4th of the size of a human and that's not threatening at all! THAT'S LIKE A SMALL DOG OR SOMETHING LIKE THAT!!!" :):):)
LOL! So perfectly metaphorized!
Thank you for refining the art of miking!
Thanks my friend! ❤️😂
Fantastic video Johan! The quest for tone takes many paths. I totally agree that 1x12 was spot on after the EQ work, but there is something magical and in your face about the Marshall and the Hiwatt together
Thanks Eddie!
Congrats on 100k Mr. Segeborn!
Thanks Nick!
You completely refuted yourself as soon as you showcased the Hi-Watt + Marshal. 😊
All of it sounds great. Very inspiring video.
Thanks! 😉
Congratulations on the 100K subs !!! Very well deserved, keep it up !
What a surprise, the multitracked Bluesbreaker with the compensation on it really does sound ace. But for a live context, wow the Marshall&Hiwatt together are just immense! Btw the "listen to me & don't listen to me at the same time" part sounds almost Jungian, you're pushing your guitar wisdom to a philosophical level 😉 Thanks and huge congrats on the hard earned 100.000 Johan! 👏
Thanks Alan!
After all a 1x12 combo can be used too in bigger venues or the open air with a microphone to PA, sounds clear and powerful. Also 4x12s are mic'd to PA to balance better a live mix. The epic Marshall walls alone are not in favor from quite some years, hard to balance the overall stage sound. My favorite for many years is a Fender Princeton Chorus 2x12 (solid state! ), sounds great with a few pedals and is built like a tank, some 30 years old, never let me down, and it can be crazy loud. Great video Johan, I liked a lot the 1x12 Marshall. Thanks !
Thanks glad to hear it!
Well, I just got me a fullstack from the 80ies.... 1960B and 1982B. And you release the video now Johan? :D
I will just going to pretend that I did not see this! Thanks for your videos, they are always very valuable and entertaining at the same time.
But it IS a certain feeling having a fullstack shaking your ribs live in a room! Can never get pass that. But for recording it is just overkill.
Thanks man! The fullstack is needed for all recordings where the room sound is included. And it’s where guitar is experienced and explored the best
Johan...as always, you rock! 🤘
Thanks my friend! 🤘
I just got the 1x12 Suhr Hombre....best Amp I've ever had!!! I owned a 1987 Fender Blues DeVille 2x12 for 15 years, then I bought the new Magnatone 1x12, then the 2x12 Marshall JvM 205c.
This Suhr is the best of the bunch for Southern Rock/ZZTop tone. The Dirt it delivers from volume 5-10 is better than any pedal I've ever had as well. Seriously loud enough for band practice no worries there. At 32 lbs and only $1650 its the best of all worlds, its getn micd at shows.
Wow! Great tones here! I really dig that song/riff! The best cab I used for recording is a very tall early 70's Marshall 2x12" model 1972 I think...equipped with 2 Celestion black back 30 watts speakers....I think that this cab was called an organ cab...The good thing is that it has a port for the low frequencies so you mike one speaker and use another mike in front of the port to balance in more low and low-mid frequencies...Thanks and keep on rockin Johan!
Thanks! Glad to hear that
Very awesome and interesting video. Plainly put, depending on what you are doing with your amp. Always a pleasure watching your videos. I love the scenery you and from were you live.
Thanks John! Glad to hear that!
I'm loving the recorded tone of the 1x12 just a bit more. Probably would change my mind in the room with the 4x12, but great video comparison as usual Johan! God bless and rock on 👍😎🎸
Thanks J! Rock on!
Awesome! Great Comparison! All the best, Frank
Thanks Frank!
The 1X12 delivers beautiful clarity and definition in this setting. What I think I would do next time in a recording session, is record a 1X12 Marshall with close mic and split the signal to a second 4X12 amp to record it with a room mic and there you have it. Thanks Johan
Thanks man! Yeah that could harvest both worlds
One suggestion. Use re-amping. Unless you want the sound of both amps interacting in the room.
If you record an amp feeding back and re amp you will get the character of that amp and guitar on the di, so guitar feeding back with amp a --- di'd through amp b
Nice tune great sound . It seems I like both. Thank you Johan. Cheers from Hawaii. Darrell 👍
Thanks Darrell! Cheers!
For studio recording, I agree based on this here. I also much prefer 12 inch Marshall speakers to the smaller options, for more grunt. Top tone probing.
Interesting video on mic'd vs in the room sound, good food for thought! If you listen with your eyes there's of course no doubt. Thanks Johan!
Thanks Bengt!
It all sounds good to my ears. I've been using a 20w Marshall Studio Plexi at home for a few years, going into a Hiwatt 4x12 cab, Celestion greenbacks and G12H speakers. But I'm only using 2 speakers, like a 2x12. When I use all four speakers it's just too much pressure in a relatively small room. But I like the depth of the larger box. Actually had a nosebleed one time using the full 4X12, my neighbours must love me....... Having said that, I find my Vox AC30 with Alnico Blues is phenomenally loud, but being an open back combo it's not as directional. Sometimes a closed back cab can feel like being hit by a fire hose of sound.
Thanks Michael! The nose bleed is a true badge of honour!🤘
Right on!!!! Johan hit 100K! Let's go!!! 😎👍🏼
Cheers! 👍
Everything sounds badass! I listen a lot to the drums, and the snare and the crash sounds fantastic. And great playing, of course.
Thanks, I’m so glad to hear that!
After using 1x12, 2x12 and 4x12 cabinets with an array of speakers I have landed on the 2x12 open back for just about everything.
As I've just moved to a smaller house I'm really thinking about downsizing speaker cabs. Got two 4X12, two small closed-back 2X12 and a ported 1X12; but recently the bigger Vox-type open-back 2X12 is my fav. It's fat and loud and sounds just about the same standing in front of or beside it. The ported 1X12 is not bad but a bit picky of speaker choice; still the original 2003 8 Ohm V30 is quite good.
I'm a convert to the 2 by 12 as well but I prefer closed back for most things but 2 by 12 open back is fantastic as well for certain sounds .. All my 2 by 12s are open back but when I want the open back feel I will use My DSL 40 which is open back and pair it with one of my closed back 1 by 12s . This is a great sound and I can Cover alot of tones with that set up . Heavy Rock especially sounds good .
But closed back 2 by 12 is my favorite set up And if I want more of a 4 by 12 type of sound I just set two 2 by 12s .
Great setups for mixing speakers as well.
Dear Johan you came with another great video that is quite informative and exciting to watch. The Segeborns band is a must too ....
I agree with you. I have 2 4x12 cabinets here with a be-100 sitting on one, and a Helios Eclipse 100 sitting on the other and they sound awesome no doubt, but when recording, one speaker is enough. I have a 1x12 Creamback 65 cabinet for that. But just for playing here, the 4x12s have no equal. When recording, you only want interaction to be limited to the mic and one speaker. It seems counter-intuitive, but it's true.
I always found the 412 made everything sound thick. My gigging rig was a fender deluxe through a 412 even tho the fender had a great sounding speaker - I would disconnect it and run the marshall cab. (100 JMP was way too loud) Just for fun, I recently plugged in an Orange 3watt mini crush and the cab made it sound huge. Love this video, great playing my friend.
Thanks my friend!
I think that what most of us think of as 'that huge rock n' roll sound' came from small amps, if I remember correctly the solo on Since I've Been Loving You was a little supro amp that Jimmy Page took on the road. Great sound and advice as always!
Thanks Juan!
Johan is on point here, and nice guitar work BTW.. Furthermore when covering a live audience, the 1x12 covers the small venue better then a 4x12. Why? The 1x12 has wider dispersion that covers the sides up to about 60 degrees. The 4x12 focuses energy to the back row, but at the expense of dispersion. It beams the sound.
These are the physics of speaker arrays. The 2x12 in a VERTICAL orientation also covers well to the sides on the HORIZONTAL plane and narrow focus on the VERTICAL plane to the back row, win-win! The 4x12 focuses horizontally and vertically. as a function of off-axis delay. The near speaker reaches the ear before the far speaker, causing decrease in treble and articulation, and comb filtering that sounds nasty to the ear. On axis, the 4x12 can be overwhelming in the treble, which is why it requires a LARGE room for the sound to disperse... much like a spot light over some distance that the light beam spreads out!
What if you take the back off the 412
An open back will increase mid bass to upper bass at the expense of low bass. The rear wall (if there is one) has more interaction with bass, but almost no effect on treble. The open back may help to disperse bass off the back wall (reinforce or cancel depending on the distance) however bass disperses well anyway, for both an open or closed back.
Thanks Interesting feedback!
Thank you for your videos on the Marshall 1974x Johan, it was between that and the Suhr Hombre for me. I went with the Suhr, because it wasnt on backorder. And its everything i was hoping for. May get myself the 1974x down the road, but im good now.
Thanks Wesley!
The sound is more livable with a 1x12 but the feeling of having a half or full stack is something else. It’s a beast you have to control….but when you do, nothing else can touch it
Yeah if the player doesn’t get the right feeling all bets could be off
nice tones. congrats on 100k btw.
Thanks! Glad you like it
I believe this is why Phil X used his small Magnatone (and for a while, Supro) combo together with a half stack. While a 4x12 has that big, warm 'thump', it lacks a certain midrange focus/attack that the 1x12 has. The combination fills in the gaps, especially useful for solos.
I'd love to see you put this idea of 4x12 vs 4x12 + 1x12 to the test!
Thanks Jake! Let’s try that!
Great recording and rhythm Johan! Adding to your conclusion, when recording and touring the Seven Moons album together with Jack Bruce, Robin Trower used two Cornell 1X12 20W "Plexi" combo amps.
I preferred the clarity of the 1x12. My guess is it would also be easier to work with in Post Production. Interesting comparison. Thanks
Thanks!
I bet your Neighbours say the same thing :-0 I really love that 1x12 sound! Sunny in Sweden, as it was in the UK. I can smell the nasty weather, its on it way!
I wouldn’t dream of doing any of this to them 😂
Weird, I was just thinking about this very topic when I saw your video. So I think there's a real split between those who spent there time listening to tones on record vs those who listened to them at live gigs. You can tell a live gig guy is reviewing a combo version of an iconic head, like the plexi, when you hear them say, "idk, sounds a bit boxy to me". With 4x12 cabs, you're gonna get so much more bottom end and boom (air concussion) in the room and you need that to compete in a live mix, it's more of a "feel" thing than a tone thing. I've got a Fender tweed champ 8" and a Marshall SV20 10", and they'll fill a room; big, lush, 3 dimensional tone. Best part for me, who was always more of a records guy, the frequency response on the small combos is so focused and "shaved" (as would happen on a mixing console anyway, even if you're recording a full stack). So they sound like a record live and in room, no down mixing required. So if your a home player, or a recording artist I agree with you Johan, the small combo will do just fine.
Thanks Albert!
My favorite cabinets are all always 1x12. 2 x 12 always misses something. If the speakers are in parallel the sound is drier than 1x12. If they are in series it’s crazier than 1x12. Which can work to your benefit if you are looking for more distortion and more character in the distortion. But nothing beats a 1x12.
It all boils down to whether speakers buffer each other in parallel or make each other crazier in series. Of course most 4 x 12 situations offer both series and parallel. In which case the sound is just worse. It’s never better. Just louder.
It would be worthwhile to compare 4 speakers in parallel as in a super reverb versus 4 speakers in series as in... (I don’t know what). Maybe 2. :)
The Marshall 1x12 with the offset speaker generally is the best design. Having a centered speaker is never the best.
Hi I tried that with a Marshall here ua-cam.com/video/LvAa2PTvalo/v-deo.html
Tube amp, 15 to 20 watts and one 12” speaker is truly where the best tones come from. 🎸
Indeed
Ac 30 33 watts 2 12s blues. Marshall bluesbreaker with blues or gold or even the original alnico. I really liked the ac15 and the marshall 1974 but both had a very thin sound. It could be just my ears. 4 12s have their place in larger spaces. Even blending different speakers will brighten your sound. A guitar amp tech changed my 800's pre amp to a Fender pre amp which made the amp more alive. Marshall's have always lacked that. That is why I have a spent more money on fenders or ac30s but the bluesbreaker originals are a close race. But that is just my ears. Get to know who are the best amp techs, they know what they are working with. Randy Atkins was a great tech. He shall be missed. Also. The Who who's next, bandmaster tweed 3 10" 1957 26 watts. The 3 10s causes the amp to go into some beautiful harmonics. Same amp Joe Walsh used then was given to Pete Townsend. Dr. Z built a copy, but not the the same. But it could be the speakers. I don't think he is using alnico
Damn the 1x12 sounded great, but it was the riff your playing that made it sound bad ass man!....
Thanks man! Great to hear that!
My favorite tone moment was right at the 4:00 mark -- 3D-like. But it all sounded great. Excellent comparison!
Thanks! Glad to hear it!
They both sound amazing to me.
I would love to hear both together. Especially with some room 4-12
Interesting video! I agree that a 1x12 is a more of a precision tool than a 4x12. Instead of just reproducing what's present at input, a 4x12 alters the sound in many ways and is more "a sound" in itself, whereas 1x12 is easier to tweak in one direction or another. Is there a reason the 1x12 is miked with a condenser mic directed at the speaker and panned to the center, whereas the 4x12 is miked with an SM57 facing downwards and panned hard left? Most of the time the 1x12 is much louder in the mix, mostly because of the panning and partly because the SM57 is positioned to capture no direct sound from the speaker, so has way less presence frequencies. Even though I agree with a lot of the reasoning, I have to point out that the audio recordings aren't an apples to apples comparison. At 8:07, when the cabinets are finally at same perceived loudness, the shortcomings of the 1x12 are finely exposed. It's possible to compensate or exaggerate the properties or "faults" of any sound source just by positioning a mic differently. Or use a different type microphone altogether. In the end, the music tells what it needs, and surely there are more than one way to any destination.
In addition to mic positioning, the SM57 on the 1x12 is an under $100 USD dynamic mic, while the Peluso used on the 4x12 is $3,000+ USD large diaphragm condenser mic. These mics have very different characteristics, which may contribute to the sound differences between cabinets. Why not use the same mics on both cabs?
The 1x12 could be made quiet enough for the condenser to take it. I tried to point out that it’s indeed not apples to apples a couple of times in the video but it doesn’t hurt reiterating. I want the 4x12 to win as much as you do 😂
This video inspired me to bring my JCM1 one watter down from upstairs, where it had been sitting on my Marshall Vintage Modern's 4x12 (Greenbacks), and try it out on the Marshall 1912 1x12 cab (Celestion 12b). I tried it last night with a Les Paul and this afternoon with rosewood board Strat and Tele. All 3 sounded awesome-MV about 10 o'clock (much above this it gets loud!) and Preamp about 2-3 o'clock, EQ to taste. Hard to compare as the 4x12 is upstairs in a small bedroom and the 1x12 down in the much larger living room (I must be more scientific). Whatever, the JCM1 and the 1x12 would make an excellent, compact recording rig!
Glad to hear it!
@@JohanSegeborn Appreciated👍! Thanks for all your great reviews!
I’m digging the 112. I run a Marshall 20 watt or JMP 50 Watt thru two Boogie cabs, one closed one open back with new British 16ohm 112 25watt greenbacks speakers. 👍
Great video. Thank you!🎸
Thanks Tom!
Hi Johan, over the past few years I have downsized from a late '70s 1960A to a vertical 2x12 and now an oversized 1x12: the Bluguitar Fatcab. It is designed to sound like a (baby) basketweave 4x12 and I have to say it sounds massive for its. I only changed the stock speaker to a Fat Jimmy C1265GB which I like much better than the G12M-65 Creamback. So, check out the Bluguitar Fatcab and the Fat Jimmy speakers, they make a 25W G12M style speaker too. :-)
Johan should join AC/DC . He would be the perfect fit now that Malcom has gone to the other side.
Thanks Dan! That’s so kind of you. I’m nowhere near as tight and steady though
The oversized Mesa 1x12 is amazing at splitting the difference, as long as your amp has a resonance control in the power amp. That cab whooped the 2x12s and some of the 4x12s I played through.
Yeah I bet it sounds great in the room and makes the room nice sound a lot better
The Marshall 1x12 sounded really good Johan. Though I prefer the fuller sound of a 2x12 to get that bit more depth while still retaining some clarity. For the longest time I've run my old JTM45 (30w RMS) through an early 1980's model:1936 JCM800 2x12 with Marshalls original build pairing of G12T-75 and (much maligned) G12M-70 Celestions and it sounds great to me.
Thanks Chris!
Another informative vid John. Does the "even order sound waves" apply for bass applications aswell?
Thanks Tim! That’s a very interesting topic that I should look into and do a video about
Aloha Johan I put money down on a Germino amp. I guess I don't have to hurry in buying another cabinet try it with the 1-12 for awhile. Mahalo Johan.
Aloha Victor! Those are killer amps
I've got a 4x12 for my own pleasure too. Got tinnitus as well.
Hahaha! Yeah same misfortune here
I always have liked the punch on a single 12. Doesn't work for huge amps until recent innovations, but I made an oversized 112 with a swamp thang attached to a Marshall 10 watt SS and it sounds killer.
My immidiate thoughts already 1 second into the video is that I totally agree. I myself likes 10" more, especially fender (Jensen) speakers. Especially when recording I have better experiences using single speakers rather than 4x12 cabs.
Thanks I love 10” with Fenders too
Multiple 10s work really well especially if you put them in individual cabs. I use pine cabs. Works w F and M amps. I find it a tad better than 1x12 which i also use.
Always great!
Thanks Jimmy!
Hi Johan, have you ever made a video of EQ tone match between 4x12 and 1x12? I remember the one of EQ match between GB pulsonic vs reissue and it was very useful.
Hi! That’s a good idea for a video
Very interesting… differences for sure, but all good sounds in their own way.
I’d be curious to see how they worked in a full band mix though… we may be surprised what ends up sounding “better” at that point.
Plus huge consideration: what speakers were you using ? I’m assuming the same?
Love your channel and no bullshit RocknRoll approach!
Thanks! Yeah same speakers in both! In a band mix all bets are indeed off
Should be no surprise, 4x12 was made to sound _loud_ when playing _live_ ... :)
Yeah sound reinforcement!
I'd love to hear the 4x12 and the 1x12 tracks combined. I enjoyed the demo.
Greetings Johan, Big fan of your videos. Could you please tell me what you used for EQ Comp.?
Hi! Glad to hear it! I used the Cubase function embedded in the EQ curve where you can match your tone other samples. I used Aces guitar on Deuce 75 to do that. So the EQ is based on your recorded track. In my case it meant heavy boosting over 4k and heavy attenuation under 500k to basically 70k
@@JohanSegeborn Thank You, Johan. Sorry for the double mail.
I love my 2x 1x12 with two 1970 G12H30, prefere it over a 4x12 or 2x12.
I finally got three pre rola G12H30, so true they are all a bit different, one is super sweet kinda like your favourite one.
Greetings from Germany!
Cheers from Sweden!
Din svengelska gör mig alltid lika glad men även alla dina tester!
Tackar så mycket! Så pratar man engelska på Volvo!
@@JohanSegeborn Haha. Jag kallar faktiskt det även för företagsengelska :)
I love my JMP 2103 100W 2x12 combo which is open back.
Great sound!
Thanks!
I have a 1x10 that I made that is my favorite sounding cabinet. I sold a 2x12 that I made, I have a very old Vox 2x12 and a 2x15. The order for me is the 110, the 2x15 and then the 212. I made the cab extra deep and it has a reconed EAW in it. I didn’t expect to like it much but that matched to my Univalve fits me.
What speaker are you using in the 110? I made a pine box 110 and a 112. I stuck an alnico gold in the 110 and maybe I want to try something else in there instead.
@@Les537 I was pretty broke at the time and picked up a re coned East Audio Works speaker from Central Florida Speaker Repair with plans to replace it later. That won’t be happening. The cab I made is 2 ply I made out of Mahogany and Poinsettia (on the inside), the cab is 15”h x17”w x 11”d if that helps any. Seeing your handle my first name is Les. Most people find 10’s lacking so it could be just my ear?
It looks like you used a different mic for the 1x12 (large condenser) than the SM57 (dynamic) for the 4x12. Could this be affecting what we are hearing? BTW, I definitely prefer the 1X12 with close mixing! Thanks for this great video!
Thanks! Yeah it definitely has an impact. It’s a benefit of the lower volume of the 1x12
@@JohanSegeborn Ahh, I did not think of that. Makes total sense. I have a reissue 1974X and am going try this recording method!
Thanks, excellent vid now...Put in a 2x12 comparsion also Johan ; )
Hi Johan is there anyway you could load a cab with some of your Peavey Scorpions and play one of your Marshall heads through it as I've read that Nuno Bettencourt had loaded a Marshall 412 cab with Peavey Scorpions during his time in Extreme and his first album but I don't know how accurate that is but am very curious to see what magic you can pull out of the Scorpions as I have an old Bandit with one and would love to hear what the Scorpions are capable of as they must be good if Nuno took out Celestions out of his 412 to.put in scorpions but anyway thank you for your great content and information and awesome playing you give us
Hi! Cool I didn’t know that! I’m gonna try it
@@JohanSegeborn thanks Johan i would love to see a video of you trying them out as i also read Steve Morse used Peavey Scorpions for years as well
I have an old closed back Marshall Valvestate 2x12 cabinet that I only run a single old Celestion Blackback and it sounds killer...
I've been using a 112 setup for most amps. Attenuated.
Currently building a 68 1987 and it.will be interesting to try the 112 and attenuator
I recently switched from a 2x12" to a 1x12" and similarly I like the results better with a single speaker. I am using the Avatar British style 1x12" (similar dimensions to 1974x) with a Scumback pre-rola 30W speaker with various lower wattage amp heads. I still have a couple 100W stacks with Marshall 4x12s, but the 1x12" legit sounds better/way more clear.
Hi Johan, apologies if this was mentioned in the video, but what is the model of Marshall 1x12 used here? Agree great tone! Have been thinking about the sv20H but its a bit trebly and almost voxy to me. This 1x12 sounded great.
It’s great hearing your thoughts and knowledge on this. Awesome tones ✌️😎🤘
Would a closed back 2x12 be a happy medium between the advantages of the 1x12 and 4x12 in your opinion?
Thanks! 1x12, 2x12 and 4x12 all have their characters if you include the room sound otherwise 1x12 is the way too go. I think..
@@JohanSegeborn what’s your opinion on the 2x12 vs 4x12 in the room sound included scenarios? Thanks for your reply and help 🙏
Are you a stock finally tuned 1970 Marshall major with an Old for my twelve birch ply. Including the back with 275 W cream backs and 251 red backs for bass ...
Hes a big different as opposed to a fight use a 1 by 12 bass ..combo.. No 2 speakers sond the same..
And that's real of the four by twelve bottom bottoms the main frequencies you are able to disperse..
One compensation the other. and I run Vintage Gibson basses....
Thank you again for your beautiful demonstration.❤❤
Thanks Charles!
brings to mind my never ending argument about playing live, nothing beats a half stack or better a full stack, they are just physically and sonically better, if you can wrangle the feedback to the guitar, but all the sound "engineers" out there want absolute control, well... R+R is about not having full control of where it might go, the physical force is as or more important than "having a good mix" its one thing to rein it in in a studio, even then recording the guitars with the amps in another room changes how they react with the instrument, and therefore the player (especially if its someone like Johan, or myself that spends entirely too much time in front of half stacks and can work with that physical interaction between guitar and amp...)
Though... I am getting older now... and dragging around 2 half stacks to every show is just painful now, damnit I NEED roadies
Yeah that’s a good point. The physical interaction between a full stack and the guitar in the same room produces sounds that no 1x12 rig can get close to. But it’s so much more difficult to record and actually translate to tape that usually the 1x12 setup is the realistic option
Interesting as ever. Is it open back 1 x 12" rather than closed back cab?
Thanks! It’s open back
Is that the blues breaker and was that their version of a plexi in a combo ? I forget all this stuff. I want one of this Royalist amps if I had the cash.
Hi Dan! That’s the model 1974X 18W. The model 1962 Bluesbreaker was indeed the JTM45 and later the 50 W plexis in a 2x12 combo
Of course for recording you could re-amp or record the studio monitor and pan them to yr taste, ACDC style.
Cool! Any info on how they did/does it?
I think the best is a 4x12 cabinet with 1 speaker inside so you can preserve the look of it 😊
I did that here actually ua-cam.com/video/Aba8WaCz_Dg/v-deo.html
@@JohanSegeborn thank you
Holy shit the tone at 8:05 is crazy. That’s easily one of the best rock guitar sounds I’ve ever heard. Is this just Marshall and Hiwatt double tracked and hard panned with celestions? Or just one guitar through both amps
It’s all subjective to the player and the use of application I guess. Like you said l, there is a back and forth depending on the sound you want on a certain day.
It would have been interesting if you had added a 2x12 in the mix since I am a Bluesbreaker player. I have the full stack and the 2x12 so I guess I can do the comparison myself, but you have really turned me on to the 1974X when you swapped a vintage speaker into it. Is that what is still in there for this comparison?
Thanks for your curiosity and time to do this for us.
Thanks! Yeah the 1974X still has the ‘68 G12M Greenback in it.
I love my 4x12 lugged it everywhere.
They ALL work but 1x12 records way better! Better definition! \m/
Cheers DMS!
Absolutely great. I see you so rare last time, so I am just enjoying your videos, and trying to make something too. In November we will do the release with HRAD, we made a perfect album, so I will send you the link, when it will be on the YT. I am sure, you will like it. Of course I wrote all songs, like I do last 4 years. French metal is very melodic and I did my best there. See you!
MY BEST WISHES FOR YOU, I hope, you will be a little more. I am the old fan of your channel. I guess, 6 years...
I’m looking forward to the album man! I’m glad to have you here my friend!
For some reason the 4x12 sounds a bit muddy and this doesn't fit with some recordings (just one example Hendrix live recordings) where the 4x12 sounds clear and balanced. For this style of rock perhaps the 1x12 sounds clearer and better but I wonder if a different cab, mic or room or something else would change that. Also I watched the producer of Slash's album show how he micd the 4x12 and I think he used 3 mics and went to a lot of work to place and combine them for the sound. In conclusion, I think the 1x12 sounds excellent but I would go back and try to make the 4x12 sound better, because I think it can sound a lot better. Thank you for your passion and videos.
Thanks Jimmy!
Imo two speakers sound more three dimensional and open than single speakers. A friend of mine put a slightly tweaked 50w Marshall head into an open back 2x10 combo. The most magical amp ive ever played
The 1/2 stack is classic but I love me a 1×12 combo!
I would also argue trying a 410 greenback combo. Love my home built one. Not as back breaking and really full in room.
Hi! Those are really bright at least the original 7442 equipped ones. But if tweaked darker great cabs
@@JohanSegeborn I had the G10L35s 1965 cab and a mosfet lead 100 watt marshall that I traded away for peanuts. They were really bright (one of the half stack also had some Emi ram rods in x pattern ) and a bit thin with the lead 100.
The greenbacks don't seem too bright, but I have been playing a lot with Jensen speakers and need a bit more brights as I get older and I lose the treble in my hearing. So they could be bright, but not jensen bright. I also don't have the originally 1965 to compare. Those greenback tens are very under rated. Lots of bass in room. My 410 is a bit deeper than the marshall and the materials are birch instead of the 1965 plywood. Maybe the change in cab is what makes mine less bright??
Hello Johan, love your videos and riffs. What do you use for EQ Comp.?
Thanks! Cubases on onboard EQ curve comp
Thank You
For recording, the single close-miked 1x12 is very nice and spongy, but once you start stacking them, the lack of low end becomes apparent. But then again, I've never been able to get anything resembling what my amp sounds like in the room by placing an SM57 right on the grille. The close-miked sound is horrible, in my opinion, no matter the type of amp, speakers, cab, etc. With an SM57, what I do is, move the mic close to the surround, about an inch away, and pull it back about four inches. Once I do that, the low end starts sounding very room like, whereas with true close-miking, there is a bass boost that you would have to EQ pretty aggressively to get rid of.
I always preferred a 1x12 as a guitar player (I transitioned to bass about 10 years ago), maybe a 2x12 for bigger stages. Even on massive festival stages, I found a 4x12 cab (let alone a full stack!) to be way too loud to get turned up properly, without absolutely destroying everyone else's mix on stage. And even then, at those big shows, the FOH engineers are still only mic'ing up 1/4 speakers, so I'll have to admit I've never understood the appeal of 4x12 (apart from the "it's big so it's cool" thing).
This recording test is no exception; the 1x12 sounds amazing, and the 4x12 sounds like a chunky, muddy mess (to my ears, anyways).
Johan, could you explain the eq compensation you’re using to match thr 74x to Ace’s Alive tone? I too am a huge Ace fan and also have a 74x, so it would be very helpful how you are getting so close EQ wise. Thanks!
Johan, the drummer looks just like you..😄
Hahaha! 😉
I think mic'ing a top rather than bottom speaker on a 4X12 makes more sense. With an angled 4X12 the speaker isn't parallel to the back of the cab which results in better resonance and you are also further from the floor which avoids the bounce from the floor getting into the mic.
For the same reason I would get the 1X12 up off the floor.
It’s a good point if mic further out. But with close miking like this the benefit of firm anchoring might be paramount
Have you ever tried plugging the 18w into a 4x12 cab to see how much the tone changes going from EL34 to EL84? I know the sound level would be less with 84s, but not sure if the 'boxy' sound is from the small cab or the tubes.
I have actually, and the EL84s are rounder sounding than the EL34s
@@JohanSegeborn Thanks Johan, always look forward to your videos!
Excellent. What's the exact model of the. combo marshall? A new 1974x with a stock speaker? Thank you
Thanks! That’s a 2008 Marshall 1974X 18W reissue with a 1968 G12M25 75Hz Greenback
The slanted 4x12 has a lot of internal phase issues, so the 1x12 will sound somewhat cleaner and more defined. BUT, I prefer the 4x12 for the hugeness. The straight B cabinets has less phase issues than the slanted A cabs.