Egnater Tweaker 88

[Les Cargill]

Looks too good to be true. Any opinions/experience?

Seems like you can get nice glassy clean ( albeit not
*exactly* Fender ) and it has a boatload of options
for dirt. The footswitch offers four distinct sounds - two
channels, one "boost" switch per channel.

I am looking at it in head form, to sit on a Marshall 1936.

--
Les Cargill

[Squier]

meh... it's ok. there is something off putting about the mids this
amp puts out (imho) and it only gets worse if using Vintage 30 cabs.
Some upper mid peaky thing that you can't dial out -- even when using
a rather mid-scooped or neutral kinda speaker cab ala Celestion G12T-75's.
It's typical 'Egnater' type voicing which you either like or hate.
But I never could bond with the Egnater mids that all his amps seem to have.
And they also have a rather spongy type of bottom end no matter what the
power section or amp design he has. Fine for da bluez and classic rock stuff
but if I am getting a 3 or 4 channel amp - then it better work for a much wider
range of tones from cleans to means and all in betweens. if I want a 'classic rock'
amp that just has some riffs on the same tones - then I would just get a single
channel amp and put a pedal or 2 in front. Anyways - my experience with the 88
and the other Tweaker model is the same. bleh. never sat well in actual live band
and everyone noticed those weird upper mids and too sponge soft bottom end.

I personally liked the Carvin V3 a lot better - can go from glass to
totally modern gain and anywhere in between. It just seems to have a lot
better voicing to me and gets along with a wide range of cabs/speakers.
Lots of power to spare
plus you can dial it down (power scaling feature) to a few watts for
smaller gigs/studio etc.
But tone is all subjective so you try it for yourself. But I can tell you
that it seems all the Egnater stuff has the same basic voicing to it so once
you hear one model -- you pretty much will know that Egnater sound.

[Les Cargill]

Squier wrote:
>> Les Cargill <lcarg...@comcast.com> wrote:
>
>> Looks too good to be true. Any opinions/experience?
>>
>> Seems like you can get nice glassy clean ( albeit not
>> *exactly* Fender ) and it has a boatload of options
>> for dirt. The footswitch offers four distinct sounds - two
>> channels, one "boost" switch per channel.
>>
>> I am looking at it in head form, to sit on a Marshall 1936.
>
> meh... it's ok. there is something off putting about the mids this
> amp puts out (imho) and it only gets worse if using Vintage 30 cabs.
> Some upper mid peaky thing that you can't dial out -- even when using
> a rather mid-scooped or neutral kinda speaker cab ala Celestion G12T-75's.
> It's typical 'Egnater' type voicing which you either like or hate.
> But I never could bond with the Egnater mids that all his amps seem to have.
> And they also have a rather spongy type of bottom end no matter what the
> power section or amp design he has.

That is bizarre, especially for a KT88 power section.

> Fine for da bluez and classic rock stuff
> but if I am getting a 3 or 4 channel amp - then it better work for a much wider
> range of tones from cleans to means and all in betweens. if I want a 'classic rock'
> amp that just has some riffs on the same tones - then I would just get a single
> channel amp and put a pedal or 2 in front. Anyways - my experience with the 88
> and the other Tweaker model is the same. bleh. never sat well in actual live band
> and everyone noticed those weird upper mids and too sponge soft bottom end.
>
> I personally liked the Carvin V3 a lot better - can go from glass to
> totally modern gain and anywhere in between. It just seems to have a lot
> better voicing to me and gets along with a wide range of cabs/speakers.
> Lots of power to spare
> plus you can dial it down (power scaling feature) to a few watts for
> smaller gigs/studio etc.

I have found Carvin a mixed bag. I really wanna test drive
whatever.

> But tone is all subjective so you try it for yourself. But I can tell you
> that it seems all the Egnater stuff has the same basic voicing to it so once
> you hear one model -- you pretty much will know that Egnater sound.
>

Interesting. Thanks much.

--
Les Cargill

[Squier]

> Les Cargill <lcarg...@comcast.com> wrote:

> Squier wrote:
> >> Les Cargill <lcarg...@comcast.com> wrote:
> >
> >> Looks too good to be true. Any opinions/experience?
> >>
> >> Seems like you can get nice glassy clean ( albeit not
> >> *exactly* Fender ) and it has a boatload of options
> >> for dirt. The footswitch offers four distinct sounds - two
> >> channels, one "boost" switch per channel.
> >>
> >> I am looking at it in head form, to sit on a Marshall 1936.
> >
> > meh... it's ok. there is something off putting about the mids this
> > amp puts out (imho) and it only gets worse if using Vintage 30 cabs.
> > Some upper mid peaky thing that you can't dial out -- even when using
> > a rather mid-scooped or neutral kinda speaker cab ala Celestion G12T-75's.
> > It's typical 'Egnater' type voicing which you either like or hate.
> > But I never could bond with the Egnater mids that all his amps seem to have.
> > And they also have a rather spongy type of bottom end no matter what the
> > power section or amp design he has.
>
>
> That is bizarre, especially for a KT88 power section.

not really - if you put all your signal with essentially the same
preamp design on all your amps into different power sections then
you are gonna have the same basic tones in all your amps until you
crank the power section up enough so that the power tubes lend their
own flavor into the tones. That KT88 power section by the time it has
any chance of lending itself to any tonality to the amp's voicing is
beyond crushing loud pummeling a half or full stack. Egnater amps are
all about the preamp section (imho) which overrides most of what any
power section is being used. Even the lower watt Egnater's with the
switchable/blendable power section (between 6V6 and EL84) doesn't make
much of a difference between the El84 and 6V6 or any 'blended' position.

Sure - when the power section is completely turned up and is clipping
you can hear some differences but it's still slight - but turn down the power
(master volume) and you would be hard pressed to know which power tubes
are being used since it essentially sounds the same at any reasonable band
volume within any reasonable band mix. You probably can hear differences
if you are playing home alone with a golden ear discerning splits of the hair
differences --- but people that say they hear all these differences are home
wankers and have no clue what the amp sounds like in an actual live band where
you really can't hear much of a difference (unless you dime out the amp and
want to play with zero headroom available).

>
> > Fine for da bluez and classic rock stuff
> > but if I am getting a 3 or 4 channel amp - then it better work for a much wider
> > range of tones from cleans to means and all in betweens. if I want a 'classic rock'
> > amp that just has some riffs on the same tones - then I would just get a single
> > channel amp and put a pedal or 2 in front. Anyways - my experience with the 88
> > and the other Tweaker model is the same. bleh. never sat well in actual live band
> > and everyone noticed those weird upper mids and too sponge soft bottom end.
> >
> > I personally liked the Carvin V3 a lot better - can go from glass to
> > totally modern gain and anywhere in between. It just seems to have a lot
> > better voicing to me and gets along with a wide range of cabs/speakers.
> > Lots of power to spare
> > plus you can dial it down (power scaling feature) to a few watts for
> > smaller gigs/studio etc.
>
> I have found Carvin a mixed bag. I really wanna test drive
> whatever.
>
> > But tone is all subjective so you try it for yourself. But I can tell you
> > that it seems all the Egnater stuff has the same basic voicing to it so once
> > you hear one model -- you pretty much will know that Egnater sound.
> >

Yeah - there are so many multi-channel amps out there (lots of 3 channel amps)
that I suggest you really take your time and try as many as you can and have
them plugged into a variety of cabs (if possible). I really think you'll find
better 3 channel amps out there than the Egnater if you want a wide and useable
variety of tones for live play and a better or different set of controls and
options / inputs / etc of those amps that might appeal more to you in the long run.

> Interesting. Thanks much.

[lucky...@hotmail.com]

There are differences between power tubes at less than ear-slitting levels, but I agree that the biggest differences happen at full power.

Some of the "better" Egnater amps have true power scaling on the power tubes. The Rebel has a wattage control that is pretty much B.S. It is NOT power scaling.

I'm wondering whether the power scaling amps (tourmaster series?) lend as much power tube characteristics when scaling as when pushed. Does a 6550A or good KT88 still have that feel of stiff massive bottom end even when you dial back the plate voltages? Or do EL34 and 6550 start sounding closer to the same as voltage drops? Dunno.

I've been planning to experiment with power scaling for some time, but have been using THD Hot Plates for a while now. THIS IS FOR SURE: If you use a Hot Plate, you WILL hear the characteristics of the power tube, even at reduced volumes.

Is it the same EXACT tone? Impossible, because you lose the impact of the sheer volume, and you have the whole nonlinear fletcher munson curve stuff that is dependent on SPL. But a good attenuator WILL give you power tube characteristics at reasonable volumes.

>
>
>
> Sure - when the power section is completely turned up and is clipping
>
> you can hear some differences but it's still slight - but turn down the power
>
> (master volume) and you would be hard pressed to know which power tubes
>
> are being used since it essentially sounds the same at any reasonable band
>
> volume within any reasonable band mix. You probably can hear differences
>
> if you are playing home alone with a golden ear discerning splits of the hair
>
> differences --- but people that say they hear all these differences are home
>
> wankers and have no clue what the amp sounds like in an actual live band where
>
> you really can't hear much of a difference (unless you dime out the amp and
>
> want to play with zero headroom available).

Okay, I have to call B.S. on: "people that say they hear all these differences are home wankers and have no clue what the amp sounds like in an actual live band." That might be true for somebody who has NEVER been in a band. But I'm betting that there are plenty of guys here who played in bands in their teens and 20's, who now play for fun (or a church band, or infrequent jams...).

Nuances can get "lost in the mix." But I know for damn sure that I could tell the difference in my guitar tones IN THE MIX when I used different amps. For example, I preferred a Bandmaster over a Bassman. SAME power tubes. Very similar circuit. Biggest difference is the output transformer. And I COULD hear the difference. So could the rest of the band. It not only affected my tone, but the way I played.

I haven't jammed in a while, but I did take the trouble to drag a clean amp and a distortion amp to the jam. There is NO WAY that *I* could've been as happy with my tone if I would've just grabbed a single amp that did a halfway decent job of cleans and distortion. And while my playing was rusty, other guitarists commented on the tone of the amps. So THEY could also hear the tone in the mix.

The more a guy plays his AMP, the more he's going to notice changes in tubes, speakers, tone at different power levels, etc.

[%]

then he can just reconstruct his guitar to the sound he wants from the amp
it ain't rocket science

[Squier]

Well yeah - I agree with you with people that have been in bands and
have learned to 'hear' at home what will work in a band setting.
I was talking about people that have never been in a live band setting (home wankers).
And that includes the direct USB crowd into their PC's (home wankers) which
can work great for recorded and processed stuff -- not always so good in actual
live band with amps. We auditioned someone recently that brought his direct
to board rig (modeling rig) and he got completely washed out before we even
reached live band volumes. Great technical player - but had no clue how to
get his tones to sit in a mix. His recorded stuff sounded great though (he brought
samples).

Anyways - yes I agree with you that one doesn't need to play their rig in
a live band setting if that person has been in bands and has an ear for
what works and what doesn't in live play. And hey - if that person has no need
for playing in a live multi-instrument band setting -- then it's all a moot point.
But take that persons views on tone and gear reliability with several grains of salt.

[Les Cargill]

Usually, when I think of "spongy bottom end", I think of
like a Deluxe ( right? ) The poor thing starts rolling
off the bottom because the power tubes don't
have enough pookie.

But I see what you mean. That's weird behavior for a *pre*amp.

> Sure - when the power section is completely turned up and is clipping
> you can hear some differences but it's still slight - but turn down the power
> (master volume) and you would be hard pressed to know which power tubes
> are being used since it essentially sounds the same at any reasonable band
> volume within any reasonable band mix. You probably can hear differences
> if you are playing home alone with a golden ear discerning splits of the hair
> differences --- but people that say they hear all these differences are home
> wankers and have no clue what the amp sounds like in an actual live band where
> you really can't hear much of a difference (unless you dime out the amp and
> want to play with zero headroom available).
>

Most likely. Especially since you have no idea how something will sound
in a mix based on what it sounds like soloed. Well, maybe not "no" idea,
but not much.

>>
>>> Fine for da bluez and classic rock stuff
>>> but if I am getting a 3 or 4 channel amp - then it better work for a much wider
>>> range of tones from cleans to means and all in betweens. if I want a 'classic rock'
>>> amp that just has some riffs on the same tones - then I would just get a single
>>> channel amp and put a pedal or 2 in front. Anyways - my experience with the 88
>>> and the other Tweaker model is the same. bleh. never sat well in actual live band
>>> and everyone noticed those weird upper mids and too sponge soft bottom end.
>>>
>>> I personally liked the Carvin V3 a lot better - can go from glass to
>>> totally modern gain and anywhere in between. It just seems to have a lot
>>> better voicing to me and gets along with a wide range of cabs/speakers.
>>> Lots of power to spare
>>> plus you can dial it down (power scaling feature) to a few watts for
>>> smaller gigs/studio etc.
>>
>> I have found Carvin a mixed bag. I really wanna test drive
>> whatever.
>>
>>> But tone is all subjective so you try it for yourself. But I can tell you
>>> that it seems all the Egnater stuff has the same basic voicing to it so once
>>> you hear one model -- you pretty much will know that Egnater sound.
>>>
>
> Yeah - there are so many multi-channel amps out there (lots of 3 channel amps)

No kidding. It might even be literally hundreds now.

> that I suggest you really take your time and try as many as you can and have
> them plugged into a variety of cabs (if possible). I really think you'll find
> better 3 channel amps out there than the Egnater if you want a wide and useable
> variety of tones for live play and a better or different set of controls and
> options / inputs / etc of those amps that might appeal more to you in the long run.
>
>> Interesting. Thanks much.

--
Les Cargill

[jtees4]

On Wed, 29 May 2013 23:03:25 -0500, Les Cargill
<lcarg...@comcast.com> wrote:

>Usually, when I think of "spongy bottom end", I think of
>like a Deluxe ( right? ) The poor thing starts rolling
>off the bottom because the power tubes don't
>have enough pookie.
>

A new word! Pookie. Love it. Now we have to have mojo AND pookie. :-)
*************
Some of my music:
http://www.soundclick.com/bands/default.cfm?bandID=789610

[Squier]

Not really -- besides beefy transformer (big iron or lack of it) and big bottles
such as 6L6 KT's etc... another huge factor in a deep and tight bottom end of
an amp is (for example) using a choke (and what type of choke) or many
amp makers just use a resistor which can sag out the bottom end and
make it softer no matter what 'power tubes' or power section is available.
Is a choke (or resistor in lieu of a choke) part of the preamp or power-section?
To my simple mind it seems to be an intermediary which affects signal
through-put from preamp to power section.

[jh]

...there is a bit more than selection of the power tubes and OT size to
"improve" bass response - aka reduction of LF farting.

As always it's the whole chain. Altering the frequency response in the
pre amp; lowering the passed frequencies at the PI input; size of
cathode caps; values PA coupling caps in tandem with the grid Rs at the
bias node; stiffness of the Power transformer; values of the reservoir
caps and so on. Many things there. IMHO Power tube selection alone is
one of the parameters which are under the least important.

And - yes - I know that a 6L6 provide more Power than a 6V6. And yes -I
know, that bass frequencies are "sucking" power.

Jochen

[esha...@yahoo.com]

I never liked any built in amp junk , Gimee some good old school JMP MKII & Hiwatt and a pile of analog pedals. ed

[Flasherly]

My two 6L6s (or YellowJackets EL84s) are both predominately about
bass, (Bassman inspired amp design, but of course), otherwise to
largely clean amp characteristics. To get into grind, then, the
preamp's 12AX7s overpowers all else in a characteristic sense. Tad to
sensitive for my tastes. Set low at the preamp, however & anyway,
there's narry a fart to be heard (4x12 cab rated well beyond two
6L6s), does not as much suck power in an appealing tendency to keep
rolling it on. By the time the mids are accentuated, blaring loud
(set the highs as clean as optionally wanted, something past halfway
on volume), there's really a huge and I do mean huge bass latency
beneath in EQs lowered bass curves.

I do however have a 4x6L6 combo with speakers that will fart
(switched, plugged into that same 4x12 cab, forget it. It'll knock
down walls with a flick of the wrist.) Peavey ValveKing, very similar
to the 2x6L6 Pignose in more regards [than not] if on the clean
channel, except the Peavey's preamp is much more exact with leeway
into a grind (too bad channels 1&2 aren't stackable). Rather would
be, moreover, if they didn't have that thyristor (it's an adjustable
rotary pot at the back next to the speaker-out plugs) for a
power-soak, brown sounds, classA/non-classA, thing going on --
whatever makes mostly bullshit from what I can figure from engineering
perspectives. Or various differences between, say, maybe 50 watts on
a $2500 THD and at the back of 4-6l6s in Peavey's VK "texture" set for
"low power."

[Les Cargill]

esha...@yahoo.com wrote:
> On Wednesday, May 29, 2013 7:18:36 PM UTC-5, Squier wrote:
>>> <lucky...@hotmail.com> wrote:

<snip>

>
> I never liked any built in amp junk , Gimee some good old school JMP MKII & Hiwatt and a pile of analog pedals. ed
>

I am starting to look at pedals too. Dunno how well the Blues Deluxe
will take to them, but I'll try.

--
Les Cargill

[esha...@yahoo.com]

Before I actually layed out $ for my 76 Marshall JMP MKII 50 watt master volume head . I did a side by side with a TSL that I thought I needed badly as it was more versatile. I was still quite new to guitar (old bass player), but I knew good tone and it was obvious. The Store salesman for the TSL said to me , KEEP THAT!!or sell it to me!
It was so obvious to anyone, that that single channel amp BLEW the TSL away (using the same Slant Tall Vintage Marshall cabs with greenbacks). Add to that all the versatility with pedals ( and it loves them) and well,, the only thing missing is the SuperReverb clean tone but backed down just right & a reverb pedal & - close enough for guitar. or get the Hiwatt going.. Ed

[Les Cargill]

esha...@yahoo.com wrote:
> On Thursday, May 30, 2013 4:29:32 PM UTC-7, Les Cargill wrote:
>> esha...@yahoo.com wrote:
>>
>>> On Wednesday, May 29, 2013 7:18:36 PM UTC-5, Squier wrote:
>>
>>>>> <lucky...@hotmail.com> wrote:
>>
>> <snip>
>>
>>>
>>
>>> I never liked any built in amp junk , Gimee some good old school
>>> JMP MKII & Hiwatt and a pile of analog pedals. ed
>>
>>>
>>
>>
>>
>> I am starting to look at pedals too. Dunno how well the Blues
>> Deluxe
>>
>> will take to them, but I'll try.
>>
>>
>>
>> --
>>
>> Les Cargill
>
> Before I actually layed out $ for my 76 Marshall JMP MKII 50 watt
> master volume head . I did a side by side with a TSL that I thought I
> needed badly as it was more versatile. I was still quite new to
> guitar (old bass player), but I knew good tone and it was obvious.
> The Store salesman for the TSL said to me , KEEP THAT!!or sell it to
> me! It was so obvious to anyone, that that single channel amp BLEW
> the TSL away (using the same Slant Tall Vintage Marshall cabs with
> greenbacks).

This is serious wisdom here. Ideally, I would have a two-man crew,
a Super, a Marshall SLP halfstack and... something like an SLO
for "modern" tones. Laugh now!

I, too tried to love the TSL for the same reasons.

I still dearly love the SCXD, but at 20 watts, it's not
enough. I am also considering using the SCXD preamp with
the Blues Deluxe power section. But that's *ugly*. Also
also, maybe some other sort a' t00b power amp that could
then lay behind the cabinet.

> Add to that all the versatility with pedals ( and it
> loves them)

I may look at a Fulltone GT-500. But yeah - as soon as I thought through
the whole Egatner thing, I realize "but
what about pedals?"

and well,, the only thing missing is the SuperReverb
> clean tone but backed down just right & a reverb pedal & - close
> enough for guitar. or get the Hiwatt going.. Ed
>

Yeah, you speak the absolute trvth. But I gotta do bl00z, Ike&Tina,
Classic Rock, Fleetwood Mac, a dozen modern rock
songs and funk all in the same set(s).

I think you're right - find some sort of pedal that can
dirt up the Blues Deluxe enough to pass, and then let
that be enough.

Dear $DEITY - I don't want much - just one of each. :)

--
Les Cargill

[Squier]

I have a Peavey Prowler 1x12 combo (which was essentially the pre-cursor
to the ValveKing combo) and it's a great working gig amp. I just run it
on the clean channel and put pedals into the front end. Always have a nice
clean on hand with enough headroom and it takes pedals into the front end
very well. Nothing bad to say about the amp and it is definitely gig reliable
as it has a lot of miles on it (from previous owner and my own use) and
keeps running perfectly. I think there were some minor differences in circuitry
between the Prowler and the ValveKing aside from source of manufacture
(USA vs China) and various design differences (Prowler has typical Fender type
of cabinet where ValveKing back is wide open with no wood slats/backing) and
speakers are different and Prowler is 8 ohm based vs 16ohm for the ValveKing --
but the clean channel on the ValveKing is very similar sounding.
Anyways - it seems that Peavey is never on anyone's radar but I do know
for a fact that the Prowler is a great little amp with more than enough
power for gigging and I would expect the same for the ValveKing combo.
And the Peavey Classic 30 is another great little amp.
The only thing I did was to ditch the stock OEM 'Blue Marvel' speaker in the Prowler
and put in a Celestion Century Vintage speaker (which also lightened up the
amp by about 6 or 7 lbs) and that's all it needed. The speaker change turned
a nice amp into a great grab and go gig and rehearsal amp for when a head/ large cab
is just overkill.

OK - I guess I went off topic with this thread but whatever Peavey did with
the Prowler with the 'resonance' switch on the back (loose or tight bottom end)
actually works when you have the volume up a bit. It does get tighter or spongier
depending on where you have it set. (It does not have all the other tweaks such as
A or A/B or whatever else the ValveKing has). The lead channel is usable but I
prefer pedals into the front end and turn 'em off for nice big cleans.

[RS]

On Wed, 29 May 2013 13:21:46 -0700 (PDT), lucky...@hotmail.com
wrote:

> Okay, I have to call B.S. on: "people that say they hear all these
> differences are home wankers and have no clue what the amp sounds
> like in an actual live band."

If someone says that they can't hear differences in [whatever], then
I'll believe them: they can't hear differences. God bless 'em.

I can easily hear differences in power tubes at low level and they're
often not so subtle. There are big differences between models (within
a given category): 6L6 vs 6V6 vs KT66, all beam tubes, will have
different signatures. And there's a day and night difference between
those and true pentodes like EL34's. Anyone who can't hear that is a
bedroom wanker! (just kidding)

There are also differences between brands, even within the same tube
model. I'm not sure how someone could plug in a Sylvania 6L6 and then
an RCA blackplate 6L6 and not hear the difference, at whatever level.

> That might be true for somebody who
> has NEVER been in a band. But I'm betting that there are plenty of
> guys here who played in bands in their teens and 20's, who now play
> for fun (or a church band, or infrequent jams...).

There was some guy here years ago that claimed that everything was
pretty much the same in guitars, so you should just grab whatever
cheap hunk o wood and the cheapest Ebay pickups you could find, and it
would make no difference. The best part though--he insisted that you
needed an aluminum nut on the guitar, and that made a big difference
even with fretted notes. There are various degrees of that going
around.

Someone insists that different types of guitar woods (or picks or
speakers) don't make a difference -to them-, then no problem. It's the
insistence that everyone else must be FOS that gets to me.

I think of it like perfect pitch. most people can't discern absolute
pitch, so someone could insist that it's BS. Yet there is a segment of
the populace with the ability.

Still, more power to anyone who can't discern. Less expensive gear
habits than mine. Conversely, I'd probably be OK drinking wine that
would send a connoisseur running for a spitoon. An insensitive nose
would be a benefit on 42nd and 9th in NYC. etc

> Nuances can get "lost in the mix." But I know for damn sure that I
> could tell the difference in my guitar tones IN THE MIX when I used
> different amps. For example, I preferred a Bandmaster over a
> Bassman. SAME power tubes. Very similar circuit. Biggest
> difference is the output transformer. And I COULD hear the
> difference.

Bassman is a great guitar amp. Showman is a great bass amp.
I used a Bassman on stage for many years. Punchy SOB! You're exactly
right--the transformer was huge compared to their guitar amps.

> So could the rest of the band. It not only affected my
> tone, but the way I played.

There you go, THAT is the biggest difference. Even the most tin-eared
audience member can tell when your playing is inspired. So do whatever
you need to get there.

[RS]

PS, Lucky, Not sure if you saw my post about the Coursera.org course
on musical instrument and guitar amp electronics. You should
definitely sign up for that! See my other post for the exact URL and
more details. It starts within a few days.

[jtees4]

I know we've had this conversation in the past, but it's worth
repeating....
I had a Prowler Combo....greeat amp! One of the few that I regret
selling. And you are right about the resonance switch, it was very
useful. I found that with different tubes (don't remember which i put
in) I was able to use the distortion channel without any pedals
too....which is quite rare. They don't come up for sale often, but I
would buy one again....it was that good IMHO. Blew away the Vintage 30
in sound and features, and V30's are good amps.

[esha...@yahoo.com]

I hear good things about the Fulltone OCD.. 2c ed

[Flasherly]

On Fri, 31 May 2013 00:14:59 -0400, Squier <squ...@strats.net> wrote:

>

The ValveKing combo, for some, could be wasted money, depending on its
use. Unless accounting first changing out speaker (not really that
big deal to change the stocks for replacement. Adds maybe as much as
$75-125 over to a head-only VK, anyway, for the combo form factor.) No
big deal maybe, just there's nothing to VK speakers, tho. Squats down
and start farting out breakup characteristics into nasty lows. Once
switched over to a 4x12 sealed cab, turns instrumental grade clean
with huge volumes. Seal the combo's back, but be waste of time
working with bad speakers in the 1st place.

Peavey's fair enough for pricing, though did run into a QC type
(computer industry, always going off to Asia to assess gear) who told
me he'd been to Peavey facilities and seen lots (literal not
figurative) of amps sitting outside for temporary storage, exposed to
weather, prior to moving them up into distribution channels. (No rain
damage, faded tolex, but the VK blew a fuse within a year or two -
didn't feel screwing around with Peavey support, and just replaced the
6L6s for $60 or so w/out any problems since.) I'd be sketchy about a
Prowler -- looks/sounds to be for a decent value for working used 6L6
based amp. Nowhere near the overall reputed overhead and shimmer
associated with Classic 30s - well regarding among day2day working
musicians, especially blues and r&r formats, as a versatile dial-it-in
goto amp, and it shows in the pricing they'll fetch. (Think Jtesse4
may have mentioned picking up a C30, and how it pushes out the volumes
easily.)

OK-I've got the presence, and, the A/B thingy -- 'cept the VK it's a
two-way staged resonance/presence w/ discrete POTs to each. Also, a
couple 4-ohm Seymour Duncan 10" speakers I could put in it, or
possibly try a pair of Fender 12s" from a 120-watt SS amp. Maybe with
more potential over what I'm hearing from the cab, for going back to
getting more out of the presence/resonation (I like the class-A dialed
in on the clean side.) Still in ball-buster territory for its weight,
probably just $75 over a head only. (Aside - VK's engineered all or
nothing, not meant & won't do just the middle set, pulling out the end
pairs of tubes. Not that I've run into an amp that's especially
grabbed me when I could.)

[lucky...@hotmail.com]

Saw it about 20 minutes ago. Already enrolled.

[RS]

On Sat, 1 Jun 2013 16:23:55 -0700 (PDT), lucky...@hotmail.com
wrote:

Very good. I was going to post a brief ramp-up on electronics theory
on a.g.a, You may have noticed the start. But I realized that the
Coursera tutorial may serve much the same purpose. So I decided to
hold off on the rest of my posts until I see how the course goes.

However, I'll still try to help anyone who wants to take the Coursera
course (others can see my separate thread). If you get stuck on math
or on a concept, post under an appropriate heading so I'll notice it.
Here or aga.

[Grip]

1936 = nice cab! Never been overly impressed with the Egnator line. Nothing wrong with it, just never "sang" to me. Love the features, but when demoing I could never makes all the cool things translate to much of a difference when banging away on a plugged in axe.

Of all my amps, I am back to a silver faced Pro Reverb, and it's just about perfect for me, loves my pedal board too. It's actually cool enough with just an Xotic SP comp and an OD box!