13 Apr It’s The Vega, Baby! (FIRST VEGA TEST)
Still learning here.
With this one, I took away some more TX level. I realized it was too much on the arpeggio piece-thing in the middle of the song: my picking hand was too noisy because of the excess compression.
You see, this thing works as follow: there is a compressor on the TX; and an expander on the RX.
The expander is set to a given level of expansion. If you compress a lot on the TX via the “sensitivity” knob, only some compression will be expanded in the RX, this resulting in evident compression. At times, maybe too much.
So I am thinking that probably all of the earlier ones had too much compression. Tomorrow going to re-play them all and see what happens.
When you roll off some sensitivity on the TX, some boost is taken away though. So you have to “compensate” adding more boost on the RX. In this way, they are “interactive”.
For this piece boost on the front RX was at 1 o’ clock.
One thing that I haven’t tried yet, and will try tomorrow, is to keep TX low and add a lot of boost (maybe even max) on the RX.
While messing around, I said, “why not try everything at full?”. TX same as before though; front boost full.
Marshall volume 10.
Guitar 10. By the way, for “You Shook Me All Night Long” and this Back in Black Solo, I have used the ’69 custom with the AY signature pickup.
Ain’t it lovely? It is. And it demonstrates that t-tops ARE replaceable.
Also, “so much for tone is in the hands”. Without the Vega, NO ONE, not even Angus, could replay this stuff this way.
Listen to the sustain of the notes. I have been thinking for YEARS that it was because the amp was fully blasted. I was wrong. It’s the Vega.
I’m learning how to use this thing.
I took out some TX sensitivity, and increased the monitor boost. After talking to Guido – now the ONLY tech in the world who is reverse engineering schematics of my Vegas an teaching me how it is made, he told me that – not surprisingly – the Monitor Boost on the RX and the sensitivity on the TX interact.
How wonderful is this?
I also raised slightly the amp’s volume, now at 5.
Guitar: rhythm 7, solo 10. As simple as this.
You Shook Me All Night Long.
Enjoy. We deserve it.
You Shook Me Vega
Well well well well…. it is IT!
End of it all. It WAS the Vega. It WAS!!!
After two weeks of dreaming, while sweating myself to bits in the Indian hot climate, and ten hou trip yesterday, I woke up this morning at 4 dot something AM not resisting to try it. But I had to really hold on to a couple of hours ago to really test it.
ONLY partial testing so far: I could not test the back panel boost (+20db) because I do not have an XLR to 1/4 Jack cable. Damn.
But you now what, my main interest was for the front panel anyways.
This thing works like a charm. I say again: it’s wonderful.
It has A LOT of different possible settings, and it took me a while to record this first test, with:
– Vega transmitter
– Vega Receiver
– one 1976 Marshall 1959
– one 4x12B cab with G12H30s (not sure if these are the right speakers yet)
– one “run of the mill” 1969 Gibson SG Standard.
NOW, the fun part comes from the settings you have on the TX (transmitter, from now on) and RX (Receiver, from now on).
Actually, one only knob on TX and one only knob on RX.
On the TX (see picture) you have a sort of “sensitivity” knob. In this demo, it’s put to the max (and I am not sure this is the perfect setting for BiB).
On the RX, you have a “Monitor Ouput Volume” knob, which can boost the HELL of the input of an Amp (“You can give a guitar hell”, someone said, and he was right!).
Both are extremely sensitive and whatever you set them to (the Volume boost on the TX was set to 11 o’ clock) your guitar and amp will react differently!
Now hear this, the 1959 is at 4. Treble 5, mids 3, bass 8, presence 0.
My equalization curve had to be reduced in effect (i.e., I had to REMOVE boost of frequencies) because the Vega really boosts and adds its own tone (which is what you hear here).
LOTS more mids!
Now hear this: when you put the guitar to 10, FULL, the high freqs crash onto themselves and the bass ones come out fully. THAT IS HOW ANGUS has been having his solo tone in the years 1979 (at least)- 1987 (circa).
As you roll off the guitar volume knob, some bass is lost and mods/treble are added. So weird. There IS compression (especially with the TX set to full). Guitars cleans up nicely.
I am SO excited I can’t even write.
This demo audio test was recorded with a single condenser microphone thrown in almost by chance. Back in Black “tone” seems so much easier to get. Which is exactly what I was hoping/expecting.
Not even two mikes, just one.
Final note: please do not expect this to sound 100% like the record YET. I am not sure of the TX and RX settings.
This super quick test was “just” to demnostrate that the general “texture” of this tone was done this way, and I think it’s now 100% sure.
Also, the whole thing was done in one single take, same eq settings, same everything. I just raised the guitar knob to 10 for the solos and back to 7-8ish for rhythm. Pretty dramatic result I’d say.
Don’t you think?