NAD - Tone Master Twin Reverb

VonBonfire

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Does the Tonemaster twin need to be as loud as its tube counterpart. Thats the #2 complaint with using a TR. Thats its just too loud for anything but an arena. So I imagine the TMTR is loud enough for any application except maybe an arena.

Guess that's up to the user. It might suit you or it might not. I've found that a Twin's strength is it's ability to cut over a very loud and aggressive drummer and larger bands with keys and horn sections without breaking up into total overdrive. In this regard I find it just barely adequate, so have others, which is why the quad reverb came into existence.
 

golfnut

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Guess that's up to the user. It might suit you or it might not. I've found that a Twin's strength is it's ability to cut over a very loud and aggressive drummer and larger bands with keys and horn sections without breaking up into total overdrive. In this regard I find it just barely adequate, so have others, which is why the quad reverb came into existence.

I've played in deafeningly loud bands with very aggressive drummers and have never been able to get a twin past 2. I've had a twin on 5-6 and beyond and have yet to get a twin in to total over drive. I've never heard a musician say "Well I'm playing a fairly big room with a very loud drummer I'm going to have to mic my twin".
 

VonBonfire

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I've played in deafeningly loud bands with very aggressive drummers and have never been able to get a twin past 2. I've had a twin on 5-6 and beyond and have yet to get a twin in to total over drive. I've never heard a musician say "Well I'm playing a fairly big room with a very loud drummer I'm going to have to mic my twin".

Everyone's experience will be different. What kind of bands? Rock? Blues? Country? What's your version of an aggressive drummer? I don't re-hire drummers who don't hit with absolute ear splitting authority. I like the guy who shows up with the bell brass snare and hits it like he has something to prove. I expect to hear the back beat. Most modern drummers hit like they have testosterone deficiencies so my loud and your loud might be different.

My Twins are on "10" at every gig. Guitar's volume control about 4-7 depending on whether there is a vocal happening or I'm soloing. Any more guitar volume control beyond 7 and the break up gets to be too much for my tastes. Some sound men will mic the amp and allow a little to bleed through the P.A other sound guys won't bother when I tell them I like it loud. Of course with modern PA there isn't a "need" for a twin but not every gig I play is full mic'ed to PA. Then there is the durability factor vs something like a deluxe which will blow power tubes once or twice a year if I run it like that at every show (at least in the number of shows I was doing pre-covid).

Yeah if I just set it to stun and then wailed away without dynamics then there would be complaints, no doubt. Once in a while I play a smaller venue and have to keep the guitar volume a little lower. Mostly I just don't take those bunk gigs anymore. I make no bones about having a loud band up front when booking. We just book venues that allow for more volume.

Again, a Twin was designed to stay clean on top of a large, loud band. It is barely adequate for that task if you aren't mic'ing the amp. Hence the Super six and quad reverbs.
 

golfnut

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Everyone's experience will be different. What kind of bands? Rock? Blues? Country? What's your version of an aggressive drummer? I don't re-hire drummers who don't hit with absolute ear splitting authority. I like the guy who shows up with the bell brass snare and hits it like he has something to prove. I expect to hear the back beat. Most modern drummers hit like they have testosterone deficiencies so my loud and your loud might be different.

My Twins are on "10" at every gig. Guitar's volume control about 4-7 depending on whether there is a vocal happening or I'm soloing. Any more guitar volume control beyond 7 and the break up gets to be too much for my tastes. Some sound men will mic the amp and allow a little to bleed through the P.A other sound guys won't bother when I tell them I like it loud. Of course with modern PA there isn't a "need" for a twin but not every gig I play is full mic'ed to PA. Then there is the durability factor vs something like a deluxe which will blow power tubes once or twice a year if I run it like that at every show (at least in the number of shows I was doing pre-covid).

Yeah if I just set it to stun and then wailed away without dynamics then there would be complaints, no doubt. Once in a while I play a smaller venue and have to keep the guitar volume a little lower. Mostly I just don't take those bunk gigs anymore. I make no bones about having a loud band up front when booking. We just book venues that allow for more volume.

Again, a Twin was designed to stay clean on top of a large, loud band. It is barely adequate for that task if you aren't mic'ing the amp. Hence the Super six and quad reverbs.

Dr Z Stangray on 5 no attenuator = being drowned out by the drummer. Thats about the volume of the bands I've played in.
Fender Twin on 10 and the rest of the band at equal volumes = not being booked again. Of course I haven't played 30,000 plus venues. But if you did you'd be mic'd no matter what you're using. I'd like to know the soundman that would be ok with your twin on 10.
Any mid\large sized club that had a band with twins on 10 and drummer to match and you're not getting good sound. You'd be getting a wall of noise.
 

VonBonfire

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Dr Z Stangray on 5 no attenuator = being drowned out by the drummer. Thats about the volume of the bands I've played in.
Fender Twin on 10 and the rest of the band at equal volumes = not being booked again. Of course I haven't played 30,000 plus venues. But if you did you'd be mic'd no matter what you're using. I'd like to know the soundman that would be ok with your twin on 10.
Any mid\large sized club that had a band with twins on 10 and drummer to match and you're not getting good sound. You'd be getting a wall of noise.

30 watts not adequate to stay on the clean side for the work I'm doing. I've seen that in action with a 30 watt Laney and 22 watt deluxes that didn't cut it. That'd be full breakup and inability to get a clean tone over the drummer for some of the more mellow ballads. I'm mostly am/was playing 100-1200 seat venues often outdoors or in large pole barns with bad sound already regardless of mic'ing schemes. Every venue is different so for you to say I won't be getting a good sound is kind of a generalization. Way too many variables there. Sometimes crap sound is just part of the gig. Booked a couple of those crap sound however you cut it gigs this morning but they pay well so I won't complain.

I work with some guys that run a sound company and there is never a problem with my guitar volume at the venues they are hired for. If there is they are keeping their mouth shut about it which is the best policy because I knuckle under to no soundman. The soundman isn't there to tell me how to play he's there to adjust the PA to it's optimum with what he's given to work with. I'm not some 20 year old kid you can boss around. I do the bossing. Does that sound arrogant? I can't say it concerns me if it does. Me vs you, I've already played this game I win or I walk and you listen to a jukebox instead, your call. All or nothing. I even started demanding more money and lo and behold I actually started getting it after stonewalling some venues over pay. This is post covid booking too. Even I was amazed.

Keep in mind I'm working the Austin-San Antonio area while you are up in Canada so I think there might be some regional differences at play with regard to volume. Things haven't changed as much in the biz here as they have elsewhere. Still some bigger sized venues, it's Texas. Still people who like it loud.

Have I been asked to turn down? Yes. Does it happen often? Not really and if it's a big problem I just don't book the venue again. You have to find your target venues that work best for you and your project. No I don't wail away when I agree to play a smaller venue but it will still be loud. Generally there is a happy medium you can arrive at with club owners. Loud, if you know what you are doing, draws people off the street. That makes the bar owner money and less inclined to complain. If I ran people out instead then yeah, I would get more complaints.
 

Fret Wilkes

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This Tonemaster discussion ran out of gas pretty quick. I guess people start to realize, that Tonemasters are damm good.

Just played a bit over lunch. Got the Vol up to 5. LOUD! I found myself saying "Damn, this thing sounds GREAT!". I'm very happy with this amp and I'm SO looking forward to using it with my band. Can't wait!
 

KnopflerStyle

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This Tonemaster discussion ran out of gas pretty quick. I guess people start to realize, that Tonemasters are damm good.

Eddie, you are so right. To me the concept is perfect, vintage looking, with great materials, and the most important thing... plug and play.

I hope fender keep lauching tonemaster amps.... although they push up the valve one prices :(
 

chris m.

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Very interesting thread. People’s ears hear different things. When I A/B’d a TMTR with the real thing the difference in tone jumped out at me. The digital version lacked the rich overtones. Conclusion: you have to test them yourself and make up your own mind. I wouldn’t sneer at one in a backline, but that doesn’t mean I would make one my personal amp.
 

Fret Wilkes

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Very interesting thread. People’s ears hear different things. When I A/B’d a TMTR with the real thing the difference in tone jumped out at me. The digital version lacked the rich overtones. Conclusion: you have to test them yourself and make up your own mind. I wouldn’t sneer at one in a backline, but that doesn’t mean I would make one my personal amp.

Agreed, on the people's ears, and the reason I always qualify with "YMMV or ultimately, try it yourself". The last thing I need is to be a "wanted man" because I "lead someone astray" on the TDPRI. ;0)

The funny thing is in my last post about "Damn this thing sounds great", I was marveling at, basically, the rich overtones! lol Tweechisown!

My best to you sir!
 

MrWiggly

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I've had the Tone Master Twin for 19 months now, got one when they first started shipping. Before the pandemic I got to do some gigs including outdoors. The amp was a dream come true. I was able to get the tone and volume and feel perfect on a big outdoor stage. I like hearing more directly from my amp rather than relying totally on the monitors to hear myself. I felt a lot more connected to what I was playing. Having owned mid-60's Fenders for most of my life I'm quite familiar with the sound and how they behave. I honestly can't tell any difference in the Tone Master. You add in the extra features and the light weight and its the perfect gigging amp for me.
 

Fret Wilkes

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Had my first band rehearsal last night with the new Blonde Tone Master Twin. I'm happy to say it passed the test with flying colors, and it sounded fabulous. The bass player flipped! He loves reverb and said that is one of the best reverbs he's heard. I used my Alligator Strat with Alembic Blaster. Another rehearsal next week, then gig time on 6/4/21.

It was cool watching the other 3 band mates "oooh and ahhh" the TMTR. Pickup up, and marvel at the weight, etc. The drummer: "So.. there's no tubes in that?? Wow!"

I'm really happy I pulled the trigger on this amp.
 

jgmouton

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This Tonemaster discussion ran out of gas pretty quick. I guess people start to realize, that Tonemasters are damm good.

For me it's just the contrary: I compared the TM and the tube versions side by side and found the TM flat and sterile in comparison although I wanted to like it. It's difficult to discuss what you hear.
 

Danola03

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Had my first band rehearsal last night with the new Blonde Tone Master Twin. I'm happy to say it passed the test with flying colors, and it sounded fabulous. The bass player flipped! He loves reverb and said that is one of the best reverbs he's heard. I used my Alligator Strat with Alembic Blaster. Another rehearsal next week, then gig time on 6/4/21.

It was cool watching the other 3 band mates "oooh and ahhh" the TMTR. Pickup up, and marvel at the weight, etc. The drummer: "So.. there's no tubes in that?? Wow!"

I'm really happy I pulled the trigger on this amp.
How did the gig end up going? Did the TMTR work as you’d hoped?
 

Fret Wilkes

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How did the gig end up going? Did the TMTR work as you’d hoped?

Absolutely! I'm extremely happy with the TMTR. I use it at rehearsals with the power scaling down at the 12W level, and it sounds great. I use it at gigs with the power scaling up at 40W and it sounds great.

I've had many compliments on my tone from local players. That is icing on the cake, but the SOUND, flexibility, and portability are the real draw for me.

As noted from a couple of posts above, we all hear/feel things differently, but I really couldn't be happier with my TMTR. I still have my 68 here, and probably will for some time to come. I've tried to use it in trades for a couple of guitars I liked, but got the old "No thanks. Too loud, too heavy" response.

I love the Blonde TMTR. YMMV
 

LJOHNS

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I just got a Blonde Deluxe TM. I had a 79’ Deluxe For a while also. The TM is just as loud but so much more flexible. I got it for gigging in a country cover band that I recently joined. It is going to be perfect for my needs. I don’t know or care if it sounds like an original DR. All I know is that it sounds great and takes my pedals well. The light weight and XLR out is icing on the cake!
 

Buffalo0993

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The TMTR is the best amp thats come out in a long time. Ive been gigging mine hard this past year. Easiest setup in the world. Dont need no stinkin mics, the line out is excellent.

Only complaint i have is the reverb is not great. I use a pedal and just ignore it.

One amp that you can play at home or in a stadium. Doesnt get better than that.

I do wish i went with the blonde one sometimes. I bet those celestions are nice.
 




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