#HiWatt

[studio313]

John Entwistle with The WHO live at Leeds University, Feb. 14, 1970

[eupat]

[slashdementia7734]

[guitar-shit]

[guitarbomb]

Foxgear 100W Series - 100W MiniAmps in pedal format

Foxgear 100W Series is a line of pedal-sized guitar amplifiers. These compact powerhouses, retailing at $249 each, pack a punch with 100 watts of output power, making them a game-changer in the realm of musical equipment. Foxgear 100W Series The Foxgear 100W Series introduces four distinct models, each meticulously designed to replicate the iconic sounds of legendary rock amplifiers. Allowing…

[junnjunn07]

just a post to show a HIWATT amplifier used by Jimmy from August 18th 1969.

[rockandrollpicsandthings]

Deep Purple, Glenn Hughes monster bass setup during the 1974 Burn tour. Consisting of eight (!) Martin 115 bass bins and two Hiwatt 200 heads. You don't wanna sit in front of those… He had these at the California Jam 74 and you can hear them on the great Made In Europe live album.

[pseudospaceship]

Seven Songs on Repeat

Rules: Pick 7 songs you would listen to on repeat. Just for fun, to write to, or for inspiration. No repeating artists. So tell me what you picking?

@redheadsramblings tagged me (and, like, basically everyone else I know, so no tags at the bottom--you've all already been conscripted).

It's a good thing there's a rule about no repeating artists, otherwise this would just be the Black Lab show (Two Strangers is my emotional support album OKAY?)

"Something You Don't Know" by Black Lab (had to get one in there)

"Questions" by Middle Kids

"Cannon" by sElf

"Ruby Soho" by Rancid

"Reunion" by David Poe

"Light for the Deadvine" by People in Planes

"She" by either Green Day or Kevin Martin and the Hiwatts (take your pick)

You. That's right, you. Your turn. Go!

[velmas-guitar-shop]

Toying with some changes to my guitar pedalboard, using Boss’ recommended pedal order.

Tuner (Sonic Research TT300) ➔ Ernie Ball volume pedal ➔ MXR Dyna Comp compressor -> Crazy Tube Circuits 🇬🇷 Hi Power overdrive side ➔ effects loop with EHX Neo Mistress ➔ TC Flashback delay ➔ Keeley Hooke spring/tremverb ➔ back into Hi Power amp side (Hiwatt amp clone) ➔ Keeley Aurora room/hall/plate reverb ➔ Radial JDI passive DI ➔ DAW.

Changes from previous setup:

Swapping my Keeley Dark Side (Gilmour-in-a-box workstation) for the Hi Power

Swapping my EHX Deluxe Electric Mistress for the smaller Neo Mistress

Adding the Keeley Hooke reverb

cc @nikidanger

[bubblesandgutz]

Vids from the Sumac tour are sounding AMAZING. What a festive treat. How’s the Orange AD200 working out for you?

Thanks so much!

I was renting the AD200 as I couldn't find a Hiwatt bass amp in the Atlanta area. It was fine... but I've never been a big Orange guy and this didn't change my preferences. They work well for other people but I think they're just too different from what I'm used to. There's some frequency range that just feels absent from them. And it reacts to my wah pedal in a weird way. But by the end of the tour I felt satisfied with the median bass tone I got out of it.

[martyr-dj]

Track IDs // FrequenZ Radio // 3.8.25 - Industrial Rock, Cyberpunk Mix

Mindless Faith - Contaminated Klute - Nosecandy (Feed 'em Mix) Cyber Axis - Sacrifice 16Volt - Stitched (Face Rip Mix by Hate Dept) Pigface - Asphole Chemlab - Chemical Halo Ministry - Thieves Vampyre Anvil - Prune That Dirty Stamen PTP - Rubber Glove Seduction CONFORMCO - Eighty Sixed [12 Inch Extended Mix] Unit:187 - Rolling Vengeance (Hiwatt & Cevin Key Remix) Psychopomps - Torso Penal Colony - Third Life (Time Center Remix) Terminal Sect - Fate & Fire Gravity Kills - Last My Life With The Thrill Kill Kult - First Cut - Early Version 1987 The Gruesome Twosome - Hallucination Generation (Syametic Nightmare) Consolidated - Product H3llb3nt - 3 Murders, 3 Nights Kill Switch… Klick - Fascist Smash (Below The Belt) Acumen Nation - Gun Lover Headcrash - Free Your Mind Project Pitchfork - Renascence (Icon Mix) Spahn Ranch - Locusts ACID HORSE - No Name, No Slogan Skinny Puppy - Tin Omen Excessive Force - Violent Peace (Bitchmix) Cocksure - Assault on Cocksure 13 Bile - Sex Reflex Revolting Cocks - Attack Ships On Fire Pitchshifter - Genius Steril - Overgod Numb - Suspended Birmingham 6 - Policestate [exposed] Cubanate - Barbarossa C-TEC - Stormtrigger Insekt - D.O.A. Front Line Assembly - Condemned Plastic Assault - Devotchka KMFDM - Sonofagun

[forgethemaker]

Hiwatt amps are always so satisfying to repair.

[guitarbomb]

Crazy Tube Circuits HI POWER - Pink Floyd "Wish You Were Here"

Looking to recreate some of rock history’s most iconic sounds? Crazy Tube Circuits’ newest creation, the HI POWER, is here to transform your guitar tone. This groundbreaking pedal is a tribute to the legendary tones that shaped Pink Floyd’s iconic “Wish You Were Here” album, bringing the essence of British rock right to your fingertips. Crazy Tube Circuits HI POWER The HI POWER is an innovative…

[beyondthesweetspot]

Time by Pink Floyd

The Timeless Echo of Pink Floyd's 'Time': A Sonic Masterpiece

In the annals of progressive rock, few songs evoke the visceral passage of time quite like Pink Floyd's "Time." Released in 1973 as part of their seminal album The Dark Side of the Moon, "Time" is lauded not just for its philosophical lyricism but for its revolutionary sound design and production quality. At a time when the music industry was transitioning from the psychedelic sounds of the late 1960s to a more polished rock aesthetic, Pink Floyd stood at the forefront, crafting an auditory experience that was both groundbreaking and eerily resonant.

The song was recorded at the legendary Abbey Road Studios, a name synonymous with innovation in sound. Under the meticulous guidance of producer Alan Parsons, who prior to The Dark Side of the Moon had worked on The Beatles’ Abbey Road, the band explored the outer reaches of studio technology. Parsons, along with the band members—David Gilmour, Roger Waters, Richard Wright, and Nick Mason—created a soundscape that was as much about technical prowess as it was about musicality.

One of the most striking features of "Time" is its opening sequence: a symphony of clocks and alarms, recorded by Parsons himself. This cacophony of timepieces was meticulously assembled, using a combination of analog tape manipulation and creative microphone placement—techniques that were innovative for the era. The ticking and chiming were recorded on an EMI TG12345 console, a piece of equipment that was revolutionary in terms of its equalization and routing capabilities.

The sonic signature of "Time" is marked by its dynamic range and spatial depth. The song transitions from the chaotic clock sequence to a hauntingly beautiful guitar solo by David Gilmour, whose Stratocaster was often plugged into a Hiwatt custom 100 amplifier, delivering that iconic, creamy distortion. The mix is a masterclass in balance, with Richard Wright's ethereal keyboard textures underpinning Gilmour's soaring leads, all wrapped in a warm, analog reverb that gives the track an expansive, otherworldly feel.

The bass lines, crafted by Roger Waters, are both rhythmic and melodic, driving the song forward with a steady pulse that complements Nick Mason’s meticulous drumming. The drums were likely recorded using a combination of Neumann U87 and AKG D20 microphones, capturing the crispness and punch that Mason is known for. The use of reverb and delay on the snare drum adds to the song’s depth, creating an immersive listening experience that transports the audience into the thematic depth of the track.

"Time" remains a touchstone in music production, not just for its technical achievements but also for its enduring emotional impact. It influenced a generation of audio engineers and musicians, showcasing the possibilities of studio technology to enhance storytelling in music. The precision and creativity involved in its production have made it a perennial favorite among audiophiles, revered for its clarity and dynamic range that reveal new layers with each listen.

What to Listen For

The Opening Clock Sequence: Notice the layering and panning of different clock sounds, creating a sense of chaos and urgency.

Guitar Solo: David Gilmour’s solo is not only a technical marvel but also an emotional centerpiece. Listen for the sustain and subtle bends that convey a sense of longing.

Bass and Drums: Pay attention to the interplay between Waters’ bass lines and Mason’s drumming, particularly how the bass anchors the song.

Keyboard Textures: Richard Wright’s use of synthesizers and organ adds a lush undercurrent, enriching the harmonic palette.

Stereo Imaging: The song makes exemplary use of stereo space, with instruments moving across the soundstage to create a three-dimensional listening experience.

In the end, "Time" is more than just a song; it’s a sonic journey through the inevitable march of time itself. Its production quality, innovative techniques, and emotional resonance ensure its place as a timeless classic in the world of music.