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How are the Fender Twin Reverb reissues?
Old 8th May 2006
  #31
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Tetness's Avatar
The best twin is the '57 dual rectifier narrow panel tweed. The Fender reissues aren't great. But Victoria and Bluesland are passable. I have a Blueland one for sale. I found a real '57 so I'm selling my Bluesland. let me know if you're interested. The price and the sound are right.
Old 8th May 2006
  #32
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AdamJay's Avatar
 

Quote:
Originally Posted by Tetness
The best twin is the '57 dual rectifier narrow panel tweed. The Fender reissues aren't great. But Victoria and Bluesland are passable. I have a Blueland one for sale. I found a real '57 so I'm selling my Bluesland. let me know if you're interested. The price and the sound are right.
well, that would depend on how well it does with a Rhodes.
does it have Vibrato?
Old 8th May 2006
  #33
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Tetness's Avatar
No vibrato. Reccomend a good vibrato pedal. However, the tone is great. Another amp you might want to consider are the new JIMI voxs that are coming out. I heard great things. Although, I think price might be high for you. I would sell my Bluesland for 1,000, which is a great deal considering the weber speakers that are in it alone cost a great deal.
Old 9th May 2006
  #34
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Wes Kuhnley's Avatar
 

Quote:
Originally Posted by doorknocker
I always thought that providing this part was the player's job. I absolutely love my 1971 Marshall Super Lead but it doesn't make me play any more or less soulful than I would thru a reissue.....YMMV
I disagree 110%. I play differently through different amps/guitars/fx etc. Hearing the sound I'm making affects me very deeply. I can tell the difference between a track I recorded in the same room with the amp, and a track I sat in the control room to record. it makes a huge difference in my playing, and in many other player's I've noticed.

I submit that the subtle differences that make up the soul of a well-cared for vintage, or well-crafted (notice I didn't say "manufactured") boutique amp, also affect the player in a positive manner. The look of the amp, the feel of the knobs, the vibrations felt through the floor while strumming power chords...all add to a performance.

just my .02
Old 9th May 2006
  #35
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timmcallister's Avatar
 

Lots of good info, and many opinions...

Heres another:
PERSONALLY, I would only buy a blackface or earlier (tweed etc) fender amp (and I have many).

IF you know what you are doing, these amps are very easy to size up prior to buying and quite easy to work on. I've bought many and been very happy with all but one.

If I were to recommend what to buy, I might suggest an early silverface. Many of these can be modded to blackface specs and be wonderful amps. great players.

I have been unhappy with reissues. No thanks... As someone said in an earlier post, they may have the sound, but not the soul.

And BTW, yes, if you plan on running keyboards through the amp, you'll need a twin.
Old 9th May 2006
  #36
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doorknocker's Avatar
Quote:
Originally Posted by Wes Kuhnley
I play differently through different amps/guitars/fx etc. Hearing the sound I'm making affects me very deeply. I can tell the difference between a track I recorded in the same room with the amp, and a track I sat in the control room to record. it makes a huge difference in my playing, and in many other player's I've noticed.
I agree. I love using different guitars/amps/techniques too. I'm just trying to be less 'precious' about the sounds and tools. From a recording perspective you gotta see the big picture and sometimes that cigarette pack sized Fender toy Twin sounds better FOR THE SONG than the 'Matchless Point-to-point Double Boost Special'.

I suspect that some 'Boutique gear' players just wouldn't think of using a 'cheap' amp to begin with or suffer from depression when their '68 Plexi isn't available and that was the point I was trying to make.....

Personally I just try to prevent the 'Eric Johnson syndrome' where the very smallest details will be the cause for endless retakes, tweaking,etc. If it serves the song, great...who cares how long it took you to record but when its about soloing tracks and ^player ego' then its a problem IMO.

But I totally agree about the difference bewtween playing in the control room as opposed to the live toom. But this has less to do with the equipment than the interaction of the guitar/PUs and the amp, Neil Young and Daniel Lanois are masters of this technique. Unless I'm going direct, which I quite often do for clean sounds, I don't think I've ever recorded anything in the control room that I liked.
Old 9th May 2006
  #37
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Roger Starr's Avatar
 

Quote:
Originally Posted by Bob Ross
And, just to add another opinion to the fray: I had a 1977 silverface Twin Reverb with the master volume, and I kick myself daily for selling it. That amp was ferocious! Yes, it sounded best when you essentially disabled the master volume control (leaving it dimed), and god forbid you tried to use the Pull-For-Distortion feature as anything other than synthetic buzzy/rizzy insect fuzz. But for a loud, clean, testosterone-infusor that bestowed a chest-smacking fatness to every axe played through it, that '77 Twin was beyond reproach. I'd take one again in a heartbeat.
I have a 77 Twin with JBL in it. I like the thing. I play live always with the master on 10 and arrange the volume with the 'normal' volume knob. It just sounds very good, tho' I must say that with the JBL's a Gibson sounds better then a Fender. Question, Bob, what do you mean with disabling the master volume?

Regards,

Roger
Old 9th May 2006
  #38
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dokushoka's Avatar
 

Quote:
Originally Posted by AdamJay
well, of all the amps i've heard a Rhodes through, i prefered the Twin Reverb the most.
and thats mostly why i'm looking to buy once.
That's because you don't have the suitcase for it. The full Rhodes sounds truly comes from that preamp/cab IMO.
Old 9th May 2006
  #39
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Bob Ross's Avatar
 

Quote:
Originally Posted by Roger Starr
I play live always with the master on 10 and arrange the volume with the 'normal' volume knob. ...Question, Bob, what do you mean with disabling the master volume?
Just that I mostly used it exactly as you do: with the Master Volume control turned all the way up so that it's contributing as little attenuation to the circuit as possible. (I did not mean that I had the amp modified in any way.)
Old 9th May 2006
  #40
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arpodthegreat's Avatar
 

i would agree that if you want the vintage fender blackface sound the best place to get that it with boutique amps. personally i have found the victoria and black cat amps to be unbelievable faithful. not to take away from the victoria because that is a gorgeous amp but the black cats sound like the best fender blackfaces.

If you really want a fender then the Custom Vibrolux Reverb is way better than the reissues. a lot of engineers and session guys (who dig the vintage amp thing) swear by these for live and studio uses. Never tried one though sorry. Have heard really good things though and may be easier to find than vintage amps or boutique depending on where you live.

that said the bad cats are the best that i HAVE HEARD. and i also think you probably wouldn't do to badly either if you ended up just getting a reissue twin. i mean how bad can it be? i think the 70s silverfaces can actually be pretty nice too. you have a lot of options.
Old 9th May 2006
  #41
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AdamJay's Avatar
 

Quote:
Originally Posted by dokushoka
That's because you don't have the suitcase for it.
i've heard the suitcase as well.


my preference, in order is:

1. Super Satellite pair, mic'd seperately for stereo vibrato
2. Twin Reverb
3. Suitcase

There's something about the low end on the Twin that really captures the 'bark'.
Old 9th May 2006
  #42
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dokushoka's Avatar
 

Quote:
Originally Posted by AdamJay
i've heard the suitcase as well.


my preference, in order is:

1. Super Satellite pair, mic'd seperately for stereo vibrato
2. Twin Reverb
3. Suitcase

There's something about the low end on the Twin that really captures the 'bark'.
Is this for you or other players? Because most true players will REALLY want the suitcase. Properly recorded, its pretty tough to beat the sound of the suitcase model...
Old 9th May 2006
  #43
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RoundBadge's Avatar
I got a reissue BF twin in perfect shape on sleazeeBay for $550.00

800.00 is a little on the high side
Old 11th May 2006
  #44
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AdamJay's Avatar
 

update:

i found a '71 Twin Reverb, that has been modded to blackface specs and is in pretty damn good condition, for $750.

i'm happy.

thanks for all the information, gentlemen.
Old 11th May 2006
  #45
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Steamy Williams's Avatar
 

Sounds like a good deal. Enjoy

Could you let us know how you like to setup the Twin with the Rhodes (i.e. settings) once you've had a chance to play with. I find it much easier to to dial in a sound I like on my Blackface Twin for guitar than for my Rhodes. I haven't got round to trying my new Clavinet with my Twin yet, as the Clavinet is in dire need of some attention first, but I'm looking forward to it.

Last edited by Steamy Williams; 11th May 2006 at 11:57 AM..
Old 11th May 2006
  #46
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RoundBadge's Avatar
Quote:
Originally Posted by AdamJay
update:

i found a '71 Twin Reverb, that has been modded to blackface specs and is in pretty damn good condition, for $750.

i'm happy.

thanks for all the information, gentlemen.
Great!..Well done Adam!thumbsup
Old 11th May 2006
  #47
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BradM's Avatar
Excellent work! I think you'll be much happier with this one than the reissue. What kind of speakers are in there? If you have gray-frame JBL's then you are in luck! Otherwise get some Weber 12F150's!

Enjoy your sweet amp,
Brad
Old 11th May 2006
  #48
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Steamy Williams's Avatar
 

Quote:
Originally Posted by Brad McGowan
Excellent work! I think you'll be much happier with this one than the reissue. What kind of speakers are in there? If you have gray-frame JBL's then you are in luck! Otherwise get some Weber 12F150's!

Enjoy your sweet amp,
Brad
The Weber VST 12F150's are excellent. That's what I put in my Twin to replace the tired old Oxfords (I'll get them reconed someday), makes a real difference.
Old 16th May 2006
  #49
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Mixxed Up's Avatar
 

I have owned a '65 TWIN REVERB amp for several years (mine was built in sept 1991). Never found this amp lacking. I have never modded this amp in any way...

The '65 TWIN REVERB is the 85 watt model.
Old 16th May 2006
  #50
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Wes Kuhnley's Avatar
 

Quote:
Originally Posted by doorknocker
Personally I just try to prevent the 'Eric Johnson syndrome' where the very smallest details will be the cause for endless retakes, tweaking,etc. If it serves the song, great...who cares how long it took you to record but when its about soloing tracks and ^player ego' then its a problem IMO.
I'm not advocating trying an endless array of guitars, amps and FX before tracking...nothing kills session momentum faster than that (or a stupid drummer). During pre-production I generally have a good idea about the type of guitar sound and how I will mix it, so I can walk into the tracking session and set up a few select amps and guitars and get the show going.

What I was saying is, a player needs to be inspired by the sound of his own guitar. it makes him a better player, makes the track sit in the mix better etc.
Old 16th May 2006
  #51
they're great - i bought sixteen of them - i use them as meat-tenderizers
Old 17th May 2006
  #52
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Wes Kuhnley's Avatar
 

sixteen what?
Old 17th May 2006
  #53
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SureShotStudio's Avatar
 

hi there,

haven't really read all the other reply's but i own a fender (red knob) the twin and i had a fender twin reverb reissue here for a while and i can honestly say that the red knob smoked the reissue.......... out all the twins i have ever played on i liked the silverfaces the best.

one thing i absolutly love about my red knob is that you can switch it from 100 watts to 25 watts. and if you remove the middle power tubes than that gets reduced to 65 watts and 15 watts (that's how mine is running) mine almost never gets set to more than 15 watts and it's still LOUD!
Old 17th May 2006
  #54
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AdamJay's Avatar
 

Quote:
Originally Posted by Brad McGowan
Excellent work! I think you'll be much happier with this one than the reissue. What kind of speakers are in there? If you have gray-frame JBL's then you are in luck! Otherwise get some Weber 12F150's!

Enjoy your sweet amp,
Brad
thanks!
the speakers look to by Pyle (MH1229). $55/ea speakers.
at first i was skeptical, but then i heard it and they ain't bad at all. good tone, they've definitely been broken in. Come to find out, Derek Trucks uses the Pyle MH1020's in his Super Reverb. I'll definitely look into the Webers though.

Also, turns out its a '72 (master volume), but as mentioned earlier, blackface modded. It was recapped about 2 years ago when the guy had the mod done. Tubes are GT-6L6C (4), Sovtek 12AX7LPS (4) and GT-12AT7-R (2).
He also had it modded so that the Normal channel could access vibrato/reverb with the footswitch.

Steamy Williams,
as for rhodes + twin, if i want that gritty corea/herbie sound i'll crank the input to get it to break up a bit, but adjust that to taste obviously.. crank the bass all the way, scoop out the mid almost entirely (about 1 or 2 on the knob) and the treble gets adjusted based on the song more than any other knob. if theres alot of high register playing, i'll usually tame it to about 5 to 7, but for mid and low registers cranking the high along with the low really gives you the bark when it breaks up. My rhodes usually has the tone knob all the way up (bright), but they're all different. Whats bright on my tone knob may be dull on yours, or vice versa.
Vibrato, usually 60-80% intensity and 1 to 2 on speed but it depends on the song.

and a touch of the spring reverb is always welcome, though usually in more subtle dosages.

here's a pretty solid example of that type of sound:
http://www.fenderrhodes.com/audio/rc...win_Reverb.mp3

for more tonal/classic stuff. i wont drive the preamp as hard, and the low/high eq isn't nearly as extreme. So basically all the knobs that are at extreme settings in the last description would be at more modest settings (3 to 6, all around). Vibrato and rhodes on-board tone to taste, once again. Also, occasionally for a more classic sound its best to go direct. I really like the Groove Tubes Brick DI, and UA 610 DI when that is the case.
Old 20th May 2006
  #55
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AdamJay's Avatar
 

hey guys,
has anyone used the Jensen C12N speakers?

the Weber 12F150 is listed as a "Jensen C12N replacement" on Weber's site.
but the C12N is $65 vs. $95 for the Weber.

I'm not normally one to nickel and dime, but if they're THAT close, it gives me more money to work with to replace the speakers in my Peavey Classic 50 4x10 Combo. (and if anyone has recommendations there as well... spit 'em out!)
Old 20th May 2006
  #56
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BradM's Avatar
Don't skimp! Get the Webers. The Jensen ones are harsher sounding from what I can tell.

Brad
Old 20th May 2006
  #57
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AdamJay's Avatar
 

danke Brad!
Old 20th May 2006
  #58
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todays jensen is not the same jensen of years ago.................just like todays neve is not the neve of years ago. heh sorry i just had to throw that in there.

i'd vote for webers.


Old 21st May 2006
  #59
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man I just sold a RI '65 and reading this thread has made me sad that I did it. It was a f'ing great amp. it could do the very clean jazz thing... i used it in a big band a few times but mostly for rock music. I only sold it because I got a (real) '64 bassman head and 2x12 cab for the same amount I sold the twin for. I should have kept that twin though....damn. Also good is the musicman twin. although it has a solid-state power section....it sounds really, really good.
Old 21st May 2006
  #60
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Anyone know a really good amp tech who can do some of the things talked about here?? I have an early 90's Blues Deville 2x12 that I played and loved for about 12-13 years -- until about 4 months ago it started seriously losing low end. I did the usual with good new tubes, etc., (it's definitely not a tube issue) and finally a local tech said it needed to be recapped. That helped some, but it's not the same, and I really miss what I loved about it originally. I'm willing to ship somewhere to someone who really knows the Fender mod/restoration thing...

thanks!
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