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  1. #401

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    Quote Originally Posted by J. Murrieta
    i also just received an empress parametric eq pedal which really helps nail the exact tone i'm looking for.
    Anyone know how the empress compares with the Carl Martin para eq pedal? I've never been able to find that much info on the CM pedal and I've been kinda hesitant to drop a couple hundred on something I might not like...

    one little detail that seems important: there's no Q on the CM and it's called a "semi-parametric" EQ. So it looks like you can vary center freq and boost/cut but not Q... I think that probably gives the edge to the Empress.

    Thanks in advance, all!

    SJ

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    The Jazz Guitar Chord Dictionary
     
  3. #402

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    Quote Originally Posted by Stefan Eff
    This:

    Attachment 63955

    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?
    I had one of those as a kid back in Maryland. In the early '70's hurricane Agnes roared through and flooded the basement and I lost the amp.

    I've been using a Henriksen for many years now and recently, I purchased a Quilter 101 reverb and a Razer's Edge Stealth 10. Clean, clear and plenty of headroom it has.... As Yoda would say.

  4. #403

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    I always liked the blue light crystal. I think Kustoms (the vinyl cushion model) had those first. Those were "sway" amps. All the cool players had the vinyl cushioned Kustoms... and then the switch to Marshall's happened... and since they couldn't unload the now uncool vinyl cushioned Kustoms they would stash them in dark corners of the basement covered with canvas painters tarps and stacks of newspapers saved for the Lions Club newspaper drives.

    Wow... why did I just remember that?

  5. #404

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    Quote Originally Posted by geogio
    I always liked the blue light crystal. I think Kustoms (the vinyl cushion model) had those first. Those were "sway" amps. All the cool players had the vinyl cushioned Kustoms... and then the switch to Marshall's happened... and since they couldn't unload the now uncool vinyl cushioned Kustoms they would stash them in dark corners of the basement covered with canvas painters tarps and stacks of newspapers saved for the Lions Club newspaper drives.

    Wow... why did I just remember that?
    I get it. I had a Kustom 200, blue light crystal and all. Terrible sounding amp. Cool looking in its time. Thanks for the helping me to remember some good times

  6. #405

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    I'm very happy with both my amps, i have a carr sportsman and a early 70s princeton with 6L6s
    both give me just the tone i need

  7. #406

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    The Ultimate Guitar Amp-f2cea020-45c3-4342-95b7-828ec77b90a8-jpgThose old vintage amps got their own personality, each is a little different from another. I‘m still wondering where’s their special mojo from. I guess it’s in those old parts, they’re welted together in countless hours of playing. So inspiring.

  8. #407

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    Just as vintage guitar guts have no circuit boards, old amps had no circuit boards either. Maybe they had beefier Transformers as well, along with paper caps and other such things which made their sound unique. All those parts and kits are available today from various online dealers and it wouldn't be hard to replicate. Maybe the wiring was a little bit thicker or the shielding on the wiring was a different composition just as shielding on guitar pickups and the wiring they used was a little bit different, perhaps it has something to do with it.

  9. #408

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    I miss my old Princeton. I lost it in a hurricane.

  10. #409

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    sold all my amps the day I heard the Bose L1 series at the Bose headquarters in Framingham MA., almost 20 years ago. Currently use a Compact for small gigs or big gigs with a good house PA, and an L1S for larger gigs with no PA (the L1S is a PA, of course). Coupled with a good processor or pedal board, and a tub mic pre for tube folks, rather an unbelievable sound that fills a good-sized room without a lot of stage volume. Weighs little, 5-minute setup, rarely feeds back, can sing and play through it, and built like a tank. If you have a small amp that you like, micing it through an L1 is a great experience.

  11. #410

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    My group frequently uses Bose Systems PA equipment to deliver the group's entire sound to the audience at wineries, breweries, etc. We like the ease, uniformity of mix, good overall volume for the room, etc.

    However, the guitarists who are familiar with the group have come up to me and dinged me for not loading in my Polytone. They claim that there is a something extra that is delivered by the Mini Brute that is missing with the preamp/reverb/Bose rig.

    The group is having me bring the Polytone to the next gig for comparison. We've been practicing with it, too, and--so far--it's all smiles.

    I really do like the Bose, FWIW.

  12. #411

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    When I was young and in a band that actually had gigs playing fusion jazz my dream rig was a PEARCE stereo amp head, tc electronics Spatial Expander (THE best chorus fx EVER), Yamaha SPX90 multi fx unit and two 1x12" cabs with an EV speaker in each. Together with two guitars the trunk of my car was full .....
    Now the fusion days are over and I get my (clean-ish Jazz -) sound with an archtop into either a Henriksen BUD or an Evans RE200, sometimes driven by a Line6 HX Stomp. So what is the best amp ?
    Just like the best camera : it's the one you have at hand, what you can afford, what sounds good to YOUR ears, at YOUR particular gig and with YOUR particular band.
    Oh yeah, it's a new game when I switch guitars .....

  13. #412

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    I LOVE old tube Fender amps, I even had a few back in the day.

    But... remember when the EPA stepped up & literally discontinued vacuum tube Manufacturing in the United States? And practically every piece of the manufacturing infrastructure was either sold off to the Eastern Bloc? And tube consistency was so poor it became a real concern? IIRC it took about 7+ years for Manufacturing to become consistent with tolerances that were matched to the degree that u.s. tube manufacturers used to produce but could no longer produce because of EPA regulations.

    That's when I switched to solid-state.

    I still have a couple of old tube amps but they're unreliable now due to things like capacitors having dried up and the potentiometers are are corroded way beyond a slight crackle and the whole amp needs a good going over, and I'll probably never go over them because it's not cost effective for me.

    Somebody replied to a post a while ago about Mojo, and how the old amps just sound different because of...

    When you start replacing caps and potentiometers, resistors Etc... with parts that have been manufactured only recently, It's no longer the same amp, or so I'm told. So? You go to this Market of vintage or relic parts that are brand new but made with the same technology that the old parts used in their manufacturing process. that's as close as you're going to get and the outcome will still be that it's a different amp than what was purchased off the shelf in 1964. it's probably even a different speaker at this point because this paper on the original speaker(s) has dried out and turned to dust.

    So are there really any old amps out there that haven't been messed with? I know of one, and it is sitting upstairs in my man cave and it remains unplayable without an extensive going over. After which, it might be close, but it won't be the same...
    And that's my point.

    So there you are. Fo you want old school electronic technology, do you want felt, do you not want circuit boards. You want tubes you don't want transistors... What do you do? Pay large amounts of money for a roll of the dice on whether the technology that you're purchasing at 50 plus years old is going to hold out for any length of time? If you have that kind of disposable income I suppose that is what you would do in the quest for the Holy Grail of tube amplifiers.

    Or... the next best option might be kits that are available and that's as close as you're going to get because everything that is 50 + years old is on the edge of its life cycle ending and something's going to have to be replaced. Or a high dollar replica... yes a "replica" but with new components.

    "Mojo" .... pffft.... Mojo is an overused and irrelevant term, a phantom, a sales pitch.
    Last edited by geogio; 09-19-2019 at 11:12 AM.

  14. #413

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    An old amp might not be exactly the same after maintenance, but it's still going to be much closer to the original sound compared to a reissue,or a kit, or a boutique knockoff.. Especially if you don't follow the trend of replacing things that check out correctly, like old caps, tubes, potentiometers that could do with just a cleaning, speakers you can recone, etc, that would probably last a lifetime with made in China or Mexico stuff that might malfunction after months or a year..

    Mojo to me is just great sound, whatever has great sound has mojo. Usability also. I love some amps for their sound, some for their small size, some cause they are dirt cheap and usable..
    Last edited by Alter; 09-20-2019 at 04:18 AM.

  15. #414

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    Quote Originally Posted by Alter
    An old amp might not be exactly the same after maintenance, but it's still going to be much closer to the original sound compared to a reissue,or a kit, or a boutique knockoff.. Especially if you don't follow the trend of replacing things that check out correctly, like old caps, tubes, potentiometers that could do with just a cleaning, speakers you can recone, etc, that would probably last a lifetime with made in China or Mexico stuff that might mulfunction after months or a year..

    Mojo to me is just great sound, whatever has great sound has mojo. Usability also. I love some amps for their sound, some for their small size, some cause they are dirt cheap and usable..
    I do believe there is mojo/magic, whatever you want to call it in a lot of vintage gear. I say most because with a lot of vintage gear there was inconsistency from one unit to the next. You can get a '59 Bassman amp that sounds great to you and another that sounds completely different. Which one is better is subjective. It still beats most reissues, though. Same thing with a vintage ES-175s.

    In my thirty plus years of off and on guitar playing, I have bought and sold so many amps and guitars chasing the elusive perfect tone that it should be a sin. I always had more money than talent. I can remember when I started back in the 80s I could have bought a vintage pre-CBS strat for $1200, but thought that was crazy money, so passed. Now those things are worth five figures. What I should have done was buy a few vintage guitars and amps while they were still relatively affordable and just stuck with those. 20/20 hindsight.

    In my experience/opinion, with amps the hierarchy is

    Good: Well made reissues from reliable manufacturers like Fender, Marshall, Vox, etc.
    Better: Boutique reissues and models based on vintage designs.
    Best: Well maintained or restored vintage

    Now I went for early retirement which I was able to afford to do if I keep my spending relatively under control. It's worth it for the lack of stress (my job was extremely high stress) and for the time to enjoy things like playing guitar (I'll probably live much longer). But as far as "the ultimate" guitar or amp- I can't really afford it (actually more like I can't justify it) and don't need it. I have put together a collection of gear that that sounds really, really good to me (the tone is good enough to keep me motivated to play) and I am happy with it. My main amp is a Fender Blues Deluxe RI with a Cannabis Rex speaker.

  16. #415

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    Quote Originally Posted by geogio
    remember when the EPA stepped up & literally discontinued vacuum tube Manufacturing in the United States?
    I didn't know that the EPA was involved. A google search (cursory, I'll admit) didn't turn up any quick hits. I found info about the EPA regulating CRTs not audio/receiving vacuum tubes in general. Can you point me to any articles on the Web or on the EPA site?

    Thanks

    SJ
    Last edited by starjasmine; 09-23-2019 at 12:13 AM.

  17. #416

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    I like the sound of a good tube amp, and have a couple Fender tube amps. Not having a pre-CBS amp, or the means to purchase a good restored one, does not mean you cannot get great sound out of the newer re-issue Fender amps, read on:

    The newer Fender Tube amps use a circuit board, which is actually OK, as it makes them all consistent. There are those who say "hand wired" is superior, as if there is some Mojo in the hand wiring, which is nonsense. If anything, hand wiring is inconsistent, and labor intensive and if not done correctly can cause feedback and howling in an amp. Hand wiring was simply the only way to wire tube electronics before circuit boards came along, it is an older and more labor intensive method that can have many more variables depending on the person doing the wiring. Circuit boards simply eliminate variables and reduce assembly costs. This consistency then allows you to get good results from doing some simple mods to them.

    To upgrade a modern "hybrid" tube amp there are Fromel and Bill M kits, they have better power supply caps and replaced some of the tone stack and coupling caps, use better quality plate, cathode and screen grid resistors, add an audio taper master volume pot, and suggest re-routing the filament and B+ wires. I have installed these kits and set the bias a bit on the cold side, for less distortion, more headroom. These tricks do reduce hum a little, gives more usable range to the volume and tone controls, but nothing really spectacular; they are mainly reliability mods that also make the amp a little more user friendly. In short, after adding the mods my amps had more controllable volume and a little better tone, but not that "sound" everyone looks for.

    If there is such a thing as Mojo however this is what I did find:

    That is to play with different pre-amp tubes in the V2 position, as it makes a huge difference in the sound. I have a stash of 12AT7, 12 AU7, 12 AY7 and 12 AW7 tubes, old stock USA made, RCA and GE tubes from the late 1950s. Using one of these in the V2 position to replace the high gain 12AX7 takes the edge off the amp and gives it the wonderful rich singing pre-CBS sound that Fenders are famous for. In fact on some amps changing V2 is all that is needed to tame the beast. Thus there are many awesome amps out there that can be easily set-up for really good jazz sound(Surf and Jazz tone go hand in hand BTW) I'm sure that European/Russian tubes would work as well, but I had more types of USA tubes laying around to try out. One can also play with the phase splitter tube by substituting a lower gain tube than the 12AX7 to see how it changes the sound. BTW, new output tubes are like new guitar strings...they are awesome for the first few hours.
    Last edited by jaymen; 11-05-2019 at 04:30 PM.

  18. #417

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    Hi, I am looking for small tube? amp for a room about 23 m2. I only want a clean, warm jazzsound eg Jim Hall (ok I know....) because I will not play on stage, only just for fun hobby recording with friends. What could you recommend to me? If really good the price is no problem. kr Georg

  19. #418

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    Bugera V5 is a small 5W tube amp with reverb, probably worth trying one out to see how it sounds.
    Fender Blues Jr is a small 15W model, tube type with reverb and gain. Marshall makes a 1Watt DSL amp that is worth giving a try, has clean and gain, plus reverb. Polytone makes a Mini-Brute, but not sure it is tube, but it is for Jazz.
    Fender makes a Super Champ X2 that is tube, emulates a bunch of different amplifiers. Others here will have good suggestions too.
    Last edited by jaymen; 11-05-2019 at 05:07 PM.

  20. #419

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    Quote Originally Posted by georg1947
    Hi, I am looking for small tube? amp for a room about 23 m2. I only want a clean, warm jazzsound eg Jim Hall (ok I know....) because I will not play on stage, only just for fun hobby recording with friends. What could you recommend to me? If really good the price is no problem. kr Georg
    Maybe a Vox AC4C1-12?


  21. #420

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    I'll take the JCM800, hand it over right now!

    Vox AC series are good too.
    Modeling amps, like the Super Champ X2 replicate many different amplifier types and sounds, they are quite versatile.

  22. #421

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    In my opinion nothing is impossible soundwise. Any tube or solid state amp will work for this type of context. It’s more important to learn how to tweak and ”jazzify” your amp with different EQ settings.

  23. #422

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    I use to own a early Fender blackface SR with 4x10's that I just loved. I could could play anything with it. Around 2001 I started playing in smaller venues and it was just to much amp, so I purchased a Peavey Classic 30 with a 1x12". It fit the bill nicely so like a fool I sold the blackface
    Now that I've added an archtop to the mix, I'm happy to still have the C30. Like the Fender I can pretty much cover any style with it, but most importantly, whether I'm playing my Tele, Strat or the Archtop, I can get a really nice jazz tone with it. And when I need to unwind and let it rip, I can get an awesome Billy Gibbons tone too!

  24. #423

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    I strongly suspect that my vote will be for the Fender Tonemaster Deluxe which is currently on its way to me. This amp and the TonemasterTwin version are real game-changers for me inasmuch as :
    • They both have an excellent sound signature
    • 3 XLR line-out options (2 impulse response and one flat)
    • 5 levels of attenuation so you only need to dial your sound in once and then set the attenuation level that suits the room
    • 22lbs only - farewell backache!

  25. #424

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    I've been ( now it's no more a business for me ) a manufacturer of very good amplifiers, developed on customer request . For any kind of player, and for any music style.
    The only certain thing I can say, and no one on earth will change my mind, is that the perfect amp doesn't exist.
    Any single player, any single guitar, any single way of playing ( light or heavy touch), will take you to certain choices . I mean circuit choices on the amplifier.
    That for the overall sound are important as much as the guitar itself.
    One thing that I find really stupid ( yes, that's the word) is to pay an incredible attention to the guitar, while not taking the same degree of deep evaluation on the amplifier side.
    I own amplifiers of any sort. Tubes and transistor ones. All the most famous amps available are here at home , or at least I have owned them. I think that I have something around 20 pcs at home . And have owned probaly more than 100 different amps in 40 years . Have played thousands. Including some famous guitarists amps.
    Believe me that once you get a taylor made amp, none of the standard well known amps will be satisfying. Of course you need to deal with the right manufacturer. But being this no rocket science, you will find somebody that is able to build the right amp for you, for your playing, for your guitar. Just like the right luthier that will make your own dream instrument.
    But please be sure that the amp is important at least as much as the guitars are.
    Having said this, the best commercial amp for jazz guitar is in my opinion yamaha g100 212 mk2 made in the 80's . Low bucks. Big Sound. Versatile. Rugged. No tubes. Heavy ( unfortunately). Could sound bright or mellow. For sure one of the best commercial guitar amplifiers ever made.

  26. #425

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    Quote Originally Posted by Greentone
    My group frequently uses Bose Systems PA equipment to deliver the group's entire sound to the audience at wineries, breweries, etc. We like the ease, uniformity of mix, good overall volume for the room, etc.

    However, the guitarists who are familiar with the group have come up to me and dinged me for not loading in my Polytone. They claim that there is a something extra that is delivered by the Mini Brute that is missing with the preamp/reverb/Bose rig.

    The group is having me bring the Polytone to the next gig for comparison. We've been practicing with it, too, and--so far--it's all smiles.

    I really do like the Bose, FWIW.
    I experienced that when I went to Bose for the first demo of the newly-invented L1 technology. One guitarist miced his little fender Champ, one went direct from his pedalboard, both sounded awesome. I use a nylon-string Godin Multiac, so the direct from multi-effects is the only way for me, but I certainly know that a magnetic-pickup electric guitar is only half a rig, and an amp is the other half!

  27. #426

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    My new jazz guitar amp. 2000 watts. Fender/Vox/Marshall. Most reasonable cabinet choices.

    The Ultimate Guitar Amp-yamaha-front-jpgThe Ultimate Guitar Amp-yamaha-back-jpgThe Ultimate Guitar Amp-iridium-jpg

  28. #427

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    Another thought ....
    (I know no one plays them for jazz)
    but I used to use an old Marshall 50 head (plexi I think)
    into a single Marshall 4x12 resident in a commercial rehearsal rooms

    and it sounded GREAT clean , really beautiful
    (and cranked too btw)

    I just think a good amp is a good amp
    and Marshall were designed similar to a Fender Bassman

    But who wants to drag a half stack around ?

  29. #428

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    Quote Originally Posted by pingu
    Another thought ....
    (I know no one plays them for jazz)
    but I used to use an old Marshall 50 head (plexi I think)
    into a single Marshall 4x12 resident in a commercial rehearsal rooms

    and it sounded GREAT clean , really beautiful
    (and cranked too btw)

    I just think a good amp is a good amp
    and Marshall were designed similar to a Fender Bassman

    But who wants to drag a half stack around ?
    I have an identical rig. '72 Plexi w/2-EL34 Mullards and a squarefront half-stack basketweave cab w/4-12" Celestions. Heavy? You bet! The head weighs as much as the cab (or so it seems), but at least has wheels. The thing about the half-stacks is, they're beamy as all get out. I dealt with that by running a Scholz Power Soak between the head and cab to bring the volume down and mic-ing through FOH. With my trio MJ-12 I used my 100 watt '73 Plexi w/master volume mod to power the 4-10" speakers of my Peavy Classic 50 for the stage right feed. Looked sharp, sounded great indoors or out. The gold lame jackets, shades and berets completed the picture; and up close you could carry on a conversation in a normal tone of voice. Impractical for the typically cramped jazz environment, of course, but there it is. With everything correctly dialed in, it's pure velvet.

    And yes, I hauled those rigs single handedly up and down stairs, indoors and out; winter, spring, summer and fall, packed in my Subaru Justy, wherever there was money and room.

    I was a lot younger then.

  30. #429

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    I've a Fender Musicmaster Bass, first model without the little switch on the right. Dirk says the Champ has the simplest Fender valve circuit, but that one has 2 tone controls, whereas the Musicmaster has only one, called... ...Tone! It's got problems at the moment, so now I play through an all-purpose amp that someone built herself, without a casing, and only a volume control, connected to a 15" speaker that's hanging off a nail in the wall. Sounds great! I hide both when not playing, because they'd have a fit where I live if they saw an open valve circuit that you can fry an egg on after 30m of action. I already blew 4 fuses too...

  31. #430

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    Quote Originally Posted by Zina
    I've a Fender Musicmaster Bass, first model without the little switch on the right. Dirk says the Champ has the simplest Fender valve circuit, but that one has 2 tone controls, whereas the Musicmaster has only one, called... ...Tone! It's got problems at the moment, so now I play through an all-purpose amp that someone built herself, without a casing, and only a volume control, connected to a 15" speaker that's hanging off a nail in the wall. Sounds great! I hide both when not playing, because they'd have a fit where I live if they saw an open valve circuit that you can fry an egg on after 30m of action. I already blew 4 fuses too...
    Musicmaster Bass Amps were designed as student bass amps. They sound terrible with any bass, however. They sound amazing with most guitars. I own a second generation MM with 2 6V6 tubes and a single 12ax7. It has the same two knobs you described...Volume and Tone. The previous owner had it modded somehow, to improve its guitar tone. All I did was replace the original speaker with a CRex and add fresh tubes. It is a killer amp, especially when a reverb and EQ pedal is added.

  32. #431

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    I was wrong. THIS is the ultimate guitar amp. Fast, and dynamic with an indescribably warmth yet pristine highs.

    The Ultimate Guitar Amp-aa5534d6-576d-4038-88de-922b6b6ddac1-jpg

  33. #432

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    It is a nice amp but not powerful enough for most gigs.

  34. #433

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    Quote Originally Posted by Jim Bastian
    It is a nice amp but not powerful enough for most gigs.
    Use a mic...

    The Ultimate Guitar Amp-50850341-e132-4c0d-a6f2-0e9d28021744-jpeg

  35. #434

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    The Ultimate Guitar Amp-d3f6aee0-44a5-48c0-8342-e41e99e02627-jpg


    Those SF and BF champs are perfect tone machines, they sound so pure and honest like no other amp I know. I‘ve swapped the speaker for the fantastic Warehouse G8C and the little 5 Watter opened up in every discipline. And LOUD! Sounds more like a 10“ speaker (recently there’s also an alnico version of this speaker available). In combination with my new purchased Sole Mate jr. I’ve finally found the tone I was looking for!

  36. #435

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    Sequel amps are great.

  37. #436

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    Hot Rod Deluxe clean channel.

    Shame it's a low quality and tube amp.

    But that clean is just SICK!

  38. #437

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    I play through a very early Boogie Mark IVa combo, with the EVM 12 in it. They are supposed to have amazing lead channel sounds for rock, but I honestly I have only every heard 2 or 3 minutes of that lol. The clean channel is beautiful in the 45 watt mode, the reverb is great, and it takes all kinds of pedals very well up front or through the loop. She's heavy, but she doesn't move too much I have another 1x12 EVM in a Boogie Thiele cab, so if I needed to I could definitely rattle windows, but I don't get into that too much since I can get that sound at a much lower volume anyway.
    Last edited by jim777; 03-15-2020 at 11:50 AM.

  39. #438

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    i had a SF Vibrochamp
    didnt like it ....

    papery sound
    maybe it it was a duff one

    sold it anyway

  40. #439

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    My favourite amp these days is: NO amp!

    I've been using a Tech21 Fly Rig (with a Sans Amp) on and off for a couple of years now. And I've decided I like it better than my fender tube amps. I even had one gig last year when I had both my Vibrolux and the Fly Rig available. We made an A/B test during soundcheck and I voted for the Fly Rig into a DI-Box and PA. I wish I had brought it on some ocassions where I had a hard time getting a good tone and comfortable playing situation because either the amp couldn't keep up producing a clean tone with a loud band or was blasting my ears as it was on the piano directly on ear heights playing a t levels to fill the club.
    I used just the Sans Amp part, reverb and the boost so far, but I have a new band coming where the distortion and delay will come in handy – it's a funk band and they are also using a silent stage and in-ear monitoring.
    Good monitoring is crucial but isn't it anyway?

    Pros
    • Weights virtually nothing and fits into the gigbag (I can use public transportation or even my bike to get to local gigs and rehearsals)
    • Affordable
    • Sounds a lot like a good twin reverb and is very tweakable with efficient EQ
    • Good, natural reverb (I like it better than spring reverb)
    • Great boost to get the solos just above the band or add a little grit
    • Built in decent distortion and delay
    • Can be as loud or quiet as needed – if the club has an appropriate PA
    • Sound engineers love it and they love me for not polluting the stage sound with a loud amp

    Cons
    • Sounds a tad more compressed than a good tube amp (if you will more like a "produced" tone)
    • Is pretty unusable when there is no decent PA and monitoring – in this case bringing an amp is the more pragmatic and practical solution
    • You got to get used to hear the guitar from the monitors


    Next step towards a silent stage will be in-ear monitoring – I'm looking forward to try how that will work out for me. Due to Corona there will be no gigs in the near future, but we'll have a rehearsal coming and I will try it there.

  41. #440

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    My Reeves Custom 50 gets me all that I need. Massive headroom for a superb clean tone. Takes pedals really well, in front or in the tube buffered fx loop.

  42. #441

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    I love my vox ac30. perfect for jazz because the controls are tremendous.

  43. #442

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    Could it be the BAM 200? We’ll see.

  44. #443

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    Here in my 50's I've decided to focus all my efforts (and equipment) on finally getting good a jazz. In that vain, I had to decide what equipment (amps, guitars, pedals) I was keeping, what I was selling, and what I needed to acquire. Fortunately, I amassed enough gear over the years that I ended up with a really nice jazz kit with plenty of money left over to live on while I'm out of work due to Covid. For example, I sold 2/3 of my Strats (no man should be completely Stratless, IMHO) and a Les Paul. I ended up buying a 1973 ES-175 I found in mint condition (well, as mint as a 1973 guitar can be). Jazz guitar in hand I had to decide what to do for amplification.

    Out was my Line 6 Helix. Of all the things that it can do, getting a good clean jazz tone isn't one of them. While I was finally able to dial in something half decent, I decided the Helix was a big waste if I was just using is reverb for effects, so I sold it on eBay. Also gone, my Mesa Boogie Mark V 25. Cool amp, but could not get a good jazz tone to save my life out of it. Regardless, what a super waste of a mega gain monster to use it to play jazz. My Fender Custom Shop '64 Vibroverb htat I've owned for years now oozes jazz tone quite easily. However, it has two volume levels: 1. Piss off the wife and 2. Call the police. It also weights 45 lbs and did I mention that I'm my 50's? After researching and researching (no music stores open currently due to Covid) I pulled the trigger on a Henriksen Bud Head and Ray cabinet.

    The Bud Head sounds good at any volume, has a headphone jack that, unlike the Line 6 Helix's) actually works really great. It has two channels, one of which has Bluetooth, so I can pump in backing tracks or lessons, etc. It has two speaker outs as well as a DI out. This thing can do it all and it weighs less than 5 lbs! The 9x9x9 cabinet weights 10 lbs! It even has an effects loop, so I can run my Strymon Flint Reverb, one of the few pedals that I am keeping. The built-in reverb is not bad, but I'm a complete reverb snob since it's pretty much the only effect that I have run for years now. I sold my Hall of Fame Reverb pedal because the Strymon makes the 3 reverb sounds that I use the most and does all 3 really well.

    Anyway, I can play into my headphones, into my little cab low or pretty darn loud (it's rated @250w and my Tube Screamer is one of the other effects that I'm keeping). Finally, I can play into my computer or a PA using the DI. I'm keeping the '64 Vibroverb, but it will never see a gig or move from its current spot. This little amp meets all of my needs very nicely. How does it sound? Well, it's got an excellent eq section and preserves the tone of my ES-175 just fine. What more could I really want? Now, that I have my equipment sorted I just need to practice practice practice...

  45. #444

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    I don‘t like any kind of emulation when it comes to amplifiers. I‘m a tube guy. The interaction between your picking and the tubes, especially the dynamic, imperfect reaction from the tubes (without latency) is what I love on tube amps.

  46. #445

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    So many choices, so little time....
    My latest rig. It's small, it's loud, it's light-ish, and it's just plain ancient. The cab is 17"x17"x15 3/4" and the CH30 head is, well, smaller. And heavier. @1950 or thereabouts - funny how much things have changed, yet ... not changed.
    Last edited by Hammertone; 07-01-2020 at 05:35 PM.

  47. #446

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    The comment above about there being no perfect amp is spot on. They're really just there's no such thing. That, of course, doesn't stop gearheads from trying.

    I have a number of amps that I like and one of the things I've noticed is they tend to sound better with one guitar versus another. Exception to that seems to be my tweed Deluxe clone which seems to sound at least pretty good if not very good with every guitar I have. I do have a Mission Amps Humbucker mod in it which allows me to plug into the bright channel and use the normal channel volume control to roll off some bass, which is helpful with my archtop, but I prefer the regular channel with solid bodies. This one could be and probably will be the only amp I own eventually.

    I have a Polytone Baby Brute which sounds really excellent with my archtop, but I don't care for it with solid bodies. It's a good amp but could not be my only amp.

    I have an AI Clarus 2r and RE 12" cab, which sounds very good and seems to be tweakable to work pretty well with all of my guitars. It sounds better than the other amps with my nylon strings and piezo steel strings, but I like the sound of the tweed Deluxe with electric steel strings a bit better. I also have a Redstone 8" cab and for some reason I just don't quite care for it with that amp. I think I just prefer the bigger bass response of 12" speakers. The portability is outstanding, though, and it's plenty loud for onstage use at club volumes. Feedback seems to be less of a problem than with the 12" cabinet. This one could also be my only amp given its versatility. One trick that I have found with it is to turn the master volume up pretty high and use the preamp gain control to regulate volume; it makes the amp sound warmer and fatter. This one will probably go along with the cabs to make room in the house. I just have too much stuff and need to start thinning down the herds.

    The amp that I have had the longest- nearly 40 years- is a silverface Fender Pro Reverb. The stock speakers are long gone and it has two JBLs in it. With those that it must weigh close to 80 pounds. It hasn't left my living room in years. I don't think I could even pick it up anymore. To think I used to gig with that thing, tossing it in the back of my car, lugging it up and down to my second floor apartments, etc. Ah, youth! Having 2x12 inch speakers in an amplifier really provides an extra dimension that you just can't get any other way. It's a great sounding amp with electrics, although it's pretty awful to my ears with the piezo-equipped guitars. Oddly enough, I just don't use it as much as the tweed Deluxe and this one will have to go one of these days.

    I also have a Roland Cube 60, one of the black COSM ones. It is a stupidly reliable amp, very versatile, and the sound is about 95% there. Just enough of a difference that it tends to end up being the backup amp rather than the main amp. But I have played a lot of gigs with that amp and not having to think about or fuss with it at all during the course of the evening was really nice. If somebody really only wanted to have one amp but cover a lot of different musical styles, this one would merit serious interest.

    And I have an Egnater Rebel 30 combo. What an interesting idea. It marries California and British tube amps into one package with a lot of tonal flexibility. It's very versatile, reliable and a good sounding amp but I think better for rock than for jazz. Or maybe not for the jazz I play; if I played fusion or was trying to play in a more modern approach like Scofield, Rosenwinkle or Hekselman, it might do me very well. In fact I think this amp would be very suitable for someone trying to play in the Scofield vein, in particular, if you want to be able to get cleans and also that Vox AC-30 breakup. But I don't and it mostly sits in a corner and is also one of the amps that will be going one of these days. It's also a pretty nice looking amp and a very reasonable weight for a 12 inch tube amp.

    But ultimately I think the one that I will keep will be the tweed Deluxe. In part that's because I built it from a kit, sort of a solder by numbers situation since I don't actually understand amp design. Looking at it, I'm not even sure where the pre-amp section ends and the power amp section begins which is pretty basic knowledge to have. But the "hey, I built that" feeling probably biases (no pun intended) my attitude about it.

  48. #447

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    Quote Originally Posted by christianm77
    Could it be the BAM 200? We’ll see.
    have you got one now ?
    i really like mine ....
    its great as a totally clean sound

    what do/would you use for a
    bit of hair/ crunch with yours ?

    i’m using an american sound clone
    and it’s ok ....
    (but I am not blown away by it)
    (i wouldn’t ever get rid of the American sound tho it’s already been so useful as a pre-amp for DI’ing etc)

    ps maybe a quilter Overdrive 202 or Toneblock 202 would be better as they have some crunch type sounds built in
    (and reverb)

    they’re a lot of dough of course !

  49. #448

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    Walter Woods 100wt through an SPX-90 to a Mesa Theil cabinet with a Delta Pro 12” (Was an EVM 12L but too heavy)
    Funny now that stuffs all near “vintage”.
    The sound of velvet dynamite, IMO naturally.

    ‘74 SF Princeton Reverb with modifications (trans, tone stack), Bendix 5992s, with a 12” Delta Pro in it.
    Nice little sit home and enjoy amp.
    (Happily I got the 5992s when they were 100$/pair, can you imagine!)

  50. #449

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    Quote Originally Posted by pingu
    have you got one now ?
    i really like mine ....
    its great as a totally clean sound

    what do/would you use for a
    bit of hair/ crunch with yours ?

    i’m using an american sound clone
    and it’s ok ....
    (but I am not blown away by it)
    (i wouldn’t ever get rid of the American sound tho it’s already been so useful as a pre-amp for DI’ing etc)

    ps maybe a quilter Overdrive 202 or Toneblock 202 would be better as they have some crunch type sounds built in
    (and reverb)

    they’re a lot of dough of course !
    Yeah is good. I've just been plugging my sans amp into it. Sounds pretty good! But I really like the basic sound.
    Last edited by christianm77; 07-20-2020 at 06:15 PM.

  51. #450

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    Imagine BAM200 with an on-board reverb. I've actually suggested this to the manufacturer. I know all about DV Marks and Quilters, but no matter how light they are, they're still bulky compared to the BAM or some other micro bass amps. If a project I'm aware of works out, things may change. And I hope there are other similar projects I'm not aware of.