Let’s take a look at the test.

Here's a photo looking through the sound booth door. The Ribbon mic in front of the 4x12 was not in use, only the lower right speaker of the 4x12 was actually recorded.

3 cabs and a Coyote. Each cabinet was played independently, not all at the same time. Starting with the 1x12 then 2x12 and finally the 4x12.

The microphone, a cardiod pattern was selected and the microphone was pointed at the cab being tested. I rotated the microphone in the direction of each cabinet tested as they were being played.

Yes boys and girls this is the real deal. A true Telefunken U47 not an imitation and not an old microphone but a new microphone built in South Windsor, CT by the real microphone manufacturer Telefunken Elektroakustik. Originally designed in 1946. This is an iconic tube microphone that is incredibly accurate and clear. Capable of handling SPL levels of 139dbs, which our test was well below.

Compare these even half way through so you can hear the difference on the fly.

The 1×12 cabinet – 1×12 mp3
The 2×12 cabinet – 2×12 mp3
The 4×12 cabinet – 4×12 mp3

One of the things I have advocated this season was to try and NOT spend your hard earned finances at big box retailers. If you’re going to buy, then try and buy better from a local store, a quality outlet that cares. Lower prices many times means lower quality and lower wages. Everyday lower prices as they say is the epitome of this.

Instead, I advocate making your own gifts. This is an ideal way of showing those you care for that it’s worth your time to make it. If you can’t make it or don’t have time. Try and find it made by people near you. These small steps speak very loudly.

Now, if you’re going to eat out, and you’re going to say an italian restaurant, do you really think the Olive Garden is the best you’re going to get? Probably not, If you’re going to spend a good amount on something, why not spend just a little more and get something superb for your money?

One thing I’ve learned over the years, not always does it have to cost a lot, but it tends to be a LOT better if its just a little more.

Hope this proves to be the case for you, Buy local buy from quality companies and try to remember, it’s the giving, not the buying that counts.

Best wishes for the season.
Victor Mason

Coyote: Now $1695

Sidewinder: Now $1895

Scorpion: Now $1995

Plexi 45: Now $1995

Sidewinder: Now $1895

If your heart is set on the Dirty Boy check out our current offer while your there.

http://mojaveampworks.com/amplifiers/

I have pulled a short excerpt from the article which you can read in full at: Def Leppard

Here are the excerpts form the interview. it really is a moment of pride for us and we felt compelled to share it with you.

You guys have different amp rigs for Def Leppard, depending on where you are in the world, as well as separate rigs for your side projects, right?

Campbell: For Def Leppard, I have the typical switching system, with a refrigerator rack full of digital delays and stereo processing— which is necessary. My Def Leppard rig hasn’t changed for years, but this year I swapped out my Marshall cabs for Engl cabs, which sound a lot brighter to me. I’ve also put in Engl power amps, which have a lot more flexibility. I’m still using the Marshall JMP-1—I’ve had it in my rig for 15 years—but in addition to those, I’ve been given a couple of Engl preamps to try.

I also have a brilliant-sounding rig that I built for the Thin Lizzy tour. It’s basically a Mojave Scorpion 50-watt head and a Mojave 4×12 cab. It’s a very direct signal path. With that rig, I run my Les Paul on a cable, because I don’t like what a wireless does to your guitar sound—but in Def Leppard I have to use a wireless because of the size of that stage. With Thin Lizzy, it’s my Les Paul into a Dunlop Hendrix Wah pedal to a Way Huge Angry Troll boost pedal to the front end of the Mojave. The Mojave doesn’t have an effects loop, but it has an adjustable line out, so I take the line out and feed that into the front of a Fulltone Tube Tape Echo. watt amp that powers a Marshall 4×12 cab. So I have a dry cab and a wet cab with a tape delay, and it sounds so good.

Vivian holding my lefty Les Paul, when visiting Mojave Ampworks

Vivian, what do you like about Mojave amps?

Campbell: They really breathe, and when you hang onto a note, you’re hearing all these rich overtones and undertones that you don’t hear in a lot of amps. Basically, the Scorpion is like a slightly hot-rodded version of an early JTM45, so it’s got that old-school thing.

Vivian Campbell’s Gearbox

Guitars

Rebuilt guitar with 1978 Gibson Les Paul Custom neck, Gibson ’56 Custom Shop Reissue Les Paul

Amps

Marshall JMP-1 tube preamp, two Engl Tube Poweramp E850/100 power amps, Mojave Scorpion head and Mojave 4×12 cab (for Thin Lizzy)

Continue Reading —>

This was a labor of love, but I really think this artist is one of the greatest song writers of the last century, right up there with the Beatles. I did not follow him all the years of his career but I am respectful of who he is and what he did, more over, his raw talent and many songs that are widely known but thought to have been written by other artist when in fact, it was This artist who wrote those songs. I will leave the name out for fun, if your old enough, you will know who this is. If you’re not, That’s ok, you will know now and that is a good thing,

1966 MONO Recording, Remixed by Victor Mason

Very Glad to have attended one of the first of a few new shows with a new band, Black Country Communion. The show was at Grove City Theater in Anaheim. Everyone was in great spirits and sounded terrific.

Mojave™ Ampworks LLC's Victor Mason, and Craig Tathwell both pictured on either side of Jason Bonham after the show for Black Country Communion

Here is a good example of the Coyote at work in a creative setting. Super rich and good textures, all with an amp that is only 12 watts.

True Life trial using the “Guitar Hands®” lotion.

So you think this will be boring? NOT.

To cut to the quick, this product is ideal for end users who pick up a guitar or bass instrument. Guitar Hands® is a very interesting product. There are several ways you can approach playing guitar. One is, you don’t care what your hands look like and don’t care if there is oily dirt on them, your guitar probably looks the part. I’ve seen it a hundreds times. Not only is the fret board disgusting, the tone of the instrument always suffers as does the tuning. If the gunk is like a snotty tar that coats your strings and fret board, it stands to reason it will dampen the sound resonance of the fret board. All things considered, that is the wrong way to handle your ax and your hands, not to mention poor hygiene.

Next, use clean hands and keep your instrument clean as well. Good idea, Excellent for tone and keeping the guitar clean. Tough on hand skin. As with all skin, if you wash them often (as I have grown accustom to doing) your dealing with some really dry skin. so if you bother to even try using hand lotion, your back to a sticky surface when you pick up your guitar. Not the right idea. One way around it is to use talcum power. That works but it looks like your a gymnast. Your instrument is always power white and if you thought you had dry skin now, don’t dare rub your hands together or they are liable to catch on fire!

Ok, here comes the Guitar Hands® Lotion. This is a unique product created by a one Doctor Randy Jacobs. Dr. Jacobs is a guitar player. He is also a Dermatologist. Great, fix my hands and help me keep the guitar clean!

That’s the result if your trying to do both. Dr. Randy Jacobs had created a lotion especially for guitar players. Here is the low down. Your hands are clean, you put the lotion on and rub it in. Wipe off excess with a dry towel. Wait 3 mins if that, your hands are now in great condition skin wise, but even better, they are dry and slippery like you wouldn’t believe. Think Grizwald sliding down the mountain with his new teflon coating on the bottom of his sled. Yep, lightening fast and no gunk on the guitar. Very cool. More over, you hands look healthy, your calluses are strong and do not peel. Your hands stay in great condition, while your playing is easy without the typical resistance.

I find this product to work especially well with Lacquer based guitars. Lacquer is tacky if your hands build up any sweat. Guitar Hands® seal your skin so this is not a problem. The skin cleanser as it is refereed to, does something I cannot explain other then to refer you to Dr Jacobs website, www.GuitarHandsLotion.com where Dr. Jacobs explains things well in detail.

So, in conclusion, this stuff in the bomb. I STRONGLY recommend this product as I have used it for a month, and the results are tremendous for a seasoned player, helpful for a beginner needing to prevent skin from tearing while building up calluses and finally, your guitar stays very clean and sound better without that build up if you had not used this product. One final comment, I  found myself using this product when I do not play the guitar. It really is great for making your skin healthy but without residue. I can promise, it is a real trip to put a lotion on, wipe it off and your hands are dry and super slick. Really cool and great for those who are in dry climates or just dry skinned.

For you swamp hand players, this is your one chance to stop spreading the swamp. clean your guitar, clean your hands and apply Guitar Hands® lotion. Wipe off excess and you can now pick up the guitar, (yours or a friends) and not leave behind a slimy sticky swamp mess. NICE.

Guitar Hands® Hand Care is three hand care products in one, and is specially designed for the hand care needs of guitar and bass players: A. It cleanses.  B. It moisturizes / conditions. C. It decreases friction

Check it out

www.GuitarHandsLotion.com

Until Next time.

Victor Mason

A while back I was wrestling with trying to correct phase for my microphone set up. The microphones all had a different distance between one mic to another. This would not have been such a big deal with only two mics, but I have 5 microphones in use. That tends to “complicate” things, just a little bit. The end result is, if you have more then one mic and they are not in exactly the same position, you’re most likely going to experience some phase distortion. The farther apart your microphones, the more time lag and thus more phase distortion.

Read more:
http://www.macprovideo.com/hub/logic-pro/phase-correction-using-logics-sample-delay-plug-in

You Tube catalog of Blues Saraceno / Hair Pick

Sidewinder High Gain with Pentode Equipped EF184 Full Length clip 2:48 min

Sidewinder High Gain with Pentode Equipped EF184 “Solos Only” clip 1:21 min

Used my Carvin SH550 for the whole clip. Low output Pick ups, 8.2K bridge. Semi Hollow.

Mastering. The post production phase where a completed mixed down track or CD album is treated through a processes performed by a “Mastering Engineer”. The Mastering Engineer readies the mix for wide scale reproduction and or broadcast.

Read more:

http://www.macprovideo.com/hub/audio-software/tracks-review-mastering-masses

Vivian Campbell and Victor Mason at Mojave Ampworks

If you’re thinking about speakers, changing them, buying them, wondering what the differences are and what is a good choice, you’ve come to the right place. The first thing to remember is this, Speakers are not right or wrong other then two factors:

1.) Under rated power for the amplifier they will be used with. If the speaker is rated for 15 watts maximum, you do not want to pair it with a 50 watt guitar or power amp. The speaker should be factory rated to equal or exceed the power level for which the driver is to be paired with. Rule of thumb, it’s ok to go over, not ok to go under.

2.) The speaker impedance should be matched to either the other speakers in the cabinet, or exactly to the output of the speaker connection of the amplifier for which it is connected to.

Ok now that we’ve got that out of the way lets take a look at a few interesting misconceptions.

Misconception #1: a Speaker with X impedance sounds better then Y impedance.

Speaker impedance is function of the power transfer equation which is factor of current flow from the amplifiers power stage. In tube amplifiers, the output transformer is engineered so it will reflect the correct needed impedance required for the power tube plates so they can operate safely and within specification while delivering the maximum power output. Therefore if your amp has both a 16 ohm and an 8 ohm output connection, the output transformer will have a tap on the secondary that allows for connection of the 8 ohm speaker and 16 ohm speaker. The tap for the 8 ohm speaker will use less wire to transfer the power while the tap for the 16 ohm will use more. The end result is the power for the given tap is identical if both are matched with the right speaker. The sound should also not change given these perimeters. It is not completely undebatable of course but this is something that is not of concern when looking for speakers.So to put it simply, the sound of an 8 ohm speaker is and should be identical to the sound of a 16 ohm speaker when connected correctly to the power amplifiers output taps.

Misconception #2: ie: A 100 speaker won’t work properly with a 50 watt amp. As referenced in the above statement about power rating, the power level does not prevent an amp from being used with the speaker power rating of a higher value, it does however create a different  scenario if under rated. Therefore, speakers with higher power ratings are safe and probably a good choice to use if your going to use the rule of thumb, need 100, get a 200. That means your not exceeding the specifications more then 50 percent. That will always be a good formula for preventing failure.

Since most speakers are run in a group, you can have a speaker rated smaller then the amplifier because as a group, they collectively add up to more then the individual speaker. This is the typical case for a 4×12 where 4 speakers would be wired in series parallel and the sum total power is 4 times that of the rated speaker power of any single speaker. In the case of a 30 watt speaker, that would mean you could expect at least 120 watts of useable rated power handling.

Hiwatt  made cabinets with 50 watt speakers and they were good for 200 watts and were sold with *DR504s (*Sometimes) and DR103s. They were also sold With DR201s which were 200 watt rated. So the amplifiers varied but the cabinet was good for a maximum to allow the larger of the three to be used. This was a smart way to do things to keep form having to use different speakers.

Misconception #3: the speakers need to be the same type, same brand and same power rating when used together.  Speakers work together and since they an offer different sounds you gain the collective benefit of them as a whole. This is common when using a Celestion™ G12 Alnico blue rated at 15 watts, mated with a Celestion™ G1230H rated at 30 watts. The total power rating can never exceed twice that of the lowest power rating of the two speakers. So, a speaker with a 15 watt rating would only make a cabinet 30 watts capable even though the second speaker is good for 30 watts by itself. In speaker configurations, power is divided equally so if 45 watts were used to power the cabinet with a G12 alnico Blue and a G1230H, you would exceed the total power capacity of the alnico blue by 2.5 watts. the speakers are both receiving  22.5 watts of power. Luckily G12 alnicos are under rated on purpose as are many speakers of good quality. The true power rating is  closer to 20 watts capable. Mixing speakers is a good way to benefit form the qualities and attributes of the different speakers so long as these are done in such as way as not to over lap excessively and create a build up in one particular spectrum of the sound. 2 speaker configurations are common as are “X” pattern 4×12 speaker configurations. An “X” pattern is where you use two different speakers and place them 1/2 on top and 2/1 on bottom thus forming an X from the diagonal corner to corner.

Here is a graph of what frequency spectrum different musical instruments have and their typical corresponding harmonics. Using this graph you can see the range of the instrument, in our case an electric guitar would typically have.

Electric guitar would not need to see  anything under 75 Hz or above 5,000Hz. That means when selecting guitar speakers, it matters that the speakers are within these perimeter. If the speaker is exceedingly high in frequency response, your most likely going to hear unwanted high frequency sounds not to mention that sound disperses differently as the frequency changes. Lower frequency disperse very widely, as you move upward in the spectrum, that sound dispersion is very narrow on a woofer and it is like a beam coming right at you. That is why it seems exasperated or excessive in high frequencies especially when distorted tones are used. As shown above, the higher frequencies are mostly upper-end harmonics. Harmonics carry varying degrees of frequencies depending on the amplifier and type of design. Some amplifiers are great for clean tones and produce many even ordered harmonics. If that same amplifier is driven into a distortion, those even ordered harmonics carry a larger degree of high frequency and that will cause brash and harsh sounding overdrive. Couple this with a bright response speaker and you have a formula for an ice pick in the ear effect. You’ll clear the room fast and also do a good job getting the mice and pests to leave the building. Maybe go into pest control. Sort of the opposite of the pied piper.

Ok, so now what about amplifiers with odd ordered harmonics? they tend to load up heavier on the lower end of the spectrum and the higher frequencies are still there but dissipate faster in energy and therefor aren’t as aggressive sounding as even ordered harmonics when distorted. Maybe I should rephrase that, the frequencies that are produced are very pleasing to our ears and the odd order harmonic typically will behave more favorably for electric guitar overload sounds. The speaker can derail this very easily because if that speaker puts back a strong emphasis on the  high frequency response then your dealing with a counter productive combination.

Now we’re getting somewhere. This is why speaker selection matters so much.

Let me use an example here if I may. Enter the WGS Reaper 55Hz. Most guitar speakers are designed to fit the spectrum of response that you see in the chart. That spectrum will reach pretty far down but fall off pretty hard around 200Hz and give higher frequencies a strong push. This is a carry over from the older vintage designs which most people found pleasant so long as things were kept clean. Usher in the distortions that create strong harmonics and that means your going to get into the ice pick zone very fast if not careful. The WGS Reaper 30 55Hz is different. They took the most desired speaker range and shifted it down a notch. The result is an exceptional extended lower frequency response that holds together very well on the low end and produces good even energy response for under 100 Hz, thus the 55Hz rating. A speakers rating such as 75Hz or 55Hz means its resonant frequency response is maximized at that frequency. That means if you run an equally power signal from top to bottom, the speaker will create a bump in the rated area and increase in volume. But 55Hz is not a common frequency for guitar, the truth is, the strength lies in a second set of parameters. The low frequency has good bandwidth and holds together at the low end giving the speaker great even low end. That is commonly described as a “Tight Low End”. Secondly, This “Shift” I’ve mentioned also means that the movement down towards the lower end has pulled back on the response of the top end. Now don’t fear, this does not mean your going to get a dull response by any means, but it does do something unique, it creates a very good energy distribution on the higher frequency harmonics and prevents them from going into the dreaded “Ice Pick” territory. NOW YOUR TALKIN. That is the hard part in speaker choices for amps that are pressing upwards in the higher frequency harmonics which just so happened to be the vast majority of guitar amps built today. With so much emphasis on high frequency in the over all architecture of many guitar amps, especially those based on JCM800 EQ and or any of the so called Lead circuits, your looking at strong high frequency harmonic energy. The cool part of that is it really gets the sound aggressive and responsive inside the amplifier. The trick is to not allow it to make a full showing at the speaker. Because of the harmonic structures of the guitar amplifiers tone circuits and gain stages, there are many other terrific sounds we like, but that high frequency can be brutal on the listener and that means you. Remember the dispersion pattern is narrowed on higher frequencies. That is part of the problem. So by shifting the speakers response downward, we get an authoritative low end response while smoothing out that top end so it is pleasant and balanced.

This is the power of good speaker selection when choosing your speaker.

One last point. A good speaker will have the makeup of sonic properties which best suit your amplifiers intended purposes. If your amp has terrific high frequency response, your not lacking or for want in that area and a speaker like the WGS is a good choice since they have really come a long way in tailoring speakers for guitar amplifiers with the principle of harmonics and  balance.

There are also a great number of their good speaker manufactures as well. To many to list here but I will say this, of all those who build guitar speakers, most are in the general range of full spectrum and will give different results yet stay pretty strong in the higher frequency arena. That is an important factor in deciding what you need. High frequency is many times the crutch that many amp builders use to get their amps sounding sexy and sharp.

It was once told to me by a friend, Billy F. Gibbons. Eating a bowl of sugar is fine after the first bite, but try getting to the bottom of the bowl.

Translation, to much of a good thing, … well you get the point.

Until next time.

Visit MacProVideo to read this artical

It also makes a great Vocal mic, Drum Mic and for any all around application, one of the best GP mics I’ve seen with both a Ribbon character and Large diaphragm character but better. Check out the CAD E100s, listing at $599

Are you a Recording wana be but don’t know enough about recording and need brushing up on your software DAW program? Do you need ground up starting from basic help? There are several EXCELLENT companies offering easy to understand software video tutorials. First one of my favorites, MacProVideo.com. These guys wrote the book on superb video training to learn any DAW software that is worth learning.
Next, ASK video is putting out some excellent product with an emphasis on focusing in at process and detail for the features on Logic, Protools, Cubase and Reason. They are good with all the software and offer a Melodyne tutorial that is fantastic.

If you’re looking for a superb read on the Recording industry, look no further. SOUND ON SOUND, or SOS is the best print magazine on recording I’ve ever read. They have an excellent on line interface and help forum and they really know the business. This is an excellent sorce for bolstering your knowledge in digital recording and all the trimmings.

High end guitar tone is here for the masses without the bulk of a big multi channel amp. Mojave Ampworks is offering the Sidewinder HG and with the hot market of recording this amp is ideal for anyone looking to build their arsenal. The Sidewinder has 30 watts of power but is fully adjustable to as low as 1 watt. The 6EJ7 pentode preamps are an excellent way to harness the superbly rich harmonic content and for digital recording, more harmonics yield better results!

More good tips on gear and software to follow.

He was very excited and eager to dive in to explore the huge pallet of tones and sounds the Dirty Boy has to offer. I will report back on the progress when i have a chance to spend some time with Billy and his new amp. I was invited to comedown to the Studio and do some dial turning which should make for some interesting sounds with Gibbons on the guitar..! Stay Tuned.