Would you drive 2 hours to buy a used solid state amp because you crave the tone?

arlum

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My first impulse was, no, I probably wouldn't. Vintage tube amp? Sure. Solid state . . . nah, don't think so. Then I remembered THIS:

View attachment 1029895

I used to sell Acoustic Control Corp amplifiers at Hamilton Music in St. Louis, MO in the early '70s and came to think of them as the finest solid state amplifiers available at that time. I now think of those early '70s Acoustic Control Corp amps as the finest solid state amps ever made. No solid state build from then to now has ever come close. Note* Acoustic Control Corp amps from the mid '60s through maybe 1974 or so are the models I'm talking about. In the mid '70s the brand had a change of ownership, (just like Fender and Gibson in the mid to late '60s), and, other than their bass guitar models, fell off in quality. Great examples of what they can do can be found on any of the '70s Mahogany Rush albums.
 

hopdybob

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reading teds answer comparing the custom with his tone is not really fair.
it pushes to other amps and you don't know the settings of them.
and you don't know that maybe the custom pushes its own cleans into those fenders and they take the coloring to teds tone?

maybe you would give the kustom a fair change to prove what it has to offer, try other styles and like you do now, try some pedals etc. and forget ted
 

Chicago Slim

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HNAD! I love Kustom amps, both solid state and tube. As well as anything designed by James Brown. I used to use that amp while giving guitar lessons at a small music shop. We had Marshal and Fender amps, but I preferred the Kustom and Peavey's.

I liked the Kustom SS amps enough that I went on to play the MIA tube amps. I owned a '36 Coupe (1X12 combo) and '72 Hardtop (head). These might be the best amps I've ever owned. The Coupes were later replaced by the MIC Defender line. I also owned one of them. They have a tone switch that emulates the lower end of a Blackface, Tweed, Vox or Marshal amp, using analog tube TechKnowledgy. You still have to be able to use your ears, in order to copy their sounds.

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Fast forward to last year: I drove 2 Hours each way, to buy a Bad Cat Cougar 15. It's another tube amp designed by James Brown, that has a Tone switch (Blackface, Tweed, Vox, Marshal). Most people have no idea what these amps are capable of. They still listen with their eyes instead of their ears. YMMV!

bad-cat-cougar-15-162302.jpg
 
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TheCheapGuitarist

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reading teds answer comparing the custom with his tone is not really fair.
it pushes to other amps and you don't know the settings of them.
and you don't know that maybe the custom pushes its own cleans into those fenders and they take the coloring to teds tone?

maybe you would give the kustom a fair change to prove what it has to offer, try other styles and like you do now, try some pedals etc. and forget ted
It looks like the Kustom is pushing his other amps, which are what he's using onstage to hear himself, and it probably sounds pretty rad through all that gear. But, the point I was making in my OP is that the only mic I see is on one the the 12's of the Kustom, and I'm guessing that's what's being sent to F.O.H. and whatever is recording the show. So while he's hearing sonic bombasity (or whatever superlatives he happens to be using at the time), we're hearing the Kustom in the mix.
 

telemaster03

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I drove from Wichita to OKC and back a couple years ago to pick up a Peavey Special 130 that my wife gifted me for my birthday, it was a CL find for $75. A couple weeks ago I drove 175 miles one way and back to pick up a second Special 130, this time for $100...Inflation, I guess. I've driven from Wichita to Nashville a couple times to deliver and pickup pedal steels that I was having work done on and recently drove 5 hours to Colorado to have one worked on by the manufacturer, and the return trip to pick it up when it was done. I don't trust shipping for those beasts.

Nothing is out of the question depending on the situation. YMMV.
 

TheCheapGuitarist

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I drove from Wichita to OKC and back a couple years ago to pick up a Peavey Special 130 that my wife gifted me for my birthday, it was a CL find for $75. A couple weeks ago I drove 175 miles one way and back to pick up a second Special 130, this time for $100...Inflation, I guess. I've driven from Wichita to Nashville a couple times to deliver and pickup pedal steels that I was having work done on and recently drove 5 hours to Colorado to have one worked on by the manufacturer, and the return trip to pick it up when it was done. I don't trust shipping for those beasts.

Nothing is out of the question depending on the situation. YMMV.
I guess it's really based on a sliding scale - miles driven vs. bargain.
 

Doutorfunga

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I did, and I bought it for $50!!! It's a Kustom Quad 65 DFX, an amp that most people are probably not familiar with. I'll give you some quick background regarding my longing for one of these: Ted Nugent has been touring with a pair of 5150 half-stacks (and later 6505) for many years now, but to those paying attention, there was a Kustom Quad 100 DFX sitting between them, and that is the amp that had the mic on it. So basically, it appears that the half stacks were for his enjoyment, but the solid state Kustom is what everybody else was hearing. I really started digging his live tone (please, this thread is about his tone and this amp - if you want to discuss other things, you can start a different thread) and when the 65 W version popped up for sale, I jumped all over that!!!
View attachment 1026891
The overdrive is analog, more a hard rock than a metal level of gain. The clean channel sounds great, but I'm not going to spend any time there, that ain't my thing. The effects are.... there. They work and sound good but the only adjustable parameter is their level in the signal.

Admittedly, Kustom amps were something I've always been aware of, but never paid any attention to. To me, they were a second rate brand that you would see in second rate music stores.

[UPDATE: I figured I'd add details here when I discover them.] There is a footswitch jack, and I tried it with a footswitch I had laying around. It appears that the channels (clean, overdrive) are the only thing switchable, which is probably fine for most people. Also, this thing is a BEAST with the low-end! It sounds larger than it looks. The tone controls are very responsive. I would describe the overdrive, when set to maximum, to be enough for a metal rhythm "chug", but not for high-gain lead like Steve Vai or anything like that. It's actually a little less than than what I'm used to, but toying around with this for a couple of days I'm thinking that a somewhat lower-gain sound for solos does add a bit of note clarity.
Two hours was my commute to work (one way), so I say you didn't do too bad! Cheers
 




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