Sound Files
Tone Ranger Sound Files
The Tone Ranger top is connected to a Schröter® S112D -1x12er box, equipped with a Celestion G12M-65 "Creamback" speaker.
The Tone Ranger 1x12 combo is equipped with a Celestion "G12 NEO Creamback" speaker.
The volume was set moderately in all videos, very far below normal rehearsal room volume. The exact settings of the amp can be seen at the end of each video.
The Tone Rangers are technically always the same and sound basically the same.
The fundamental sound differences on the recordings between combo and head with cab result from microphone distance, microphone angle etc., which may even make a bigger difference in sound than a different speaker setup.
Please listen to Sound Files's for guidance only, to get an idea of the basic character of an amp and what it can do.
The NEO Creamback in the combo sounds rougher than the Creamback 65 in the cab. So if you like the sounds of the combo more but you prefer a head with cab you get the same sounds with it if the cab is euqipped with a NEO and vice versa.
The only difference that can not be heard on these sound files is the vent of the combo on the top, from which sound penetrates. As a result, the combo overall comes a bit more middle frequencies, as the head with cab, because the cab is closed at the top. But if you stand a little farther away, so that you hear a lot more sound directly from the front of the cab, just as the microphones in the sound files have "heard" it the differences disappear.
The Tone Ranger top is connected to a Schröter® S112D -1x12er box, equipped with a Celestion G12M-65 "Creamback" speaker.
The Tone Ranger 1x12 combo is equipped with a Celestion "G12 NEO Creamback" speaker.
The volume was set moderately in all videos, very far below normal rehearsal room volume. The exact settings of the amp can be seen at the end of each video.
The Tone Rangers are technically always the same and sound basically the same.
The fundamental sound differences on the recordings between combo and head with cab result from microphone distance, microphone angle etc., which may even make a bigger difference in sound than a different speaker setup.
Please listen to Sound Files's for guidance only, to get an idea of the basic character of an amp and what it can do.
The NEO Creamback in the combo sounds rougher than the Creamback 65 in the cab. So if you like the sounds of the combo more but you prefer a head with cab you get the same sounds with it if the cab is euqipped with a NEO and vice versa.
The only difference that can not be heard on these sound files is the vent of the combo on the top, from which sound penetrates. As a result, the combo overall comes a bit more middle frequencies, as the head with cab, because the cab is closed at the top. But if you stand a little farther away, so that you hear a lot more sound directly from the front of the cab, just as the microphones in the sound files have "heard" it the differences disappear.
Combo -Fusion Style -TB Range
Fender Stratocaster in der "TB" Range
Combo -Metal Style -MV Range
Fender Telecaster in der "SL" Range
Combo -Classic Rock -MV Range
Combo -Funky Strat -TB Range
Gibson ES 335 in der "MV" Range
Fender Stratocaster in der "SL" Range
Gibson ES 335 in der "TB" Range
Combo -Jazz Style -SL Range
BrownArtist and Traditional Sound Files
The BrownArtist sound files are equally valid for the traditional amps, because you can only feel a real difference when playing, but in no way over (these) recordings. The amp is connected via a 4x12 Marshall Basket Weave box, originally equipped with G12M-25-Watt Celestions (Greenbacks), built around 1969/70.
Not visible on the videos is the position of the output power control on the back of the amp. It was at 12:30 pm at every recording. In combination with the RhyVol control on the front in position 9:30 pm this resulted in a very little compressed sound, far above room but still under a normal rehearsal room volume.
The BrownArtist sound files are equally valid for the traditional amps, because you can only feel a real difference when playing, but in no way over (these) recordings. The amp is connected via a 4x12 Marshall Basket Weave box, originally equipped with G12M-25-Watt Celestions (Greenbacks), built around 1969/70.
Not visible on the videos is the position of the output power control on the back of the amp. It was at 12:30 pm at every recording. In combination with the RhyVol control on the front in position 9:30 pm this resulted in a very little compressed sound, far above room but still under a normal rehearsal room volume.
High Gain Kanal mit Gibson Les Paul
Clean Kanal - Crunch Kanal mit Gibson ES 345
Heißer Crunch mit Gibson ES 345
Les Paul Blues
High Gain Kanal mit Gibson ES 345
Crunch Kanal mit Fender Danny Gatton Telecaster
Strat Blues
Clean Kanal mit Fender Danny Gatton Telecaster