Post your amps!

[darkhorse]

Originally Posted by matskull

42 amps! That's crazy, they don't even have that at the store, I'd love to see a pic of your room.

first off no way I am believing anyone has 42 amps.
You must not be married. A pic of your wife beating you over the head with a old Princeton would be special.

[paul101]

My two Cornells do everything I could want and really need cleaning....

[The Famous Yard]

This is the Top Porn thread at the moment. Enjoying.

[Jollymon]

Thanks for the reply, TAVD. Sorry for the long delay getting back. Can you tell me what tubes go in it or do you have a schematic or pamphlet or any information on it? Thanks.

[TAVD]

Originally Posted by Jollymon

Thanks for the reply, TAVD. Sorry for the long delay getting back. Can you tell me what tubes go in it or do you have a schematic or pamphlet or any information on it? Thanks.

6v6 and12ax7. No technical docs but I think any qualified amp tech should be able to figure it out.

[Silent Sound]

Great to see so many of you listing the old Ampeg amps! I really love those things. They have great clean sounds and nice crunch when driven. Plus the reverb and tremolo sound magnificent. They cover the Fender territory nicely, but with their own signature sound. I just love the way those 7591 tubes break up!

[DerekJ]

Originally Posted by paul101

My two Cornells do everything I could want and really need cleaning....

Wow, nice amps...what are the circuirts? If classic circuirts, any particular mods?

[darkhorse]

Trower was big fan of Cornell in recent recording studio issues. He had him make a larger wattage model for stage but the returned to some new model VM Marshall's w the std 4x12s. Robin could not get the stage volume without excessive breakup dist on stage as is the deal with low wattage amps, great for recording one surmises. The circuit did not maintain the same sense of tone when Cornell tried to watt it up.
One can hear it on Trower's recordings of the last years, a nice sounding amp. Maybe it's just me but I can hear smaller amps in recordings verses the depth and punch of wattage amps. Plus the clean breakup point is telling.

At any rate Cornell's are as expensive as they are hard to get, hats off to our fellow player for managing to obtain such high budget efforts.

[darkhorse]

Originally Posted by sharky 007

Marshall TSL 60 and Marshall 1959 Plexi 100 watt.

Daddy like!

[paul101]

Originally Posted by DerekJ

Wow, nice amps...what are the circuirts? If classic circuirts, any particular mods?

The tweed Romany Plus is from what I can gather loosely based on a Fender Champ.(12 AX7 AND 6l6 GC'S) However it has a 12 inch Jenson in it and with the tone controls switched in it sounds way more Hi-fi than any Champ I've heard. Great clean tones, with spring reverb. It can be switched between 10, 2 and 1/4 watt.

The Plexi 18/20 is based is based on a Marshall pa 20, though again its not a clone and from what I know the circuit design was only a starting point. I've never heard a pa 20, so cant say how it differs sound wise. Its incredibly responsive and breaks up pretty early on, so its full on filth or full on filth.
It also super loud for a 20 watt amp and absolutely destroys the drummer in my band who hits fairly hard. It is switchable to 5 watts which is useful.

[paul101]

Originally Posted by darkhorse

Trower was big fan of Cornell in recent recording studio issues. He had him make a larger wattage model for stage but the returned to some new model VM Marshall's w the std 4x12s. Robin could not get the stage volume without excessive breakup dist on stage as is the deal with low wattage amps, great for recording one surmises. The circuit did not maintain the same sense of tone when Cornell tried to watt it up.
One can hear it on Trower's recordings of the last years, a nice sounding amp. Maybe it's just me but I can hear smaller amps in recordings verses the depth and punch of wattage amps. Plus the clean breakup point is telling.

At any rate Cornell's are as expensive as they are hard to get, hats off to our fellow player for managing to obtain such high budget efforts.

Out of interest which Cornell was Trower using? The Cornell Plexi 45/50 is crazy loud, so I am presuming it was one of the smaller ones?

Cornells are pretty reasonably priced second hand buy in the UK. You can buy both of them for around a £1000 with a bit of luck on Ebay.

[The Famous Yard]

In the studio I have:

Ampeg V4B
Fender Blues Junior
Fender Dual Showman Black Face 1964
Fender Vibro Champ 1970s
Gibson Skylark 1965
Hiwatt Custom 100 DR103
Hiwatt 100w P.A. Head 1970s
Marshall JMP Superbass 100
Mesa Boogie Studio Pre
Mesa Boogie 295 Simul Class Stereo Power Amp
Mesa Boogie Formula Pre
Mesa Boogie 20/20 Valve Power Amp
Mesa Boogie DC-2 Caliber
Phillips Strange Old Grey 1950s Amp
Selmer Treble'n'Bass 100 70s
THD Univalve
Vox AC30 JMI era 1965
WEM Dominator
WEM Westminster
Trace Elliott V4 Valve Bass amp
Trace Elliott Series 6 with valve preamp

Except for shred/mega hi-gain, I can cover everything pretty much. The low watters seem to get used a lot (Champ/Univalve) and the Mesa 295 is on Class A 30w all the time except for gigs. I could lose some of these really. Some I would never ever sell but you seriously don't need this much stuff. I would be ok with about half of that. But GAS is incurable. There is no hope.

[darkhorse]

Originally Posted by paul101

Out of interest which Cornell was Trower using? The Cornell Plexi 45/50 is crazy loud, so I am presuming it was one of the smaller ones?

Cornells are pretty reasonably priced second hand buy in the UK. You can buy both of them for around a £1000 with a bit of luck on Ebay.

Not sure really, He has a youtube walk through of his last recording rig setup maybe you can tell or see the model of them. He also had a review in GP I read where he talked about studio use and going live. He went back to Marshall on the new JVM model.

I would dig anything w at least 30 watts. Just dig my half stack tones.
After watching Trower, Jeff Beck and Satriani crank on some of the new Marshall's makes me want one again. I find the half stack rig to be the most diverse amp for me to cop any style or tone, it has no limitations. Nice having that wattage on tap when you want it for massive clean low end and punch without too much clipping. Anyone see Jeff Beck on the last SNL using Marshall again, killer clean based blues Strat tones. To me it is a serious misnomer and narrow view to imagine the whole point of tubes is just gain and breakup. Wattage has a purpose, I could never understand removing wattage out of an amp, sort of becomes like a dist pedal.

[Aluz82]

Got this About a month ago. Freaking love the sound I get from it.

[col]

I don't have the 4x12 anymore.

[darkhorse]

Originally Posted by col

I don't have the 4x12 anymore.

Dig the heads. Nice.
So what is in the cabs? Wattage???

[cavern]

My latest fling.Hand wired

[Jollymon]

Originally Posted by TAVD

6v6 and12ax7. No technical docs but I think any qualified amp tech should be able to figure it out.

Thanks for the information.

[Eat]

[mdme_sadie]

Laney LC30, Mesa 5:25 and a few practice amps. I love my amps, and it'd be a lot of fun to expand the collection with lots of tiny lunchbox and 1-5watt amps just so I could have a wall of (very very small) amps, but these days for the most part I just use the Kemper which has cured my amp GAS (not that I'd turn down a nice Plexi if someone offered of course :D).

[Igotsoul4u]

Laney Lionheart 20watt class a head and a 2x12 blackstar artisan cab. I also have a 5 watt lionheart

[jimmiibass]

Originally Posted by Bristol Posse

Vox AC4
Blackstar HT1
Fender Blues Jr 3

I have to say I'm loving the low wattage life.

Lots of tonal variety, no ear bleeding but real tube breakup when I need it and the Blues Jr is still loud enough to play out. I can now get all of the amp sounds I want with real amps pushing air in my home studio without a lot of interruptions from the local police telling me to turn it down

I am right there with ya man! my Sound City L-120 collects dust while my 20 watt Jet City JCA22H hardly ever leaves the gig-mobile.

[Arichlsss]

/13 Rsa 23
Mesa nomad
Mesa tremo-verb
Valve jr mercury mod
Fender bandmaster
Marshal jcm 2000

[darkhorse]

I can see why home recording guys like little amps.

But the constant refrain of "ear bleeding" and "police being called" somehow escapes me. Having played over 35 years and having my fav amps remaining a half stack I find that amp does anything. Loud yes, but painful or police being called, not in my entire career as a player home or gig w the band.

I understand the little amp tone really, and it is a trick that point does really well. But the refrain a larger amp cannot produce tone without driving small animals away is perhaps at best a bad misnomer of what wattage does and serves in the relationship of sound engineering and physics.

Loudness potential is measured at a db level
3 db increase = 2 x power
10 db increase = 10 x power
This simply means a 100watt amp is only 3db louder than a 50watt and only 10db louder than a 10watt amp.


If 10db or less is getting the cops called on you then perhaps attempts at sound damping are in order. One cannot reproduce low end without any sense of clarity and punch without wattage. And speaker size is relative to low frequency capability. An 8" speaker cannot produce the low end a 15" speaker can muster, it is just physics. Porting and whatnot helps but it is a primary matter of physics. Bass and low end takes wattage while higher frequencies require little wattage to transmit through horns and tweeters. So a small amp is very mid range oriented, a larger 12" helps but the amp runs out of watts and clips out at a very low volume. That might be what you want but it is really just one type of tone and there is no option otherwise.

Now if it is a matter of wanting overt power amp distortion and the amp reaching critical mass clip out, sure that is a tone, and one does not look for that tone in a half stack uber head, but, no little amp is going to have the depth, power, punch and dynamic range of a larger half stack 4x12. It's just physics. Even if you 10'd that large amp it is not going to sound like a little amp in meltdown it is just a tone unique to that animal. Yet no reason to have to push a half stack to such volumes to get a tone. A lot of master players use half stacks for the quality of the tones even in club based formats. Witness the half stack Marshall tones of Jeffery Beck Live At Ronnie Scott's ranging from cleans to honking gains of pure tone w audience a few feet off the stage front. (Mike Myers and wife in the front table if you care to check out that marvelous DVD of Jeff at his peak.)

Power amp distortion never seemed that pleasing to the ear to me, sort of something one wanted just on the edge of attaining, but gain is largely the function of the preamp gain stages. There is a lot to be said for a vibrant clean tube sound as tubes just make the guitar sound better nice to have an amp that can do a lot of range of tones. If you are after than sort of heavier tone that is not a buzzy sounding gain it sort of takes some wattage.

By all means play the little amps and record them to your hearts content but having a half stack rig is a touch of heaven for some of us. And really 10db less volume at the cost of low end and headroom clarity is not a trade off for some of us.

Recording is a different animal and I suppose one could mic the little amp at a low volume to try and capture a clean tone without breakup but one can sort of hear the difference in recordings of smaller amps and lower volume prints.

Wattage is not loudness per se' and tubes are not just distortion but to each their own. Personally I feel the manufacturers selling little amps at the same or greater prices than traditional amps is a huge ripoff. If you can money to burn be my guest. I cannot help but feel in a few years there will be a desire to attain the attributes wattage affords. What will that cost us then?

Anyway, don't hate us because we are pretty.

[kennybro]

Originally Posted by Eat

Cool. Is the metal spiral notebook spine integral to the sound?

[darkhorse]

Looks like a count the shorts test.

[keeperseeker]

My current amps:
Fender 1967 Blackface Deluxe Reverb
Two-Rock J2 Combo

Bought and sold some Marshall, modern Fender and Orange amps. I'm very happy with a simple setup of two amps.

[darkhorse]

Anyone played or heard those new Fender issue tweed vintage models that Clapton helped design? A twin tweed running like 40 watts but a tone monster, $3000 bucks. That would be my ideal smaller amp. They have a little tweed champ at $1000 but just too little for what I like. Cool amp but if I have that kind of money the draw of the new Marshall JVM410 half stack would probably be the amp for me.

[the donal]

My solitary amp is a Mesa Nomad 45.

It often gets noted as being a hard amp to get good sounds from, but I've always been pretty happy with it.

It's very versatile tonally and bloody loud. I've got a THD hot plate on it which helps a little, but like Dark Horse, my neighbours seem fairly understanding...

No desire for any other amps right now- though a MK V half stack would be nice...

I also considered getting a low wattage amp and starting to mess about with pedals, but I do like to keep things fairly simple and prefer to use the amp's own distortion sounds. I have an SE70 in the loop for mod/delay which still sounds good after all these years..

[col]

Originally Posted by darkhorse

Dig the heads. Nice.
So what is in the cabs? Wattage???

Took me a while to notice this, thanks.

The 412 had V30s and Hot100's in an x-pattern (total 240 watts) and the 212 is loaded with a G12K100 and a Texas Heat (= 200 watts).