NAD: Bogner Snorkler 50

braintheory said:
I guess we just disagree here. I agree on the UU being plenty thick in the low mids as all Uber's are and being very cutting and tight (if dialed in to be), but it is to me about as far away from warm, rich or juicy as it gets, especially when it was directly compared to my Rev 1 Uber and didn't have the Rev 1's chewiness at all and the Rev 1 Uber honestly, as much as I still love it to death, actually lacks chewiness and some of that type of good stuff vs this Snorkler (all relative based on these AB comparisons). I think it's partly the lack of some overtones maybe that results in such lack of warmth/richenss, there was just a lack of interesting stuff going on around the notes as they ring out that you'd hear in top tier amps that creates that tonal complexity and magic that really inspires me to listen. It was actually kind of amazing to me that an amp that is so high gain and compressed can somehow still feel so disconnected to play/lacking that liquid connection like say a iic+ (mainly for leads), but at the same type definitely not a dry amp either like a VH4 or most Fryette's. Guys I know who had both a KT88 and EL34 version didn't seem to think they differed that much. I'd imagine liking a KT88 one a bit less even with higher PV being a nice plus, but who knows

I think really though I just can't stand the sound of those really filtered sounding amps. I won't mention it publicly here, but there's other filtered sounding amps I hate that others here love. I love a good modern, tight, cutting, aggressive amp, especially for how I typically play, but my favorites can do it without being filtered, clinical/sterile, cardboard-y or lacking that nuance or complexity in tone I like such as the Hell Razor, Hermansson's, Dino, Rev 1 Uber or Lenz High Octane (at least modern enough to me). A Klon boosted IIC+ or Rev C also are up there for that to me. I don't interpret those as modern sounding, but imo still can work plenty well for it
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Nothing wrong at all with disagreeing, we all hear/experience things differently. You and I have similar thoughts in some respects to gear but here we clearly have different opinions on other things. I have to wonder if you played mine the way I have it set up with pretty unconventional settings if your opinion would change. I honestly don't care a lick and I'm not some UU fanboy in the least. In fact, when I first got mine I hated it, like listed it the very next day hated it, but after some bias adjust (which was grossly off), and tweaking of settings and chain, I found some settings that really impress me.

The way I have it setup and boosted, its juicy as hell, like really juicy and it has that Bogner chewiness with a little bit of bloom going on in power chords. The warmth part is where we likely perceive things most differently and that could also be due to the variation in setup/signal chain but it could also be we just perceive that aspect that differently.

I know your opinions and preferences and you very much prefer all things vintage which by nature is gonna have a "woodiness" a "roundness" that can translate to "warmth". Guitars, amps, pedals, speakers...you are very vocal about how much you prefer vintage attributes of all gear. So it would make sense you find modern gear "cardboardy" "plastic" "synthetic", "processed" "filtered". You also apparently have an exceptionally keen ear and must detect things that many of us just don't hear. I hear these things too and can pick these attributes out but I guess when it comes to more modern metal tones, I've learned to accept some degree of "synthetic" "filtered" nature of a lot of modern gear. Some gear has way too much of that "filtered" thing going and I can think of several amps and OD pedals I owned that didn't last long especially when AB'd against something like a Wizard, Naylor, or TC1140, or SD-1.
 
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MetalHeadMike said:
Nothing wrong at all with disagreeing, we all hear/experience things differently. You and I have similar thoughts in some respects to gear but here we clearly have different opinions on other things. I have to wonder if you played mine the way I have it set up with pretty unconventional settings if your opinion would change. I honestly don't care a lick and not some some UU fanboy in the least. In fact, when I first got mine I hated it, like listed it the very next day hated it, but after some bias adjust (which was grossly off), and tweaking of settings and chain, I found some settings that really impress me.

The way I have it setup and boosted, its juicy as hell, like really juicy and it has that Bogner chewiness with a little bit of bloom going on in power chords. The warmth part is where we likely perceive things most differently and that could also be due to the variation in setup/signal chain but it could also just be we just perceive that aspect that differently.

I know your opinions and preferences and you very much prefer all things vintage which by nature is gonna have a "woodiness" a "roundness" that can translate to "warmth". Guitars, amps, pedals, speakers...you are very vocal about how much you prefer vintage attributes of all gear. So it would make sense you find modern gear "cardboardy" "plastic" "synthetic", "processed" "filtered". You also apparently have an exceptionally keen ear and must detect things that many of us just don't hear. I hear these things too and can pick these attributes out but I guess when it comes to more modern metal tones, I've learned to accept some degree of "synthetic" "filtered" nature of a lot of modern gear. Some gear has way too much of that "filtered" thing going and I can think of several amps and OD pedals I owned that didn't last long especially when AB'd against something like a Wizard, Naylor, or TC1140, or SD-1.
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Interesting that your UU was severely underbiased....if that's the case for those amps in general, that would explain the reason why many of the owners returned the amp.
Speaking from experience, if I receive an amp that sounds terrible I immediately check the bias and 100% of the time it's WAAY underbiased. Typically manufacturers would do that to protect against warranty claims as these modern tubes are shit and test at barely 80% on my tube tester, when I've bought any new amps(MT100, EVH stuff).
 
braintheory said:
Exactly! Of course it can nail Cantrell, but surprisingly do so much more including what you said. It’s honestly one of my favorite classic rock amps too. Some may disagree with me here, but I’d rank it just one spot higher than my ‘69 plexi for classic rock and I love that amp a lot. The only things I wouldn’t choose it for would be a lot of modern metal scenarios, which this wasn’t meant for or cleans, but it can even get decent enough cleans on the blue gain mode. I can’t say enough good things about it
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Honestly when I heard the Blizzard of Ozz tone I was pretty surprised. Definitely a badass amp for those tones, obviously as we can all agree not everyone likes the same cup of tea but there's definitely a Bogner for everyone.
 
MrWoodchuck said:
I made a comparison once I got my rev green against a previous clip of my Uber ultra. I never had them both at the same time to dial in even closer but it really shows the huge filtered difference. Uber Ultra was on Uber presence shift and Uber setting on channel 2.
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I mean, if you’re running those settings you literally set the NFB on the ultra opposite of the rev green. That’d give you a pretty big difference….
 
I bought a Uber Ultra EL34 when they came out. There are a lot of things about it I loved. Then a friend of mine took it to his studio and recorded it against various other high gain amps.

I was honestly shocked to hear how thin in the midrange it sounded in every clip. It has a large scoop in the middle that is odd to be honest. I didn’t notice it much in the room but it’s clear when you hear it recorded, especially in contrast to other amps. Check out clips online of comparisons and you will notice it too. Kyle Bull did one where he compares it to about 10 other amps.
 
the4thlast1 said:
I bought a Uber Ultra EL34 when they came out. There are a lot of things about it I loved. Then a friend of mine took it to his studio and recorded it against various other high gain amps.

I was honestly shocked to hear how thin in the midrange it sounded in every clip. It has a large scoop in the middle that is odd to be honest. I didn’t notice it much in the room but it’s clear when you hear it recorded, especially in contrast to other amps. Check out clips online of comparisons and you will notice it too. Kyle Bull did one where he compares it to about 10 other amps.
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That is wild. I haven't heard them recorded, but when I played one along with 8 other top amps, it was very full sounding.
 
Smash said:
That is wild. I haven't heard them recorded, but when I played one along with 8 other top amps, it was very full sounding.
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Yeah I mean, I think you can scoop it if you want it. I mean the amp is called the uberschall lol, meant to be brutal. Anyway, sounds pretty good to me here. I like how this dude does a hair section and a more brutal section.



And here…

 
Bram576 said:
Yeah I mean, I think you can scoop it if you want it. I mean the amp is called the uberschall lol, meant to be brutal. Anyway, sounds pretty good to me here. I like how this dude does a hair section and a more brutal section.



And here…

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I really am a fan of @ZEN Amps They do a wonderful job of showcasing an amp. I ofcourse dont care about the softer playing they do with amps, but that is the point. They showcase the whole amp for people that are soft, and for people like us that love high gain
 
Bxlxaxkxe said:
What do you want to see? It’s the speaker outs, fx jacks, fx switch, and gate knob. None of the fundamental tone controls are back there just FYI
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Is the gate switchable from the back? Is there a level control for the fx loop? By fx switch you mean the fx loop bypass? Is the foot controller a TRS cable input or something else? I am interested because I would like to know how to integrate it in a midi controlled environment
 
B. Ste said:
Is the gate switchable from the back? Gate and Fx loop are on the same on/off switch
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B. Ste said:
Is there a level control for the fx loop? YES
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B. Ste said:
By fx switch you mean the fx loop bypass? YES
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B. Ste said:
Is the foot controller a TRS cable input or something else? Regular TRS for mode change only
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B. Ste said:
I am interested because I would like to know how to integrate it in a midi controlled environment
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Reasonable. See above for answers. I’ll shoot you a pic when I get home tonight.
 
the4thlast1 said:
I bought a Uber Ultra EL34 when they came out. There are a lot of things about it I loved. Then a friend of mine took it to his studio and recorded it against various other high gain amps.

I was honestly shocked to hear how thin in the midrange it sounded in every clip. It has a large scoop in the middle that is odd to be honest. I didn’t notice it much in the room but it’s clear when you hear it recorded, especially in contrast to other amps. Check out clips online of comparisons and you will notice it too. Kyle Bull did one where he compares it to about 10 other amps.
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I felt those qualities you mentioned were quite apparent for me also in person in the room, but like you said, I definitely did hear them more strongly when I tried close mic’ing later and then it became harder to unhear. I’m not great at recording lol, but I try sometimes. I don’t know if I hear it as a thin midrange, but it’s probably just a different way we’re describing the same things we didn’t care for about it. I heard it as filtered like not full frequencies extending or maybe like overtones are being filtered from coming out as much, not sure, but I know it’s something I really don’t like about many recent amps. This Snorkler doesn’t have that at all
 
braintheory said:
I felt those qualities you mentioned were quite apparent for me also in person in the room, but like you said, I definitely did hear them more strongly when I tried close mic’ing later and then it became harder to unhear. I’m not great at recording lol, but I try sometimes. I don’t know if I hear it as a thin midrange, but it’s probably just a different way we’re describing the same things we didn’t care for about it. I heard it as filtered like not full frequencies extending or maybe like overtones are being filtered from coming out as much, not sure, but I know it’s something I really don’t like about many recent amps. This Snorkler doesn’t have that at all
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I never recorded with the one I had, just cell phone in the room so I can't speak on that.

I heard a rumor that the latest knocked loose stuff they used one and while I think it's buried in the mix and needed some more guitar volume, it sounds pretty damn good.
 
Bxlxaxkxe said:
Well now this just feels rude and I will not post the picture
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mr-bean-wating-gif.gif
 
MetalHeadMike said:
Nothing wrong at all with disagreeing, we all hear/experience things differently. You and I have similar thoughts in some respects to gear but here we clearly have different opinions on other things. I have to wonder if you played mine the way I have it set up with pretty unconventional settings if your opinion would change. I honestly don't care a lick and not some some UU fanboy in the least. In fact, when I first got mine I hated it, like listed it the very next day hated it, but after some bias adjust (which was grossly off), and tweaking of settings and chain, I found some settings that really impress me.

The way I have it setup and boosted, its juicy as hell, like really juicy and it has that Bogner chewiness with a little bit of bloom going on in power chords. The warmth part is where we likely perceive things most differently and that could also be due to the variation in setup/signal chain but it could also just be we just perceive that aspect that differently.

I know your opinions and preferences and you very much prefer all things vintage which by nature is gonna have a "woodiness" a "roundness" that can translate to "warmth". Guitars, amps, pedals, speakers...you are very vocal about how much you prefer vintage attributes of all gear. So it would make sense you find modern gear "cardboardy" "plastic" "synthetic", "processed" "filtered". You also apparently have an exceptionally keen ear and must detect things that many of us just don't hear. I hear these things too and can pick these attributes out but I guess when it comes to more modern metal tones, I've learned to accept some degree of "synthetic" "filtered" nature of a lot of modern gear. Some gear has way too much of that "filtered" thing going and I can think of several amps and OD pedals I owned that didn't last long especially when AB'd against something like a Wizard, Naylor, or TC1140, or SD-1.
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Yeah these are good discussions and agree with a lot of that. It may not at all seem like it, but I actually don’t prefer the vintage flavor itself nor the dated or softer aspects of it, but I do absolutely prefer a more complex, nuanced, 3D tone and gear that feels more alive/connected to play and vintage gear just usually tends to be better in those departments, but thankfully some modern stuff can have it too, but not the warm or raw part the same way IME and I don’t prefer roundness at all for metal or most high gain styles. I like modern when it’s done well for me like the Hermansson, Dino or Hell Razor. Those amps are all about as tight and sharp sounding as it gets. You have a point that the vast majority of modern metal gear has those qualities I don’t like, but found some amps here and there for me that are still in their own very modern without the qualities I complain about

I think the perfect gear for me is stuff that is modern, but still very 3D/complex tonally. It’s a tall order since I’m asking for 2 things that typically go against each other, but it exists sometimes at least lol. This is also why I love Marchione and Tao guitars. They’re very modern and sleek but also to me have amazing tone. I don’t like that the ‘57 LP Jr is my best sounding guitar, never liked their look/vibe, but it is what it is and not many guitars can rival it
 
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