Vox AC30 for Blues... who??

[pez_espada]

I got an AC30 for my rock band but I'm planing to use for my blues band
also... however, I did a search and it seems that the AC30 is not that
popular among bluesmen... the amps is the most dynamic amp I ever
played though, so I was wondering why is not that common in blues. The
only guy I know who plays blues and used and AC30 is Rory Gallagher...
does anybody know why AC30 didnt become a classic blues amp like the
Bassman, for instance??? can someone point me to some good blues
recorded with an AC30??

AC30 enthusiast, Carlos

[pez_espada]

[jh]

pez_espada schrieb:

Fleetwood Mac with Peter Green?

IMHO the AC30 is a top notch blues amp. Many acts played it in the past
with every style of music. The only problem is, that the old ones are a
bit too fragile for hard road use, so many musicians changed to more
reliable amps like e.g. Fenders. Even Rory used other amps than the AC30
and not only occasionally. In 78 on the Rockpalast Videos, you can
clearly see Fenders (Tweed and Brown Face) and an Ampeg, but not a
single AC30.

It愀 a great amp

Jochen

[Brian Hill]

"jh" <jh-audio...@t-online.de> wrote in message
news:453909DC...@t-online.de...

I agree. Very good blues amp. I had one for years and also thought it was to
fragile to bang around.

BH

[mac1...@earthlink.net]

Also being an A.C. 30 fan (actually, almost ANY amp that has an
EL84/6BQ5 output network), that has crossed my mind on many occassions
that so few blues artists (especially American ones) use them. The main
reason I can figure is that so many of the [electric] blues classics
were done with Fenders, that it kind of "set the tone" for Fenders to
be the "industry standard" (not to mention there are ALOT more Fenders
in the states then Vox's. Especially before they were re-issued). Being
in my 50's, I can remember a time when very few American blues players
used Marshalls. As beautiful as A.C. 30's sound, it's funny how they
never REALLY caught on in the states until about the late 70's. Up
until then, Brian May was about the only well known player to use them
on a regular basis (with exception of the Beatles, of course. Even
though they weren't going for any "crunchy" sounds in those days). I've
always found "pop" style players to really be into them more than
anyone. It's also interesting how many country players are using A.C.
30's as well (or similar amps such as Matchless/ Bad-Cat, and even
Dr.Z's, all with (4) EL84 output networks). FWIW though, I would
actually consider Rory Gallager more of a "rocker", who could play
great blues. Then again, I would say the same about SRV or Jimi, even
though I know many of you would argue that point.

[pez_espada]

JJ wrote:
> Lots of blues guys are playing through amps that are based on that circuit
> even if the aren't exactly AC-30s.
>
> Blues is more about who is playing, not what they are playing through,
> anyway.
>
what a retorical answer!
Why one doesnt hear blues on scottish Pipe, though??

and I thought Peter Green was more an Orange player in his hey days
than AC30 player..

AC30 Fan

[pez_espada]

can you list/point some good blues recorded on AC30?? I'd be very
thankful!

AC30 enthusiat.

> It´s a great amp
>
> Jochen

[pez_espada]

can you list/point some good blues recorded on AC30?? I'd be very
thankful!

[jh]

pez_espada schrieb:

> JJ wrote:
>
>>Lots of blues guys are playing through amps that are based on that circuit
>>even if the aren't exactly AC-30s.
>>
>>Blues is more about who is playing, not what they are playing through,
>>anyway.
>>
>
> what a retorical answer!
> Why one doesnt hear blues on scottish Pipe, though??

Why are you so sure that this hasn´t happened yet?

Jochen

[pez_espada]

jh wrote:
> pez_espada schrieb:
> > JJ wrote:
> >
> >>Lots of blues guys are playing through amps that are based on that circuit
> >>even if the aren't exactly AC-30s.
> >>
> >>Blues is more about who is playing, not what they are playing through,
> >>anyway.
> >>
> >
> > what a retorical answer!
> > Why one doesnt hear blues on scottish Pipe, though??
>
>
> Why are you so sure that this hasn´t happened yet?
>
> Jochen
>

of course I'm not sure, but it's still a retorical point. BTW, can you
list some scottish pipe blues?
My original question was *why the AC30 -one of the most dynamic and
resposive amp on the planet- is not so popular among Blues even when
responsiveness and dynamic are the most sought after features for blues
amps?? and the reply that comments about the lack of realibility and
that they were rare in the States makes sense to me, so it seems like
kind of historical reasons... when some people come with the the
typical "you can play blues on mexican Maracas if you want, it depends
on the soul's player" I thinks is a pointless, cliche, and retorical
comment...it make me sick.

Please if you have some good knowlodge to contribute, so just do it,
otherwise please save your and my time: SO AGAIN... SOME GOOD BLUES
RECORDED USING AN VOX AC30?? ANYONE??

AC30 FAN

[pez_espada]

jh wrote:
> pez_espada schrieb:
> > JJ wrote:
> >
> >>Lots of blues guys are playing through amps that are based on that circuit
> >>even if the aren't exactly AC-30s.
> >>
> >>Blues is more about who is playing, not what they are playing through,
> >>anyway.
> >>
> >
> > what a retorical answer!
> > Why one doesnt hear blues on scottish Pipe, though??
>
>
> Why are you so sure that this hasn´t happened yet?
>
> Jochen
>

[Z]

"pez_espada" <Carlos...@gmail.com> wrote in message
news:1161364173.0...@m7g2000cwm.googlegroups.com...

Rory Gallagher switched to playing a Bassman 4-10.....he can be seen playing
live through one in many of the video's of his performances.

[On Topic]

Blues Guitar 1968 - Blues Guitar Humor
Blues Guitar 1968, a humorours look at learning to play blues guitar
inspired by ... and everbody I knew dreamed of buying a VOX AC30 amp
like the Beatles. ...
www.bluesforpeace.com/retro-blues.htm

MARSH - Musicians', Artists' & Recordmakers' Superfine Hangout ...Re:
vox ac30 cc2 or cc2x combo-difference? [message #176424 is a reply to
message #176004 ], Tue, 03 October 2006 09:14 Go to previous message ·
Go to next ...
www.marsh.prosoundweb.com/index.php/m/177029/

MARSH - Musicians', Artists' & Recordmakers' Superfine Hangout ...Re:
vox ac30 cc2 or cc2x combo-difference? [message #176424 is a reply to
message #176004 ... The cheapest I've seen Blues go for is around 250 a
pop, ...
www.marsh.prosoundweb.com/index.php/mv/msg/12853/176004/

YouTube - Midnight Boogie (Vox Ac-30, Fender Stratocaster)This is
another draft on my strato, and VOX AC30/Matchless DC30 amplifier
modells on POD XT ... Blues impro on reggae cover with american
stratocaster 50th ...
www.youtube.com/watch?v=140vDl54tJw

Günther's Vox-Like Blues Junior Mods
He has made his Blues Junior into a loud, bright, gig-worthy machine
that sounds like a Vox AC-30 and can stand up to a drummer. ...
home.comcast.net/~machrone/bjr/bjgunther.htm

[On Topic]

Love that guy's stuff...and the Bassman! :-)

[If U don't know me by now...]

I assure you all, that at some time in his historic life
Mr. John Mayall used a AC30 Vox amp live or recording.

And he's about as 'blues' as it gets..

JJTj

[Gary Gerhart]

Sid wrote:
> Vox in the U.S. during the 60's and early 70's was a solid state "knock
> off" build by Thomas Organ Co. Ampeg is the closest U.S. amp to the
> British Vox.
>

I don't get it, big Dan.

[If U don't know me by now...]

>
>Vox in the U.S. during the 60's and early 70's was a solid state "knock
>off" build by Thomas Organ Co. Ampeg is the closest U.S. amp to the
>British Vox.

VOX in those days also was a UK product, things called AC30s,
even SS stuff the US <Thomas Organ> folks had no clue about.

I was a T/Organ Vox dealer B4 I could buy booze...

Even SS Vox was not the same, US and UK were NO WHERE NEAR ALIKE.

Even the ORGANS the two div made were not the same.

And, if you knew the score, the USA SS VOX were *NOT* a
'knock off' of anything, not even the SS UK Vox. DUH?

As far as 'Ampeg' being the closest thing to Vox?

Sorry, but no. MAYBE for the fact that both used
NO NFB in the power stages on certain amps, but the
circuit n tubes used were not even close. Then again,
I'm looking at GHopkins's book on Ampeg, my name in the
credits, and the VOX book, whom I got autographed copies..

..and of course, my schematic/catalog collection..

LEARN...or be SOLD to...

JJTj

I am frolicsome, I am easy,
Good tempered and free,
And I don't give a single pin' me boys
What the world thinks of me.

[A.J.Lucas]

I use an old 1961 AC30 with my blues band the Slim-Line Papas and it
seems to me the perfect amp. I built the Vox add-on top boost (the
circuit they used to fit at the factory) which increases the gain
enough to really make it sing. You can hear samples here
http://www.slimlinepapas.co.uk/recordings.htm

I wouldn't say this is a fragile amp. I've gigged it for ten years and
the only trouble I've had was a rectifier valve going down and I think
this was the original one so over 40 years old at the time. The old JMI
British ones are very solidly built and the valves don't hang upside
down.

Egly Lucas

[Elmo' 7#9]

> > Why one doesnt hear blues on scottish Pipe, though??
>
>
> Why are you so sure that this hasn´t happened yet?

When the Highland Bagpipe plays a Minor Pentatonic scale against a drone,
all the (musical) blues ingredients are there - it's just the phrasing that
needs altered.

Maybe there's no demand for Bagpipe Blues
(remember, the KKK was founded by WASPs of Scottish descent!).

Elmo' 7#9

[markwi...@gmail.com]

Anything by Snowy White.

[Xtrchessreal]

This is an 9 yr old post.

This site shows AC80/100s being used by many of the artists mentioned above:
http://www.voxac100.org.uk/page_03c.htm

Same old stupid argument. The Amp doesn't make the Artist nor does the Guitar. Its not even skill. Its the talent the artist has to make good sounds come from his equipment. Most Artists don't know what sound their looking for until they get much older. Until then they're just going with whatever they get their hands on based on the money they have. Since most of the good artists come from a poor background it is very doubtful they had much to choose from. They made their sound famous by being talented enough to overcome the crappy amps and guitars they had to work with and make some really special sounds. Most of the coolest sounds happen by accident. Talent will get you the ability to reproduce that accident over and over as though it was easy.

X->out

[markwi...@gmail.com]

Yeah, I saw the date, but I couldn't let it slide without a mention
for Snowy White. He's been using the same Les Paul Goldtop and Vox AC30
for around 40 years. He's a tasty player.

Agree with your comments.

I'm lucky enough to own an AC30 and a Fender Twin. They're both "good"
amplifiers (whatever that means!) - just different. Different horses
for different courses. I play blues on both of them. Like I say, they
both sound really good, just different. The AC30 is more prone to overdrive
than the Twin. You need to excersise more discipline, otherwise you cross
the line from blues into a more rock like sound (well, if you are using
the top boost channel you do - but I prefer the normal channel).

Peace.

[RichL]

<markwi...@gmail.com> wrote in message
news:c2bc6395-0d60-4cfe...@googlegroups.com...

> I'm lucky enough to own an AC30 and a Fender Twin. They're both "good"
> amplifiers (whatever that means!) - just different. Different horses
> for different courses. I play blues on both of them. Like I say, they
> both sound really good, just different. The AC30 is more prone to
> overdrive
> than the Twin. You need to excersise more discipline, otherwise you cross
> the line from blues into a more rock like sound (well, if you are using
> the top boost channel you do - but I prefer the normal channel).

I've got an AC30 (1992) and a Fender Twin Reverb ('76) as well, in addition
to a Marshall JCM 800 2204. Nice trifecta there. If I'm playing something
bluesy, I tend to go with the AC30 more than the others. I tend not to use
the Twin much anymore as I prefer a more "gritty" sound these days.

On the AC30 I usually run a jumper between the top boost and normal channels
and adjust the respective volumes to taste. You can get some interesting EQ
effects by doing that, since the top boost channel has an extra gain stage
and therefore hits the power tubes out of phase with the normal channel.
Since the two channels have different EQ, you can get a "scoop" at varying
frequencies simply by adjusting the two volumes as well as the EQ settings
on the top boost channel. It really gives you a heck of a lot of control
over the sound.

[Lord Valve]

Translation: I'm a poser and a hack, work my den and garage
once or twice a year. I got nothin', so I'll gladly reply
to some lame 9 year-old thread dredged up by another one just
like me. Dig my pod, marvel at my magic diodes.

[markwi...@gmail.com]

On Tuesday, 27 January 2015 16:17:10 UTC, RichL wrote:
> On the AC30 I usually run a jumper between the top boost and normal channels
> and adjust the respective volumes to taste. You can get some interesting EQ
> effects by doing that, since the top boost channel has an extra gain stage
> and therefore hits the power tubes out of phase with the normal channel.
> Since the two channels have different EQ, you can get a "scoop" at varying
> frequencies simply by adjusting the two volumes as well as the EQ settings
> on the top boost channel. It really gives you a heck of a lot of control
> over the sound.

Neat. I've got the AC30CC2 - all valve, but not hand wired. It was the
last model to have a "proper" wooden (beech) cabinet. They're MDF now
I believe (with the exception of the hand-wired models). It has single
inputs on the Normal and Top Boost channels, but has a switch that you
flick next to the inputs to comibe them - no jumper needed. I haven't
played with combining the two channels. Now you've got me thinking.
I'm playing live tonight (you hear that Lord Valve?) and I plan to be
there early for setup so I'll spend some time looking at that. You're
clearly ahead of me in terms of being aware of the capabilities of the
amp. All I know is, I plug it in, and it really does sound great. Stamp
on the overdrive (Boss OD-3) and off it goes. I nearly always have the
top-boost channel volume set at 0, as I don't normally use it, but now
you've got me thinking! Thanks for taking the time to contribute to an
old, long-dead thread!

[Lord Valve]

On Wednesday, January 28, 2015 at 2:41:48 AM UTC-7, Willsy wrote:

> I'm playing live tonight (you hear that Lord Valve?)

Open stage night at Joe Blow's Choke 'n' Puke doesn't
count. And if you had any history here at all, you'd
know what was up. So go fuck yourself with a rake,
junior.


Fuck you.

[Willsy]

Ah. So unless we're Joe Satriani or Jimmy Vaughan or some other
guitar that's "made it" we don't count.

I wonder how many "don't count" guitar players have kept you
in steaks and sausages over the years?
>
>
> Fuck you.

Backatcha.

[RichL]

<markwi...@gmail.com> wrote in message
news:5cdc8fd7-58f6-4ea0...@googlegroups.com...

No problem! Play with it a bit; you may like it, or you may not, but
there's no harm in trying it out.

Oh, and pay no attention to the resentful old has-been. As you can see, he
contributes nothing of value here, and hasn't for years. Sad, really.

[Lord Valve]

Like I said - if you had any history here at all, you'd know what
was up.

Insert "DON'T FEED THE TROLLS" directive from AGAtard Central
Command here:


Fuck you.

[Rick N. Backer]

Denver's fag hag needs to understand this. More people on this planet
do their amp business with someone else. Many of us by preference.

[Lord Valve]

The America-hating communist schmuck from canuckistan
has stumbled into a truism. Not only is it true for me,
it's true for every other amp tech on the planet. Such
a brilliant mind...have him tell you about his Magic
Diodes - and while you're at it, check out this pic,
and yes, that's really him:

http://www.bikepainter.com/Gaynadian_I-Dull.jpg


Fuck you.

[Xtrchessreal]

On Wednesday, January 28, 2015 at 7:33:34 AM UTC-7, Willsy wrote:

Don't be put off too much by LV. You've gotta put in the work to get your experience on the stage, learn to read the crowds, learn what works and what doesn't, and get noticed. Reputation comes from hard work and experience. Reputation gets more gigs. That's true whether you are a tech or a musician. Unnoticed talent goes nowhere.

In the old days I could get a gig that started on a Wednesday night and ended Sunday night and that would pay enough to get to the next gig on the tour and a little pocket money. The hotels/motels were paid by the venue. But stupid artists (and there are a lot of them) started accepting less money, no motel, and so on, now you'd be lucky to get $50 for a night and its a one nite gig. Most people are playing for what they think is exposure.

Even the so called signed artist has to play ridiculous festivals and uppity Aspen bars at first. The only way out of that is selling albums in huge volume. Which is why corporations started eating up the labels and streamlining their corporate products with advertisement deals, endorsements, Fashion party's with the entertainment of the newest signed band. Worst of all is the Battle of the Bands - Ha what a fuckin' joke.

My advice is go to NY, LA, Chicago, New Orleans, Nashville, and play with as many bands as you can, don't feel obligated to any of them until you see a record deal pop up. As a guitarist you won't see a deal that includes you unless you are a song writer. Even if the music isn't what you like to play stick with it. That exposure will lead down a path where you might get your own band and a deal after putting in some time and fulfilling your contract with other bands. Its after doing all that you will know who to call for management.

Page, Hendrix, SRV, Gibbons, Walsh, Buckingham, Jett, Petty, and many many more had plenty of dues put in before they could do what they wanted. Sure there are a few that got very lucky very fast but most have to grind it out doing shit they don't like.

But, hey playing for experience is cool even if it is Joe Blows Open Mic nite...do it, its good experience. Learning how to play when the mic cuts in and out, the lights ain't workin' right, the drum is too loud, I personally hate when the bass is too loud because it drowns out everything and I can't hear my guitar. Learn how to have good dynamics as a band. Learn how to play with less reverb and less distortion. Get your sound the way you like it without fuckin' up the rest of the band. Learn how to deal with crazy shit, like when the drunk jumps on the stage and tramples your effects. Keep your mind at ease, just act like everyone saw what just happened because they did. Calmly reset your effects - its fun.

X->out

[Defiant]

On Wed, 28 Jan 2015 09:50:19 -0500, Professor DickL slobbered:

> Oh, and pay no attention to the resentful old has-been. As you can see, he
> contributes nothing of value here, and hasn't for years. Sad, really.

DickL evidently wrote that about himself ^^^^^ ROTFLMAO!!!