I was thinking more on this. Isn't it strange how close micing can make thngs sound more similar(especially when the mic/speaker are not moved between changes to an amp), but then in the room it is a different story? I wonder why that is? I mean it is the same room., and if the speaker doesnt move then...?

Agree--amps with a cathodyne PI do tend to flatten out after 2/3 up the volume knob--but I'd say in my experience messing around with these OTs, that is so fuzzy/square that it does make the differences more apparent (comparing when the volume is dimed). Also worth noting that the Princeton and tweed OTs in this video are traditionally intended for amps with a cathodyne!

I've been thinking a lot about it too; I'm no physicist, but isn't it true that different sound frequencies move differently? So placing a mic right next to a speaker is not going to get the effect of hearing the high frequencies beam straight out and the low frequencies be non-directional, and everything in between, reflecting all around in a room. Also I think the effect of just being blasted by the volume might help--you can turn the preamp down on the mic but our ears have one sensitivity setting! The more I re-listen to the clips, the more I can hear the same differences, it's just subtler.

Once again I thank you for doing these experiments! I love the speaker one that you did too. Also, I was planning on doing something like this for a deluxe, but I have more projects than time.

@@leiferickson3183 Absolutely! Shootouts can be really illuminating, although this one ended up a bit subtler than I was expecting. A lot of the time I'm doing them as much for myself as for others, so it's great to hear you find them valuable. They're kind of a different beast from regular demos, since they're so repetitive (if done rigorously), but for things like speaker/transformer/mic swaps, there's no better way to quickly hear how things compare! I just need one more 12A150 Weber model and I'll be able to do a shootout of all of those too :)

Yeah! 12F150B is my fave ceramic American for black panel Fenders. Haven’t tried the 12F150T but the alnico version is next on my list. My next video will be a comparison of the same cone with alnico vs ceramic-the presence range is much punchier and potentially harsh with ceramics, so I would be wary of pairing the reportedly very bright T cone with ceramic.

@@ElliotGKnapp is the 12f150b bright and clear ? I tried a 10f125 and a 10a125, the f is punchier and the a brighter

@@ElliotGKnapp hi, did you try a 12a150t ? Did you record the alnico vs ceramic speaker ?

Light dope on every speaker except the ones that get pre-rola standard!

Thanks! The amp started as a Trinity Custom Plexi, but I built it with EL84s instead of 6V6s...its Normal channel is about the closest thing I have to an amp that "needs" a treble booster per the conventional wisdom, and its TMB channel is practically a treble booster on its own! The first half the gain's cranked about 2/3 and the 2nd half it's over halfway, and the tone knob is below noon (low pass territory). A lot of people say treble boosters sound the best into a cranked amp--I tried maxing the gain when recording the demo and it was just too much distortion, especially since I wanted to actually turn up and showcase the boost. It's probably a bit tough in a home studio demo to replicate the original use case (a stage-volume rig with a lot of headroom that's too dark)...I think the critical thing is getting the amp gain high enough that the signal is really full-range, and, usually, pretty chubby as a result, especially in Fender circuits, which mostly get wayyyyy to bassy when cranked. It's also received wisdom that TBs don't sound good through American amps but I would tend to disagree, especially with tweed and brown Fenders. For such a simple circuit, TBs have some serious magic, and they're fun to build too...more videos on that topic later :)

Yeah I had that same problem. Price tag is worth it. But I guess that’s what the used market is for you can always sell it.

You could think of it this way; you bought an EP booster - whatever that cost you, it only adds one “colour” to your tone toolbox. For £155 you can get three different coloured boosts with the Boss. I don’t know, but it doesn’t seem like an excessive outlay to me.

Thanks! It's from toward the end of "Puffy" on my album Cloudwatcher.

@@ElliotGKnapp Got it playin on Spotify now. Great !! And nice cover art too, the cloud waving 'bye' to the lady (I think) in the valley.... Reminds me a bit of Gong's "Angel's Egg" cover, and Puffy has a bit of a Steve Hillage flavor - I mean that as a compliment, but you clearly have your own awesome individuality on that piece :-). from a 'pedal' point of view, what you sieved on Puffy is breathtaking... I thought one would need a super-arpeggiator like the Tararira to do all that, but your technical mastery and how it translates into thoughtful and beautiful art makes me want to go for the Arpenoid instead. Great work, mate, and thanks for all your work as a composer and for the community 👍 A question if you don't mind: since you can't specify a key, how does the pedal 'know' what notes to play, like is the first note you play always considered the root for the major and minor scales?

Me too! I've been veering heavily toward alnico lately and the Legacy is on my list--the ceramic 75hz was too spiky in my Plexi clone so I swapped for the 55, but I'm thinking an alnico 75 might do the trick. There's almost nothing out there about people's experience with alnico Legacy...

Howdy, apologies for the late reply--I am rarely monitoring comment here. I don't have any experience with the ceramic 1.25" voice coil Webers, but I've tried most of the AlNiCo ones--I love the 12A125S--it's probably my favorite of this range. A bit smoother up top, with just the right low end control--love it in the 6G2 I built, and I could see it working really well for something like a Princeton Reverb despite the fact that it's not marketed for black panel Fenders. The "A" version is a bit more brash, as heard in this demo. If you want something brighter, the A is the way to go...even darker than the S is the H, which I also like a lot too, it's just noticeably less sensitive.

its like its spitting out octaves but through a shitty skype call yet its beautiful lmaooooo i have to learn more

Hahaha That's the spirit!