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Werner Althaus

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About Werner Althaus

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    Lincoln, NE
  • About
    Audio supervisor for statewide Public TV network
  • Interested in Sound for Picture
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  1. I have to ask: Is this in the style of surf music? Note: Nothing Fender on that stage.
  2. That's indeed a beautiful rig. White tolex always gets my attention going back to seeing some guy rockin' a MusicMan combo in white. I wish I had pictures of all the cool rigs I've seen with all kinds of color variations that don't show up in any books. A good friend of mine used to have a white Tolex 5F6A Bassman four 10" combo and a brown Tolex Bassman head with a matching brown single 12" cab with tone-ring. Both were definitely stock. never seen another one like it. But I do have to ask: Where do you perform and how loud can you play your amps? I used to gig with my old Bassman on 6 ( halfway up) and my Concert around 5 and it was loud, very loud but very pleasant sounding. These days I play that 18 watter barely on 0.5 and my bandmates in their 20s and 30s are already complaining, leave alone the FOH sound guys., different times I guess. It's that stupid idea that the PA guy needs control, blahblah, I much prefer a proper backline with bigger amps that don't need to be miced. The result sounds much better if the band knows how to balance themselves. leave the PA for Vocals. That is a great question, care to elaborate on how mics play a role in achieving the "Surf sound"? Live? Studio?
  3. Hihihi What would they have used? a setup similar to this one from the PBS show "American Epic"? https://www.latimes.com/entertainment/music/la-et-ms-american-epic-recording-machine-nicholas-bergh-20170721-story.html
  4. The cleans are Tele through a Fender Concert and 6G15 Reverb, dirty is Les Paul jr through a RealTube dirt pedal and the WEM Dominator. This was recorded a long time ago and I didn't own a bass then so I tuned the strings of my ES-5 Hollowbody down a full octave and played the bass lines. The strings were hanging off the fretboard like overcooked spaghetti and intonating the notes was very difficult but I like the results. Everything sounds trashy, definitely not a pro recording, haha.
  5. Interesting. In that video those sound really close but in my experience that doesn't tell the whole story. Reminds me of the Strymon Flint reverb/ trem pedal, in videos it really seems to nail that tone but in real life when compared directly with the real thing it sounds small and cheap.
  6. Colin Cripps? That's a whole different category of tone, definitely not clean but very chimey with beautiful overtone bloom, typical EL-84 tone, just better than the rest IMHO. I brought up Colin in the context of the relatively recent surge of popularity of the Filmosound projector/ amp conversions. There's a whole bunch of builders doing designs inspired by those conversions, there's even a pedal that supposedly sounds like a Filmosound 385. For Colin's sound samples there's the Tex amp webpage, I'll link to my favorites. The SG and tele samples are wonderful while the Les Paul clips are muddy and boring to my ears. In a way that's a good thing in that the amp doesn't alter the true sound of the guitar too much, great guitars sound great through it, mediocre guitars sound mediocre through it. https://soundcloud.com/tex-amps/sets/texamps I like all kinds of tones, for cleans the bigger brown-face Fenders are definitely it but they do make great platform amps for pedals or other type of preamps as well, they can get very brutal sounding with the right preamp.
  7. via the internet of course. I wish I knew guys like that personally, so much to learn from guys who really have their own sound. I knew of him through his work with Kathleen Edwards. I was fortunate enough to learn about guitar amps, tone, etc from a deceased german guitar player who played his "Peter Gunn" style Blackguard Tele ( Bigsby and PAF style PU in neck position) and his '58 Flying Vee through a Dynacord S62 tape echo into a white Fender Bandmaster head with two 2x12" cabs. Once you hear that kinda sound in person at close range during practice there's no way that you'll ever go the modeler route. But for pro players who travel a lot, sure, absolutely a viable option. But hobbyists like myself don't have to worry about such things.
  8. I'm digging the Sansamp a lot, just not for guitar. I use it in post mixing, anytime I need a recent recording to sound old I use Sansamp and/ or AudioEase Speakerphone. For guitar amplification I wouldn't touch modelers or plug ins with a 10-foot pole. main reason is that they feel sterile to me and latency, even small amounts of it are a deal breaker. I've tried a few and didn't get anything useable out of them despite or because of the convenience and ease of use. then there's the fact that if I'm not driving a guitar speaker cabinet and a monitor instead it all feels and acts wrong. I could use guitar cabs with modelers but why bother, I already have a box that has all that built in, it's called a tube guitar combo amplifier, lol. Even the current loadboxes with IR seem ill-conceived to me because they tend to make every recorded track sound the same. I demoed the UA Oxbox ( I think that's what it's called) and it sounded so formulaic and boring. The Filmosound thing is cool, I blame Blake Mills for making them popular but I first learned about them from Colin Cripps, a Canadian player who worked with Brian Adams, Blue Rodeo and Kathleen Edwards. He has fantastic tones.
  9. I like the Sansamp plug in for ProTools, I use it everyday in audio post production. So there, this thread should now be relevant to this forum, check!😃😃😃 When I moved to the states with nothing but 2 suitcases in 1990 I really wanted a white piggyback bassman with presence control so I went to this great store in Dekalb, IL (called "Ax in hand") and they had six !!! sets of them. I proceeded to try them and they all either sounded terrible or broke down with smoke coming out of them. After the 3rd of 4th amp I was beginning to feel a bit uneasy but the guy in the store (not the owner, I'm sure) just told me to keep going, that way he can identify the amps that need fixing. After being somewhat disappointed with those particular specimen I turned my attention to my 2nd option, a brown Fender Concert with four 10" speakers. they had five !!! of those. I picked the best one, an early '60 model 5G12 (making it a late 50's circuit) with Alnico Jensen P10Qs. To me that is THE clean tone, all midrange, thick and beefy, especially when running 7591As for tubes. For Dirt I love my '59 tweed bassman , those are usually not too dirty until pushed hard but mine is equipped with a solid state rectifier and a 12AX7 in V1 instead of the lower gain 12 AY7. Those amps don't need reverb or anything for that matter, a guitar, a cable and that amp, that's it. For EL-84 tones I love my 18 watt '74 WEM Dominator MK III, that was my first "real" amp when I was a kid, before that I used my dads UHER Report Reel-to-reel field recorder. It's a poor mans' AC-15 of sorts, not very widely known in the US although anybody over 50 has probably seen that ugly red logo in old concert footage from Europe. As far as new amps go my favorite is the Teixeira Bernie amp, a modern take on the old Filmosound 385 filmprojector I've never seen one in person but the sound samples on their website are out of this world.
  10. Hi, Izen Yes, I am familiar with the rerouting trick, I have no use for it since I don't own BF/ SF Fenders. I had a '65 deluxe reverb once, wasn't all it's cracked up to be, at least not for me, I traded it for a washing machine and I believe I came out of that ok as long as I ignore the fact that the washer is long gone and old BFDRs sell for stupid money now. I haven't tried the mid 70s tanks, sounds like a very different animal. And yes, that Spotnicks stuff is great, the sound of my misspent youth.
  11. I don't think Twin Reverbs are more surfy at all. They have that scooped midrange that all Blackface/ Silverface Fenders have and the Reverb can't "drip" nearly as good as the three-knob 6G15 Reverb Unit. It needs to be a brownface style higher powered Fender to get "that" sound. That '62 Twin amp the OP is mentioning would be very surfy if paired with the 6G15. Our school also had two 70's Fender twin Reverbs ( the 135 watt model) with JBL speakers, those amps sounded good with midrangey Humbuckers but painfully piercing with single coils and nobody is playing surf music on a 335 or les paul AFAIK. the "old" bassman was a tweed then? Awesome amps, I'm lucky enough to own one, but not the sound of surf music IMO. EL 84 amps were used by those Euro surf bands I was mentioning earlier, Shadows, etc. BTW, does anyone know what amps the ventures used on their Japan Tour? This pic shows some odd contraptions for amps.
  12. Yeah, I linked to that video myself in my earlier post. The footage appears to be staged ( one microphone downstage) but the audio might be live with enhancements. I think drums are overdubbed, they sound too good to be true, especially when compared to the very limited bandwidth of the audience cheering at the beginning which then crossfades very quickly to full fidelity ( canned????) Cheers. At 3:07 one guy's lone shadow crosses from right to left .Weird stuff.
  13. Oh, what a fun thread, not sure how it fits with the rest of the forum but so what, I love it. When I think surf I thing Ventures. I always love the sound of those large brown face Fender amps, the big white piggybacks or brown combos with presence control. That and an old 6G15 is a match made in tone heaven. Here's a great video of the Ventures doing "wipeout" live ( not sure what kind of post treatment this recording got but anyway, it's great Ventures - Wipeout live in Japan 1966 Being from Europe I have a fondness of what I'd call Euro Surfbands like the Shadows or the Spotnicks from Sweden Check out these outfits. The Spotnicks - Rocket Man ( 1962) In the end it doesn't matter if you use Fender amps or Vox AC-15s and 30s like Hank Marvin did The Shadows - Apache (1960) There are tons of contemporary Surf bands, most of whom I don't care for. These guys are an exception. Amps are Fender Princeton (nonreverb model), Fender Tweed deluxe and 6G15 Reverb Blue Stingrays - Gold Finger I agree that Surf is more a style than a genre, something that can creep in and enrich all kinds of music, kinda like Blues which by itself doesn't do that much for me but I like it as a style. I like the adaptations of old traditional tunes like Miserlou, Hava Nagila. I play a little guitar on the side so I tried my hands at a version of the Klezmer classic "Di Zilberne Khasene" ( (The Silver Wedding ) I recorded this a long time ago with very basic recording gear ( 2 mics and an interface), but I thought it'd be fun to post so be gentle. 1960 Fender Concert 5G12, 1962 Reverb Unit 6G15, Old blackguard tele made from parts. Di Zilberne Khasene
  14. I think your assumption of ISO mic feeds to the truck is correct. It appears that the PA sound mixer either was not paying attention (very unlikely!!!) or that he was fighting technical issues with his console or they put him somewhere where he couldn't see anything other than what a monitor shows him. My money is on console problems and/ or line-of-sight issues. Digital consoles are great until they decide to crash, lock up, loose tactile control or whatnot, during or right before showtime, been there, done that. What I found much more baffling were the up-cuts, missed cues and unbearable amount of extraneous noise you mentioned, how does that happen during a debate mostly moving at glacial speed??? I don't think it was auto mix, using automixing would explain the unwanted sounds getting in (Dugan and others like it don't differentiate between wanted and unwanted/ unintentional audio) but there'd be no upcuts/ missed cues. My benefit of the doubt goes to technical equipment issues because I believe that these events hire top-notch talent but man, that was hard to watch. I remember working a national issues convention hosted by PBS during the '96 campaign and it was the most professional , high quality event I've ever seen to date. They hired the audio consultant that does events like the Superbowl, they designed a PA specific to the venue, ShowCo brought in a monitor engineer who just came off the road with the Stones to run Sound-reinforcement from a platform high above the audience and talent, mixing on a beautiful Harrisson console, they had 144 Q&A mics on auto-mixers throughout the audience, the truck side of things was a rather simple affair, using an all analog Mountain Mobile Truck. The more these events move into the digital domain the more problems there seem to be, at least that's my impression. The ability to make simple things immensely complex sometimes comes back to bite you.
  15. Thanks for that video, my info might be outdated as it goes back to the G-Prime/ Gotham days when they co-owned MG, at that point they only supplied parts for microphones made since the early 90's according to Jerry Graham (owner of G-Prime/ Gotham). Anyway, I have used a few MG mics and liked them, I just wasn't a big fan of some of the claims made regarding their part in the fabled Neumann saga.
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