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Certainly, these are different beasts...one is ultra-lightweight, extremely portable and super powerful.
The other is an all-tube legend that more than delivers and is designed and assembled in the US.
It's a comprehensive review that really shows the bredth of what Ampeg delivers.
Check out the full review here.
Here's more info on the:
Glenn Rosenstein is one of those powerhouse engineer/producers who cut his teeth at NYC’s Sigma Sound in the ‘80s. Madonna, U2, Talking Heads, and Ziggy Marley are just some of the artists whose records received Rosenstein’s golden touch. These days, he is producing hits in his own Nashville studio. Rosenstein added the Universal Audio Powered Plug-ins to his tricked out Pro Tools System and Icon Console for the new Livingston Taylor album Last Alaska Moon, which features the singer’s older brother, James Taylor.
“I had heard the UAD plugs on a number of my friends' rigs and I was familiar with all of the great UA stuff — and was really lusting after one,” commented Rosenstein. “I wanted to get a lot of that tonality. I figured, who better than UA to emulate their existing hardware. My system works seamlessly, transparently, unbelievably well”
Rosenstein has spent years working with Universal Audio hardware, these days he is often ‘mixing in the box’ and turns to Universal Audio Powered Plug-ins to add classic analog effects. “Universal Audio is really doing some breakthrough stuff. The fact that they are the creators of many of these pieces of gear to begin with, and have the technology in place to emulate this hardware in a very thorough way.”
“We recently used the UAD-2 Powered Plug-ins on a record I produced for Livingston Taylor, and we had quite a few guest artists on it; James Taylor was involved, Carly Simon was involved. Members of Union Station played on it.
“George Massenburg’s approach to mixing that record was, of course, very organic. The tracks were well recorded in a very traditional sense. Compared to most current pop productions, it was quite an organic record. It wasn't like Livingston and I created a mandate that this was to be the approach. It just kind of created itself. But when we did go to mix, naturally there were discussions about how we were going to approach the mixes, and how true to the original tracks we wanted to be. Of course, we wanted to be very true to the original tracks. We didn't want a lot of flash, or a lot of effects. We wanted it to sound natural.
“So when we started getting involved in the mix, George has a lot of his own equipment that he likes to use; he invented all of these important audio tools. But when we started going outside of his box, the first thing he picked up was UA’s FATSO Jr. plug-in. And we were very pleased with the contribution that it made to our record.
“We used it on the background vocals, and also on the horn sections. And it did what a FATSO should. It beefed them up, warmed them up. It did all of the neat little things that the hardware would have done.”
Read the interview in its entirety as part of the June 2010 UA Webzine: http://www.uaudio.com/webzine/2010/june/Glenn-Rosenstein-UA-Interview.html
About Universal Audio Inc.
Founded in 1999 by Bill Putnam Jr. and based in Scotts Valley, California, Universal Audio is best known for its vintage analog reproductions and advanced Digital Signal Processing technology, including the award-winning UAD Powered Plug-Ins Platform. The company is focused on merging the best of classic analog and modern digital technology. UA is devoted to this endeavor, following its rich recording heritage and motto, “Analog Ears. Digital Minds.” http://www.uaudio.com
Since its debut at the Summer NAMM show, the Taylor GS Mini has been widely heralded with descriptions like “small but mighty” and “full of sound.” The scaled-down guitar, which boasts a bold voice and amplifying accessories, has made its way into the hands of well-known rockers, actors and professional athletes, and in a new web feature on the Taylor Guitars website, videos from the studio and the road testify to the Mini’s appeal.
One artist who was immediately taken with the GS Mini is longtime Taylor player Tommy Shaw (610ce, 614ce, 615ce, 854ce, GS8, T5-C2) of Styx and Damn Yankees fame. “It’s fantastic,” he raves in his video. “It’s small enough to go with me wherever I go in hotels, cars, busses, planes, and it’s a real guitar. It intonates great all the way up and down the neck and has a nice tone. I would play this on stage. I would record with this guitar.”
The Bacon Brothers, the rockin’ duo of Michael and Kevin Bacon (614ce, 914ce, 815ce, K65ce), also demoed GS Minis in a self-directed video sketch. “We love these little guys,” Michael shares. “When you play this guitar, you don’t feel like you’re playing a small guitar. It’s really loud and the neck feels natural. It’s a really versatile guitar.” Fellow actor and musician Bruce Greenwood had similar praise to share in a video from his recording studio. “[The GS Mini] instantly became my favorite guitar,” he says. “It has a big, fat deep tone, and it’s really small. I just love this little guitar. And like every Taylor, the intonation is perfect. It’s led me to a couple new tunes, and you can’t really ask for more than that.”
Jonah Matranga (GC8e, GC5e, SolidBody Classic), an LA-based singer/songwriter and lead vocalist of the band Far, offers up an acoustic performance of his song “Every Mistake” using the GS Mini. At the conclusion, he shares, “I love this thing. It’s got incredible tone and stays in tune… it sounds gorgeous! With its strap peg and pickup, I’ll take this thing on the road anytime.”
The GS Mini web feature also includes video from pro surfer Rob Machado, who strums on the porch of a weathered beach hut; Tony St. Tone, who travels and performs with his Mini in the tropics of Costa Rica; and fingerstylist Doyle Dykes, who samples the Mini at the Summer NAMM show. Other Taylor artists are featured, along with Taylor co-founder Bob Taylor.
The GS Mini features a solid Sitka spruce top, a back and sides of sapele laminate, an ebony fretboard and bridge, and a tortoise shell pickguard. Each Mini comes pre-fitted for the ES-Go , a proprietary magnetic soundhole pickup inspired by Taylor’s award-winning Expression System .
Part of the ES-Go’s design simplicity is that it can easily be added to the guitar by anyone as an after-market accessory, thanks to a snap-in bracket located inside the guitar. Another accessory that makes it easy to plug in and play on the go is the Taylor V-Cable , a quarter-inch cable with a built-in master volume control. Because the Mini was designed without tone or volume knobs, The V-Cable gives players a volume control where it plugs into the guitar, putting volume control at every player’s fingertips any time they plug in.
Each GS Mini comes ready to go anywhere in a specially engineered Taylor GS Mini Hardbag and will be available at domestic Taylor dealers in late summer at a suggested U.S. MSRP of $678. The ES-Go and V-Cable will also be available in late summer through Taylor’s online store, TaylorWare. Players can also purchase the Taylor V-Cable through RapcoHorizon, the manufacturer of the V-Cable.
To view videos of the GS Mini in action, please visit http://www.taylorguitars.com/guitars/gs-mini/
“It works beautifully. We tried it with a Minimoog, Synthesizers.com modular, Odyssey, Roland SH-101 and even the notoriously cantankerous EMS VCS3. Silent Way was able to get each one to play nicely for at least three octaves.”
“For us, Silent Way is a no-brainer. It’s considerably cheaper than the competition and Expert Sleepers are constantly updating it. It’s a truly brilliant solution to an age old problem and one that might make you reevaluate the practicalities of owning a vintage synth.”
Faced with a potentially time-consuming and costly refurbishment of a vintage Neve desk at the Blue Man Group studios in Manhattan, Creative Development Music Director Todd Perlmutter instead purchased a new 32-channel Rupert Neve Designs 5088 discrete analog mixing console. Faced with a potentially time-consuming and costly refurbishment of a vintage Neve desk at the Blue Man Group studios in Manhattan, Creative Development Music Director Todd Perlmutter instead purchased a new 32-channel Rupert Neve Designs 5088 discrete analog mixing console. 