Another reminder to me of how awesome the Herbert is!

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Rob Tahan

Rob Tahan

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So our show friday was magical! Herbert sounded sooo freakin amazing! Probably my favorite tone that night was when i went into - mode on channel 2 with the gain cranked. It was such a killer plexi'ish tone...but better and different. When we did Voodoo Child the feeling was almost like a religious experience. Cant describe it, but every time i use ch.2 in - mode, awesome stuff happens... Bluesy modern tones like no other!! What a sick amp! Every single note came through with such sustain and warm clarity, even the faster stuff like the legato and sweeps. Im secretly drawn to ch. 2 in minus mode every time. Its like every show i cant wait to flip that switch... its killing me! I dont get it.. Am i the only one?
Every time i play this amp im reminded of why buying the Herbert was NOT a bad decision or an excessive purchase!

...i now need to find the guitar for life; because ive found the amp!
...so far my strat with duncan 59's is beating everything else out by a long shot. So warm and punchy. If only i could get a good sounding strat with 24 frets, or find something that has that tone..
Suggestions...? Vigier? Suhr? My ibanez prestige's are WAY to thin and snappy sounding. I almost need something too dark.
 
how about a suhr modern? they can build it if you can dream it up!

A Wood
 
I don't know what to say other than to go & try all of them.

And yes ch2- is a performer in a band situation, I like the Marshall like vibe it has too.
 
Rob Tahan":360j4lx9 said:
So our show friday was magical! Herbert sounded sooo freakin amazing! Probably my favorite tone that night was when i went into - mode on channel 2 with the gain cranked. It was such a killer plexi'ish tone...but better and different.
Coincidence, I just upgraded from Cubase SX3 to SX4 and put together this little classic rock test tune tonight to explore some of SX4’s new bells and whistles.

This is straight up Herbert CH2 +/- = -, gain 100%, (vol, treb, mid, bass) = 12:00, (pres, deep) = 12:00, master 1 = 9:00. No eq no nothing, all pure. I double tracked hard left SM57 on Peter D’s custom speaker, hard right MD-421 II on V30. Needs vocals, one pass… :)

Herbert Channel 2
 
This is straight up Herbert CH2 +/- = -, gain 100%, (vol, treb, mid, bass) = 12:00, (pres, deep) = 12:00, master 1 = 9:00. No eq no nothing, all pure. I double tracked hard left SM57 on Peter D’s custom speaker, hard right MD-421 II on V30. Needs vocals, one pass… :)

Now go gain 2:30, master to 12 & discover the real magic of the CH2-. Just keep away from the front of the cabinet :D
 
Ahh..now we're talking settings
I have channel 2 in - with gain at 3:30/4:00 Channel vol at 2:00, Bass 12, Mid 10:30, Treb 9:00, Master at 11/11:30. Presence at 10:30 and deep at 10:30. Reminds me very much so of the VH4 as far as the immediate response i get out of it.

And my only concern about those Suhr's andy is that they will be bright sounding like my ibanez.. I need to play one before i buy one. I really am drawn to fender for some reason though. They just have and awesome fat but warm spankin tone. If anything can meet or beat it i will take it :D
 
nbarts":1ttcgsif said:
This is straight up Herbert CH2 +/- = -, gain 100%, (vol, treb, mid, bass) = 12:00, (pres, deep) = 12:00, master 1 = 9:00. No eq no nothing, all pure. I double tracked hard left SM57 on Peter D’s custom speaker, hard right MD-421 II on V30. Needs vocals, one pass… :)
Now go gain 2:30, master to 12 & discover the real magic of the CH2-. Just keep away from the front of the cabinet :D
That's good too, but getting close to CH3's territory at ~10:00 or so. I want to keep it special. Obviously the more you crank the master, the more power tube saturation you will get similar to a non-master volume amp. But for my purposes these settings are sweet and nail it for me. And the louder I crank the master, it just keeps tight and clear.
 
Rob Tahan":vymryp9o said:
And my only concern about those Suhr's andy is that they will be bright sounding like my ibanez.. I need to play one before i buy one. I really am drawn to fender for some reason though. They just have and awesome fat but warm spankin tone. If anything can meet or beat it i will take it :D
FWIW, I had a Suhr in my possession for quite some time. It was a Pro Series Model S6. I really liked it but found it not to be as versatile as I would have liked. It also felt too light even though it weighed in a just under 6lbs. It was very beautiful physically without a doubt. One of my biggest pet-peeves was that I could not get them to build me one with an ebony finger board (same as PRS). All they could offer me was the garden variety Indian Rosewood board – bleh! That’s OK, but nothing plays and sounds as good, is as versatile and dynamic as good quality African ebony, Cameroon ebony, Nigerian ebony or Gaboon ebony. Ebony is the "fruit of the gods". And please do not follow the ill informed band wagon and think that the finger board material has little if nothing to do with the overall tone of the guitar, whether it is acoustic or electric. And I have built over the past 30 years or so several acoustic 12 and 6 string custom guitars that I fully regret selling to this day. Yes ebony to construct it is much more expensive than rosewood, but if you want retreads and not Michelin, then you get what you pay for. If a guitar manufacturer will not construct an ebony fingerboard for you it's usually because 1. they are much more difficult to construct properly and 2. they are concerned more with cost-cutting than with actual quality.

That’s why I ended up with my first custom Roman more than 5 years ago and I will never look back. It’s the only custom electric guitar that I know of that places the pickups in the exact and proper location as to not be at a "dead node", or also known as a dead spot. A dead spot would be at any one of the natural harmonics that exist on a guitar fret board. Nodes are important because they are dead spots for that overtone. If a pickup is located at a node of any overtone, that overtone will not be heard because the pickup is located in a dead spot where there is no motion associated with that frequency. The Fender 21 fret board is the worst. The neck pup is placed exactly on a dead node. They attempted to fix this on going issue with their necks by introducing the 22 fret board, but it still isn’t perfect. That’s where the 24 fret board comes into play; it’s more expensive to make but it is perfect and places the pups right where they should be to scale. The perfect measurement and the distance from the edge of the nut to the center of the poles on the neck pickup to be exactly in the optimal location to maximize the overtones picked up, is precisely 19.385" from inside the nut.

The neck alone on my Roman is unparalleled in construction, comfort, handling and tone. And believe me, I've play dozens of custom guitars selling for major $$$ and I can get so many more different wonderful tones out of my Roman than any Suhr, Anderson, Gibson, PRS, Custom Fender, Vigier, Mayones, Brian Moore, GMW, etc...

It’s a HH w/volume and tone and 3-way pull switch on the volume and tone. So I can get 9 pup tone combinations with my two custom SD hummers. Split double coil neck and bridge, single coil neck and bridge, single coil neck, single coil bridge, etc…

Anyways, I digress. If it feels good to you and you’re not a guitar audio psycho like me, I would recommend the American Deluxe Strat FMT or QMT. Why Fender didn’t hard-mount the bridge pup baffles me and quite honestly irritates the hell out of me. Thank you Eddie V. for that very important discovery.

David
 
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