johnnycajon
6 posts
Jun 26, 2013
5:11 AM
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Hi
I'm looking to buy a VHT Special 6 in the UK. I'm not looking at the Ultra, only the original Special 6 version with the 10" speaker. Can anybody help me?
Cheers
Johnnycajon
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Rarko
10 posts
Jun 26, 2013
2:31 PM
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for VHT 6 owners:
your recomendation, what is the most needed modification for this amp? new tube (which one), speaker...?
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garry
419 posts
Jun 26, 2013
4:46 PM
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i replaced the speaker with an eminence lil' buddy, based on rick davis' recommendations, and i love it.
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BigBlindRay
186 posts
Jun 26, 2013
8:50 PM
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I picked up the VHT special 6 ultra Head with the Celestion G12H30 open back cab. The only change I made was to change the stock tubes with JJ's from Eurotubes and it is easily one of the most impressive amps ive ever played. I dont think there is anything out there in its class that can compete with it.
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Big Blind Ray's YouTube Channel
The Big Blind Ray Trio
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Kingley
2796 posts
Jun 26, 2013
9:57 PM
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Rarko - The amp doesn't require any mods to sound good. Out of the box it's a great little amp for harp. With some mods though it sounds even better. If you really want to mod it though, I'd recommend starting with the Jim Rossen mods first, before changing speakers.
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johnnycajon
7 posts
Jun 27, 2013
7:17 AM
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Kingley - Thanks for the pointer. I bought one from thomann.de
Now I cannae wait until next weekend to try it out with the Turner 254 bullet I'm buying from my pal in Bristol. Roll on....
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Kingley
2797 posts
Jun 27, 2013
10:27 AM
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Your more than welcome. You'll love that amp. If you plan on playing out at gigs or jams with it then I highly recommend doing the Jim Rossen mods which also include a line out. Those Turner 254 mics are great too.
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HawkeyeKane
1820 posts
Jun 27, 2013
10:59 AM
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Does anyone know if VHT is still making the Classic 6? It's still on their site, but I haven't found any retailers selling it for a while now.
The Classic 6
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Hawkeye Kane
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doctom
3 posts
Jun 27, 2013
12:10 PM
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Hey Guys,
I'm using a special 6 with a line out to the PA. I still get feedback when I up the volume to be heard over a loud band. Any suggestions?
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Kingley
2800 posts
Jun 27, 2013
12:19 PM
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Doctom - Try keeping the amp volume low and turn it up on the PA. Also keep the boost switch off when using the amp. You could also try a 12AY7 or 5751 in the preamp instead of the default 12AX7. Don't put any amp in the monitors if you're using them. Get the amp off the floor. that will help you hear it better at lower volumes. Also try different placements for it on stage. Keep the PA channel treble and middle controls on zero and put the bass at about 1 O'clock. Those should help you out and give you an improvement with the feedback. Oh yeah I almost forgot. Look at your cupping technique as well and make sure you're getting a good seal on the mic.
Last Edited by Kingley on Jun 27, 2013 12:20 PM
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doctom
4 posts
Jun 27, 2013
12:28 PM
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Thanks Kingley!
I'll take your advice. I use a harp attack and MXR delay. How should I set them to up the volume and minimize feedback?
Thanks again,
Tom
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Kingley
2801 posts
Jun 27, 2013
12:37 PM
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Well Tom, personally I wouldn't use the Harp Attack with the VHT. That could be a cause of feedback too. I'd try using the VHT on it's own and you should find you can turn it up more and get it to overdrive easily. I use a Harp Attack direct into the PA. Have you tried doing that? I set mine at tone about 9 O'clock, Volume at 12 O'clock and Drive at about 9 O'clock. Just remember that the higher the drive is on the Harp Attack the lower the volume should be and vice versa. Then set the PA as I described before. With the delay it's all a matter of taste and how much delay you want in your sound. For my taste I like the delay to sound short so I'd set it something like this: mix at about 12 O'clock, regen about 8 O'clock, delay about 9 O'clock. Of course it all depends on the room as well. Those settings though would be my starting point and then from there I'd season to taste.
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doctom
5 posts
Jun 27, 2013
4:02 PM
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Thanks again,
I've tried using the Harp Attack through the PA but had the same feedback issues. I'll try doing all that stuff and see how it goes, as for my cupping technique, it's a work in progress! I'm pretty clueless regarding the preamp, is that the same as the boost? When that's off I have hardly any volume.
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Kingley
2802 posts
Jun 27, 2013
8:54 PM
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Tom - When I say the preamp I'm referring to the valve in the back of the amp. If you change this to a 12AY7 or 5751 then you'll be able to get the amp a bit louder. If you look at the picture below I have circled the preamp valve in red. It's a simple process to change it. You just twist and turn the metal cover off and then pull out the valve. Then do the opposite to put the new valve in. Just make sure the amp is unplugged and disconnected from the wall socket before you do this.
Regarding the settings. Take a look at the picture below. Keep the volume switch pushed in. Don't pull it out. This is circled in red. Keep the power setting switch on high power. This is circled in blue. Keep the tone around 9 O'clock and then set the volume to just below the point of feedback. Plug your mic into the "Hi" input. That should give you a very good overdriven sound. Try this without the pedals connected to the amp first.
If you're still having feedback problems then you need to look at where you're standing in relation to the amp and your cupping technique. If you're in the PA as well then make sure the treble and middle controls on the PA are set to zero.
You say that when the boost is off you have hardly any volume. Are you using a high impedance mic? If not then you'll need to get an impedance transformer for the mic.
Last Edited by Kingley on Jun 27, 2013 10:18 PM
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SuperBee
1255 posts
Jun 27, 2013
9:15 PM
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Kingley, just one thing I didn't understand that you said there. Don't put any amp in the monitors if you're using them? Do you just mean, don't put amp in the monitors if you're using PA?
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JellyShakersTipJar
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Kingley
2805 posts
Jun 27, 2013
9:34 PM
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SuperBee - Yes that's exactly what I meant. Sorry for any confusion.
Let's say you have an amp behind you which is then miced or lined out to the PA. If you then have that amp in the monitors as well, you are creating a lot more possibilities for feedback to occur. Basically because your sending your signal from the amp to the PA and then the monitor is sending it right back at you. Which can create serious feedback loops.
In most cases you shouldn't need to use a monitor as well because the amp is acting as your monitor. Does that make sense? If you're playing on a large stage then the sound man should be able to give you some in the monitors if it's necessary and be on top of any feedback issues that may occur. As a general rule of thumb though, try to avoid using monitors for amplified harp wherever possible.
Last Edited by Kingley on Jun 27, 2013 9:35 PM
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SuperBee
1256 posts
Jun 28, 2013
3:30 AM
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with you 100%. I always found the amp in monitor was bad news.
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JellyShakersTipJar
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HawkeyeKane
1824 posts
Jun 28, 2013
9:18 AM
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@Kingley & SuperBee
Question related to putting an amp in the monitors...
My band usually runs two powered monitors that are daisy-chained on the same monitor output channel. Reason for that is because they are rather junky JBL EONs, and if you run them on two seperate monitor channels, one of them inevitably puts out a heinous buzz.
Anyway, since we have to run our monitors on the same level, I prefer not to have my amp's mic channel in them at all for feedback reasons. But our lead guitarist (who I will say is an unusually harp-friendly one) is on the opposite side of our stage configuration, and likes to have some of me in them so he can hear me in the mix. So it presents a problem. Any advice on how we might be able to remedy this?
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Hawkeye Kane
Last Edited by HawkeyeKane on Jun 28, 2013 9:18 AM
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Kingley
2807 posts
Jun 28, 2013
9:46 AM
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Hawkeye a few ideas come to mind.
1. Get the band to play quieter and have them all mic up into the PA. That way they could all hear each other on stage. Though it's unlikely they will agree to it.
2. Turn the monitor volume on your side of the stage low or even off if not really needed. The guitarist can then have as much of you in the monitor as he wants (within reason of course). This all depends on having the agreement on whoever else uses the monitor on your side of the stage.
3. If you have a spare small amp you could set it up and mic or line out your amp into it. Then put this on top or next to the guitarists amp. He would then be able to hear you. If the guitarist has a twin channel amp, then you also suggest running your amp in his spare channel at a low volume, so he can hear you. Though he most likely won't like that idea too much!
4. You could move your stage position and set up next to the guitarist and then he would maybe hear you more clearly.
5. You could turn your amp sideways on so that the sound is pointing directly towards the other side of the stage. Then the guitarist might not need you in the monitors. (This can be a very useful trick when playing with a loud band to be able to hear yourself more clearly too.)
6. Try and convince the band to invest in some decent monitors. So then you can run them separately.
7.If all those things are not possible then you could reposition the monitor on your stage side so that it points away from you and more across the stage. This may help with feedback, it may not.
Last Edited by Kingley on Jun 28, 2013 9:49 AM
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HawkeyeKane
1825 posts
Jun 28, 2013
10:49 AM
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In the interest of not completely hijacking the OP's thread, I'm gonna start a new one on this topic. Okay? Okay...
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Hawkeye Kane
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doctom
6 posts
Jun 28, 2013
2:59 PM
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@Kingley
Thanks for all the great advice, this forum is awesome and you guys are too. I'm using a Hohner Bluesblaster, I believe it is high impedance. As you can see I am new to this! Does this Mic absolutely suck or should I stick with it? I will do what you suggested with the preamp and settings.
Thanks again!
Tom
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HawkeyeKane
1833 posts
Jun 28, 2013
3:15 PM
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@doctom
Yex, the Bluesblaster is high-Z. FWIW, the Bluesblaster can make a good mic if used properly. But the XLR connection is slightly assinine, and the element is very cheap. The Astatic by Hohner JT30RH is essentially the same mic, but with a better screw-on connection. You'd be better off getting a vintage crystal or ceramic element installed by Greg Heumann, who's a forum member here. You'll get far better tone that way.
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Hawkeye Kane
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Kingley
2813 posts
Jun 28, 2013
4:23 PM
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Tom - You're more than welcome. We are all here to help each other as best we can.
The Blues Blaster is an ok mic. It's not the best, but it is workable. It will certainly do to learn on. Hawkeyes suggestion of getting an element from Greg Heumann is a great one too. A good Controlled Magnetic (CM) element would be ideal for the Blues Blaster shell.
What I'd suggest is to try those things mentioned earlier and concentrate on your mic technique first. Once you feel it's getting better and your foundation is getting stronger, then speak to Greg about a new element or a new mic.
Last Edited by Kingley on Jun 28, 2013 4:24 PM
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Rarko
11 posts
Jun 29, 2013
2:06 AM
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"Well Tom, personally I wouldn't use the Harp Attack with the VHT. That could be a cause of feedback too..."
@Kingley,
Is the same problem with harp attack and other amps or just with VHT? Why is that happening?
I planned to buy VHT and a harp attack, that's why I am asking (is the same thing with Harp Break?)...
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arnenym
159 posts
Jun 29, 2013
2:15 AM
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Great advices Kingley.
Johnnycajon:
VHT is a good amp as it is. You can do some mod's inside it. But it's not worth the job if you don't do a complete rebuild to another style of amp. Transform it to a champ or similar) you got another amp, but do it sound better? I don't think so.
A speaker swap do a lot for the sound.
The original speaker is a soft sounding speaker force the amp to give a lot of distorsion.
A harder/cleaner speaker, -a li'l buddy or a Jensen Jet tornado, give a little more volume and another carachter.
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Kingley
2819 posts
Jun 29, 2013
2:33 AM
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Rarko - The VHT is a small 6 watt class A amp that overdrives very easily. The Harp Attack is really intended to be used directly into the PA instead of using an amp, to give the player an "amped' sound. Of course it can also be used with an amp as a preamp device or overdrive pedal. With small amps though there really isn't much point in doing that as they overdrive very easily by themselves. When you use a pedal as well with those small amps, you can sometimes create too much gain (overdrive) and that can quite often be the cause of feedback problems.
When it comes to bigger amps like the Fender Bassman, etc then a Harp Attack or Harp Break can be very useful in allowing the player to get a highly overdriven sound at much more manageable volumes. Thus avoiding potential feedback problems and also overpowering the other instruments on stage.
A good example of using effects in this manner is Jason Ricci. Jason uses his pedal(s) to give him the overdriven sound he desires at a much lower volume than by just using his amp (a Harpgear HG50) on it's own. If Jason were to use say for example a HarpGear HG2 for a small gig or a VHT then he would most likely not use his Harp Break pedal to create that over driven sound as the small amp could do that itself at a very manageable volume. Of course it can be done with small amps, but really it's just superfluous to requirements in most cases.
Last Edited by Kingley on Jun 29, 2013 2:35 AM
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SuperBee
1262 posts
Jun 29, 2013
7:22 AM
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Yes Kingley has covered that pretty neatly I think Rarko. Those pedals are designed to make a big Amp (like a PA) sound like an overdriven small tube amp. If you already have a small tube amp and you're looking for max volume, all those pedals will do is get in your way. If you have a big tube amp but you can't turn it up enough to get the character you want, harp break may do the job. If you have a big clean solid state amp, like a typical PA but also many ss guitar amps, the harp attack or harp break may give you the overdriven sound you want. If you have an amp you are already pushing into a distorted sound, you will probably find those pedals reduce the volume point at which you feedback.
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JellyShakersTipJar
Last Edited by SuperBee on Jun 29, 2013 7:23 AM
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johnnycajon
8 posts
Jul 01, 2013
6:53 AM
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Yikes! I didn't realise starting this post would generate such a fantastic discussion. I've now managed to get hold of a VHT Special 6 - thanks Kingley, it's winging its way to me from Germany as we speak. I've also learned which tubes I should swap out and why my Lone Wolf pedals may not be suited to the new amp but will work nicely with my band's PA system. It's all good stuff Harpers. Keep it coming. I really want to get one of those wood mics from Blowsmeaway now and play it through the amp. I'm going to the King Biscuit Blues festival in Helena in October. I wonder if I can pick one up then. Hmmm.
Johnny
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blueswannabe
218 posts
Jul 01, 2013
7:39 AM
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After reading this post, I plugged in the VHT special 6. It's not an amp that I use very often, only becasue I favor a larger amp. With that said, I am still amazed as to the tone of the VHT. for the price, you can't beat it. I made only 3 changes, swaped out the stock 6v6 for a vintage one, replaced the 12ax7 for a 5751, and swapped out the speaker for a jensen. I had a lil buddy in there but I thought the Lil buddy made it too dark for my taste. I made no mods to the circuit. I could have left everything stock, and it still would have sounded like a great amp. The stock speaker is fine. It has a nice distortion when you have a good cup on the mic. I use the settings that Kingsley uses. That works for me too. If you want more distortion use the harp break pedal.
Last Edited by blueswannabe on Jul 01, 2013 7:49 AM
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