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Discussion in 'Amp Central Station' started by Newbcaster, Oct 3, 2017.
This one, Dumble clone, Overtone Special 50 watt.
For blues I've rarely heard any amp at any price compare to a BF Super Reverb.
Neither will anybody ever hear
Oh, and not only bluez
Tweed Fender Bassman.
It's not complicated mate if you think safety first and do things in an orderly way.
LOTS of help on here if you want to go Deluxe 5E3 or similar - get a decent kit.
Do some solder practice, look at YouTube clips.
Myself and others are but a message away for help and tips.
We all started somewhere!
Yeah i have looked at some vids on youtube and a few kits i will look into it a bit thanks mate
But you wouldn't drive a hypercar in the Indy 500 - it's the wrong venue.
Sorry you don't "buy" someone else's viewpoint. That indicates a rather closed mind - and I don't mean that as an insult, but it is the only way I can think of to describe not "buying" another's opinion/viewpoint. Opinions are not "wrong".
It's a perfectly valid view. It's also how most players I know, play with and service gear for think - we discuss "favorite" gear and there are always multiple choices in each category "depending...".
Some version of this question has been asked here countless times over the years. Unless there's a provision for multiple answers - which might be interesting - to some it can't be answered.
IMO naming only one favorite amp could be done if you consistently play the same style of music in the same types of venues with the same size band(s) that play the same volume level - or aren't that particular about specific requirements - how hard you drive the amp (which is tied to how you prefer to use controls, pedals etc.). Change one or two of those variables a bit (but not enough to significantly change the overall sound) and I suppose one could still have a single "favorite". But make significant changes and no experienced players I know have one favorite amp that the will use as a "Swiss Army Knife". They donb't like the sound of one amp/speakers with radically different settings.
And that's something I absolutely could not use. If an amp that can handle 150 watts (with the same speakers) is dispersing sound at 1 watt the tone changes immensely - the speakers are not driven fully and won't provide full frequency response. Some like that sound; players I work with don't, just as they don't like Twin Reverbs tuned up to "2". That's one major reason I have not seen a Twin used live around here for over 10 years.
there are plenty of times when hypercars act as pace cars. People also drive hypercars on indy and other famous euro tracks as well. Bondurant and other companies do this for corporate parties.
Saying I don't buy your opinion isnt to say that you are objectively wrong, but merely that I BELIEVE there might be flaws in your logic. It's a turn of phrase, you seem a mite persnickety. We haven't interacted much so maybe you should give me the benefit of the doubt.
From the perspective of forums and discussion... its a horrible view as it's usually the defacto "this has been done b4" ... the purpose of forums is to DISCUSS, not to shut down discussion.
But there are also reaosns why I dont think you are correct.
There are attenuators (marshall powerbrake) and also speakers that sound well regardless of wattage. EV12 is an example.
Most gigging musicians that people read about will tour with one amp... even if they have backups or play in stereo its usually the same amp. Most gigging musicians have multiple amps, but that doesn't mean they haven't developed for themselves an opinion of what the holy grail is for them after playing those amps. ****, I have 22 amps. But my grail amp in stereo would replace ALL of them and I'd never look back. People have multiple amps because they either cant afford their grail or it doesnt yet exist. Which is...why./.. i ... created... this... question.... to discuss what someone's grail might be
Lastly, most musicians I know, even if they play in variety bands, still play through a fender or marshall or an ac30 (with attenuators)
So what I'd say is if you are dead set on saying its impossible... well.. thats fine. But I don't really think that is true.
I did not read the rest of the post for the moment because this intro showed that you completely missed the point!
**IN** the Indy 500 means IN the actual race. I could CARRY a Twin to a club job and play it before opening. But I would n't USE it for the gig.
It involves the actual USE for the JOB.
Can I make it ANY more clear????
And I do not agree that they sound acceptable. End of point.
And the ones I know play Fenders, other vintage amps and boutique amps. Almost no Marshalls or Vox amps because of volume issues (except for the touring players or rock players that do larger clubs where the volume level works.).. I don't know of anyone that uses an attenuator unless they've been surprised by a low volume level. They are not used normally - players plan ahead and use their smaller amps rather than compromise the sound of larger ones.
That is probably a difference of *opinion*. But it's how it works around Southwest L.A. County.
What is a "variety" band? The term is not used here (at least among rock/blues and country-rock players I've been around).
I just looked up "variety band" and can see why I don't encounter it.
I know of virtually no players that play in what we call "wedding bands" except a few jazz players that don't cross over and play in rock or blues bands (or at related jams). Working players around here are primarily playing blues, rock, Mexican music, a very small number of country bands or touring. There are also tons of part-timers, mostly playing blues and/or rock in cover bands (that don't dip into Sinatra or other related styles).
If you want a tube amp that does everything as well as anything you really don't get tube amps... A Kemper profiler might be able to do that, if digital isn't there yet it is just a matter of time... but tube technology thats been obsolete for 50 years just isn't that versatile. IMO that is kind of the beauty of tube amps, they are what they are and when they are really good they are truly special. Even if there was a holy grail amp like you describe I wouldn't want it, I enjoy the variety of having many amps that all do one or two things in a special way.
I’ve been fortunate to hear and play a ton of tube amps.
To date 3 amps stand out as the best to my ear. All 3 of these share this trait in common. They sound fantastic clean, sound great driven, are not harsh, have plenty of midrange where notes linger in a very pleasing way.
64 Vox ac30 with top boost
Holland Gibb Droll
JTM 45 offers reissue from Marshall with 4x12 open back Alnico cab.
Fortunate enough to win 2 of these.
I love that time period of AC30/ac50.... especially with the blue bulldogs and yeah, that jtm45 is sweet...especially with an open back cab full of alnicos. if i made it a fullstack id use ev12s for the 2nd half stack.....
To the guy that said Kemper...i met the distributor here in the US, Matthew Skaggs at a NAMM show.. hes a complete douche. It was so off putting that even were I given 2 free for my stereo rig... I would scrape the logo off and say fractal made it... and then Id go buy an axefx2 and use if for the fx anyways. besides, they will never get the saggy tube response right anyways. when the distributor changes i shall buy a couple.. but not until then.
To get the touch sensitivity of a dumble and or a trainwreck and pure cream of an ac30 normal channel and the ultra headroom of a steel string singer 150 watt with onboard scaling down to 1watt... I dont want much... do I???? I can just see those tubes whining for mercy like what's her name in 50 shades of gray.
and you called that diverse earlier lol. all those bands need a fender super twin reverb and or a marshall 50 watt, either, with an attenuator and some pedals. you never did read the OP.
Let's try a different approach. whats YOUR fave amp for most settings and why?Seriously... what's your 80% of the time go to amp and why? what would you change about it to make it whatever 100% looks like to you?
I don't really care what it looks like, but I'd prefer a really whacky color.
As far as build-
EL34 power section.
Two channel, each with a badass master volume circuit.
Channel 1: Gain control would run the amp from crystal clear to Allman bros level smooth lead tone and crunch.
TMB tone stack.
Not scooped like a Fender.
Killer tube driven spring reverb, but not overbearing. Tail not too long.
Lots of lows, but SUPER tight bottom. No flap or fart.
Warm mids. Not spiky or honky. Warm smooth mids.
Smooth highs with lots of air in them. I like breathy highs, not icepick presence.
Brit voiced speakers. I'd like them to sound like well worn greenbacks, but not break up.
Have I mentioned I want it warm?
Warm, but tight, and with great high end definition. Very articulate.
Channel 2: The dirt channel on my Rivera Thirty Twelve.
And I'd like it to weigh 4 lbs please.
No, they DON'T need a Super Twin (none do) or 50 watt Marshall (touring guys or large club players only). I guess you're in a totally different musical environment. Please live with it and stop telling me what people "need" - because that statement *is* wrong.
And again, I do not have one amp that is my "80%" go-to amp. I might use a '62 Concert one time, my Holland Little Jimi the next, '67 DR another, '57 Bassman clone, Silvertone 1342, 5D3 - even a tweed box '64 Champ. And others at home, mostly, with all kinds of variables in the studio - again, depending on the music.
When I was gigging I could be playing in a half-acoustic rock group in a small club one night, a country-swing band at a festival a few days later, sit in with a blues band in a small bar that night and play with a rock cover band the next night. And need 4 different amps to cover it.
Maybe if I explain my amp setup preference - it's the same with most players I work with and many, many others I know.
I set my amps with the volume just below maximum headroom with NO attenuator - attenuators remove the ability to drive the speakers to full frequency response and driving the speakers enough to fully "bloom" while clean is critical. Eminence's variable gap speakers are a bit different and work better, but not for low-volume amp settings - just for control of maximum level.
The guitar volume is always set starting at about 75%; tone at 75-80%. This allows the guitar volume to be nudged a bit for a clean solo volume increase; a bit more slides the amp into mild saturation with little volume increase. I (and many other players) dislike using "overdrive" pedals as mild distortion pedals as they sounds nothing like saturated amps.
We will, though, use an "overdrive pedal" as an an actual overdrive - in case that's not clear, it's used to push the amp into overdrive, not to generate its own distortion (these are also specific instructions included with the Klon Overdrive). If I want a pedal to generate distortion I use one designed to do so - a "distortion" pedal.
The guitar tone control can be turned up to increase "bite" - when an amp is running near (or at) maximum headroom this can be a pretty significant "effect". But for normal playing I have never left any guitar controls locked on "10". IMO you give up a ton of both volume and tone variables doing that.
In order to run your amp at maximum headroom in different size venues (mic'd and unmic'd) with different style bands of various sizes it takes having amps that do the job in each case. Players that only play in one band and prefer that setup can get by with two amp - a stage amp and a backup (everyone I know takes a backup to gigs).
But if you are in multiple bands, sit in with others when needed, go to jam sessions and/or play several different styles of music it takes several amps to do the job properly - just like it takes several different instruments to do certain jobs. An amp is a musical instrument and IMO using the wrong one is the same thing as (for example) using a 12-string instead of a Strat in a blues band.
If it doesn't make sense please ask questions and I'll try to clarify.
But if you "disagree" with the methodology please do not say it's wrong - it's just not how you work. But it works for many other players.
Because of that statement, I suggest you NOT try and build an amp. If you had the skills to build an amp, you would be able to evaluate the complexity of the amp(s) of interest and decide which are not that complicated for your skill level.