Cannabis Rex Review

I just put a CR in my '74 Traynor Guitar Mate today. Compared to the original speaker and a Vintage 30 I had in for a while this CR is like a dream come true.

I had done alot of reading and listening before I settled on the CR and I'm glad I decided to get it. Apparently the Guitar Mate is known to be a very bright amp (mine was) but the Eminence totally tames the excessive brightness. The highs are still there but they are rounded and not piercing or shrill. My Tele has a much stronger voice now. There's still lots twang, it's just thicker and sweeter.

Prior to this speaker change I was intending to have a little mod done to the amp to reduce the amount of treble. Now there's absolutely no need to do that.

In general the tone from my amp has become very warm and vocal-like and it handles the overdrive from my OD-3 very nicely. It is one of the nicer blues sounds I've played with. Harmonically rich, thick and singing.

I would say there is no muddiness but a nice warm (how many times have I used the word 'warm' already?) clarity.

These speakers are very reasonably priced as well.

I'm really, really pleased with this speaker.

Very cool!

I have been wanting to try more new Eminence speakers... maybe a CR is in my future too.

I use a CRex with a Carmen Ghia head. I'd call it a modern, rock/country-rock kind of sound.

When I got my CG I assumed I would get a Weber Blue Dog to go with it since I love the Blues in my Super Reverb and Princeton. But that speaker just didn't do it for me with the CG....too spikey on the high end.

The CRex, however, is nice and smooth and works for clean and excels when things are getting pushed harder. I have no desire to try out other speakers with the CG.

I have one in my Blues Jr. and love the tone -- rich, sweet, creamy. They're great speakers, and the price can't be beat for what you get. I'm considering one for my Windsor Studio to get a little more umph out of it.

I'm sure pleased with it. I'm very new to the speaker game and truly I had no idea the difference a good or at least a well matched speaker can make. In this case it's changed the nature of the guitar/amp combination entirely for the better.

The Traynor always sounded good but it just wouldn't quite give me that rich, warm sound I wanted with the original speaker or the Vintage 30. I was always playing with the tone controls trying to get an Eq I liked. Now it's just "set it and forget it".

Now the tone is basically dialed in from the speaker alone and the tone controls are there for fine tuning.

I would say if you're trying to find 'your sound' by constantly messing with the tone controls then the problem and the solution are somewhere else. Like a speaker change in my case.

I've been contemplating trying this speaker for a while in my Ampeg Reverbojet--I'm pretty well convinced, but wonder what a Celestion Gold would sound like (what a price difference though!)

I have a Cannabis Rex in one Blues Junior and a Texas Heat in the other. Both are great speakers, but the C. Rex is definitely sweeter. I love it.

I have a Cannabis Rex in one Blues Junior and a Texas Heat in the other. Both are great speakers, but the C. Rex is definitely sweeter. I love it.

Do you think there would be any benefit from mixing a C. Rex with a Texas Heat in a 2x12 cab?

Is there another Eminence speaker that would pair nicely with the C. Rex in a 2x12" cab??

It's pretty tempting just put in a pair of C. Rex's because they sound so nice.

When I think I only paid $70 and some tax for my C. Rex it makes me even happier about it than I already am.

Hmmmm....

I'm wonderin' what a C. Rex would do for a Deluxe Reverb?

Anybody know???

The couple of DRRI that I've played have tended to be pretty bright amps. I would say that if you're trying to smooth out and warm up any sort of brittle , shrill, ice pick highs then the C. Rex would be a really good choice based on my very limited experience.

One of the problems I encountered with my Traynor was that by trying to tame the very shrill high end by turning down the treble tone control I lost my high end. With the C. Rex I have my treble control up high but there's nothing but nice round, sparkly highs now. The high end is there but now it's pleasing to me ear. An easy and inexpensive fix I would say.

I just put a CR in my '74 Traynor Guitar Mate today. Compared to the original speaker and a Vintage 30 I had in for a while this CR is like a dream come true.

If you just put it in and like it, once it gets broken in you're gunna love it! For whatever reason, I remember it taking this speaker a little longer than most to get there.

I agree with your analysis of the speaker 100% though. An added bonus for me was the added clean headroom due to the C-rex's efficiency (loud) and slow breakup.

I've been looking at these for a while, wondering if they may be too dark. Have any of you tried these with guitars other than a tele?

Hmmmm....

I'm wonderin' what a C. Rex would do for a Deluxe Reverb?

Anybody know???


I have one in my Tweed Deluxe clone and it sounds GREAT

Here's what the ToneQuest Report had to say about the Cannabis Rex:

Nothing mines low and midrange frequencies like
hemp. This speaker captures harmonic textures that no other speaker in our tests produced, and the Cannabis Rex is your secret weapon for creating captivating rhythm tracks, slithering slide riffs and greasy fills, head-turning solos and a bold attitude that will add a new dimension to your music. This speaker will challenge you to get creative with its thick, lowdown vibe, but if the idea of high frequencies being cloaked in a darker shade of wail is a turnoff, keep walking – you don’t get it and it’s not for you. The Cannabis Rex was created for the open-minded player whose sonic requirements are not limited to the more readily accessible and familiar guitar tones of yesterday. “Rex” is the totally stoned, lead baritone in the Eminence choir – prone to brilliant performances but definitely not running with the pack. It is an instrument unto itself and a great addition to any studio.

I think this description is a little over the top, but it's accurate. This is not a speaker for Jensen lovers. The distortion tone is more "bwoooo" than "bweeee", if that makes sense. I think it sounds great with humbuckers.

I've been looking at these for a while, wondering if they may be too dark. Have any of you tried these with guitars other than a tele?

Yup, I've tried it with every guitar I own! :mrgreen:

FWIW, I like this speaker best with single coil pups as well as low to medium output humbuckers....my favorite humbucker being the DH-1 Fender puts in their American HSS strats. The lester I owned had a 500T/496R pup combination in it. The guitar had a really thick and hot tone to it which I thought actually worked against the C-rex's natural strengths. My rex is in a C30, so another amp may yield different results and of coarse it's all in the listener's ear.

I have a 2x12 cab loaded with Cannibas Rex speakers.

Yup, extra sweet low mids according to the Eminence description that Tonequest reprinted word-for-word in the form of a review.

I've used 'em with a '72 Pro Reverb, '50s Newcomb PA head (5E3) and a Teisco Checkmate 15 (AC15 wannabe). They're a good choice if you wanna tame the icepick highs. I like 'em best with a bright single coiled guitar.

With the Newcomb PA head, already a very dark sounding creature, I have to keep the tone all the way on the trebble side or EQ the overdrive pedal to high, in order to keep it from being too woofy (until I added the BBE Sonic Stomp to my rig, that made the highs more audible and accentuated the lows in such a way that it was not woofy, but that's another review all together).

The best thing about these speakers, and they're great speakers, is the jokes you get to tell. "Dude, I've got totally SMOKIN TONE!!!".

The cannabis rex is my favortie speaker for the YGM-3 guitarmate also. I came to the same conclusions. It tames the over the top treble without ever sounding muddy or dull.

Hmmmm....

I'm wonderin' what a C. Rex would do for a Deluxe Reverb?

Anybody know???

I've been using one for about 2 years now and it is the perfect speaker for my amp. Before that I used the original eminence blue label, Kendrick brownframe, Celestion Greenback, Celestion G12-65, EVM 12L, then the CRex. The search is over. It sounds great whether using my Tele or Les Pauls. Tightens up the bottom end, smooth solid high end that isn't too bright, and well balanced.

Wow!! Judging from all the responses there's alot of love for this speaker. It's nice to know my ears are actually working and I'm hearing the same sonic qualities that alot of other folks are.

I've been thinking of swapping out the speaker in my C30 as well. I wonder if the C Rex is what I'm looking for. The webber blue dog comes pretty highly recommended too, so now I have something else to think about.

CC

I put two CRs in an old magnatone type, a Twilighter 260. It was a really sweet amp before, now with these speakers, another level entirely. They're not dark so much as smooth. If the amp is already dark, you maybe should try something else. But as long as there's a reasonable amount of treble on tap, it will likely work. The bass is quite beautiful. Not a dull thump, more like a solid, defined texture. The speakers (and amp) work with everything I have. The biggest winner is the 335. I have a feeling P90s would have the same magic.

As good as one of these CRexes is, two is something special.

I've been thinking of swapping out the speaker in my C30 as well. I wonder if the C Rex is what I'm looking for. The webber blue dog comes pretty highly recommended too, so now I have something else to think about.

CC
I'm not going to help your decision, but both the CRex and the Blue Dog are great speakers....just different from each other.

I've got a ceramic 12" 50w Blue Dog running in a Super Reverb at 4 ohms. It's loud, good bass, nice sparkle, works clean or with overdrive. I have an alnico 10" 25w Blue Pup in a Princeton (non-reverb) that is just the bees knees. Gives my tele some stratish vibe on the neck and middle positions but plenty of twang on the bridge; P90s cranked to 10 sound great, too. That's why I figured I would end up with another Blue Dog when I got my Carmen Ghia head.

But when I tried it out, I didn't like the high end....kind of brittle sounding. After reading lots of reviews, playing the CG through some other speakers I have (15F125, 2x10 Carvin Vintage, old Magnavox alnico) I went ahead and bought the CRex. Matches great with the Carmen Ghia....plenty of punch, handles treble without getting too bright, good low end. But this would not be my setup (amp + speaker) if I wanted to play "older" music (country, rockabilly, motown, 60s pop).

I've never played the Peavey amp so I couldn't recommend which speaker would work better with that or what sound you are trying to get out of it. That probably doesn't help you a whole lot but maybe gives a few things to think about when making a choice.

Maybe this has been addressed but with a name like "Cannabis" with what are the cones constructed?:grin: :grin:

I put two CRs in an old magnatone type, a Twilighter 260. It was a really sweet amp before, now with these speakers, another level entirely. They're not dark so much as smooth. If the amp is already dark, you maybe should try something else. But as long as there's a reasonable amount of treble on tap, it will likely work. The bass is quite beautiful. Not a dull thump, more like a solid, defined texture. The speakers (and amp) work with everything I have. The biggest winner is the 335. I have a feeling P90s would have the same magic.

As good as one of these CRexes is, two is something special.

Cool!! My LP with P-90's is temporarily out of service (I'm just waiting for a part) but I can't wait to hear the P90's through the C Rex. I'm guessing it'll be a match made in heaven.

I've just got my Thinline with 2 mini humbuckers back together this morning after some more mods and those little humbuckers sound great at well.

My next project is a 2x12 cab and I see no reason why I shouldn't just load it with 2 C. Rex's.

Maybe this has been addressed but with a name like "Cannabis" with what are the cones constructed?:grin: :grin:

Hemp!

Maybe this has been addressed but with a name like "Cannabis" with what are the cones constructed?:grin: :grin:

You just might wanna stay clear of their new speaker design coming out called Methamphetamine Tex. One listen and you'll be hooked. From all reports it's pretty nasty.

you know my main concern would be Customs or a border patrol looking at
my amp and seeing the speaker label - these folks tend to have absolutely
NO SENSE OF HUMOR WHATSOEVER.

"oh look.. cannabis, eh?"

"so: you guys are musicians?"

cripes, I always hate to hear that last one. :roll:

I just put a CR in my '74 Traynor Guitar Mate today. Compared to the original speaker and a Vintage 30 I had in for a while this CR is like a dream come true.

I had done alot of reading and listening before I settled on the CR and I'm glad I decided to get it. Apparently the Guitar Mate is known to be a very bright amp (mine was) but the Eminence totally tames the excessive brightness. The highs are still there but they are rounded and not piercing or shrill. My Tele has a much stronger voice now. There's still lots twang, it's just thicker and sweeter.

Prior to this speaker change I was intending to have a little mod done to the amp to reduce the amount of treble. Now there's absolutely no need to do that.

In general the tone from my amp has become very warm and vocal-like and it handles the overdrive from my OD-3 very nicely. It is one of the nicer blues sounds I've played with. Harmonically rich, thick and singing.

I would say there is no muddiness but a nice warm (how many times have I used the word 'warm' already?) clarity.

These speakers are very reasonably priced as well.

I'm really, really pleased with this speaker.


The Celestion Vintage 30 is not considered suitable for use in smallish amps. It was designed for lots of treble in a big 4 x 12" box. Because these huge 'woolly sounding' cabinets magnify bass so much, they designed the V30 to be bass light! In a small amp, their tone will be just toooo piercing and a bit hifi sounding. Ice picky treble comes to mind.

These speakers are said to break up on the lows too much. This is not really true, however. Because they are bass light, many turn up the bass on their small amps to compensate for this and what happens is, the amp runs out of clean headroom in the power amp on the low notes too early... so please don't blame the speaker when it really your amp causing the trouble! You have the wrong speaker for the job.

IMHO, the V30 is one of the worst 'sterile' sounding speakers Celestion have ever made. It is not well regarded by reviewers at the British Guitarist Magazine either! For great tone please consider choosing a different Celestion speaker. V30s are mainly for metal thrashers!! The Classic Lead 80 is a fab warm sounding job and 99/100dB too. Works great in a Fender Twin or similar!

V30 in the Line6 Sider Valve? Nahhh!! Totally the wrong speaker, but the V30 is a 'buzz word' among 'hard rock' player (market majority), so having that 'name' inside your product is going to be a great draw to those players. But soon, watch the complaints of 'thin tone', 'ice picky' treble and others start to appear.

The G12T 75, classic Marshall speaker, is also quite harsh. It's a tad bass light and has muted highs. OK if you like that classic Marshall 4x12" mid range grunt! Which I don't, frankly... FWIW.

Similarly, the G12T 100, as used in the Fender CyberTwin, is even worse for mid dominating tone and is only 97dB sensitivity. Can't understand why they fit such a harsh sounding speaker in this amp. Well... I do really, it's very cheap to OEM amp makers!!

Of course, all just 'IMHO' based on my day job as a designer and listening to customer complaints and problems.

Snip...

In general the tone from my amp has become very warm and vocal-like and it handles the overdrive from my OD-3 very nicely. It is one of the nicer blues sounds I've played with. Harmonically rich, thick and singing.

I would say there is no muddiness but a nice warm (how many times have I used the word 'warm' already?) clarity.

Having a peek at the published specs for the Eminence CR reveals that this speaker has a huge free air resonance (Fs) at about 97Hz (about G on the 6th string). Typically guitar speakers are around 75 to 80Hz. This would account for it's 'warmer' tonality when used in a smallish open back cabinet of a valve amp or a modern solid state amp with Frequency Dependent Damping (FDD is quite normal these days and mimics a tube output transformer's effects accurately).

The drawback being, is that you can't turn off or dial out this resonance if it 'get's in the way' for certain styles of music. E.G, the early Larry Carlton Mesa/335/Crusaders sound relied on the Electrovoice EVM12L with a low FS of 55Hz (designed as a PA mid range speaker) for that 'flat' tone which resulted... if that's what you like that is. So this speaker would be hopeless for this kind of sound.

The nominal impedance is in fact 7.5 ohms @ 300Hz This rises to around 120 ohms at Fs. There is also in interesting drop in output (a notch) at 1.5kHz, which would give the sound a kind of 'early Marshall' character. Dipping output at 1.2 to 1.8kHz with a narrow notch filter is a favourite trick of mine for re-creating early Marshall/Clapton/Tele/Mayal era sounds. So that would stack up for me.

All in all, on paper (or should that be hemp), a very interesting speaker and I shall obtain one and give it a good workout... shame it's only 50 watts though.

This just goes to underline how important the speaker and output transformer design is in the outcome of the sound your hear. Contrary to popular beliefs, it's NOT just about valves/tubes!! That 'Fender' amp tonality is mainly due to the output transformer desgns... IMHO according to my research (which is not for publication).

The Celestion Vintage 30 is not considered suitable for use in smallish amps. It was designed for lots of treble in a big 4 x 12" box. Because these huge 'woolly sounding' cabinets magnify bass so much, they designed the V30 to be bass light! In a small amp, their tone will be just toooo piercing and a bit hifi sounding. Ice picky treble comes to mind.

These speakers are said to break up on the lows too much. This is not really true, however. Because they are bass light, many turn up the bass on their small amps to compensate for this and what happens is, the amp runs out of clean headroom in the power amp on the low notes too early... so please don't blame the speaker when it really your amp causing the trouble! You have the wrong speaker for the job.

IMHO, the V30 is one of the worst 'sterile' sounding speakers Celestion have ever made. It is not well regarded by reviewers at the British Guitarist Magazine either! For great tone please consider choosing a different Celestion speaker. V30s are mainly for metal thrashers!! The Classic Lead 80 is a fab warm sounding job and 99/100dB too. Works great in a Fender Twin or similar!

I think this is dependent on the particular amp being pumped through the Vintage 30 and the cabinet the speaker is mounted in. When I was trying out speakers with my 18-watt amp, I put a Vintage 30 in the cab and it sucked a whole lot less than I figured it would. In fact, it sounded really good, which surprised me, because I hadn't been a fan of that speaker. If the cabinet is too small, the Vintage 30 won't get it done too well. The same can be said of a lot of other speakers, though.

Hello Stew. Thanks for the information. I have to admit you're speaking a bit of a different language but I like to be challenged. I'm attempting to learn more about this whole buisness of amps and speakers and guitars and their relationship so I appreciate your input.

I think this is dependent on the particular amp being pumped through the Vintage 30 and the cabinet the speaker is mounted in. When I was trying out speakers with my 18-watt amp, I put a Vintage 30 in the cab and it sucked a whole lot less than I figured it would. In fact, it sounded really good, which surprised me, because I hadn't been a fan of that speaker. If the cabinet is too small, the Vintage 30 won't get it done too well. The same can be said of a lot of other speakers, though.

Of course, if any particular amp is low on treble, then this speaker might be of some help. But it would still exhibit that upper mid signature which this speaker suffers with, IMO. Actually it would be pretty close th the Blue, if you could get rid of that nasty upper honk and glassy edge.

Not being a big Marshall fan or detail freak... I believe the 18 watt just has a tone control? If I'm correct, then this would mean that the amp has a lot of mid output. Whereas, those amps with the Fender style Bridged T EQs always suck out mids at around 300Hz... even with the mid up full. Also, that is not such a small cab either, as far as I remember? This could possibly explain why your V30 sounded better with that amp.

Yes, it is dangerous to generalise and some may well disagree with my comments. But I reflect on what I hear 'generally' where that speaker is fitted and report many guitarists opinions. Usually, I can tell an amp that got one fitted!! The origin of the speaker is set in stone as a 4 x12" job mainly, all the same.

Yes, it is dangerous to generalise and some may well disagree with my comments. But I reflect on what I hear 'generally' where that speaker is fitted and report many guitarists opinions. Usually, I can tell an amp that got one fitted!! The origin of the speaker is set in stone as a 4 x12" job mainly, all the same.

I agree with your assesment of the V30 100%. The upper mids and treble was way harsh and very unplesant to listen to wether the tone be clean or dirty. I would almost say that it's like the polar opposite of the C-rex speaker.

I believe the 18 watt just has a tone control? If I'm correct, then this would mean that the amp has a lot of mid output. Also, that is not such a small cab either, as far as I remember? This could possibly explain why your V30 sounded better with that amp.

Yes, the simplicity of the EQ circuit definitely contributes to a nice balance of frequencies. An 18-watt Marshall doesn't have the mid-heaviness of, say, a Tweed Fender, though. The other significant contributor is the cabinet size. The Studio 15 that the Vintage 30 came out of has an undersized cabinet. Running the amp through its own speaker mounted in the 18-watt cabinet was a significant improvement, so the cabinet is more to blame for that amp's sound limitations than the Vintage 30 speaker, in my experience.

Yes, it is dangerous to generalise and some may well disagree with my comments. But I reflect on what I hear 'generally' where that speaker is fitted and report many guitarists opinions. Usually, I can tell an amp that got one fitted!! The origin of the speaker is set in stone as a 4 x12" job mainly, all the same.

I used to think that way, too, until the experience above. I don't see myself buying a Vintage 30 down the road, but I've mellowed in my bias against it because of what I heard. Interestingly enough, a speaker I like alot "in teams," the G12M Greenback, was shockingly bad (IMO) in my 18 watt. I'm glad I did all the speaker swapping I went through with that amp; I unlearned some things I had previously taken for granted.

Yes, the simplicity of the EQ circuit definitely contributes to a nice balance of frequencies. An 18-watt Marshall doesn't have the mid-heaviness of, say, a Tweed Fender, though. The other significant contributor is the cabinet size. The Studio 15 that the Vintage 30 came out of has an undersized cabinet. Running the amp through its own speaker mounted in the 18-watt cabinet was a significant improvement, so the cabinet is more to blame for that amp's sound limitations than the Vintage 30 speaker, in my experience.

I used to think that way, too, until the experience above. I don't see myself buying a Vintage 30 down the road, but I've mellowed in my bias against it because of what I heard. Interestingly enough, a speaker I like alot "in teams," the G12M Greenback, was shockingly bad (IMO) in my 18 watt. I'm glad I did all the speaker swapping I went through with that amp; I unlearned some things I had previously taken for granted.


Yes, of course there going to be exceptions and, I feel, you were lucky on this occassion. Many do not understand, even with an open back cabinet, just how much the geometry of the cabinet can influence the sound. It stands to (obvious?) reason that the cabinet presents the speaker's cone with a load. And since the vast majority of the speaker's acoustic output in the upper frequency spectrum is largely due to (mechanical) cone break-up distortion, then you can perhaps understand how the load can make the same speaker sound different in a variety of cabinet shapes and sizes. Let alone the amp that's driving it!

Here below is the reponse curve for the Eminence CR. At around 1k5Hz, it is likely that whilst one part of the cone is in positive motion, that the other part is in negative motion due to how the cone has been designed, thus causing partial cancellation of output at that 'node'. It is these nodes that give different guitar speakers their characteristic differences. The voice coil diameter, length, former materials, wire type, pole piece and magnet sizes and strength can also contribute heavily to the sound you hear. Guitar speaker design is a wonderful 'art' where science is used to create that art.

Note that this speaker, in common with many guitar speakers, has a huge general rise in output above 1k0Hz... this is nearly all caused by mechanical vibrations/distortions of the cone. NOT natural clean signal as you would describe it in hifi terms. It is all artificial and adds excitement to the final sound you hear! It has nothing to do with the tube types used in your amp... or whether it's a solid state amp either come to that!

Without 'guitar speakers' your guitar amps would sound dreadful and uninteresting! So stop wasting money on PU and tube changes... think more about the speaker choices you have and the REAL changes they can make on you guitar's sound! (Note I avoid the word 'tone'. 'Sound' indicates a harmonic change... tone is merely the ratio of bass to treble in engineering circles).

The interesting huge peak at around 96Hz on the impedance curve is due to cone resonance (Fs). All speakers have this at varying frequencies. At this frequency, the speaker requires practically no power to produce enormous output. That is because the cone wants to naturally vibrate at this frequency. You will be able to hear this point when you play your guitar as a huge boom in the tone or sudden increase in output. Some blame their PUs or guitar PU adjustment, when in fact, it's the guitar speakers at resonance. The only way to get rid of this is to employ speakers with a resonance of well below 75Hz. The G12H 30 'Heritage' and EV 'EVM12L' are examples - Fs = 55Hz. The G12H was originally designed as a bass guitar speaker and has a plain paper edge suspension which is quite supple, lowering the Fs. This flatter uncoloured tonality is favoured by certain players. Being the reason why Celestion brought it back a few years ago.

I hope this helps with general 'guitar speaker' understanding! It is the unsung hero of guitar sound that owes it's origins to 'it's-all-we-have radiogram bass speakers' in the early days, that used to struggle with the strains of the emerging guitar amps of the day!

Rock solid thread here. Thanks for all the info.

I've considered putting a Blue Dog into my AC15CC to tame the treble and hopefully thicken up the tone a bit. Open chords are sparkly and cut through perfectly with the AC15 + Wharfdale, but the treble is harsh on lead runs.

I may have to consider the CRex, also. I don't usually hear people associate it with this amp, though. Anyone tried this combination?

..........
Without 'guitar speakers' your guitar amps would sound dreadful and uninteresting! So stop wasting money on PU and tube changes... think more about the speaker choices you have and the REAL changes they can make on you guitar's sound! (Note I avoid the word 'tone'. 'Sound' indicates a harmonic change... tone is merely the ratio of bass to treble in engineering circles).......
.....

Funny you should mention it Stew!! That is exactly one of the conclusions I have come to as a result of this C. Rex experience. Actually that conclusion has been growing for a few months as a result of taking my guitar to the music store and playing it through numerous amps. The C. Rex experience just confirmed what I had already begun to hear.

I was saying the exact same thing to a friend a couple of days ago. "Stop buying endless reams of pickups and tubes etc. and find a quality speaker that matches your amp/cab and the style of music you play."

In my case a $70 speaker completely solved all my dissatisfaction with my current setup. I'm still amazed at the change.

I've come to realize that you play your amp as much or maybe even more than you play your guitar in terms of getting 'a sound' you like.

I'm completely new to the speaker game so this whole thing has been quite a wake up call for me.

This thread has been a very interesting and superb source of new information and concepts for me. Thanks to everyone!!

Forgot to ask-- are you playing your Guitar Mate open-backed or closed-backed?

Forgot to ask-- are you playing your Guitar Mate open-backed or closed-backed?

I play it open backed. I removed the mounting screws and I've put velcro on the back so I have the choice of closed or open. I prefer the open back sound though.

I'm getting closer to fetching up a CR...

I've currently got two absolute favorite Emi's - the Texas Heat and the Lil Buddy.

Honorable mentions are the Copperhead, Ragin Cajun, and Legend 105 series. All usable for many applications.

My hall of shame Eminence would have to be the Governor - a V30 clone. I just pulled it yesterday - just sounds like paper tearing to my ears. It doesn't matter if it's open/closed back, 1X12, 2X12, or 4X12. Even an old Peavey Scorpion that I dug up sounds better, believe it or not!

I've found a pretty good G12M clone - the WGS Green Beret. Lots of top end slice, but really needs a closed back cab to tighten up the lower end. Works best in a 2X12 or larger config, but I can get it to work as a 1X12 setup with my little 15-20 watt freak builds. But the Texas Heat is more versatile for just 5 bucks more, and many places will throw in free shipping!

I really believe that the best Recoton-era Jensen ceramics are the Mods. That said, I've just about killed one of their 70 watt 12's through 20 watt and under amps.

I've got a Marshall combo that's about to get rebiased for a pair of EL34's that I have kicking around - I killed the G12-80 that came in that amp. I can work loose cone cry with any speaker thru this combo. I may just have to pony up for one of those EVM's, or maybe check out the Commonwealth Emi's. If the new Peavey Scorps are the same specs as the old ones, those could be the ticket. They actually sound good with a Marshall, for some reason, IMO. Maybe I'm just used to hearing Steve Morse recordings where he goes into a bunch of them thru an old Ampeg V4. Very dark, but in a good way.

Hmmmm....

I'm wonderin' what a C. Rex would do for a Deluxe Reverb?

Anybody know???

I put one into my 68 SFDR and found the sound too "thick" and lacking in detail at the lower volumes I play. Replaced it with a Weber 12F150T. I suspect the CR is a speaker to be driven hard.

Since I think Emmi makes the Naylor, which BTW is very nice, I wonder if there is a close Emmi branded equal...?