Separate names with a comma.
Discussion in 'Amp Central Station' started by AlbertaGriff, Jan 12, 2021 at 1:22 AM.
And the guitar needs to be in tune!!!!
I said "Fender", Leo it trapped in that net, too. Cars are in the same bag, keep reusing names to evoke irrational impulses.
The world needs a blonde bassman reissue.
Bob p, that leads us the situation where not only does the guitar need to be in tune, but the guitar needs to be set up so as to be able to be played in tune, and then the player has to play the guitar with correct technique so as to have results that are ...well...in tune. I am not speaking to the demo in this thread. It did not interest me enough to listen very far into the video. I like to hear an amp’s clean sonics before the player takes it off into distortion...no matter how the distortion is created. I just showed a fellow how a Super champ works...and he wanted to know how much such an amp is worth. Had I had a spare one, he probably would have bought it.
it made his Squire Tele sound very good..
Which one? See...it gets difficult. Do they build the 6G6, the 6G6A, or the 6G6B that is preferred by Brian Setzer????
easy, switchable SS and tube rectifier.
I appreciate your thoughts but this is an unwinnable battle, a new name confuses some folks, an old name upsets some traditionalists. At it's heart, it's a Pro that has some slight tweaks. Besides, if you really like an amp, the name should be a non-issue.
Still waiting for the Pinto to re-emerge...
Well IMO, if you want folks to like these amps, we gotta hear what they sound like, guitar>amp, and hear genuine tone
I play with OD pedals and other effects, but also rely on straight guitar>amp as a 'go to' sound used at gig as well.
(Especially Fender amps with Reverb, and Tremolo!)
Understood. The clips I put on Instagram highlight both with and without pedals. Besides, these are just for fun. There will be official videos that come out shortly that will go through the whole gambit of tones. I'm just excited about them and wanted to share some sounds I like and give folks a basic idea of what they do while everyone is speculating.
I'm a traditionalist. A one channel Pro Reverb and a VC with a Reverb knob look strange to me.
They should have made a two channel Pro with a lighter cabinet and speaker and a VC with a hidden Reverb knob.
For me my DRRI was always too loud, so for me there never was the need for a louder amp than 22 watts
Much appreciated — thanks for giving us all a sneak peek!
I've had a Fender amp on my wish list for a while and have been torn between the Princeton Reverb reissue and the Tone Master Deluxe Reverb — I may need to throw this new Vibro Champ into the mix as well!
I have nothing substantive to add to this discussion. But I recognize the opportunity to show off my lovely '65 Vibro Champ.
I learned how to drive on my dad's work car, a blue 1971 Ford Maverick!
I hear ya.
Rest easy knowing that since 1975, FMIC has gotten the bulk of my disposable income .
@ricks57custom, I didn't realize at first - and I suspect many folks replying still don't - that there were multiple separate video clips in the link. So I'll just say that here.
Also, do yourselves a favor and listen. Rick is a tasteful player with a great ear, which explains to me why the Tonemaster amps sound so great, and probably why the '68 CDR, CVR and CPR do as well. I wandered into a local music store and Rick happened to be there, quietly checking out some amps and as I listened from a distance I was pretty impressed with the repertoire and hands. Plus ability to understand and dial in amps. (No, I don't know him, other than to say hi briefly in that store, though if Fender wants to endorse Floor Model, we'll listen ).
I really appreciate that Fender is willing to move classic designs forward a bit. I'm surprised folks think 40w of Fender power isn't enough headroom, if tweaked to breakup a hair sooner. The only reason I don't still have my '68 CDR is that I don't like to rely on pedals for light overdrive, and even in a loud-ish punk band, I couldn't reliably get mine to breakup at shows before someone was yelling at me to turn down (appropriately)
Sorry if you already covered - how do you see the Pro slotting in, in terms of headroom and breakup, as compared to the '68 CPR, '68 CDR and '68 CVR? Sorry if that's a dumb question, but I don't know enough about the "guts" of the classic version of each - let alone your "custom" versions, to hazard a guess. Thanks
Regardless, I for one am very excited about the Pro.
Well, that gets you part of the way on having the A & B amps in one package. There then is the difference in the placement of the treble tone circuit in the Bass channel. Like the 6G6, the 6G6A has that treble control following the fourth gain stage while the B moved the treble control back prior to the fourth gain stage. The 6G6 has less negative feedback as it uses a 100k on top versus the 56k in the A & B amps. the Bnuses .1mfd couplings to the power tubes versus the .05mfds in the first two versions.
In short, in meaningful ways there are three amps there. But for the NFB loop thing, the 6G6 and 6G6A are similar amps. Switch the NFB, switch the rectification, switch those coupling caps...voice option, and have ‘Em all. What cab should we build? I like the 2 x 12, but I like the tone ring 1x12......put an EV in there. Big rig!!!!
I have decided that my next birthday present to myself will be at least one of the Vibro Champ Reverbs...
Maybe throw in RobRob's 1/10 power as a toggle on the back.
I would lobby for a head format.
Seriously wally, that sounds like a bad ass amp idea.
Here's a new Instagram post of the Pro Reverb. So much harder to record with all that volume so excuse any mic peaking and vibrations coming from my floors and walls. Hopefully it'll give you enough to go on until the other videos come out. There are several videos, with and without pedals, so make sure to scroll through them all.