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Post by RJB on Jun 18, 2008 8:46:19 GMT -5
The Epiphone Blues Custom is used in a lot of the Gibson (!) demos. Their lifestyle video page has lots to look through. Look for the ones from Brent Mason & Stacy Mitchhart. Mostly they're pimping for their Gibson guitars, but playing through a Blues Custom. Yes I've been thinking about an amp for a while and spend WAY too much time on the internet. |
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petros
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Post by petros on Jun 18, 2008 18:12:41 GMT -5
Ah! the turmoil of it all!
I was set to go down to my local Guitar Center and try an Epiphone Blues Custom 30. Upon calling to find out if they have it as a floor model, the salesperson said the only Epiphone amps they have are the Valve Juniors. When I asked if they could have the Blues Custom sent to their store for me to demo, he said that would be a "special order" and I wouldn't be able to return it. I said, "Thanks. Bye." Damn consumerism!
And if you get the amp through Musician's Friend or Guitar Center's website they want a wopping $70 to ship it because the amp weighs 69 lbs. No doubt these retailers are making money on that shipping fee, but what it means is that you can't even demo the thing and return it without substantial losses. You'd almost have to be certain it's what you want because you'll be stuck with it. I'm something like 75% sure, but without hearing it through my own instrument it's a gamble.
Damn consumerism!
RJB: Thank you for the link to more vids. I'm going to need all that I can find.
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petros
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Post by petros on Jun 19, 2008 18:53:23 GMT -5
Pretty good vid demonstrating the Epiphone Blues Custom:
Amp sounds really noisey at some points though. I emailed the guy who made the video (Lou at a music store in Canada) to ask why, and asked if he could give me some more details on the sound as far as overdrive and distortion on the "dirty" channel (or maybe given the weight of the amp I should call it the "heavy" channel).
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Post by ChrisK on Jun 19, 2008 20:10:18 GMT -5
Yeah, I don't think that GC carries the Blues Custom. I go to New York Music in Boardman Ohio. They do carry it, but one should call first.... Hmmm, this seems to be a reoccurring comment. What are you, a communist or sumpthin'"  If you do get to play one and like it, MF occasionally has free shipping on "heavy objects" as well. |
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petros
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Post by petros on Jun 19, 2008 22:37:00 GMT -5
Epiphone's website is saying the Blues Custom is "the most impressive amp in the 134 year history of Epiphone." That's some claim. Guitar Center has the Blues Custom in stock, but only through the Internet. You loose a $70 shipping fee if you want to return it, and I suspect this is being done not just because that's the total shipping fee based on weight. They could still allow free shipping on the item. It's also being done, in part, as a deterrent to return the item. They know people want to demo the amp and then might return it having never intended to purchase it. You know, before actually playing through the thing, I had some doubts about the design having two channels that are independant and whether there's both a volume and a gain control for the "dirty" channel. I can see in this image that Channel 2 would allow me to dial in the distortion but tame the volume.  I was thinking for recording purposes it might be best to have the volume level/ gain design (like on the Fender Blues Junior, but I consistently hear that the Hot Rod Blues Jr. amps don't do distortion well) so that in the case of the Blues Custom, I can set the drive for decent tube saturated distortion but not have to crank the hell out of the level. The other thing I was wondering about is the all tube design of the Epiphone, including the rectifier, which I'm hearing creates some kind of "lag" or "sag." Epiphone says their amp has a "genuine tube rectification from a 5AR5, for a dynamic, responsive playing feel." What is the sonic character of this compared to amps made with a solid state rectifier? [And by the way, my comments about consumerism are more the frustration of artists such as myself trying to weed through the profiteering and marketeering that create obstacles to getting the truthful knowledge and tools for musical expression, but my thoughts on capitalism are a whole different thread and not appropriate for this forum. Read Naomi Wolf's The End of America if you want my perspective on politics in the US, not that I'm trying to scare anyone. Let's stick to what combo amps do you like, or which smaller 15 watt heads. At the onset of this thread I didn't even know they were making 15 watt tube amp heads!] *Three amps: The Blackheart Little Giant (and possible conversion kit), the Orange Tiny Terror, and the Epiphone Blues Custom are the names I've got so far, and that's a great start. It's just ironic to me there's no floor models of those specific amps in my locale that I can demo! |
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petros
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Post by petros on Jun 20, 2008 13:28:59 GMT -5
What's also a bit unpleasant for me is how I keep reading about the Epiphone Blues Custom not sounding good until you change the tubes. The whole: "You just GOTTA change the tubes from a stock amp" thing is troublesome to me. First, I would think the amp's designer made the best decision for the tubes to run in the unit. Of course, I realize companies may not have this as the final goal and may be more interested in cost effectiveness (again, a function of consumerism). Secondly, I would think the speaker in a combo amp would affect the tone you get more than the vacuum tubes, especially when there are tubes that are said to have very similar sonic characteristics but have different specs. I have a Universal Audio tube design mic preamp that has a 12AT7 (6201) in the second input stage of the circuit. I called the company about it because the DVD that comes with the unit to explain maintenance indicates this tube should be a 12AY7 (6072). The person I spoke to claimed that in this case it's a matter where it makes little difference to the sonic characteristic of the preamp which tube you use. With guitar amps, I know certain tubes are said to have different sonic characteristics that affect the final tone of the amp, but sometimes I think the effect of changing something like the tubes instead of the speaker is more of a psychological thing (given the tube change is compatible with the bias of the circuit, etc.) Someone likes a particular tube because of it's price or how big it is or what they heard about it from someone who's a "great guitarist" and then when the person puts it in the amp the person automatically expects a certain result (change the tubes = better).
With the speakers of the Epiphone Blues Custom, 2 -12" Lady Luck made by Eminence, people are saying this also needs to be changed to Celestion Greenbacks or Celestion G12H30's or Celestion Vintage or God knows what else so that now after you buy such an amp I get the feeling no matter what you'll have to fool with it forever and invest more $ before you get a great tone. Go to the Fender forum on such matters and you'll get the impression that unless the amp is manufactured by Fender it will never cut it no matter what you do.
The circumstance makes me think: If you have to end up modifing the amp to get a respectable tone, why not just find the cheapest guitar amp that you can with what design features you need and then use the money you saved to upgrade the components ?
Oh yeah, by far the worst comment I read about the Epiphone Blues Custom: "Channel 2 really sounds bad. Thin and flat. I can dial in an adequate crunch, and lead tones too, but it's really noisy, and one dimensional sounding. The channels offer the same results in both wattage settings...I'm a couple of tubes away from seeing whether the Epi BC30 is a keeper or not."
A "one dimensional sound" is problematic? I thought in order to get depth from any system that uses speakers you need at least two and they have to be run in STEREO.
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Post by D2o on Jun 20, 2008 14:02:42 GMT -5
Petros,
I believe you. I think it's not unlike the tires and shocks that come standard with your new car - sure, they always "suck" compared to something better, but the car wouldn't sell as well if they started including and charging for the upgrades, so they invest in researching what works best within their restricted budget.
I have no personal knowledge of this amp, just so we're clear that the following is not intended as an endorsement of it, but my suspicion is that they likely did their homework though, and that - right out of the box - the amp probably works better for most folks than some folks say it does.
And there is always the question of whether some of those nay-sayers know what they are talking about, or just want to look like they know what they are talking about.
Just look at Michael Keaton's character, Jack Butler, when asked this household wiring question in the 1983 movie "Mr. Mom" ... he knew what he was talking about!
Ron Richardson: Yeah? Are you gonna make it all 220?
Jack Butler: ..... Yeah. 220... 221, whatever it takes.
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Post by ChrisK on Jun 20, 2008 22:21:08 GMT -5
Noooooooo, it's called..................................................MARKETING. That's because the amp has 1 1/2 channels. Check out the "independent/interact EQ" button. A tube rectifier is a crappy rectifier, It has significant internal resistance (heck, it's a tube) and acts somewhat like a series resistor from the transformer to the B+ supply capacitor(s). As a result, if the B+ load current changes, said capacitor(s) will droop in charge level since the feed to them is, er higher impedance than silicon rectifiers. Silicon rectifiers (diodes) do not exhibit this droop and generate significantly higher B+ voltage levels since their drop is only about 1 VDC. This can damage tubes, caps, and transformers if a tube rectifier is replaced with diodes. So what does this mean? Well, if an output stage has a varying current draw from the B+ caps, its supply rails will droop as the current requirements increase. In essence, if the output stage is class AB or B, where the current increases significantly from quiescent as the signal increases, this droop comes into play. In a class A output (single-ended or push-pull), the current thru the output tube(s) remain(s) fairly constant, and a tube rectifier has little value other than as a surge limiting resistance (well 1/conductance) and, er, marketing. (Yeah, but it's like real vintage, man.) GC will be carrying the Blackheart soon. BTW, they have free shipping from Musicians Friend...  Hmmm, I see their point. After all, Eminence speakers are that pedestrian stuff made in Kentucky, whereas the Celestion's are that booteek stuff made in , uh, China. And you're somehow confused by this?  Oh, you mean like that Blackheart thingy? Well, you know, this is a fairly cheap amp. What were they expecting, a Dr. Z? |
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petros
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Post by petros on Jun 20, 2008 23:57:15 GMT -5
ChrisK: Great comments , man. But... Would you please translate this into a form those of us not abreast (yes, I said abreast) of such electronics (great effort though on your part, no joke) could possibly understand (in fact, it's practically as bad as legalese): "A tube rectifier is a crappy rectifier, It has significant internal resistance (heck, it's a tube) and acts somewhat like a series resistor from the transformer to the B+ supply capacitor(s). As a result, if the B+ load current changes, said capacitor(s) will droop in charge level since the feed to them is, er higher impedance than silicon rectifiers. Silicon rectifiers (diodes) do not exhibit this droop and generate significantly higher B+ voltage levels since their drop is only about 1 VDC. This can damage tubes, caps, and transformers if a tube rectifier is replaced with diodes. So what does this mean? Well, if an output stage has a varying current draw from the B+ caps, its supply rails will droop as the current requirements increase. In essence, if the output stage is class AB or B, where the current increases significantly from quiescent as the signal increases, this droop comes into play. In a class A output (single-ended or push-pull), the current thru the output tube(s) remain(s) fairly constant, and a tube rectifier has little value other than as a surge limiting resistance (well 1/conductance) and, er, marketing. (Yeah, but it's like real vintage, man.)" Yeah, but it's like: What the hell are you talking about? (Thanks, man) To reiterate: "a tube rectifier has little value other than as a surge limiting resistance (well 1/conductance) and, er, marketing. (Yeah, but it's like real vintage, man.)" Maybe I've had too much tequila tonight, but are you like speaking Mandarin Chinese because I only speak Cantonese.  |
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Post by ChrisK on Jun 22, 2008 12:26:31 GMT -5
Unfortunately, to understand what I'm talking aboot, one has to learn what the words mean. I actually rendered my description in the terms of DC (direct current) only awareness. Technical things require technical terms. Electrical Engineering is, uh, complicated. That's why we get the big bucks. However, we can exactly describe to one another (us engineers) the specifications and hence performance of things. We know how things work because of this. We generally do not use terms such as "warm, middy, dark, sick, cool (well, when describing the general thermal characteristics of something), and (never ever) vintage." In actuality, this is the gist of your post. You're struggling to determine what amp to buy, based on the somewhat non-descript language afoot in the music industry, used by folk that tend to end every "factual" statement with "blah, blah, blah, wolf, wolf, .....man (or whatever the current rendition of the word "man" is, man). In other words, the meaning of the words, which, in this industry, are generally less than factual. There are some links to basic electronics understanding a'board. I would recommend that one embark on a course of self-study because, until one learns what stuff actually is and means, one will forever be at the mercy of either the marketeers and con men, or the torturou$ path of expen$ive $elf di$covery. It's called life. So, I will further distill my explanation into terms of water. A tube rectifier is like a water supply check/valve feed pipe that is fairly small in diameter and hence flow. It takes a lot of pressure to move a lot of water thru it. There is a significant pressure drop across it. The capacitor is the water tank (reservoir) on the output side of the valve. If one draws a lot of water out of the tank, the level and pressure will drop to the point where the valve can supply the lesser amount of water/pressure. Think of it as a 100 foot hose outside with the house supply spigot on, but the hose end nozzle is closed: the hose is "charged up/pressurized to the full domestic water pressure and when the nozzle is first opened, a lot of water shoots out, but then the flow reduces to that capable of being supplied by the spigot and domestic water supply thru your house at that flow level. The solid-state diode is a fire hose. It has a much higher current capacity. Most tube rectifiers are limited to well under an amp steady-state. Diodes can handle currents that are multi-amperes. As a result, they enable higher flows and higher output pressures. This can destroy the flowers if one isn't careful (a water cutter). The steady-state water flow has a significant effect on the water pressure at the end of the small hose. A class A amp has a steady water flow; it either goes into the garden (wiggling aboot and creating output drive) or into the yard (DC-like, constant and still thru the tube, but not wiggling aboot). It's constant, so the relative pressure (B+ supply) is relatively constant and the dynamic nature of the garden hose has little or no effect. The nozzle is always open, you just aim the hose different places (speaker/drain). Surging isn't. A class AB or so amp has a changing water flow; it either goes into the garden (big and wiggling aboot and creating output drive) or into the yard (DC-like, minimal, but not wiggling aboot). It's changing, so the relative pressure (B+ supply) is not constant and the dynamic nature of the garden hose has a greater effect. The nozzle is always generally aimed at the garden (speaker), but you operate the flow control handle thereon (ie like a non-binary tone control). Surging is. When one first strikes a note in a class AB or so amp with a tube rectifier, the sound is loud, but quickly drops in level to that capable of being supplied by the amp on a long-term basis. Folk started using diodes to overcome this crappy (and now "vintage") effect after they discovered that tube amps had more "vintage' soul than solid-state ones. but before they discovered the true "vintage-ness" of tube rectifiers. But wait, in a few years someone will discover that all of the crappiness of "vintage tube" amps sounds can be alleviated thru the use of that there new solid-state technamacology. The Mesa 5:25 Express has this effect in a pronounced manner and, of course, it's touted as a feature. It's also a class AB output stage. The long and short answer to your rant is the need for you to learn in order to be a better consumer. After all, most of the reviews that one reads are based on, at best, 20% of the reviewer's experience and 80% of what they've heard, since they generally don't know much about them technical terms themselves either. Without agreed-meaning common specifications, it's all just feldergarb, er, marketing anyway. It depends on what means means....... I have a post going in "Pickups" about the Duncan P-Rail pickup. This is because I know what the specifications mean, and hence, what will likely result. There was a clothing chain in my area called "Sym's". Their motto was "An educated consumer is our best customer." I must disclose that they went out of business some years ago..... |
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petros
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Post by petros on Jun 22, 2008 14:23:43 GMT -5
This is total irony: "There was a clothing chain in my area called 'Sym's". Their motto was "An educated consumer is a better customer.' I must disclose that they went out of business some years ago....." Remember: I am in a locality that I cannot try on the clothes. I cannot demo amp upon amp to compare the sound to the specs. Hence, my many questions. ChrisK: Thanks. I think most people would find what you say here immediately helpful: When one first strikes a note in a class AB or so amp with a tube rectifier, the sound is loud, but quickly drops in level to that capable of being supplied by the amp on a long-term basis. Folk started using diodes to overcome this crappy (and now "vintage") effect after they discovered that tube amps had more "vintage' soul than solid-state ones. but before they discovered the true "vintage-ness" of tube rectifiers. Most of what you are saying above about the difference between tube rectifiers and solid state rectifiers probably can't be appreciated by the majority of guitarists unless there is a distinct audible difference, and indeed that's what I was most interested in. I know hi-end companies like Matchless make combos that have tube rectifiers, so I would hesitate to simply conclude that what you are saying above is that a solid state rectifier design is "better." There are also manufacturer's who probably do tube rectifier designs better than others. My guess is that it's ultimately a matter of sound, and one of the things I will do when I demo an amp will be to find out if the rectifier is a tube design (like the Epiphone Blues Custom) or solid state (like the Fender Blues Jr.). Your garden hose analogy requires a bit more thought, but again, thanks for clarifying for those of us who don't have the years of experience and education and working knowledge of technical terms. What you are calling a "rant" (a word that is at the top of my list of pet peeves) is more my sharing with other guitarists the experience of being modestly knowledgeable about all the facets involved simply finding an electric guitar amplifier that works for you, but I can see it's time for me to stop thinking out loud. There are links posted somewhere at the forum that explain in more detail the design of guitar amps? |
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Post by ChrisK on Jun 22, 2008 21:27:42 GMT -5
Do make sure that you find out whether the output stage is class A or class AB. The Blues Jr. is only class AB, and would benefit from a tube rectifier. Please note that the reverb circuit in the Blues Jr. is opamp, and not tube-based. The Blues Custom is switchable between class A (where a tube rectifier has much less effect) and class AB (where it does matter for sag). A class A output stage has a relative constant plate current. The plates are always hot and "brown*" sounding. A class AB output has a much reduced idling plate current. The amp has to be driven hard to keep the plates sounding "brown*". *brown, a term meaning that the positive cycle of the waveform is rounded, reducing the upper harmonics . Bear in mind that folk often replaced the tube rectifier to get a "better" sound (SRV for instance). Also bear in mind that class A or class AB only means the bias point. It does not mean single-ended vs push pull. A push pull amp can be biased as either class A or AB. A single-ended amp has to be biased in class A, unless you're planning on renting your audience. ;D ;D  Rant on (well, it looked like one, since you used a lot of words so I figured that you're somewhat passionate about this), it gives me license to write long rant'sponses. In many ways, using water (current) with gravity/pressure (voltage) really helps to explain these things. I tend to not use this since many folk feel that I'm talking down to them because they don't have a technical background (which I am and have to, because they don't have a technical background).  Resistors are pipes of varying diameters. Capacitors are tanks (or elastic hoses in this case since it really helps one to see the apparent "surge" before power sag comes into play). Inductors are accumulators (those things that have an air bladder to soften the water hammer effect). The pressure in the bladder is the increasing magnetic field. And, an opamp circuit is just a see-saw with a variable fulcrum points (+/- is). |
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setain
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Post by setain on Jun 23, 2008 0:06:22 GMT -5
There are links posted somewhere at the forum that explain in more detail the design of guitar amps? Do you mean that you want information about the design of tube amps? If so, I have two links for you: A zip file containing two PDF files. One is an explaination of the theory behind tubes amps. The other is a corresponding schematic. LinkAn FAQ page from AX84 (whose forums you may find quite helpful too.) LinkI hope this is what you were asking for. |
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petros
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Post by petros on Jun 24, 2008 11:00:36 GMT -5
This is the kind of article I was looking for (written by Randall Smith of Mesa Boogie fame). Discusses the design of guitar tube amps, including the difference between Class A and AB guitar amp designs, and how the design relates to the sound: www.mesaboogie.com/US/Smith/ClassA-WebVersion.htmStill reading, but as I suspected you should never assume the Class A guitar amp design is "better." Setain: The AX84 website has some other great links and resources, but I'm not quite willing to build an amp from a kit! Thanks. |
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Post by ChrisK on Jun 24, 2008 20:08:55 GMT -5
It really is a function of the types of music that you want to play. I guess that the best course of action is to look into the amps used by your favorite artists, this will give you an idea of the sound of the amp output structures. The Mesa article is pretty good, it's almost completely accurate, in a relative sort of way. One of my amps is the VOX AD50 with the twin triode output stage (really!). This is amplified by a solid-state power amp, but does sound fairly much like the amps that it is emulating. I can tell the differences between the class AB and class A amp models that it has. The thing that impressed me was the selection of a '59 Bassman 4 x 10" with a "wider" sound than the single speaker models. It comes close to my Bro' in law's '59 Bassman. And, one can turn the power down to 150 mW while retaining the "brown" sound in the triodes. I've seen these used for under $200. It is my left leg foot rest in my office. The MK IV is for the right leg. The Valve Jr. is the door stop. |
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setain
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Post by setain on Jun 24, 2008 22:28:28 GMT -5
I skimmed through that article, and I have one small problem with it: Class AB push-pull amps don't fully/totally cancel out the even order harmonics. Check out this thread: ax84.com/bbs/dm.php?thread=344305 |
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Post by ChrisK on Jun 25, 2008 0:09:03 GMT -5
Good link. I love one poster's comment: For every complex question there is a simple and easy to understand wrong answer"... |
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petros
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Post by petros on Jun 25, 2008 8:31:41 GMT -5
I didn't realize that toward the end of this video Lou from Kaos Music Centre demonstrates the difference in sound between Class A and Class AB modes for the switchable Epiphone Blues Custom. If you listen carefully with headphones or a good set of monitors, what I think you hear is that in Class A mode the transients (the pick attacks) are preserved more than in Class AB mode, which gives you the impression of a brighter tone. In AB mode, it's almost as if the sound is "pumping" slightly as would happen when a compressor is set to attenuate the transients, which gives a slightly darker but smoother quality to the sound (what Lou calls "wool"). The differences here make some sense to me given the info in the article above by Randall Smith. In Class A, the power to the tubes is kept more constant and ready to amplify whether you play a note or not. They are ready to respond to the signal right from the very moment you pluck the note. With Class AB design, the power to the tubes diminishes more when there is no signal (Hence, what Randall Smith claims is more "efficient" use of power resulting in less wear on the tubes.) and the slight delay that must occur before the tubes power back up to amplify the signal must give you the "wool" that attenuates the pick attack. He doesn't play much in the vid so you can't tell what different playing styles can do in the two Class modes. I can see certain guitars might benefit from the sonic effect in either case. I also don't know if the Class A/ Class AB distinction is as noticeable with other amps as it is with the Epiphone Blues Custom. By the way, Lou was kind enough to return an email inquiry for the vid he posted on Youtube: Q1. Why is there so much amp noise on the vid? It sounds like the Epiphone Blues Custom is particularly noisey. Is that only the single coils in the strat you were playing? " The amp is very quiet actually. I was playing single coils so that definitely made the typical 60 cycle hum. As it turns out , our neighbour had installed fluorescent light bulbs on a dimmer switch, we share that same circuit and that was causing all the mayhem. It has been fixed since..." Q2. You didn't demonstrate the various degree of overdrive you can get with the "dirty channel." Would you say you can get the degree of distortion you hear on recordings like Clapton in Crossroads or Page on the early Zeppelin II (Heartbreaker, Bring it on Home), or would you say the amp stays cleaner? I'm not looking for the real heavy metal distortion ala Marshall, but I need to get the tone more like the sound in the above recordings. " Yes for sure you can get those tones especially with a Les Paul. The amp is killer. It is a great Rock/Blues amp....You will love it...." But wouldn't you know it! As soon as I get closer to just ordering the Epiphone Blues Custom, I find this amp, the '36 Coupe made by Kustom: www.kustom.com/product_detail.aspx?TypeID=2&FamilyID=73&ProductID=98&Tab=0 There's also some vids on the same website that I'm downloading. I think the Kustom '36 Coupe is available at a local store (not Guitar Center, though Guitar Center on the web does advertise it. edit: I was wrong. I'd have to demo thru an Internet order). The comments I saw posted on this amp are very favorable, and it seems to be mostly attracting players who claim to be in the 10-40 years of experience category (i.e., the ones who say they've tried just about all the amps out there). I need to find out more details/features. |
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petros
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Post by petros on Jun 26, 2008 10:16:39 GMT -5
Anyone ever heard anything about Traynor Combo amps? www.traynoramps.com/products.asp?id=251&cat=63&type=3This is a 1 x 12 15 Watt model that has a balanced record out with a switch that allows you to disable the speaker (which would allow me to use the amp to get tube distortion but then experiment with cabinet simulators for recording), and the speaker is the much highly acclaimed Celestion Greenback. (edit: Forget it. Many people are saying the amp is only worth it for the clean channel, and there you need to use a pedal to get nice distortion. The drive channel is being called "unmusical." Someone even said, "the distortion sounds very cheap." Pay more than $600 for a tube amp and need to use a pedal to get a nice distortion? Not my idea of a nice combo. Plus, the thing is now manufactured by Yorkville Electronics, and I've had bad experiences with them.) |
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Post by D2o on Jun 26, 2008 10:46:49 GMT -5
Anyone ever heard anything about Traynor Combo amps? www.traynoramps.com/products.asp?id=251&cat=63&type=3This is a 1 x 12 15 Watt model that has a balanced record out with a switch that allows you to disable the speaker (which would allow me to use the amp to get tube distortion but then experiment with cabinet simulators for recording), and the speaker is the much highly acclaimed Celestion Greenback. Traynor is a very familiar name to me because they are made near my home in Toronto. They are pretty common in this neck of the woods so I tend to trick myself into thinking of them as a pedestrian domestic amp. My sense is that, in comparison to other amps, they are actually good value and are VERY solidly built and reliable, but do not enjoy the reputation that comes with the pinache of being made by [insert fancy brand name here]. I don't know how they stack up tone-wise to the others you have already looked at. You can read reviews about them here: reviews.harmony-central.com/reviews/Guitar+Amp/product/Traynor/YCV20-WR+112+Combo/10/1I hope that helps |
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lpdeluxe
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Post by lpdeluxe on Jul 14, 2008 14:17:26 GMT -5
Thank you, ChrisK and DD842 ver 2.0 for some informative posts.
I skimmed much of this thread, and didn't notice that anyone mentioned Harmony Central User Reviews as a resource. It has a relatively low level of reviews that require dosage cum granus salus* and a wide range of individual players' experience with various amps.
After reading reviews of the Fender Jazzmaster Ultralight there, I worked out a trade/purchase with my local dealer and am now the satisfied owner of the lightest, coolest sounding amp in my personal history. Outside petros' budget at around $1100 US, I got mine for some other gear and $250 + tax cash.
_________
*"with a grain of salt"
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Post by D2o on Jul 14, 2008 14:32:14 GMT -5
Thanks, LP ChrisK, and many others, including you, have given some informative posts ... ... but I think you got the wrong guy when you put my name down ... wasn't I the guy who had to put a caveat before most of my posts? You are right about the omission of HC reviews, so the one thing I did write, that you may feel is of value, is this: |
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lpdeluxe
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Post by lpdeluxe on Jul 14, 2008 15:44:12 GMT -5
Well, dammit, you're helpful anyway, which I can prove because now I can **prove** you mentioned the Harmony Central User Reviews.
So I'm still up, 2-1.
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Post by D2o on Jul 14, 2008 16:29:15 GMT -5
Well, dammit, you're helpful anyway, which I can prove because now I can **prove** you mentioned the Harmony Central User Reviews. So I'm still up, 2-1. ;D Well, in that case I won't argue. I'll just accept your appreciation, and thank you for it. Thanks!  DD |
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lpdeluxe
Meter Reader 1st Class
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Post by lpdeluxe on Jul 14, 2008 17:59:15 GMT -5
Not to be a pest, but has anyone suggested the Fender Hot Rod Series Blues Jr? MF has 'em for $480US and Harmony Central has 6 pages of reviews, with the average ratings running in the 7s and 8s.
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Post by newey on Jul 14, 2008 22:18:49 GMT -5
lpd-
In his very first post here. petros said:
Sounds like he's kinda already ruled that out. From the prior posts, I got the impression he was leaning more to a British "valve" sound.
I personally much like the Blues, jr.
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lpdeluxe
Meter Reader 1st Class
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Post by lpdeluxe on Jul 15, 2008 5:43:58 GMT -5
Ah. I didn't re-read the thread before I posted that, but I think you may be right.
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nomadh
Rookie Solder Flinger
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Post by nomadh on Aug 4, 2008 13:58:13 GMT -5
Interesting read. I know I'm late to the party on this but although I doubt my ear is as discriminating as some here but I do have a suggestion or 2. I own a peavey classic 50. I picked it over many amps I've tried, many of them fenders. I bought it thinking it was good for the price. I now realize its just good. Really good and excellent. Well built and very sweet sounding. It is the sound I think of as class A/B. I think the drive channel is just a bit buzzy although it sweetened up as the speakers broke in. I like the vintage type voiced amps. I tried a valve king and I truly did not believe it was a tube amp. Sounded like my old big muff back when I was 14. I have been trying the V series crates for a few years now and have always loved the sound but as mentioned most were broken. Reliability seems better than I noted by reviews on the web. If it needs a few pots or jacks in a few years I can deal with that. Well I finally bought a V30. For <$350 on ebay I had too. I don't understand why I love it so much. Its just seems bubbling with rich harmonic overtones. I suspect it would sound musical if my cat just walked on my guitar. The amp seems solid although I've only had it a week. I sympathize with you on trying to find an amp and collect reviews on something so subjective. Anyway I very highly reccommend the crate specially the v30 or v32 palominos. Its what I hear when I think class A, although that is probably more marketing BS. Perhaps you can run around your area answering craigslists ads. I could have tried many of the amps mentioned including Carrs and Carvins over time. I'd try the crate. Good luck
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tomko
Rookie Solder Flinger
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Post by tomko on Aug 8, 2008 14:05:55 GMT -5
You could always go with a Fender Pro Jr. They are made in China (i believe) but are reportedly better sounding than the Blues Jr. because the Pro Jr. has a simpler preamp circuit- one vol., one tone. Then use the money you saved to buy a good distortion pedal(s) like a Fulltone, Z-Vex, Keely, Analog Man, etc. for higher gain sounds. Or maybe a better speaker. OR you could use your plug-ins and add a tube driver pedal or a tube mic preamp after the plug-in to dial in a more organic, less digital sound, and more distorted if wanted. Simple solutions to that age old question |
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