The Music has changed...Bands are different, Shows are different...

A full force Hi energy Country band with blazing Telecasters and an ALL ELECTRIC lineup is not the same as the SWING bands of the era.

It always gets back to a very simple equation..

bring the gear that matches the venue.

I have been to shows where there were 1000 folks in attendance, and I can say this from some of the experiences, many of the times I could hardly hear the band from the back of the room...

Inadequate sound systems, small amps etc..

The bands in these situations were not equipped for the rooms...the sound systems were not correct either...

There is no one shoe fits all...

[This message was edited by Tony Prior on 07 August 2005 at 06:18 AM.]

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"From Truth, Justice is Born"--Quanah Parker-1904

quote:

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I agree, the top venting is a bad idea---it's a bad idea with Marshalls, too...

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Yeah, it's a real bad idea with any amp!

(So, why do they hold onto it?)

Half a teaspoon of beer a "fan" of mine spilled wiped out 2 output transistors on my Peavey amp. Even a stray staple or piece of metal can do the same thing.

I can see why for the "heat rise" the top vent reasoning. However. the same thing could be accomplished by a couple internal sidemounted 1x2" "convection channels" with side "out" venting.

I've always found the heat sink on my Nvl 400 hot after a 5 hour night, and I'm sure the 112 passes a lot of heat.

I played last night with my 400 disconnected due to a loose jack. I naturally push the pedal until things sound right, and I noticed that certainly for 80 watts it was "right up there', but I found the compression kicking in, and a lot less "reserve".

Still, for the money, it is the best little package I've found. I leave the 400 on the couch by the basement door between gigs, though I admit I bi-amp with my "Floor Mount" Session 500 Mark IV and the 112. My poor neighbors..

I"m getting GREAT use out of it for the Tele and a Blackface Podxt model.

All that mentioned and reading every post even before they "fix" the top venting, and maybe the knobs, it's the best amp money I have spent since my Nvl400, and the Nvl the best I'd spent since the 500 MkIV.

I think Mike Brown here interacting with us, the trench users, is one of somebody's best ideas.

Like I said, he works cheap at almost any wage below a couple hundred grand a year..

Actually, the memory of the logos I took off are kind of growing on me too..

EJL

quote:

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I have two of them and when 'stacked or placed side by side' one can get more headroom. Two of them move a lot of air

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If you really like the 112, a pair of them is the solution to having enough power. To me, they sound noticeably better than the N400 and N1000, so it's worth it, since they are relatively light, to take two of them to a gig when you think you'll need the extra "oomph".

Personally, I won't play on stage with a loud band. I play steel, piano, acoustic guitar, Dobro and mandolin besides electric guitar and lap steel. Those instruments all sound terrible and some can't even be heard if the stage volume is too loud.

To my way of thinking, volume is what the PA is supposed to do. I already have a 60% hearing loss; I don't need to make it worse because of of playing with a bunch of headbangers. That's both unnecessary and ridiculous in this day and age.

Jeff said buy two of them if you don't think one will always handle it. I agree. If you think you might have some situations where you won't be miked or DI'd to the mains and the venue is big, then 2 should do the job. Elsewise, one should suffice.

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"From Truth, Justice is Born"--Quanah Parker-1904

Ron

How would carrying 2 of them solve any of just one of their big brothers' problems? Now you've got 85 pounds of amplifier to carry, right? And you're pushing 2x12's at 80W each, instead of 1x15 at 200+ watts? You're moving more air with less power. Plus, 2 of those amps is going to run you a cool grand. You can get 2 NV400's for around $700.

I understand the guys that are playing low volume though, and I've heard Johnny Cox play his. Of course I won't be the caliber of picker he is for many years, and he'd sound good through any amp. Also, I don't know if I'd ever use a balanced output on anything but maybe my bass rig, because it has a tube preamp. I'm not knocking it at all, just asking a few questions.

Not the SE 200.
The SE have a normal size cabinet with a 15"Speaker and a diffent tone character.
Please don't missunderstand me. I like all Peavey products and is still a part of my equipment. But now I'm a big EVANS Fan!
All this is very personal taste and subjective.

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"From Truth, Justice is Born"--Quanah Parker-1904

Only way to rethink any piece of gear without comparing it to something else is to sell off all your gear and quit picking!!

Anyone else rethinking playing steel for a living? I must get frustrated and quit at least 5 times a day.

The Evans, other Peavey's, and the Webb amp all use 15" speakers. Two twelves will give you less honky transister mids than the single 15" speaker.

15" speakers are inherently more honky and its a myth that One 15" gives more bottom than two 12" speakers. If bottom is desired a cabinet with four 10" speakers will wipe the floor over two 15" speakers.

Paul

I think your replay belongs very well to this topic!!

I bought a NV 112 because I read in the past in other "NV 112 Topics"that different players prefer her NV 112 over her Webb, Evans or other Peavey products. Nobody complained that the name of these amps are not subjekt of these threads.

I´m with you about the NV 112. Loudness (power) wasn´t the reason for me trying a new amp. If it comes to "tone" I prefer my other amps (Nashville 400, Evans LV Webb).

Thanks for your input. My bass instructor sure made a believer out of me with the "several smaller speakers" idea. SWR's been making a fortune designing multiple 10" speakers. I've got a 2x10 myself and it shakes the walls. You've got me thinking about plugging the steel into that amp and seeing how it sounds...

I get what you're saying though. Better high end response, because the speaker is less massive, so it's easier to accelerate by the voice coil. And two still move plenty of air to get the low end. I guess I could have worded my other post a little better. Still not knocking anything Peavey does, I have my 400 at the house and there's 3 Session 500 Mark IV's, and a Session 400LTD at school.

What it comes down to is that the speaker has the last say on EQ. No matter how you set the amp EQ, a 15 will roll off the highs and boost the bass, and 10s will de-emphasize the bass compared to the highs. There is a shift in the mids also. A 12" speaker is a good compromise. In a dense mix, 12s will cut through for steel better than a 15. But a 15 sounds better to most steelers when playing steel alone, and I think that's why so many of us like 15s. We like the mellower mids and lush lows, when you can hear them. It seems like rockers tend to prefer 12s (Dan Tyack, Buddy Cage), but many country steelers who play with quieter and less dense mixes like the more mellow sound of 15s.

I played a pedal steel gig once (rockabilly and country, all tube amp) where I used a 4x12 cabinet for the first set, then switched to a single 15 (in a large reflex cabinet) for the second set. Everybody agreed the 15 sounded better for steel, even the experienced pro sound man doing the mixing out front (everything was miked by a top pro sound company - a rare luxury for me). I think it was because of how the mids sounded. But it was a four man group. In a denser mix, the 12s might have worked better. I know that the extra lows of the 15 (that I love when playing alone) get lost in the mud at the bottom of a dense mix. But I feel like I can always dial up the mids and highs with the amp and cut through with a 15. So for me a 15 seems more versatile.

What it comes down to is how the speaker sounds with your amp and guitar. There's a lot of personal preference involved. Maybe with a 10-band EQ you could make 15s and 12s sound almost the same. But with just the typical amp controls, you can't get them to sound exactly the same, and some people prefer one, and others prefer the other. And the same person might prefer one or the other for different situations.

[This message was edited by David Doggett on 16 September 2005 at 10:29 AM.]

By the way, the amount of air moved is roughly according to the area of the speaker, not the diameter. Ignoring the fact that it is really a cone, not a flat circle, the amount of air moved is approximately Pi x r sq. The areas are 10" = 78.5 sq. in., 12" = 113, 15" = 177. Four x 10 = 314 sq. in., 2x12 = 226. The ratios compared to a single 15 are 1.77 for 4x10, and 1.27 for 2x12.

[This message was edited by David Doggett on 16 September 2005 at 11:00 AM.]

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zum SD10 peavy vegas 400 peavy session 400 steelseats they are great at sales@steelseats.com
if its not a zum steel it isn't real

You're right about lows not being the only thing pushed. If you re-read what I quoted Curly as saying it was a BIGGER sound. That doesn't mean all low end. As far as the shrill highs, listen to how Curly sounded on the Merle Travis album and see how his highs sounded. He was using two Fender Bassmans with two 4-10 cabinets.

it takes me 4 trips back and fourth to get them both into the gig...

4x10's yes..my favorite for guitar and of course for Bass..

don't pass on trying a Peavey Classic 50..4x10 or a Fender Hot Rod Deville ..4x10...you may just turn your whole attitide around...again....

oh..this thread is about the N112..

It was a close one, but the 112 worked in this pinch for me.

rdl

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Emmons LeGrande - 8x4
Session 400 Ltd, Nashville 112,Hilton Volume pedal, Peterson VS-II Tuner
Dan-Echo, E-Bow, Ibanez Distortion, Bo-Bro, Ibanez Auto-Wah, PX4 Pandoras Box

I was hand trucking my 400 and 112 under a shrub with a small overhang in light rain Friday nite to the gig, and a few drops fell into the top vent.

It crackled and hissed, pulling the speaker in and out for the first set, and made the master gain knob noisy, and then finally just cleared up..

I'm thinking a gore-tex filter. Maybe just duct tape for transit etc..

Still kicks butt for what it is.

I recorded with it the other day and they used the XLR line out over a mike preference they had to begin with. Worked fine.