Congrats! Suggest that you ride out the storm as if there is a power surge, this is when you might get it... just a thought...
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Summit 2BA-221, TLA-50
mBox Pro 3, Pro Tools 10.3.4, OSX 10.8.3
Radial JDI x 2, ProD2, ProRMP
'65 Bandmaster, '65 Tremolux, '65 Showman; '74 Princeton, '77 Princeton Reverb, Dr. Z. Mini Z Head & 1x12 Cab, pedals, George L's cabling
'65 Farfisa Compact Duo www.facebook.com/thetoysband
As it turns out, the storm hit the worst to the South East & North East, of here,
so while the trees have been getting a heavy workout, it seems the worst
weather just missed us.
This amp most definitely fills a niche in my highly select, specialty amps
collection.
While the Custom 50 Jimmy, does JP tones with ease, it also very handily
covers Who, Eagles, Joe Walsh, Bad Company, Cheap Trick, Jethro Tull, AC/DC, and a long list of the top classic rock recording artists.
Every guitar we plugged in truly shined through with its own natural voice.
As you can hear, the amp also reveals every minute detail in the performance, inspiring you to tighten up on your playing.
The Reeves, Port City OS 2X12, as configured will easily out perform a more
typical 4X12 loaded with Greenbacks.
I hope to add another set of demos with HB's and hopefully some slide.
There's no way my own guitar hackery could do this amp justice, so I'm grateful that John could come out to give her a spin.
I learned to be more careful with mic settings & placement with the EVM12L.
It sounds great, but it wants to dominate, so you need to compensate a bit.
The Fane Medusa 150-C is just barely broken in and is already shining.
Jeezus. What an amp slut. You should post a pic of your entire collection. Actually, forget that. I have bad enough GAS just reading your posts.
__________________ - It looks just like a Telefunken U47 - with leather. You'll love it ... - Jazz is not dead - it just smells funny.
- It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.
Jeezus. What an amp slut. You should post a pic of your entire collection. Actually, forget that. I have bad enough GAS just reading your posts.
:-)
This is actually a very small collection compared to some I've seen.
What I find so enlightening is the way each of my song ideas sound through
each different amp, finding the best voice to fit a particular song or mood
in a song.
Its also quite interesting to see my own playing and playing styles of my friends, clearly morphing, depending on which amp we're going through.
Its like "that sound" makes you want to play a certain way to fit the tone.
The more I work with the Custom 50 Jimmy, the more I can hear how special
this amp really is.
To be honest, it would be difficult to enjoy this amp at any apartment friendly
volumes. This is clearly a professional, studio & live performance, touring rig.
While the amp is a blast to play with FX pedals & processors, the amp is particularly splendid straight up with every guitar we plugged in.
It's difficult to comprehend how many ideal, recording quality, perfect legacy tones we were getting from this single channel amp.
Combing this amp with the Reeves OS Super Cab EVM12L & Fane Medusa 150-C blend, you've got a rig that delivers full stack stadium tones out of a 2X12.
Just brainstorming something here and yeah I'm a bit too ham fisted on some of the power cords, but you can certainly hear the glassy top end of the Fane Medusa 150-C
Tracked into Logic Studio
Pulling back on the Jimmy's pre gain just a bit.
For better or worse, you can hear every detail.
AKG D-1000 on the EVM12L pulled back a bit and the Mercenary TAB 57 on the Fane.
The opened up top end range of the Mercenary TAB SM57 definitely helps capture that top end jangle, but during the quieter parts the mic is also excellent for rejecting noise in less than
ideal recording conditions.
It's about dad gum time we see one of these amps in action!
Here the Lenny Kravitz Band plays a tribute to the surviving members of Led Zeppelin
live at The Kennedy Center Honors.
The Reeves Custom 50 Jimmy is in the shadows being used by the lead player
with the old P-90 Black LP
The rhythm player is running through a white Friedman.
that guitar is a really old Les Paul Custom. Take a good look, the ebony board and the inlay and headstock. Probably a 54
Yeah as far as I know both Lenny & Craig are vintage collectors.
Funny if we see a Tele all road worn and beaten, it just has mojo, but
seeing the finish worn down to bare wood like that on the top of a Lester is not as common.
It looks like Lenny had to regroup himself a bit in the very beginning
realizing Oh crap that's really them up there, then his phrasing & pitch tightens up.
Yeah as far as I know both Lenny & Craig are vintage collectors.
Funny if we see a Tele all road worn and beaten, it just has mojo, but
seeing the finish worn down to bare wood like that on the top of a Lester is not as common.
you should see my 69 LP Custom, I bought it in Feb 73, and until around 85 it was my main guitar, back then it was my tool I never thought about it being a collectors item or anything
you should see my 69 LP Custom, I bought it in Feb 73, and until around 85 it was my main guitar, back then it was my tool I never thought about it being a collectors item or anything
I look at the condition of my '64 Jazz Bass & my '66 Hofner to compare normal
wear and tear, but that gorgeous sounding vintage LP is missing wood on the
top there :-)
It also has the ideal pickup configuration to cut through a busy mix without quite so much low end mud on the neck pickup compared to typical PAFs.
Its like hearing the perfect blend of tasteful Player, Guitar & Amp
I look at the condition of my '64 Jazz Bass & my '66 Hofner to compare normal
wear and tear, but that gorgeous sounding vintage LP is missing wood on the
top there :-)
It also has the ideal pickup configuration to cut through a busy mix without quite so much low end mud on the neck pickup compared to typical PAFs.
Its like hearing the perfect blend of tasteful Player, Guitar & Amp
I don't know they're all different colors, and they're all great. Robert Fripp
did quite well with the neck pickup through a Hiwatt in King Crimson. So did Peter Frampton, and I just cut a solo on a pop jazz song with my LP and an Egnater Mica Tol that I'm pleased with.
I don't know they're all different colors, and they're all great. Robert Fripp
did quite well with the neck pickup through a Hiwatt in King Crimson. So did Peter Frampton, and I just cut a solo on a pop jazz song with my LP and an Egnater Mica Tol that I'm pleased with.
The more typical DR-504 and DR-103 builds have more extended clean headroom to deal with Humbuckers than the Custom Jimmy.
The Jimmy can do those cleans exceptionally well to a point, but not like
a DR-103. But your ears would bleed trying to get a DR-103 to break up
like a Jimmy.
It's not that you can't get there with a stock Hiwatt, but at what volume?
If I want Hiwatt cleans, I can go through my Reeves Custom 225 any day.
The Jimmy gets you in the zone, very nicely at a bit more manageable volume.
What I really like about this clip is how well the Custom Jimmy and the Friedman compliment each other in a big band mix.
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