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  1. #351

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    Quote Originally Posted by musictech
    Picking up my VOX ac15 today. Looking forward to it
    did you get the AC15C1? i have that model. i also had the AC5CC1. it was okay but nothing like the AC15C1. it's amazing what a "C" can do.

    first thing i would do is change the tubes and perform the bright cap mod on both inputs. (if it's an AC15C1.)

    over and out.

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    The Jazz Guitar Chord Dictionary
     
  3. #352

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    Quote Originally Posted by musictech
    Picking up my VOX ac15 today. Looking forward to it
    Quote Originally Posted by J. Murrieta
    did you get the AC15C1? i have that model. i also had the AC5CC1. it was okay but nothing like the AC15C1. it's amazing what a "C" can do.

    first thing i would do is change the tubes and perform the bright cap mod on both inputs. (if it's an AC15C1.)

    over and out.
    So far the amp sounds good. i will mod the AC15C1 some other time. Time to have fun with it.

  4. #353

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    Guys, I need help!!

    I want an amp that will accept pedals really well or super pedal friendly as they say for playing other genres, like rock/fusion. Also be able to play jazz through it, warm, mellow tone,meaning high headroom, with no easy break up. Tube amp available as a combo, mostly for home and small/moderate gig situations=playing with a drummer.

    I thought of the Fender Princeton Reverb and the Dr. Z M12. Not really sure which one to go for, any suggestions?
    Last edited by JPMike; 01-11-2013 at 04:25 AM.

  5. #354

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    Peavey Bandit 75 with the tone knobs all set at 12:00. Loud, clean, low-noise. A hundred bucks. Yes!

  6. #355

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    My Fender Princeton is ok for small gigs but breaks up when the Vol control goes above 4 - great for small blues-rock gigs.

    I use a Jazzkat for jazz. Nice warm tone, lots of headroom, effects loop and you can switch in a tube to add more bite to your sound. The perfect amp for a jazz guitarist.

  7. #356

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    Quote Originally Posted by Jim Soloway
    What's the weight like. I couldn't find any actual specs on that.
    VHT has the weight listed at 43lbs. it's in the downloadable pdf manual, not listed directly on the website. it's also a pretty compact design, making it easy to carry.

    due to the aforementioned compact form factor, i was experiencing some rattle in the higher watt modes. i purchased some dampers from "eurotubes" and tube retainers from "the tube depot". Now my tone is rattle and artifact free!!! absolutely loving it. (although i am still in honeymoon phase.)

  8. #357

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    regarding the VHT Special 12/20:

    i actually own and have rolled:

    JJ 6v6S
    JJ 6L6GC
    Tung Sol 5881
    EH 6CA7EH
    stock chinese 6v6s.

    in 12 watt mode everything sounds good, but going to full pentode 20 watt mode is where the characteristics of each tube really becomes discernible.

    and for me it's the 6CA7s. warm, clean, loud, tight bottom end, fat upper end, nice mid range...no 6L6 glass with higher notes. the Tung sol 5881s and JJ 6v6s just don't stay clean enough loud enough for me.

    i hope that helps somebody, somewhere, someday.

  9. #358

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    Quote Originally Posted by J. Murrieta
    regarding the VHT Special 12/20:

    i actually own and have rolled:

    JJ 6v6S
    JJ 6L6GC
    Tung Sol 5881
    EH 6CA7EH
    stock chinese 6v6s.

    in 12 watt mode everything sounds good, but going to full pentode 20 watt mode is where the characteristics of each tube really becomes discernible.

    and for me it's the 6CA7s. warm, clean, loud, tight bottom end, fat upper end, nice mid range...no 6L6 glass with higher notes. the Tung sol 5881s and JJ 6v6s just don't stay clean enough loud enough for me.

    i hope that helps somebody, somewhere, someday.
    Well 12watt mode is with 6v6s inside....you can go to 20 watt only swapping for bigger output tubes like 6L6,5881 etc..etc..about 6CA7 ( or EL34) I do not really like them,and since the bias is fixed for Octals, and tries to accomodate different kind of vacuum tubes wich have different voltage on plate,usually is set for lower current,so a bit "colder"...have to experiment,since not all 6L6s are the same

  10. #359

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    Quote Originally Posted by peterpanico
    Well 12watt mode is with 6v6s inside....you can go to 20 watt only swapping for bigger output tubes like 6L6,5881 etc..etc..about 6CA7 ( or EL34) I do not really like them,and since the bias is fixed for Octals, and tries to accomodate different kind of vacuum tubes wich have different voltage on plate,usually is set for lower current,so a bit "colder"...have to experiment,since not all 6L6s are the same
    thanks peter. the problem i've had with my 6l6s is too much tube rattle, with dampers mind you. maybe i'll get another pair and try them.

  11. #360

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    Quote Originally Posted by J. Murrieta
    thanks peter. the problem i've had with my 6l6s is too much tube rattle, with dampers mind you. maybe i'll get another pair and try them.
    Just so you know, rattling is not a problem with 6L6s in particular (or any other kind of tube for that matter), but rather with specific brands and sometimes certain production runs.

    It's almost impossible to know without trying whether a tube will be microphonic or not. You can ask your tube supplier whether they test for microphonics; some only test preamp tubes on the (mostly correct) premise that the first preamp tube is going to have the biggest issues with microphonics.

    Some vendors will test all tubes for microphonics. Eurotubes here in Oregon comes to mind. (FWIW, I paid Eurotubes a visit this past week and was very positively impressed with their attention to detail and their customer service.)

    One thing I've noticed in the past - and my sample size is far too small to hazard a "rule" about this - is that tubes with certain shapes of micas seem more susceptible than others to microphonics. (The mica is the slice of insulating material - there are normally two per tube - that touches the inside of the glass envelope and has holes punched to fit the supports for the grids and plates.)

    The first kind of mica is shaped like kind of a squared-off circle. It has only four points of contact with the glass envelope. I've found that tubes having this shape of mica tend to be unusually microphonic. My theory is that the four contact points between the mica and glass envelope tend to separate as the tube comes up to temperature and the glass expands. This allows everything inside the tube to move, which is the cause of microphonics.

    The other shape of mica is a circle having a rather large number of triangular points along its periphery. I've noticed that in tubes constructed this way, the mica points get bent back to fit inside the glass envelope. This means that there's some tension between the points and the glass. The slight elasticity of the mica helps to maintain its contact with the glass as the tube heats and expands; therefore there's less of a tendency to microphonics.

  12. #361

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    I didn't read EVERY post, but I didn't see much talk about the speaker, which to me, is ALMOST more important than the amp. I can use a lot of different amp heads (or run out the head of a combo) but I've got to use a 15 inch speaker. My favorite extremely portable rig is a very old Jensen 15 each speaker (from a vintage Ampeg Gemini VI) powered by a Roland Micro Cube. Yep. BION, that little battery amp pushes that 15" speaker into sonic nirvana. It's much louder than with the stock 5" speaker and it works great for coffee house gigs or playing with a percussionist. I prefer the Black Panel setting for its bass or the JC Clean otherwise. My premium sound is obtained by splitting my signal and feeding 2 amps - a bass amp and a brighter guitar amp. This gives me ultimate control over those 2 aspects of my sound and I can add chorus and reverb on the brighter amp but leave it totally off the bass. Sometimes I'll use a mini active crossover by Rolls to split my signal at an adjustable frequency and use that to feed each amp. Or I'll just roll the bass off one amp and roll the highs off the other. What's nice is that I can get away with using a small bass combo amp that uses a 10" speaker and even the same for the guitar amp. And you don't have to spend a lot of money to get two portable amps. I also own the Roland Micro Cube Bass amp, and it'll work in a pinch as the bass half of my sound split with another small battery amp. I want to emphasize again the use of effects on only the bright half of my signal. This keeps the bass clean and tight and makes for more articulate chords. This is my first post here. I promise I want be so long winded next time..........
    Last edited by Cellomangler; 01-12-2013 at 10:51 PM.

  13. #362

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    Acoustic Image...

    I've owned:

    Roland Cubes of all shapes/colors
    Fender of all shapes/colors
    Ibanez bass/guitar amps
    Lunchbox (club and original)
    ...a bunch of boutique amps more tuned for rock, etc...


    In my experience, for clean pure jazz, guitar and bass...there is none higher than AI.

  14. #363

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    Interesting how everybody has their own objectives and taste. I've had a lot of the same experiences as SilentWiz and the Acoustic Image is one of my all time least favorite amps. I heard lots of players sounding good through them but I've owned two and played through lots of others and found it to be incredibly unsatisfying to play through. Obviously lots of other people have had a very different experience.

  15. #364

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    Port City Pearl 1x12 Combo in the making, will be here in 3-4 weeks.

  16. #365

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    Quote Originally Posted by peterpanico
    Well 12watt mode is with 6v6s inside....you can go to 20 watt only swapping for bigger output tubes like 6L6,5881 etc..etc..about 6CA7 ( or EL34) I do not really like them,and since the bias is fixed for Octals, and tries to accomodate different kind of vacuum tubes wich have different voltage on plate,usually is set for lower current,so a bit "colder"...have to experiment,since not all 6L6s are the same

    thanks for the input peter. after reading this i went back and did some more rolling. i've now settled on the Tung Sol 5881s. i'm using them in high volt mode, 20 and 12 watt. they are a little "warmer" and "antique" sounding. i'll think i'll stick with them for a while.

    i also just received an empress parametric eq pedal which really helps nail the exact tone i'm looking for.

    i'm good...at least for now.

  17. #366

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    I'm a bottom feeder I guess :-) I use a Trace Elliot Supertramp Twin Chorus that I replaced the speakers with some that came out of a JC120. It gives me a nice clean sound and has a lot of features I don't use playing jazz but I see other genres sometimes too so it's versatile. But it's heavy and I'm old, so a few weeks back I had a gig and just couldn't bring myself to lug it down the stairs again so I grabbed an old Crate GT60 I had stashed over the garage for like 15 years. I paid nothing for it really. Its old claim to fame was Yngwie used them for practice amps :-) but the overdrive channel on mine has never worked so it's just a basic SS amp with a 12" speaker. Amazing how many compliments I got on the sound, I put my archtop through it as well as the AS100 and it did sound pretty sweet. This weekend my bass player put his upright through it and it sounded pretty good for him too. I played years of loud music and my wife says I'm either losing some of my hearing or ignoring her even more than usual (hmmm) so I may be missing something, but right now I can't see going crazy over an upgrade..

  18. #367

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    I have owned many amps over the past 45 yrs. The ones that sound best with my Benedetto Bravo or ES-175 currently are my 1966 Fender Princeton (non-reverb) and my 1974 Fender Viborlux Reverb. A very close second and probably better for gigging is one of my Vox AD30VT amps. These are modeling amps with tube preamp and first stage amplification, second stage is acoustically neutral solid state into a 10" spkr. The Boutique Clean and Tweed 4x10 settings sound great and are quiet with appropriate gain adjustments. These amps are very inexpensive (used clean ones are $150--200 on eBay) and versatile and have held up well for me (I own two). Upgrading the 12AX7 is worthwhile.

  19. #368

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    Only had to amps I regret getting rid of the first was a Fender BF Princeton Reverb that I had Paul Rivera do his mod on he was doing for all the studio players back in the day. Great sounding and small and portable. The second I miss not as much was a 70's SF Super Reverb really nice sounding amp, but would over power situations with those 4x10's cutting thru.

    I've had Boogie's, tweed Deluxe, old Champ, old Ampegs, all sorts of amps, but those two old Fenders were magic and could do anything.

  20. #369

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    the old Fenders get it done!

  21. #370

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    sure, the old Fenders have it...I have a Fender Champ (1958) andere a Princeton Reverb 1974 sounds perfect for my (old) jazz style .
    And my Gibson EH-150 sounds superb;-)

    Regards
    Clavan
    (Netherlands - Europese)

  22. #371

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    hello everyone,

    thanks for all of the great information! in preparation of buying my first amp, i read every post and did a lot of searches for many of the interesting amps and models mentioned here. i ended up getting a jazzkat tomkat, which i still can't believe only weighs 16lbs. to restore balance to the universe and pay my dues to the lower back pain gods, i'll probably end up adding a twin reverb to the fold at some point.

    best regards,
    ben

  23. #372

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    For a lower powered Fender I like the 55-56 era Bassman's, 30 watts, dual rectifier tubes. The four tens respond well to the low notes and if you pull one of the rectifier tubes you can induce more sag, a more bluesy jazz tone.
    For a high power amp I use a 61 Fender Twin. No reverb but a beautiful brown face vibrato and big tone.

  24. #373

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    Quote Originally Posted by bodidR
    If you can find ANY Evans amp, in good playing condition, for less than $500, I'll buy it. Yes, their tone controls take some getting use to, but they are the cleanest sound I have found, and certainly for straight ahead jazz with an archtop, the ULTIMATE JAZZ GUITAR AMP (IMO). The trouble is they are very seldom available used, and then usually for much more than $500. BTW, my Evans has a 15" which I like a lot. Not sure I could like a 10" or even a 12". Oh well.
    rdr
    I just found a super clean Evans FET 500 LV with a 15" and snatched it up...not sure yet if I'm going to keep it but as far as clean, loud, with great reverb and no coloration just guitar and technique, this amps got it all in spades....any one else play one of these? The Ultimate Guitar Amp-20150809_092119-jpg
    Last edited by Six; 08-12-2015 at 08:52 AM.

  25. #374

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    the ultimate guitar amp (for me) is still the Kemper profiler going through an Alto TS110A powered speaker. 600w of clean power. Not cheap but well under $2k used. I used it at a jam session over the weekend where we played everything from Benson's Body Talk to My Romance to Acid/Jazz/Fusion. I used a fender vibroverb model for 90% of the jam but I used a dumble overdrive special for some of the fusion tones and it sounded incredible. I have not heard *ANY* other amp with that versatility. Having owned several boutique dumble clones including Kane, Two Rock, Ceriatone and several others, I can say that this amp hangs and possible exceeds any of them. Same results with the fender and it also smokes my mambo amp for smokey clean jazz tone though I adore the mambo amp. The kemper is just ​THAT GOOD.

  26. #375

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    What profile are you using for a warm jazz tone? I had a Kemper for a couple years and warm jazz wasn't something I found easy with it, then again I had a hard time bonding with FRFR monitors which could have been the real issue for me.
    Last edited by MaxTwang; 08-12-2015 at 03:17 PM.

  27. #376

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    Quote Originally Posted by MaxTwang
    What profile are you using for a warm jazz tone? I had a Kemper for a couple years and warm jazz wasn't something I found easy with it, then again I had a hard time bonding with FRFR monitors which could have been the real issue for me.
    I'm using FRFR monitors and it sounds great. I think the whole todo about FRFR speakers is much ado about nothing and I was one of the biggest voices against using them in the beginning. I use the ampfactory vibroverb amp model with the gain at 0, treble, bass, mid and presence at around -3.0 and a graphic eq pulling down 80hz and 120hz by 2-3db.

    IMO, it sounds vastly superior to *ANY* jazz amp on the market including AI, Mambo, Quilter, Evans, etc. I also A/B'd that particular amp model with a $2000 gries 35 tube amp which was previously my favorite fender style tube amp ever made. The kemper smoked it.

  28. #377

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    I've tried Kemper and Axe a couple times but I was so enthralled with the technology and possibilities I spent all my time fiddling with them instead of playing. Then there's the gear buying to get profiles, tone matches, IRs, etc. For me it was one big rabbit hole!

    I do miss a few of the Jim Kelley profiles I made, maybe someday I'll try the Kemper again (I should have kept a copy of those profiles!).
    Last edited by MaxTwang; 08-13-2015 at 02:35 AM.

  29. #378

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    Quote Originally Posted by MaxTwang
    I've tried Kemper and Axe a couple times but I was so enthralled with the technology and possibilities I spent all my time fiddling with them instead of playing. Then there's the gear buying to get profiles, tone matches, IRs, etc. For me it was one big rabbit hole!

    I do miss a few of the Jim Kelley profiles I made, maybe someday I'll try the Kemper again (I should have kept a copy of those profiles!).
    i did that too and bought over 200 profiles. Now I use a single profile 90% but when I need it (like the fusion tune I played over the weekend) it sure is nice to have the ultimate dumble and the ultimate jazz tone in one box

  30. #379

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    Personally, the best I have found is Mambo for jazz. I'm a jazz player so rock or blues tones mean nothing to me. Jazz tones can vary, and I find the Mambo can cover all jazz bases and is easy to dial in. Hard to get a bad sound out of a Mambo no matter the guitar.

    Of course, the "perfect" cabinet depends on the gig. My solution is a Mambo head which I can use with different cabs, but it took me a long time to finally settle on this.

  31. #380

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    I have a Peavey Bandito, it's a good amp but lacks that 'Burrell sound', the controls are confusing to me.

  32. #381

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    It's old Fenders for me too..

  33. #382

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    If I had to name one ultimate amp it would be my Quilter Aviator 1x8" amp. It does everything incredibly well,sans distortion tones.
    100 watts, 20 lbs super portable and can even handle a microphone if need be with a high impedance adaptor.

  34. #383

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    As a former owner of several Twins I'm very happy with the Fender Custom 15.


  35. #384

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    Hi, I’m new to this forum

    On topic: Personally I really like dry solid state sounds with various amounts of chorus/modulation and reverb. Today I mostly playing through a Hiwatt Maxwatt G20R which is the ultimate amp for me

  36. #385

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    My (imaginary) perfect guitar amp would be a 30W Deluxe Reverb with a separate mic channel and a speaker-emulated line-out, that weighed less than 30 lbs and cost less than a thousand dollars. Or a Katana 100 that sounded good.

  37. #386

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    Got my first electirc guitar in 1954,,, Owned all the Holy Grail fenders as well as many others...I am now using Quilter Avaitor and The Bud plus a Cube and an early Little Jazz,,,The best tone of all time IMHO is a 1959 Gibson GA 200 , Nothing I have ever used sounded quite this good ... Also heavy and a nightmare to repair... Mickmac

  38. #387

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    Quote Originally Posted by jzucker
    the ultimate guitar amp (for me) is still the Kemper profiler going through an Alto TS110A powered speaker. 600w of clean power. I used a fender vibroverb model for 90% of the jam... The kemper is just ?THAT GOOD.
    This my experience too. If I had one profile I use most (excluding one's I made myself), it may be Boogiem's Vibroverb or John Tyler's Blonde Bassman (used clean).

    I played through a 1980s Ampeg VT40 (65 watts) for decades
    The Ultimate Guitar Amp-ampeg-vt-40-jpg
    Great cleans, great spring reverb. Sort of Ampeg's answer to a Super Reverb with more midrange and more ability to control it.

    Totally a beast to move around. A Super is nothing compared to moving it. A Twin far less awkward. - You had to bear hug it in and out of places.

    Loved that amp but it got old and I let someone else pay to whip it back into shape.

    Got into the modelling stuff (Line 6, Amplitube, Scuffham S-gear and was enamoured by the flexibility and variety of sounds ... and the lightweight packages. - I also had never played through many vintage amps and the models educated me as to what stuff I liked. I mostly gravitate toward brownface amps pushed cleans and Dumblish stuff for dirty.

    Then I got a Kemper and it really does everything I need an amp to do ... and tons of stuff I will never touch.

    I remember with my old gear I would often feel my set up sounded awesome one day and crap another. Since I started playing with the Kemper my set up always seems to sound great.

    ... even when my playing doesn't.

    There is a real consistency to it, I was lacking in my old tube - effects pedal based set up. I do think that the weather and humidity and stuff effected my old school set up more.

    I still think I will eventually build a Tweed amp kit just to do it, but there are really no sounds I want to get that I am not getting.

    - But the thing with the Kemper is that your sounds are only as good as your profiles and you have wade through quite a few before you find the ones which work for you.

    Or you profile your own.

    My most used profile is pretty idiosyncratic and pretty heavily tweaked. I don't think it would work for most others but it works for me. I could other people finding the same.

  39. #388

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    Hmm? The ideal jazz amp would be able to sound like a Twin Reverb or an Ampeg Super Echo Twin, possibly by just selecting a toggle switch position. However, all this would fit inside a cabinet the size of a Henriksen Blu.

    And, because I just can't stand more knobs than are necessary, the amp would lack an equalizer panel. It would have reverb as lush as a Fender or an Ampeg. As far as tone controls go, no more than bass, mid, and treble, for me.

    It would be so reliable that I could use it as a wheel chock on my truck, then play several sets.

    Oh, well. Until Prometheus brings that down from Olympus, I will limp along with small Fenders and Polytones (they cover the Ampeg scene, for me).

  40. #389

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    The super echo twin is two reverberockets in one case. The Reverberocket was my all time favorite amp until very recently when I discovered that my Little Jazz sounded quite like it, but was smaller, lighter and less fragile. I also played through a Fender HRD that sounded amazing. My Boogie Mark III is a terrific sounding amp, but somebody apparently bolted it to the floor.

  41. #390

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    Quote Originally Posted by rpjazzguitar
    The super echo twin is two reverberockets in one case. The Reverberocket was my all time favorite amp until very recently when I discovered that my Little Jazz sounded quite like it, but was smaller, lighter and less fragile. I also played through a Fender HRD that sounded amazing. My Boogie Mark III is a terrific sounding amp, but somebody apparently bolted it to the floor.
    I have a Mesa Boogie mrk 2.
    I switched the heavy magnet speaker to a 12 jensen neodyne 8 ohm. Now it weighs around 18 kg coming from over 30 kg as I recall
    Maybe that could unbolt it for you ? ;-)

  42. #391

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    The "ultimate" "jazz" amp is the one that is already on stage or in the studio. Honestly, as long as it is not broken and has a decent clean tone and enough volume for the gig you can get a "jazz tone" out of most backline amps. Over the years I used Roland Jazz Chorus, Fender Twins, Hotrods, Deluxe, Blues jr. etc, Mesa Boogies, Sessionettes, Polytone, Peavey, Fame (local store's brand) – I did not like every amp as much as the others ... but I could play the job with each of these. Unfortunately less and less clubs have backline amps.

    My favorites among the amps I owned over the years are:
    Fender Blues jr. – for small gigs, studio and home use. I used to own a Polytone when our bassist brought this little amp for me to a small gig and I liked it a lot. Small, light, no hiss, brilliant tone. Later we did recordings and compared it with the Polytone and all of us liked the humble tiny fender better than the legendary "Jazz" amp. The Polytone is a good amp as well, we just liked the Fender better. Later it got me through a Blues phase – after all it is made for that. Though it is only 15 watts it has enough headroom, volume for small gigs – for bigger gigs and reahearsals I use a vibrolux (which my band loves better) btw.

    Mesa Boogie 50 Caliber – I used to play everything in the late 80s/90s (I was a professional musician back then) with this amp: Jazz gigs, top 40 jobs, indie Rock, theatres etc. It was the only amp I owned. Some of the best recordings of my "stage tone" are done with a humble Ibanez AG75 and the Boogie. The clean tone is very "HiFi" which suits an archtop guitar very well. It can get louder than you'll ever need. I think I never used the gain channel much but the clean tone is one of the best.

    My current situation (less and smaller gigs to which I mostly travel on the train / subway – also I'm not getting younger and stronger) made me look for something even smaller than the blues jr. – not only because of the weight but also for dimensions – not to bother the other passengers so much. I found a Tech 21 fly rig preamp that I can plug directly into the PA. It's not the same as playing through an amp, but I get a decent tone that way and it fits into the gig bag. That works fine – if there is a PA.
    Last edited by guavajelly; 07-22-2019 at 04:33 PM.

  43. #392

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    I'm kind of shocked to see the Fender Blues Jr. on the top spot, wow.

  44. #393

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    I think everybody owns a Blues Jr. I do...I just never, never use it. It's honestly the amp I never use. But I bet it's the "most owned" amplifier out there.

  45. #394

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    Blues Jr. amps can be made to sound (and look) pretty darned good...if you throw enough money at them. (BillM mods; AlNico Speaker; Custom Cab; etc.)
    Mine has been modded and re-cab'd many years ago, into a decent sounding jazz or blues amp. Not my smartest investment, but hey, it was a fun project.


  46. #395

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    That looks really good man! BTW, I just discovered something with Fender Amps. I got this idea from an app on my iPad that works with the iRig. For the jazz tone on Fender Amps, they set all tone controls to 0. I tried it on my Fender Deluxe with my Eastman archtop. It works great. Set all tone controls to 0 and add a little bit of treble. It makes for a really nice clean archtop sound like that of Herb Ellis or Joe Pass. Of course, for the Joe Pass sound, add some mid range. Control your bass and treble from your guitar. This 0 tone control setting allows for the acoustical properties of your archtop to really shine.

    Brad

  47. #396

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    I'm surprised to find my new favorite for archtop's is a Roland Blues Cube Artist with a Sparkle Clean tone capsule. Ran it side by side (literally) with my Rivera era Fender Concert with an E/V in it. The Roland is better.

  48. #397

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    Quote Originally Posted by Spook410
    I'm surprised to find my new favorite for archtop's is a Roland Blues Cube Artist with a Sparkle Clean tone capsule. Ran it side by side (literally) with my Rivera era Fender Concert with an E/V in it. The Roland is better.
    And your Roland is certainly MUCH lighter than the EV loaded Concert.
    I have that exact (Concert II) amp and love the tone...hate the weight. It's currently for sale.

  49. #398

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    Light is the ticket, these days.

    40-50 years ago, I and everyone else thought nothing of showing up with a Fender Twin Reverb, or even a half stack. Of course, in that era, the "stock" PA was typically a Shure VocalMaster, with two to four cabinets. You didn't want to mic instruments through a system like that--you kicked it out to the house right from your amps.

    30-40 years ago, PA systems got much more powerful, even for non-touring bands. Cabinet technology progressed to the point that you could mic more than just vocals/drums. This freed the instrument players to shift to smaller amps. Predictably, we all did. My Twin Reverb became a Pro Reverb, then either a Polytone MiniBrute or a Deluxe Reverb--depending on what the gig was (jazz or everything else).

    20-30 years ago, this trend continued. The MiniBrute became a BabyBrute and the Deluxe Reverb became a 12-15 watt tweed Deluxe.

    Now, even the Polytones seem "big." I still love their sound, of course, but the Henriksen Blu sure is seductive. More seductive, still, is a Polytone pedal straight into the house PA. I'm gigging more and more right into the house.

    +10 years??? We'll be playing into a silent house, just the sound of knives and forks clanking. Everyone will be wearing Bluetooth ear systems--their own, or provided by the venue, a la theaters' 3D glasses. The band will show up with a great preamp/computer that Bluetooths the signal to what people are listening with.

  50. #399

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    This:

    The Ultimate Guitar Amp-6bcd05c2-4df5-4ed0-9d2c-66f7b33696ad-jpg

    My new 40years old Princeton, last series, with the old AB1270 circuit, completely handwired in California. Honestly the best sounding amp I‘ve ever played. Loud, versatile and crystal clear cleans. Loves pedals and every guitar. Wonderful smooth reverb and the best tremolo ever. Who wants more?

  51. #400

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    The Ultimate Guitar Amp-img_9911-jpg
    I like the size and power of my hand-wired tube amp head by VVT. 40 watts RMS and weighs 25 pounds...in a package the size of "half" a princeton!! Mid-shift and bright switches...reverb dwell....middle....it is a princeton head for larger venues.