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Also curious which tube amp you picked up for discussion case.
Originally Posted by 2bornot2bop
I personally have always had a love/hate relationship with tube amps. The same issues I have with high end Hi-Fi stereos in that you need to get them up and to a certain volume before they sing. I just ended up selling my $4K+ Stereo (Naim/Totem) because it became unrealistic for ideal listening in my home (Condo/wife/+ baby on the way) so I had to compromise and get something smaller that isnt as sweet but more practical in a variety of applications. This is the same problem I've had with tube amps. If I had a steady steady gig calendar and a roadie I would have bought a 1965 Twin Reverb and been done with it.
The JazzAmp seems to be a great tool on the Solid State side for Jazz but it doesn't replace the sound of a tube amp. Likewise a tube amp isnt going to get you that dry & muted tonal balance of a solid state amp.
I plan on having both and using them in parallel as I figure out my own Jazz Tone. I think a Princeton based circuit (Allen Sweet Spot, Headstrong Lil' King, Carr Sportsman, etc). I also am eager to try different loudspeakers in the Jazz Amp as well as some tone shaping pedals (like a Barber Barb EQ). I cycle and I also find this synonymous to road vs mountain bikes. Different tools for different environments.Last edited by shawntp; 12-13-2012 at 03:37 PM.
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12-13-2012 03:30 PM
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it's a custom FTR with upgraded Weber British Series, and matched Groovetube 6L6's, and NOS tubes. The choice was a no brainer for the cost of the tubes alone was more than the asking price of the amp. Originally Posted by Jazz_175
I'd previously owned a Heritage Kenny Burrell tube amp which I sold because it was far more amp than I needed for home use. I bought the Hendriksen as a replacement to meet my needs. But after a buyer brought his FDR over to my place to sample a Guild I sold him, having never heard a Fender, I was so stricken by the warmth and clean tone of his amp I went on the prowl....and lucked out finding just the right Twin available in my back yard. Still more amp than I need, but the tone is more to my liking. Thanks to the Webers the twin I acquired has an even richer tone than the stock Custom 15 that buyer owned. I'm a long time audiophile, and tubes permeate my entire audio system, so it's reasonable I own a tube based amp even if it's more than I need.
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One thing important to the discussion: the henriksen and the twin are voiced very differently... I also agree the Henriksen is a little sterile but most of the tonal differences I hear between both are more on the voicing of the amps then on the tubes vs solid state.
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well my audiophile friend, we both know that tube types can have as much influence upon a components voicing as anything else. Originally Posted by jorgemg1984
part of the reason I chose to buy this amp was to do some tube rolling to determine how its voice can be modified and/or enhanced to my tastes.
I don't know the amp with stock speakers, but I'm liking these British blue dawgs quite alot!
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Hi greg!
My father is the audiophile not me
I am just saying a twin reverb has in theory the pronounced mid scoop sound typical of blackface fenders while the henriksen is flat frequency. One is a big open-back 2x12 amp with guitar speakers, the other a small cubic closed back 1x10 with a PA / Bass speaker... One has a nice spring tank reverb the other an horrible digital room reverb.
I would say this matters much more than tubes vs solid state.
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hey brother! Originally Posted by jorgemg1984
Hi greg!
My father is the audiophile not me I am just saying a twin reverb has in theory the pronounced mid scoop sound typical of blackface fenders while the henriksen is flat frequency. One is a big open-back 2x12 amp with guitar speakers, the other a small cubic closed back 1x10 with a PA / Bass speaker... One has a nice spring tank reverb the other an horrible digital room reverb.
I would say this matters much more than tubes vs solid state.
Completely different designs...agreed!
well, count me in as a modded Fender Twin man now...tone and presence between both amps are night and day apart.
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Yeah I can imagine that being true... why not keep both for diversity?
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What, and deny someone the opportunity of owning a great amp for cheap? C'mon, it's the holidaze. Originally Posted by jorgemg1984
why not keep both for diversity?
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How altruistic of you
Seriously you should keep both, they are different enough so it makes sense.
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Hi!
Is it possible to achieve tone from that video with Ibanez AF75 and Henriksen 110? How should I set up EQs?
Thank you for your help!
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I have been using my henriksen blues 110 ER (playing in a big band) with these settings:
100Hz: 12 o'clock
300Hz: 12 o'clock
1KHz: 12 o'clock
3KHZ : 11 o'clock
10KHz: 11 o'clock
Also I am using a TC electronics hall of fame reverb, and flashback delay
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I have a Henriksen 112ER and use it without the tweeter or reverb. I leave the EQs set to "0" for my D'Angelico EXL-1 and Style B archtops with floating pickups and sometimes turn the 100hz down to about 9 o'clock on my D'Angelico EX-59 with P-90s and EX-DH with humbuckers as they tend to have a lot of bass at certain volumes. I don't think I'll ever need the tweeter, but it did work well bringing out more highs with a friend's Gibson ES175 with a Charlie Christian pickup.
Last edited by zephyrregent; 08-21-2015 at 03:57 PM.
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My experience is that most of the acoustic problems in live situations happen when guitar amp is on the floor. Maybe those tilting systems are born as a solution for those problems. Originally Posted by jorgemg1984
If You use the amp-on-the-floor as a base of Your sound You are asking for trouble. Not in every room but in some.
And we have to remember that the acoustic sound in our place is not the same in audiences place nor on mixers place. The whole hall might be booming even if the stage is not.
And vice versa!
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Hi Herbie!
That is an old post... I still think tilting is the best way for having depth and good dispersion. My two mambo pa cabs are wedge because of that. If there's too much bass I use a low cut (high pass) filter these days, it's the best solution I've found.
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Oops, You are right, I just didn't take a look on the date!
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No worries, it's a timeless topic
Do you always put your amp in a chair?
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I have to admit that I prefer some empty flight case covered with a piece of black cloth. I think that stage looks better that way.
But very often the stage is so small that I just have to use the tilt legs that I have mounted in my amps. Plus a piece of foam plastic under the amp to avoid boominess.
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What do you guys recommend for a tilted amp stand?
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(Deleted)
Last edited by KirkP; 08-24-2015 at 03:01 AM.
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Thanks Herbie, glad you found a solution. If you have the chance, try a low cut filter one day, perfect for cutting bass. Originally Posted by Herbie
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AER tilt. Originally Posted by kid335
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I have a Henriksen Blues Amp 110 ER. It works perfect and has good response with pedals.
In this recording I used almost everything on 12´o clock. I am using a TC electronics Hall of fame, and TC electronics Flashbackdelay.
https://youtu.be/6NMgYb3NC8o
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Can someone tell me the Jimmy Bruno settings.
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I think it was all the tone controls at 9 O'clock. Originally Posted by geopit
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On my Blu I start with everything at noon and then fiddle slightly; I think the Blu has quite a robust "electric" tone to begin with and doesn't require a lot of adjustment...mostly I just play with the lows (adding for smaller guitar) and the "sparkle" (or whatever it's called, i.e. the one that is "higher" than the high) if a guitar has a bright high E. The small speaker means there's less that can go wrong in terms of feedback and boominess.
On my Alfresco open back, I have always fiddled more since the 12" speaker and open back nature are more sensitive to the room, placement and the guitar, but usually I'm just taming the bass a bit and then slightly adjusting the other knobs.
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