![]() Thus, standalone subwoofer amps exist to “amplify” the low-voltage output signals between the subwoofer cone and the source (typically the head unit). That’s because most audio sources-particularly car head units-aren’t powerful enough to drive these low-frequency loudspeakers on their own. Though because of their size and the low frequencies that they produce, subwoofers require built-in or separate amplifiers to help drive them. To ensure your system produces clean and powerful bass to accompany its mid-range speakers and high-range tweeters, subwoofers exist to produce these low-range frequencies. Mix and match incorrect speakers and amplifiers and you could be needlessly wasting money, missing out on your system’s potential sound quality and fidelity, or worse, running the risk of damaging your speakers. ![]() FEATURES True-bypass switching, Neutrik jack sockets, 9V-12V power supply (DC 2.When upgrading your car’s sound system, it’s important to have the right components that are compatible with each other.DESCRIPTION Overdrive/compression pedal, made in USA.Whether you are one of those about to rock or simply looking for drive and/or compression textures outside the norm, this unit is worthy of attention. With the right rig, this unit gets closer to Angus Young’s tone than we’ve ever heard but don’t dismiss this as a pedal for AC/DC obsessives only. Meanwhile, the smooth, warm boost and slightly gritty overdrive textures have more in common with pedals based on recording console preamps than the myriad TS-style overdrives. The real surprise, however, is how good the unit sounds out of its assumed comfort zone, with a maple-neck Tele into a clean black-panel Fender amp we begin to think of this pedal more as a compressor with added gain controls. In essence, the Storm adds much of what a decent engineer might in a recording studio to add polish and punch and sit the part perfectly in a track: compression, analogue grit and EQ. There’s volume increase aplenty via the 25dB boost, and turning up that gain control delivers scorching leads with a unique and almost ‘produced’ feel. With the pedal’s gain set low and its boost and limiter controls halfway, the raw, harmonically rich amp tone is enriched with a gritty drive, while velvet-smooth optical compression adds sustain, bloom and girth to our notes. Controls for gain and level are self-explanatory, while the third knob, labelled limiter, governs an optical compressor circuit.ĭonning a PAF-loaded Gibson, we plug into a 1968 100-watt Marshall Plexi and a greenback-loaded cab and turn up, and then turn up a bit more! Stepping on the pedal, we’re immediately impressed at the Storm’s ability to refine and enhance our already spectacular cranked Plexi tone. While our lockdown diet means we sadly can’t quite squeeze into our old school uniform, with its metal enclosure, true-bypass footswitch, Neutrick jack sockets and 100% analog circuitry, at least the Storm is ready to rock, and of course it’s only available in black. With the original’s complex optical limiter, compressor, expander, EQ enhancement and line buffer circuitry fully analysed, by 2014, the first SoloDallas Schaffer Replica units were born, and the circle was soon complete as they made their way into a host of celebrity live rigs, including that of Angus Young himself. Olivieri duly sought out its creator, Ken Schaffer, and procured a couple of original examples to reverse engineer with Schaffer’s blessing. The Schaffer-Vega Diversity System allowed Young to drive his cranked Marshalls even harder, but wireless technology had moved on since the 1970s, and by the time Olivieri started looking into it, it was long defunct. ![]() Much research and many gear purchases later, Olivieri realised that the special sauce in Angus Young’s signal chain was, unusually, an early wireless unit designed for stage use that had made its way into the studio. SoloDallas founder Filippo Olivieri has made it his lifelong mission to replicate the searing crunch of AC/DC’s 1980 masterpiece Back In Black.
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