spedaontherocks
New member
Hallo Peter,
das werde ich mir auf jeden Fall mal einplanen
Chris
das werde ich mir auf jeden Fall mal einplanen
Chris
A
Anonymous
Guest
Gutmann":c8vlkr2n said:
I have my tone controls all set at noon. Sometimes I back off the bass and mid controls to about 11 o'clock, and put the treble controls to 1 o'clock, but that is all I need for tonal variations.
When the amp is pushed, it sounds really alive and organic. I am 61, and the reason I push it so loud is probably because I'm damn near deaf, but everyone who has heard the amp with the 2x12 TT hemp cab has come away with their mouths wide open and their tongues dragging on the floor.
As for the other boutique guys all lauding over these american small amp companies with their homespun boutiquesness, these amps are not nearly as complex or well equipped as Peter designs and builds his amps. They are also way too expensive for having just a volume and maybe a tone control or two. I find the money demanded for these amps insulting, and the people who drool over them funny. If they had the chance to audition a Schmidt along side their little imposter amps, they would be humiliated by the way the Schmidt would slay their beloved little toy amps, which they spend $2,000 and more for.
There is only one amp at the top of the low-wattage boutique amp list that does it all and that amp is the Schmidt. Everyone else...piss off.
Profound
New member
Einstein is an f****n great amp
2 channels
2 master volumes
2 Fx Loops
And you call it cripple??
How many sounds do we need in a single song man????
I am not saying that Einy is cheap either (anything beyond 1500Euro for a head begins to hurt), but with the same money you buy a single channel Soldano.
2 channels
2 master volumes
2 Fx Loops
And you call it cripple??
How many sounds do we need in a single song man????
I am not saying that Einy is cheap either (anything beyond 1500Euro for a head begins to hurt), but with the same money you buy a single channel Soldano.
J
just42dave
Well-known member
Therefore, I tried really much. If the 2x12er stood on the ground, it blew between the foot. I placed were logical would prove had it on a Case, the basses fewer, and I the heights of the Kalotten at the ear. If I stood 3 meters of its away, I had to make it more loudly. Then it roared only. If I have on the side of of its away moved, I heard it no longer. Now I play stink again one normal Marshall 4x12. that hear I of everywhere. Pressure is there, and not only bass. And it sounds altogether more round. In the sample room, one can arrange himself always somehow. That so ne thing is but live. If you are the single guitarist, that is perhaps also again differently. And if a Keyboarder is there, you must fight already for your frequencies. Naja... it is past... : -)spedaontherocks":31f6iic7 said:Also, ich habe wirklich viel probiert. Wenn die 2x12er auf dem Boden stand, hat sie zwischen dem Füßen geblasen. Stellte ich sie auf ein Case, waren logischerweise die Bässe weniger, und ich hatte die Höhen von den Kalotten am Ohr. Wenn ich 3 Meter von ihr weg stand, musste ich sie lauter machen. Dann hat sie nur noch gebrüllt. Habe ich mich seitlich von ihr weg bewegt, dann habe ich sie nicht mehr gehört.
Jetzt spiele ich wieder eine stink normale Marshall 4x12. Die höre ich von überall. Druck ist da, und nicht nur Bass. Und sie klingt insgesamt runder. Im Proberaum kann man sich ja immer irgendwie arrangieren. Aber live ist das so ne Sache.
Bist Du der einzige Gitarrist, ist das vielleicht auch nochmal anders. Und wenn ein Keyboarder dabei ist, musst Du schon um Deine Frequenzen kämpfen. Naja ... es ist ja vorbei ...
Chris
PBGas
Well-known member
.........
AngryGoldfish
New member
C-4 may well remember that I also spent time deliberating between a Schmidt and an Einstein, and I trust his words sincerely. I'd just like to say how I feel on the matter.
We all know that the Einstein was, and still is, Diezel's two-channel 50 watt amp; the Herbert is it's three channel, 180 watt high gain monster; the VH4 - the four-channel machine of perfection and the standard of which many other versatile high-gain amps are measured; and the Schmidt is Diezel branching out further, even into jazz territories, not just rock and it's many variations.
When I briefly tested the Einstein 50, I never felt like I required, above all else, the first channel split into three independent footswitchable sounds. I always felt that the Einstein was for me because, for one, I could not, and cannot afford to keep my Soldano if I went for the VH4 or Herbert, and I wouldn't be able to buy a Matamp either. It's also a more "balanced" amp than the Herbert, which feels so saturated and aggressive than it just wouldn't fit musically in my home. And the VH4 is a tad overkill. The midi is awesome. The effects loops are awesome. The four channels are awesome. The 100 watts is awesome - I just don't need them. I'd never use €1000 worth of effort and work.
I need two independent channels, clean and high-gain, with global presence and depth knobs, two footswitchable master volumes, a power-amp that accepts many different tubes, an effects loop and no less than 30 watts. The Einstein is pretty much all that. I just can't justify the Schmidt when I haven't played it, when it lacks the features that I need, and is more expensive.
Granted, it's supposed to have a jazzier clean tone (something I was hunting for specifically) and it's more ideal for me at home with 30 watts, but the Einstein is a fantastic piece of equipment, one of the best amps I've ever played. The great thing about is, it actually stands up really proudly against the Herbert and the VH4, which many other awesome companies cannot say for themselves.
With Soldano, for instance, the Hotrod+ 50 is a pretty bland amplifier for the price we have to pay here in Europe (€2500). The ENGL Powerball, when I owned one, felt like an ENGL, for sho, but didn't even come close to the quality and attention to detail that the Special Edition models had. The Orange Rocker 30 certainly has the dark tone of a Thunderverb 200, but it pails in comparison in many, many ways, not just tone.
The Einstein is not the child that is neglected because it cannot run as fast or sing as well as the other children in the family. It is it's own self and holds it's own against anything out there of twice the price. It's the little sister that turns out to be a beautiful artist and knows karate.
If you love the tone of the Einstein but feel constricted by it's features, I think another Diezel would probably be best. You have all the Diezel tone - smooth and tender compression, enormous amounts of lushes gain, undeniable versatility, grinding and snarling grit, era-defining scape, and modern and slick looks - but with the features that suit you personally.
We all know that the Einstein was, and still is, Diezel's two-channel 50 watt amp; the Herbert is it's three channel, 180 watt high gain monster; the VH4 - the four-channel machine of perfection and the standard of which many other versatile high-gain amps are measured; and the Schmidt is Diezel branching out further, even into jazz territories, not just rock and it's many variations.
When I briefly tested the Einstein 50, I never felt like I required, above all else, the first channel split into three independent footswitchable sounds. I always felt that the Einstein was for me because, for one, I could not, and cannot afford to keep my Soldano if I went for the VH4 or Herbert, and I wouldn't be able to buy a Matamp either. It's also a more "balanced" amp than the Herbert, which feels so saturated and aggressive than it just wouldn't fit musically in my home. And the VH4 is a tad overkill. The midi is awesome. The effects loops are awesome. The four channels are awesome. The 100 watts is awesome - I just don't need them. I'd never use €1000 worth of effort and work.
I need two independent channels, clean and high-gain, with global presence and depth knobs, two footswitchable master volumes, a power-amp that accepts many different tubes, an effects loop and no less than 30 watts. The Einstein is pretty much all that. I just can't justify the Schmidt when I haven't played it, when it lacks the features that I need, and is more expensive.
Granted, it's supposed to have a jazzier clean tone (something I was hunting for specifically) and it's more ideal for me at home with 30 watts, but the Einstein is a fantastic piece of equipment, one of the best amps I've ever played. The great thing about is, it actually stands up really proudly against the Herbert and the VH4, which many other awesome companies cannot say for themselves.
With Soldano, for instance, the Hotrod+ 50 is a pretty bland amplifier for the price we have to pay here in Europe (€2500). The ENGL Powerball, when I owned one, felt like an ENGL, for sho, but didn't even come close to the quality and attention to detail that the Special Edition models had. The Orange Rocker 30 certainly has the dark tone of a Thunderverb 200, but it pails in comparison in many, many ways, not just tone.
The Einstein is not the child that is neglected because it cannot run as fast or sing as well as the other children in the family. It is it's own self and holds it's own against anything out there of twice the price. It's the little sister that turns out to be a beautiful artist and knows karate.
If you love the tone of the Einstein but feel constricted by it's features, I think another Diezel would probably be best. You have all the Diezel tone - smooth and tender compression, enormous amounts of lushes gain, undeniable versatility, grinding and snarling grit, era-defining scape, and modern and slick looks - but with the features that suit you personally.
moltenmetalburn
Active member
The Einstein is not the child that is neglected because it cannot run as fast or sing as well as the other children in the family. It is it's own self and holds it's own against anything out there of twice the price. It's the little sister that turns out to be a beautiful artist and knows karate.
Holy S^&t! New Sig!
Holy S^&t! New Sig!
AngryGoldfish
New member
dass101
New member
The Einstein would have been perfect if ch 2 also had 2 modes - with a less compressed and more compressed lead tone.
The way it is right now I cannot use the second channel for main drive sounds because it is too compressed, but I also need clean on the fly. The three modes on Ch 1 are so good that they should have deserved to be accesible on their own. All of them are, for me, much more usable then Ch 2, as it is right now.
The way it is right now I cannot use the second channel for main drive sounds because it is too compressed, but I also need clean on the fly. The three modes on Ch 1 are so good that they should have deserved to be accesible on their own. All of them are, for me, much more usable then Ch 2, as it is right now.
A
Anonymous
Guest
Beautifully stated, AngryGoldFish 
Dass101,
If Channel 2 of the Einstein sounds a bit too compressed, try a lower output preamp tube to calm down the saturation a bit. That has worked very well for me.
Stephen
Dass101,
If Channel 2 of the Einstein sounds a bit too compressed, try a lower output preamp tube to calm down the saturation a bit. That has worked very well for me.
Stephen