View other reviews for this product:
rhum66 « A classic exquisite!! »
Published on 02/01/12 at 02:37I set up a classic set Classic 57 & 57 + on a beautiful Epiphone BB KING who asked it.
General of the dominant character set is a classy sound: power and sweetness, an uppercut in "velvet glove".
1 /: The clean sounds are very hot:
In round is big and fat, very medium and always accurate.
In a deluxe reverb, or any Blackface is brilliant, powerful and slamming, is approached by Albert King.
The sustain is delicious, the bends blues go weightless.
This mic is also a marvel in its typed Jazz, one approaches the spirit blue note (Grant Green and others), it almost seems to play a jazzbox if we lower the tone ...
The microphone is never acute nasal, yet thick sound, the treble does not shine, it could be a problem on any stringed mahogany, sound may be too dark.
on a 335 type guitar, the sound is recovered rock 'n roll, classic 60 years', with the honk and roundness, it can be renter in it without ever having an unpleasant stridency treble.
Often, this micro-air reminds me of the type of sound funky Johnny Guitar Watson. (Superman lover ...)
2 / Crunches:
can be pushed far enough, the microphones without cashing Bonche.
We reached the levels of overdrive type southern rock / ZZ Top (Allman bro & lunyrd Skynyrd) without problem.
but rather as a player of Chicago blues & soul-jazz, I never push my tubescreamers drives (I rather boost). So I get light crunch that I more or less smooth volume knob, the deluxe does the rest.
We are in the sounds Freddy King, Albert King, Luther Allison, Joe Louis Walker.
Briefly, this tradition of bluesmen blacks who have chosen the "BIG SOUND PAF GIBSON tearing a fender blackface." Not very elegant, yet powerful & elegant with juice ...
this set will transform your large Epiphone guitar blues rock.
To fully enjoy if we play blues-rock: an all tube Fender amp, blackface or tweed + Ts like, is essential if you will not reach the levels of nuances that make all the difference. You will more certainly, but not the cream of the crop that is the smoothness of this set.
General of the dominant character set is a classy sound: power and sweetness, an uppercut in "velvet glove".
1 /: The clean sounds are very hot:
In round is big and fat, very medium and always accurate.
In a deluxe reverb, or any Blackface is brilliant, powerful and slamming, is approached by Albert King.
The sustain is delicious, the bends blues go weightless.
This mic is also a marvel in its typed Jazz, one approaches the spirit blue note (Grant Green and others), it almost seems to play a jazzbox if we lower the tone ...
The microphone is never acute nasal, yet thick sound, the treble does not shine, it could be a problem on any stringed mahogany, sound may be too dark.
on a 335 type guitar, the sound is recovered rock 'n roll, classic 60 years', with the honk and roundness, it can be renter in it without ever having an unpleasant stridency treble.
Often, this micro-air reminds me of the type of sound funky Johnny Guitar Watson. (Superman lover ...)
2 / Crunches:
can be pushed far enough, the microphones without cashing Bonche.
We reached the levels of overdrive type southern rock / ZZ Top (Allman bro & lunyrd Skynyrd) without problem.
but rather as a player of Chicago blues & soul-jazz, I never push my tubescreamers drives (I rather boost). So I get light crunch that I more or less smooth volume knob, the deluxe does the rest.
We are in the sounds Freddy King, Albert King, Luther Allison, Joe Louis Walker.
Briefly, this tradition of bluesmen blacks who have chosen the "BIG SOUND PAF GIBSON tearing a fender blackface." Not very elegant, yet powerful & elegant with juice ...
this set will transform your large Epiphone guitar blues rock.
To fully enjoy if we play blues-rock: an all tube Fender amp, blackface or tweed + Ts like, is essential if you will not reach the levels of nuances that make all the difference. You will more certainly, but not the cream of the crop that is the smoothness of this set.