I Played The Fender Tone Master Amps Today

Discussion in 'Bad Dog Cafe' started by Otis Fine, Sep 10, 2019.

  1. Alamo

    Alamo Doctor of Teleocity

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    my Joyo american sound saved my a## last Sunday when I played a few songs with not my band and a similar but unknown to me amp. worked out great.
    a Tone Master might just do it on it's own. very intrigued
     
  2. dreamingtele

    dreamingtele Friend of Leo's

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    I use the bassman settings, run whatever amp very clean and flat eq, then use the Joyo as my "clean amp".. Its always on.. LOL
     
  3. beyer160

    beyer160 Friend of Leo's

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    I still don't understand the logic of a $1K digital amp that does ONE sound. It would have cost virtually nothing to install a switch that allowed blackface/brownface/silverface options, or to allow the "Twin" to sound like a "Deluxe" or a "Champ" or something.
     
  4. RoscoeElegante

    RoscoeElegante Friend of Leo's

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    Alamo, I have, and LOVE, a Joyo American Sound, too.

    How do you play it in lieu of an amp, such as when your amp crashes? If there's no PA system to plug into, can the American Sound still work?
     
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  5. Strato50

    Strato50 Tele-Afflicted

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    You can find a nice used Deluxe reissue for 6 to 7hundred bucks. Have a good amp and great tone. These things are way over priced. I think Boss got it right with that Katana decent and not a grand. I know Fenders marketing. They use that name for every dollar they can. It’s okay if you got money to burn.
     
  6. Strato50

    Strato50 Tele-Afflicted

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    I have one to. For 30 bucks they’re hard to beat. I would go direct in a PA in a pinch.
     
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  7. dreamingtele

    dreamingtele Friend of Leo's

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    I would be lucky to have a Deluxe! I was aiming for a Pro jr to take to gigs as well, thats like right in my budget, Used, but Im just really afraid of spending and not getting the bassman tone I have on my Joyo.. I know, its crazy, I have played one 59 bassman reissue when I went to a music camp, for five straight days, thats the tone I want.. I played through a Twin at volume 7 at an outdoor gig for 3 days (different music camp), thats the clean I want..

    My problem with Tube amps is I wont be able to play it at home.. I live in a high rise apartment, If I need to play loudly I go out of the balcony and play 20 storeys high.. If I ever get a 59 bassman, I think Id buy a house, or a farm, so no one will be disturbed. LOL
     
  8. Alamo

    Alamo Doctor of Teleocity

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    This pedal sounds great infront of quite every amp. solid state or tube, tiny or big, no matter.
    or even straight into a DAW.
    just use your ears and don't go overboard with the EQ and drive settings - they're so powerful.
    Gain stages - I try to not overload the/any amps input, nor to starve it.
     
  9. Recce

    Recce Friend of Leo's

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    They sound interesting. I want to try one. I don’t think there is one within a hundred miles of Huntsville. I can’t say 150 miles because that includes a little town called Nashville, Tennessee.
     
  10. Ironwolf

    Ironwolf Poster Extraordinaire Gold Supporter

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    It's been 40 years since I was stationed at Redstone for Missile Officers training, but from what I remember of Huntsville, I'm surprised you don't have some good large music stores or at least a GC or Sam Ash.
     
  11. MilwMark

    MilwMark Doctor of Teleocity Ad Free Member

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    What is so hard to grasp about this?

    Many have no need or desire for that. We just want on great amp and are not hung up on the tech used to get there.

    Also, as many have noted, the physical amp can be optimized for the circuit (speaker, etc.). A "Twin" through a smaller 1x12 will not be a Twin. Nor a "Deluxe Reverb" through a larger 2x12.

    For some of us, modeling does not have to mean "options."

    I don't want options to fiddle with. I just want a ****ing amp to play.
     
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  12. MilwMark

    MilwMark Doctor of Teleocity Ad Free Member

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    I've owned the reissues. Great amps. I'd rather have the Tonemaster.

    I've owned the BF/SF originals. Great amps. No better or worse than the reissues. I'd rather have the Tonemaster.

    But then again, I'm not hung up on toobz. Been there. Done that.

    If you can't get great, dynamic tone and feel out of a SS or digital amp, don't blame the tech. It's weird. No one blames toob tech when they hear horrible tone from a toob amp.
     
  13. Informal

    Informal Tele-Holic

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    Are you the guy that buys a new car and rips out all the airbags...Then replaces the head unit with your trusty 8 track? :p
     
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  14. beyer160

    beyer160 Friend of Leo's

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    I get that not everyone's a tweaker, that's not what I'm talking about. It's just that the entire POINT of digital technology is to cram a gigantic amount of processing power (i.e., "options") into a tiny chip. This amp is basically the computer equivalent of using a Formula 1 race car to go to the end of your driveway to pick up the mail. Sure it'll do that... but it could do lots of other stuff, too. I don't mean it should be a Helix or anything, but since you have all that infrastructure in there already, could we at least get a simple 3-way switch for Tweed/Brown/Black voicing options?

    Having options doesn't require you to use them, either. A couple added switches won't make the thing unplayable- just don't touch the switches and it's like they aren't even there. Why WOULDN'T you want that option if the cost was minimal? One of my mottos at work is, "I'd rather have it and not need it, than the other way around."
     
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  15. Musekatcher

    Musekatcher Tele-Afflicted

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    Got a GC, but they must not have one in stock.
     
  16. Mr_Martin

    Mr_Martin Tele-Afflicted

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    That's why i play a Bandit and nothing else.
    I also had the Studio Pro and a Bandit.
    The Bandit is a different animal. Much louder.
    I don't know why (it's only 15 Watts more than the Studio).

    I play the last model 112 (China) and it can compete with a very loud drummer and
    the other guitarplayer who plays a Marshall Halfstack, the Bassplayer an Ampeg (500 Watts).

    I like the new Bandit more than the Redstripe.
     
  17. TeleTex82

    TeleTex82 Friend of Leo's

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    I think the reason why these amps, like the blues cubes, succeed at recreating not just the sound of a tube amp but the feel of one is because they dedicate all their processing power to that one model.

    On the BC for example the processing is tasked with recreating not just the sound that comes out of the speakers but the way that every component in a tube amp interacts with each other and the way those interactions change as the amp is driven harder or softer. I believe this is the reason Roland came up with the tone capsules, gimmicky though they may appear, in order to change all of those interactions to produce a different model without sacrificing the on board processing resources.
     
    Last edited: Sep 13, 2019
  18. Matthias

    Matthias Friend of Leo's

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    I get this more as I buy synths and drum machines. There are a lot of digital recreations now of old analog gear like TR 808s and Roland synths that are designed to model the same sounds and playing experience but have updated features for a modern player.

    Part of it is getting the same experience as using the old gear but with better reliability and connectivity. While pricing them to not totally kill the rest of their amp range, which if these are so good, they could!
     
  19. beninma

    beninma Friend of Leo's Silver Supporter

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    The switch costs a few cents.

    But how much do you think it costs to pay the engineering team to work on more models that are this accurate? Fender keeps saying these amps were in development for a long time. They have to pay for the engineering. While Leo could go tinker in the back room by himself and come up with a new analog design pretty quickly that’s not how the computer and software in a modeling amp works at all.

    Sometimes it seems amazing every modeling amp doesn’t cost $10k.
     
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  20. Blrfl

    Blrfl Tele-Holic

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    The logic is that's what the product costs. This is a whole new line of products with underpinnings that are different than anything they've ever done, and that comes with a steep R&D cost. The switch isn't where the cost is, it's developing the models behind what the switch does. The Blues Cube Artist, which is already five years old, retailed at $950 and still does because the development costs have to be recouped. Roland could make the Nextone Artist $300 cheaper because part of the DSP in it is borrowed from models developed for the Blues Cube and its tone capsules.

    If you want weird pricing logic, look at the TRRI. Its 1965 MSRP is $3,200 in 2019 dollars, so the current street price of $1,500 is pretty good by comparison. Other than updates for modern safety standards, there's almost zero development cost. The circuit is half a century old and they've been cranking out the reissues since the early 1990s. Manufacturing it should be down to a science and they should be getting a decent quantity break on the parts. By all measures, that amp should be a lot cheaper than what they charge for it and I can't say I hear many complaints about the price. The Tone Master version does lop 33% off a TRRI, so they must have saved something in the process.

    I have no doubt that Fender could build something to rival a Kemper with a FRFR amp and cabinet, but who'd buy it? Fender has the same problem as Harley-Davidson: at least part of what they're selling is image and they're selling it to customers who aren't willing to deviate from the familiar. The minute you put a switch on something to make it behave differently, the "I just want a simple amp with no bells and whistles" crowd will come out of the woodwork and complain about it. I have no doubt those people figured heavily into Fender's market research for this thing.
     
    Last edited: Sep 13, 2019
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