angelspade
Well-known member
point taken...But I think generally guitars are intended to fill the middle of the eq spectrum in the context of a full band mix...This is basic
MaxF
New member
Hey guys, guitarist, Fireball owner and sound engineer (live FoH and studio) here.... 
I feel this discussion about ENGLs getting buried, mids, how loud and how present different amps are, is missing a few things that I feel get overlooked.
1st environment: band in rehearsal space, amps thru cabs, no micing and amplification thru board, PA.
2nd environment: band on stage, amps and cabs on stage, everything miced, guitar into PA. Musician on stage perspective vs audience perspective.
2 totally different scenarios. While I can partly understand one amp buriing another one in the 1st environment, there is no excuse for not getting a balanced sound between both rigs if both are somewhat decent as soon as you introduce micing and a mixing board (and hopefully a capable person mixing on it).
And then we didn't even talk about the rest of the chain. Cabs. Speakers. Mic and mic placement. They all do so much to the tonal balance, frequency spectrum that you can't blame it on the amp if the rest of the chain isn't 100% exactly the same.
All the examples where people said Engl XYZ was used by this or that band on stage or in studio -> useless examples as you don't hear just the amp.
There is no absolute implication about how 2 amps compare from a recording where you don't know all variables used.
Of course you can get a direction what you might prefer over multiple samples. Also, I don't say Amp A can't be more direct, mid forward, cutting - whatever you want to call it - than Amp B. But it's my job as a musician or at least as the engineer to find the balance between both guitar rigs so it serves the song, the mix, the band.
I feel this discussion about ENGLs getting buried, mids, how loud and how present different amps are, is missing a few things that I feel get overlooked.
1st environment: band in rehearsal space, amps thru cabs, no micing and amplification thru board, PA.
2nd environment: band on stage, amps and cabs on stage, everything miced, guitar into PA. Musician on stage perspective vs audience perspective.
2 totally different scenarios. While I can partly understand one amp buriing another one in the 1st environment, there is no excuse for not getting a balanced sound between both rigs if both are somewhat decent as soon as you introduce micing and a mixing board (and hopefully a capable person mixing on it).
And then we didn't even talk about the rest of the chain. Cabs. Speakers. Mic and mic placement. They all do so much to the tonal balance, frequency spectrum that you can't blame it on the amp if the rest of the chain isn't 100% exactly the same.
All the examples where people said Engl XYZ was used by this or that band on stage or in studio -> useless examples as you don't hear just the amp.
There is no absolute implication about how 2 amps compare from a recording where you don't know all variables used.
Of course you can get a direction what you might prefer over multiple samples. Also, I don't say Amp A can't be more direct, mid forward, cutting - whatever you want to call it - than Amp B. But it's my job as a musician or at least as the engineer to find the balance between both guitar rigs so it serves the song, the mix, the band.
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T
Tone_Master
New member
It's a great amp and I know you have tried a lot of them so if it works for you great.
I found the bottom boost needed to be on or it would be thin and once the bottom boost on it was kinda too thick and dark couldnt really sound nice and scooped yet cutting like a recto.
In saying that I still loved it and made it work well for me my only real complaint was that it was so loose and chunky that it couldn't keep up with my fast playing as well as the Powerball 2, smolski, invader and engl special edition and the likes of 5150s and rectos could.
Really depends on your style and want you to for tonally and feel wise but every engl is killer for metal.
For me it goes
Engl special edition
Engl invader 100 / 150
Engl inferno
Engl retro
Engl fireball 100
Engl Powerball 2 / smolski
Engl invader 2
Engl Blackmore / artist edition
Engl savage special edition
Engl screamer
Engl Powerball 1
Engl thunder
Engl savage mk1
Engl savage mk2
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napalmdeath
Well-known member
I left the boost off and used a 10-Band in the loop. lets you tailor the mids/high mids to open it up, and fine-tune nice, tight low end. You could also use the boost, and the EQ to cut the boominess.
You should try the new LTD Edition KT77 Fireball 25. I got one a month ago, and it's a fucking little beast. I'd swear it has more punch than the 6L6. More mids, very aggressive. It's an animal!
MaxF
New member
Looks like you tested a lot od ENGLs! I'm curious, why do you rank the Savage last?
T
Tone_Master
New member
The first one was kinda noisy and tinny and the 2nd one had no depth to the tone it just pumped out woof like one of those high powered Randall solid state amps neither were for me. Only Engls I have not liked...