Amp related content - beware!
Great White Buffalo
having to do with an amp :)
I've been thru a fair number of like Fender's DR, DRRI, PRs, TRs,
DRII, PRII, Princeton (non-rev); Princeton Chorus, Acousasonic (every
one made - Pro, SFX, Junior, the little one, etc), 1900's SUNN
something or another; Epi 60's amps, Gibson 60's and 70's amps;
several "modeling" amps, inc the Taboo; a boatload of more modern (a
bunch of 80's+ Fender SS amps and many others) and several "vintage"
SS stuff (Jordan, Polytone, etc), the "Liber-AMP-ce" (Hohner CA200 all
tube, fixed up by Miles O'neal - http://www.netads.com/~meo/Guitar/Amps/HohnerCA200/)
and on and on and on.
Here I am 10-15yrs later with these amps as my faves, some of which
I've owned mult times over the years...
1956 Gibson G6 - very warm and very loud amp that is perfect for jazz
guitar
197x Fender Princton (non-reverb) - another nice amp
Fender Jazz King - at 140W with a 15" speaker, it's really a better
gigging amp for clean sounds than a practice amp
198x Redknob Fender Princeton Chorus (geez, I think that's what it's
called) - BEST practice amp I've had for jazz guitar; not so good for
anything else - like playing rock with a band. This amp is the one
that stays setup with an archtop plugged into it at home. The Gibson
G6 sounds as better - more organic and traditional, but I have to add
a rev pedal and a chorus pedal; plus, its more collectible than the
PC, so the PC stays plugged up all the time. I've had no less than 10
PCs - new, used, redknob, black knob, US, MIM, with and without DSP.
It's my most repeat-purchase amp. Hate 'em for loud live play, but
love 'em for lower volume at-home practice.
I also don't buy 'n sell gear like I used to, having settled on decent
gear and getting fed up with breakage via UPS/FedEx for ebay
deliveries.
So what is in your stable currently? And what is your go-to amp and
why?
Greg
RichL
news:0435d8e7-a75c-4c68...@a28g2000prb.googlegroups.com...
Mentioned a few times here and there in the past, but my three top amps are
(listed in order of "like"):
Vox AC-30. 1992 model from the Rose Morris era, not all that highly
regarded historically, but it's still got a sound unlike any other brand
(personally I think it's the lack of negative feedback). One day I'd like
to upgrade the Celestion Greenbacks with Alnico Blues but just haven't
gotten to it.
Marshall JCM 800 2204. A 1981 version, the first year of the JCMs. I
suspect the B+ is lower than the later years. Run through a Marshall 1960A
cab.
Fender Twin Reverb, 1976 Silverface, NOT the ultralinear model. A bit too
clean for a lot of the stuff I do, but it has its uses.
I'm no longer gigging, but if I did the AC-30 would be top choice although
I'd definitely want a backup :-)
A few others that I have in my home studio and use pretty frequently:
Fender Blues jr.
Epi Valve Jr. (I run it through the AC30 speakers)
Ampeg SVT-3 Pro w. 410-HE cab (because every tune I do needs a bass part!)
Roland Jazz Chorus 77 (yeah, it's SS, but that chorus is to die for!)
Claude V. Lucas
Fractal Audio Axe-FX Ultra
<http://www.fractalaudio.com/products-fa-axefx.html>
Replaced all of this and more....
<http://www.sonic.net/~claudel/allamps04.jpg>
Sometimes I miss the JTM100 on the left.
That one was the best sounding amp I've ever heard, bar none,
even though it would knock small birds from the sky at the
sweet spot. 13 digits of the S/N away from a verified Jimi one...
Don't miss carrying it, retubing it, or worrying if the
magic smoke will escape. Same goes for the rest of the
antiques that are now long gone.
Bye Bye pedal museum, too...
The Axe is not for everyone, but I love mine.
jh
Hi Greg,
just a few of mine.. ordered by "frequency of use"
Victoria 5E3 clone with Celestion Blue,
A chinese simplified but handwired "18 Watter" - Golden Ton Smart 20 -
great amp
79' Marshall 2203 - serves as a bass amp at our monthly jam !!
90ies MArshall JTM45 RI
76' SF Vibrolux reverb
85' Kitty Hawk Supreme counterpoint
71' Marshall 1987T
77' Marshall 2204
and a few others...
regards
Jochen
boardjunkie
> So what is in your stable currently? And what is your go-to amp and
> why?
>
> Greg
Go-To:
Carvin X-100B - mid 80s model, redesigned and rebuilt with my own
circuitry
Dean Markley Signature 60 rack head - see above
Carvin X-60 1-12 combo - as above
Other stuff:
Carvin X-60B head - rainy day project
Carvin X-100B - fuzzy "rat fur" coverd EL34 model
Carvin Quad X rack pre - extensively redesigned and rebuilt
Crate Vintage Club 30 - as above....I've "had my way with it"
Traynor Custom Special - 1971
Traynor Custom Reverb - 1970
Traynor YGM-3 1-12 combo
Sunn 100S - 1969 rev/trem....awaiting rebuild
Peavey VTM120
Gibson GA-20
Epiphone 40s tweed 1-10 combo
Kustom I lead 1-12 combo
Crate G600H head - 2 of these....future chassis/head case donors for
build projects
Traynor RVS 2-12 - keyboard amp with a real cool Leslie simulator
Precision Electronics tube PA head - 7868s (6GM5s in it now) converted
for guitar use
I'm sure there's more crap lay'n around somewhere.....
Jim
>
> So what is in your stable currently? And what is your go-to amp and
> why?
Marshall JMP 2204 from 1980 purchased new, "go to" for "classic rock
tone." Seeing more play since I bought a 16 ohm THD Hot Plate. Usually
into an 70's Hiwatt 4x12 with Fanes.
Fender Super Reverb, as tweaked by Rich Koerner:
http://www.timeelect.com/sjsr.htm "Go to" for cleans, and now for blues
tone "with hair," since I bought a 2 ohm THD Hot Plate.
Mesa Mark III blue stripe 60W w/ Celestion C90, EQ & Reverb. "Go to"
for high gain.
50's Magna (predates Magnatone). "Go to" for dirty blues. The one at
the top of this page: http://www.vibroworld.com/magnatone/M192-5.html
P/P cathode biased 6V6 Tweed tones, only better.
Peavey XXX into 80's Hiwatt/Fane. "Go to" for metal.
THD Univalve. "Go to" for versatile low volume play, because of built
in Hot Plate and (seemingly) infinite combinations of tube choices.
Played into various cabs, including a modified Marshall 2x12 w/ British
Vintage 30's (was a JCM 800 combo, now sealed and ported); or Weber AC30
clone cab with Weber AlNiCo blue dogs.
Modified Valve Junior with (real) Mullards, several mods including
fender tone stack and oversized output transformer w/ build in L-pad.
Often into a Rocktron Velocity trap shape ported cab that now sports an
EVM-12L. I love this amp. It's amazing what a little work will do to a VJ.
Blackheart Killer Ant w/ matching 1x10. About 1/4 watt, for tube
distortion at truly reasonable sound levels. Fun, but more than a toy.
Others include: 50's Stromberg-Carlson; three silverface Twin Reverbs,
a couple still needing final touches before I choose my favorite; early
silverface Bandmaster, needs filter caps at the moment; Peavey Mace;
early Polytone; vintage Traynor YSR-1, needing work; Weber AC30 clone
kit, still in the box, two single ended reel-to-reels being rebuilt
using the cabinet as a combo, one is stereo.
New Years resolution: Build that damn AC30, complete the TR's and other
projects. And having just listed 19 amps (possibly forgetting a
couple), SELL SOME MORE AMPS! At some point a hobby becomes an obsession.
Jim
>
>(possibly forgetting a couple),
> SELL SOME MORE AMPS! At some point a hobby becomes an obsession.
Somehow forgot my Sunn 2000S! Also needs filter caps and ???
boardjunkie
I forgot about my Peavey Ultra 120, but since it just sits at the
"after hours jam spot", I forget I even own it sometimes. Its had some
changes to make it sound decent. And since the bias supply is rather,
um, limited....I have it running on a pair of EL34s. Pwr xfmr gets
abnormally warm.....its prob'y on the way out. Pretty much just POS I
got a good deal on so I don't much care what happens to it.
RS
<band...@cox.net> wrote:
>Just don't want anybody to get jazzed out about a post here actually
>having to do with an amp :)
Spammer.
>197x Fender Princton (non-reverb) - another nice amp
I prefer Deluxes to Princetons in the black/silver family. Rounder
sound and larger speaker without that much increase in weight, size or
expense. There are also some nice amps in that wattage range in tweed
designs.
>Fender Jazz King - at 140W with a 15" speaker, it's really a better
>gigging amp for clean sounds than a practice amp
Errr...yeah.
>198x Redknob Fender Princeton Chorus (geez, I think that's what it's
>called) - BEST practice amp I've had for jazz guitar;
So you're the guy who buys those. (I've never liked them much, to be
honest.)
>So what is in your stable currently? And what is your go-to amp and
>why?
>
>Greg
Bunch of 'em. Some of my own designs. Others mostly Fender.
My suggestion, for anyone looking for different sounds: Try a
different speaker before you trade in your current amp. That's one of
the main things that determines the personality of an amp (presuming
that the electronics are sound). Most clean-oriented tube amps have
fairly direct, stock circuitry, so the biggest influence on
nonlinearities and tonal quirks is often the speaker. That can change
everything.
Grip
GAS!!!
.....79 Marshall JMP 50 watt.....recently swapped over to EL34's but
currently running with Yellow Jackets and EL84's.....period Marshall
4X12 angled cab.....also use it with a Marshall 1965 4X10 cab. The
4X10's rule!
.....Mesa Boogie Maverick.....Original 1X12 combo version 35 watts 4X
EL84.....my main amp for many years
.....68-69 Ampeg VT-40.....all original including
tubes .....unbelievable blues tone but waaaay too loud. Wish I could
tame this one
.....late 70's Fender Pro Reverb Silverface master volume.....very
sensative to speaker swaps.....the right speakers make it sound great.
VERY clean and usefull, but never really found the right distortion
pedal for it. Love it anyway Fender verb & vibrato is the standard.
.....Believe it or not with the afore mentioned my MAIN rig at the
moment is a TECH21 Trademark 60 4X10 combo with Pod XT in the effects
loop ( modeling turned off ).....using vintage G-35 Celestions. Light,
reliable, SUPER credible tones.
.....a bunch of old Kustom tuck&roll pieces
.....Rheem califone.....very interesting old SS amp
.....Dean Markley K-150 1X12 100 watt Combo.....a tank and super
reliable, easy to dial in as a back up for any situation
.....vintage Lafayette 1X12 tube combo.....cool sounding chime
.....very old Electromuse 1X12 tube combo.....no idea ! Never had it
working, picked up cheap.
.....Marshall Lead 20.....nice practice amp
.....Vox DA-5 and Roland Microcube.....couch amps I call them.....the
Vox is much more versatile.
.....More pedals and effects units than I can list
.....Nice collection of vintage analog synths, keyboards and modules
by Moog, Roland, Yamaha, Kork, Oberheim, etc
Flying V
Let's see....I have the following amps & cabs:
Egnater Rebel 20 head (typically runs into 2 Marshall Haze cabs)
Soldano Atomic 16 (into Sonic 2 x 12 cab & Celestion Lead 80's)
Marshall 4010 combo w/Vintage 30 speaker
Marshall JCM 800 2204 head--early 80's (very occasional use....)
Hiwatt combo (30 watts, solid state--killer practice amp!)
2 Marshall 15 watt mini stacks (used for practice & low volume shows)
Blackheart 5 watt head & 2 matching cabs
Oahu "Tonemaster" combo amp (60's?)
These days, I use the Egnater for most of my gigs. However, I've been
using one or both of the little Marshalls for a side project--acoustic &
laid back cover material. They work GREAT for such a show!! I use my
Taylor acoustic and American Standard Strat. The acoustic goes into the
PA and the Strat into the Marshalls (via a zoom amp modeling pedal). I
get some absolutely killer Strat sounds with this little rig!
If I had a "go to" amp, it would have to be the Egnater. The amp has a
ton of tone flexibility & includes an effects loop. It's loud enough
for most any show I play and can also be scaled down from 20 watts, down
to 1 watt. Very cool!
The Soldano is a great amp too....but really loves to ROCK. Sure, you
can get other tones out of it....but it's happiest when really screaming!
Mike
Jim
Were you around for the discussion about the "scaling" feature, several
months ago? I went to look at the 20 w/ cab at a great price, but it
didn't sound like I wanted (at lower volumes). It's not power scaling.
The tourmaster line DOES have the true power scaling that reduces
plate voltages (google london power scaling). But the Rebel is
different, and doesn't get power tube distortion at low levels.
Still a great little amp, but not what I wanted. ...had to pass.
Flying V
Yeah, the power scaling feature isn't the best, but unless you're really
dialing it down, it works fine. I find it very useful--up to about a
50% reduction. Beyond that and it sounds way too compressed, etc.
I was able to use it for some cool & unusual tones on a recording
recently. I scaled it down to almost nothing and then cranked the
preamp and master volume controls---endless sustain for years!
But, that was one tune....and a specific effect.
The best part of the Rebel 20 (I think), is the sound when cranked up.
That little thing has real *balls!* It reminds me of a vintage
Marshall....but not as brutal on the ears.
Mike
Jim
My point was that it's NOT power scaling, it's something else.
Power scaling is used in the tourmaster series. It was confusing to me,
because the London Power Scaling site actually mentions that Egnator has
license to use their technology. ...then they have the "wattage dial"
on that amp. But the license is applied in the Tourmaster series.
, but unless you're really
> dialing it down, it works fine.
It didn't sound like real power scaling.
Real power scaling reduces the B+ to tubes (lowers the plate voltages).
That results in actual power tube distortion at lower power levels.
It also extends tube life, when compared to playing loud, or using an
attenuator.
That doesn't happen in the Rebel 20, so it doesn't have the same
sounding distortion. I'm not sure that I kept my "research" on this,
but this "wattage" control is doing something at the phase inverter
stage. I promptly forgot the details, since I went in another direction.
I think that the London site has sound clips up comparing cranked amps
to ones with power scaling. It will NEVER be "the same," because of the
physical impact of LOUD volumes (and even the Fletcher Munson hearing
response), but the tubes are producing distortion close to what they do
at higher voltage/power levels.
> I find it very useful--up to about a 50%
> reduction. Beyond that and it sounds way too compressed, etc.
>
> I was able to use it for some cool & unusual tones on a recording
> recently. I scaled it down to almost nothing and then cranked the preamp
> and master volume controls---endless sustain for years!
>
> But, that was one tune....and a specific effect.
>
> The best part of the Rebel 20 (I think), is the sound when cranked up.
> That little thing has real *balls!*
Yes, I do like it cranked!
> It reminds me of a vintage
> Marshall....but not as brutal on the ears.
>
> Mike
I'm still searching for the right formula to sound loud and not play loud.
I bought two different THD Hot Plates. I've been running the amps at
about 108 volts or so, to help minimize potential problems with the
output transformers. I plan to rebias the amps, once I'm convinced
that's what I want.
A reduction of 10% in voltage gives almost a 20% power reduction. My
thought is that I'd rather be running my output transformer at 80%
power, if I'm using an attenuator.
The (overpriced) Ultimate Attenuator actually gives you a 100V power
source on the back. But I'm thinking that may reduce the filament
voltages too much. If I'm not mistaken, most tube manufacturers
designed their tubes for a 10% tolerance on the filament voltage. Which
means that they ought to run at a proper operating temperature at -10%
voltage. 100V is more that -10%. It's the whole cathode stripping
issue. I run some EXPENSIVE tubes. I'd hate to waste them, while
trying to safeguard the output transformer!
Jim
Egnator Rebel 20]
I said:
I'm not sure that I kept my "research" on this, but
> this "wattage" control is doing something at the phase inverter stage. I
> promptly forgot the details, since I went in another direction.
I ran a quick search of my old message, and found the comment from Kevin
O'Connor (London Power Scaling):
"Rebel 20 is not Power Scaling. That uses a variable current for the
splitter."
Kevin goes on to explain that the Egnator with the "Power Grid" uses
stepped power scaling, but that the lower limit isn't "actually quiet."
So, when you dial down the "watts," you're limiting current to the phase
inverter, and cause that preamp tube to sound different. I suppose that
it does reduce watts because if there isn't enough signal at the power
tubes, you won't get full power. But it's not what I wanted.
RS
Hi Jim,
I don't think I've seen the schematic for that particular amp, but I
can guess what they're doing. A split-tail phase inverter operates
from a common shared cathode resistor which is basically trying to be
a current sink. IOW, the higher the resistor value, the closer the
matching between the two sides of the PI. A perfect current source or
sink presents a virtual infinite impedance, so that's sometimes used
for that kind of circuit. You could do that with a single medium
wattage NPN bipolar and a couple external components. Pretty easy.
Anyway, I'm only guessing, cause that's what I would do if I wanted
variable current in the PI. Problems with that are the changes in
operating point, as the current change will change the voltage drop
across the plate resistors, resulting in changing voltage on the
plates.
Also, current sources tend to hard-limit; that is, they run out of
steam abruptly. I've experimented with using them as plate 'resistors'
when I wanted to get the most gain out of a tube, which they do
effectively. But they're very linear (to a fault...kind of cold), then
they just hit a brick wall when they top out.
The PI may not be a bad place to employ that kind of thing though, and
I'm not sure that any induced changes in symmetry of
overdrive/clipping points would sound bad.
Changing the B+ that appears at output tube plates is much tougher,
and requires a capable (heavy) series regulation element--maybe a
large MOSFET or a BF bipolar transistor. And even that won't result in
the same sound as lower wattage tubes that are operating in their
designed B+ range. But still should be a nice option, especially in
that you could run the tubes a slight bit hotter at lower plate V if
you really wanted to get clever with the circuit.