Thanks. It's not the most pristine way to record either of them, but it does show how they sound relative to each other at the same time, same room, same mic, same guitar, etc.
@@sandroquinta1125 It depends on the task. The THR is versatile, reliable, adaptable (headphone out, Bluetooth, wireless receiver, stereo line out, etc). The Super Reverb is ... real? It's the actual thing the modeler is trying to model. But it's heavy, loud, and requires pedals and accessories to achieve sounds other than what it is - a classic, responsive, full-voiced clean(ish) tube amp.
@@itsyeboykp One thing I’ve had very good results with for making a small practice amp sound less boxy is a sonic maximizer, an effect invented by BBE. I’m using a copy of one as an alway-on pedal with my small practice amps.
That’s actually impressive! I also have the thr30iiw and you need some time to figure out how to tweak it. One big tip for me was varying the speakers. Thank you!
Sounds great. I love my Yamaha THR30II (black). I made a Clean-patch that's (kinda) Fender Princeton-like. Gorgeous Reverb-too. Great little amp. oNe LovE from NYC
Yeah, I've got an early 70's Princeton. Great amp. Seen Jim Campilongo's Princeton stuff? He's another NYC guy. ua-cam.com/video/KB9oKx5km0A/v-deo.html
@@antiprise Oh Yeah. I know who he is. Plays alot in Brooklyn. He likes to Crank-em. I love them for the Pristine Cleans, Reverb and Tremolo. I use pedals for my drive: Barber Gain Changer SR > Fulltone OCD > Thorpy Fallout Cloud . . . I can get most Anything with tose 3. Very happy I purchased this little Yamaha. Listen to Jon Parker Simpson on You Tube, for the Ultimate Princeton Clean Demo.
Hey, yeah, I've played a lot of surf stuff through a Super and a Deluxe (and Pro and Twin). A Telecaster isn't the best choice, but regardless of which guitar, I scoop the mids pretty significantly, and soak the spring reverb, using a longer decay and a brighter tone. A lot of the gain from those tones is actually breakup and fuzziness from the reverb - the actual signal is mostly clean. You might also add a very subtle slap delay to simulate the cement room echo chambers that were popular at the time. But the key is the big spring reverb. When I've got a minute I'll post a video on the newest "jack of all trades" tone I made after realizing these tones don't quite cut it for loud live performances.
I feel like i knew which was the fender but the yamaha is so damn close its hard to tell. The overall size of the sound is the give away not the acc sound itself if that makes sense.
Totally. Very well said. I just record these with a room mic ( not the AKG in the stand by the amps - that was for something else). The mic was a couple feet from my face and about 8 feet from the amps. So yes, especially when listening with headphones or good speakers, you can tell the Super is moving more air. It's a bigger sound. Mic'd up close and they get even more alike.
Hey, great question. I've just finished building a tone for that exact situation. I'm doing some live gigs at a place with no house PA or sound tech. Instead of using a Deluxe, and a pedalboard, and a mic for the amp - and dealing with the nightmare that would surely ensue - I'm using the THR. I built a new tone, much better suited for the variety of tones needed for a loud live gig (I'll try to post a screenshot in the comments). Lining out to another amp or powered speaker works really well. If there's no PA at all, I line out into a powered PA monitor (mine is a Mackie Thump 12" wedge with a horn and 3-band eq with the bass rolled off a bit). I also have a 4 channel Acoustic AG60 - similar situation to you with the Marshall. Line out mono L into the Marshall and eq to taste. Set the THR settings for guitar volume (in the settings section) to 50 percent. Turns out it's more of a blend knob between the guitar volume and the aux audio volume. When I first lined out, it was set to 100 and the line out signal was much too hot. You can then adjust the guitar volume coming out of the THR speakers with the regular volume knob independently of the signal being sent to the Marshall. In a small gig setting you could aim them both at the audience, or use the THR as a personal monitor. Hope that helps.
.. This is exactly what I wanted to know. In a sense, a welled programmed THR plugged in a well EQ'd PA can get you that Super Reverb iteration at gig volumes? That is impressive
It's mostly an old Fender Thinline Telecaster. The neck is newer - a replacement. It has Franlin Vintage Hot Tele pickups - standard, not overwound, and a treble bleed.
Most likely, yes - if there's an emphasis on quiet, and if it's for rehearsal. It's fairly loud if you're close to it - within a few feet. That's what makes it such a nice practice amp, the sound is loud and full, but doesn't carry to other rooms. Of course, that same benefit becomes a hindrance when attempting to perform to an audience in even a small venue; it just doesn't move air or throw the sound very far. For that you would want a powered extension speaker. Hope that helps.
At the loudest it's all the way. I usually keep it rolled back to about 9. Softer stuff is maybe 7? Your results will vary though depending on pickups, electronics, and tone and sustain of your guitar. The sparkle guitar has Fralin Hot Tele pickups (not overwound) , .250k pots and a treble bleed circuit. Tone knob adjustments also do a lot. I'm usually at 8-9 for neck and combo, roll off to 7-8 on bridge (usually).
Cool comparison. Kudos for using a room mic. Everyone close mics the THR in demos which gives you no idea how it would sound in person.
Thanks. It's not the most pristine way to record either of them, but it does show how they sound relative to each other at the same time, same room, same mic, same guitar, etc.
@@antiprise any preferences?
@@sandroquinta1125 It depends on the task. The THR is versatile, reliable, adaptable (headphone out, Bluetooth, wireless receiver, stereo line out, etc). The Super Reverb is ... real? It's the actual thing the modeler is trying to model. But it's heavy, loud, and requires pedals and accessories to achieve sounds other than what it is - a classic, responsive, full-voiced clean(ish) tube amp.
@@itsyeboykp One thing I’ve had very good results with for making a small practice amp sound less boxy is a sonic maximizer, an effect invented by BBE. I’m using a copy of one as an alway-on pedal with my small practice amps.
Yes, a Super Reverb on the Yamaha!! Thank you so very much (typical SRV quote, who loved the Super Reverb 😊)
The THR is impressive
Thank you so much for a very informative video, for a person totally new to amplifiers. Simple and straightforward clear as day. Thank you.
Excellent demo, and thank you for the settings. I appreciate you sharing this with us.
Absolutely brilliant.
Truly high praise from a channel with a name like yours. Thanks.
Brilliant video. Some really usable tones there! Thanks for sharing. Subscribed 😊
That’s actually impressive! I also have the thr30iiw and you need some time to figure out how to tweak it. One big tip for me was varying the speakers. Thank you!
Sounds great. I love my Yamaha THR30II (black). I made a Clean-patch that's (kinda) Fender Princeton-like. Gorgeous Reverb-too. Great little amp. oNe LovE from NYC
Yeah, I've got an early 70's Princeton. Great amp. Seen Jim Campilongo's Princeton stuff? He's another NYC guy. ua-cam.com/video/KB9oKx5km0A/v-deo.html
@@antiprise Oh Yeah. I know who he is. Plays alot in Brooklyn. He likes to Crank-em. I love them for the Pristine Cleans, Reverb and Tremolo. I use pedals for my drive: Barber Gain Changer SR > Fulltone OCD > Thorpy Fallout Cloud . . . I can get most Anything with tose 3. Very happy I purchased this little Yamaha. Listen to Jon Parker Simpson on You Tube, for the Ultimate Princeton Clean Demo.
Cool tight playing great demo!
Awesome thanks
Very nice tones, and that tele is stunning. Any tips for surf tone?
Hey, yeah, I've played a lot of surf stuff through a Super and a Deluxe (and Pro and Twin). A Telecaster isn't the best choice, but regardless of which guitar, I scoop the mids pretty significantly, and soak the spring reverb, using a longer decay and a brighter tone. A lot of the gain from those tones is actually breakup and fuzziness from the reverb - the actual signal is mostly clean. You might also add a very subtle slap delay to simulate the cement room echo chambers that were popular at the time. But the key is the big spring reverb. When I've got a minute I'll post a video on the newest "jack of all trades" tone I made after realizing these tones don't quite cut it for loud live performances.
Speaker setting on app is set to focus or open ?
Great questions. I had to go check. Set to "focused".
Just subbed
I feel like i knew which was the fender but the yamaha is so damn close its hard to tell. The overall size of the sound is the give away not the acc sound itself if that makes sense.
Totally. Very well said. I just record these with a room mic ( not the AKG in the stand by the amps - that was for something else). The mic was a couple feet from my face and about 8 feet from the amps. So yes, especially when listening with headphones or good speakers, you can tell the Super is moving more air. It's a bigger sound. Mic'd up close and they get even more alike.
what settings would you recommend to replicate a fender twin reverb
Great videos, thank you. What advice would you have for gigging my THR 30ii thorough my Marshall AS50 acoustic amp for greater volume?
Hey, great question. I've just finished building a tone for that exact situation. I'm doing some live gigs at a place with no house PA or sound tech. Instead of using a Deluxe, and a pedalboard, and a mic for the amp - and dealing with the nightmare that would surely ensue - I'm using the THR. I built a new tone, much better suited for the variety of tones needed for a loud live gig (I'll try to post a screenshot in the comments). Lining out to another amp or powered speaker works really well. If there's no PA at all, I line out into a powered PA monitor (mine is a Mackie Thump 12" wedge with a horn and 3-band eq with the bass rolled off a bit). I also have a 4 channel Acoustic AG60 - similar situation to you with the Marshall. Line out mono L into the Marshall and eq to taste. Set the THR settings for guitar volume (in the settings section) to 50 percent. Turns out it's more of a blend knob between the guitar volume and the aux audio volume. When I first lined out, it was set to 100 and the line out signal was much too hot. You can then adjust the guitar volume coming out of the THR speakers with the regular volume knob independently of the signal being sent to the Marshall. In a small gig setting you could aim them both at the audience, or use the THR as a personal monitor. Hope that helps.
.. This is exactly what I wanted to know. In a sense, a welled programmed THR plugged in a well EQ'd PA can get you that Super Reverb iteration at gig volumes? That is impressive
Nice, Works very nice with my Yamaha THR 30II, can you do something for acustic Guitar. Already subscribe the channel 👍
What guitar is this you're using? Very cool!
It's mostly an old Fender Thinline Telecaster. The neck is newer - a replacement. It has Franlin Vintage Hot Tele pickups - standard, not overwound, and a treble bleed.
Hi, can yamaha be used near a quiet drummer (jazz tupe) in a small rehearsal room? Thanks
Most likely, yes - if there's an emphasis on quiet, and if it's for rehearsal. It's fairly loud if you're close to it - within a few feet. That's what makes it such a nice practice amp, the sound is loud and full, but doesn't carry to other rooms. Of course, that same benefit becomes a hindrance when attempting to perform to an audience in even a small venue; it just doesn't move air or throw the sound very far. For that you would want a powered extension speaker. Hope that helps.
@@antiprise yes thanks a lot!
what is guitar vol at?
At the loudest it's all the way. I usually keep it rolled back to about 9. Softer stuff is maybe 7? Your results will vary though depending on pickups, electronics, and tone and sustain of your guitar. The sparkle guitar has Fralin Hot Tele pickups (not overwound) , .250k pots and a treble bleed circuit. Tone knob adjustments also do a lot. I'm usually at 8-9 for neck and combo, roll off to 7-8 on bridge (usually).