Newer UK-made Vintage 30...Interesting!

i dont use any stiff speakers, but you and i also play fairly different styles of music
 
i dont use any stiff speakers, but you and i also play fairly different styles of music

Yep, heavily doped speakers with low sensitivity, I can feel it, it might be I can hear it and it gets in my head but I can feel the difference.
 
i use sensitivity as a tool to get the volume i need out of an amp, but i dont like heavily doped speakers. i agree there is a feel difference there
 
> There remains some dispute surrounding how much (or whether) a speaker "breaks in" the way most of us assume it does

When I bought my JCM 900 SL-X half stack in 1994, it came with a 1960 Vintage V30 stereo cab. When it was new, the speakers had some top end / fizz to them (well, basically reproducing the fizz of the amp) while the mids were kind of restrained/suppressed. I recorded some music with it in that state, then later deliberately ran it fully open (like I was Hendrix, everything on 10) for a while, to see what if any breaking in could do for it. After that, the highest high end did soften up and the mids filled in a bit. It might have lost a bit of detail but gained a bit of punch in the mids. But it never barked like a 1983 G12-80 I have.

The V30 does always have a signature sound, though. IME the V30 is middy like a Blue, and can chime like a Blue at lower volumes. It lives up to the hype as a higher watt Blue. A G12-80 barks mids but that's about it. A G12H greenback is softer in the mids and more even across all frequencies, relatively, IME.

I don't know if the average player would notice or not; depends on the room they are listening in, how loud they are playing and if they are really running it through it's paces with different kinds of music, or not.
 
A little on the side, but one of my goals for this autumn is to replace the speakers in my 4x12. In 2008, I bought Greenbacks made in the Chinese factory, which was then in its early stages. The speakers have always had a muffled quality to them that I have never been able to explain. I want to try and change them for the 20w Heritage versions (I dislike the EVH rebranding of them, but can live with it since it will never be seen). I hope to be able to make an A/B of the two, and hopefully see results not dissimilar to these.
 
A little on the side, but one of my goals for this autumn is to replace the speakers in my 4x12. In 2008, I bought Greenbacks made in the Chinese factory, which was then in its early stages. The speakers have always had a muffled quality to them that I have never been able to explain. I want to try and change them for the 20w Heritage versions (I dislike the EVH rebranding of them, but can live with it since it will never be seen). I hope to be able to make an A/B of the two, and hopefully see results not dissimilar to these.

That's cool! I will say, I used to have good luck blending 2 types of speakers in a 4x12, typically in an "X" pattern. Might be worth swapping 2 out at first and seeing what you think before splurging on the other 2.
 
All the "differences" are just a quick turn of my amp's EQ knob's away..
Each to his own, but I don't know of many amps have a narrow Q band targeting 5-6KHz. And even if it's the main thing, it's just one of the differences.

That being said... yeah, in a room with a loud half stack blasting, I'm not too concerned to start carving notches with parametric EQ's into my tone. If it sounds inspiring, that's good enough. But I suppose once you start mic'ing stuff up, it's kind of unavoidable thinking "hey, why doesn't my tone sound as good as the records that I love?". But maybe that's just me.
 
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My tone often sounds better than a whole lot of the records I love :D

The thing is when it comes to V30's (or any other speaker) I'm just not nit-picky/anal about the "variations".

All I can say is I've never confused a V30 (any/all versions) for anything else...
 
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Each to his own, but I don't know of many amps have a narrow Q band targeting 5-6KHz. And even if it's the main thing, it's just one of the differences.

That being said... yeah, in a room with a loud half stack blasting, I'm not too concerned to start carving notches with parametric EQ's into my tone. If it sounds inspiring, that's good enough. But I suppose once you start mic'ing stuff up, it's kind of unavoidable thinking "hey, why doesn't my tone sound as good as the records that I love?". But maybe that's just me.

If you ever manage to listen to isolated tracks on your favorite albums, you'll find that they probably don't sound as amazing as you think. It's in the mix.
 
If you ever manage to listen to isolated tracks on your favorite albums, you'll find that they probably don't sound as amazing as you think. It's in the mix.

This is always very revealing when I hear isolated tracks. I don't think I'd want to hear them if I wasn't a musician...it would take the magic away.
 
i like listening to isolated tracks. james jamersons playing on the whole marvin gaye whats going onb album is so godamn good. in general, there is less gain and less bass that youd think
 
If you ever manage to listen to isolated tracks on your favorite albums, you'll find that they probably don't sound as amazing as you think. It's in the mix.
There's plenty of isolated tracks floating around where they all sound killer, regardless, at least to my ears. I'm no stranger to mixing. I don't mean to come off presumptuous, but I suppose I'm used to what guitars are supposed to sound like for them to function well in a mix.

Honestly, I suspect a big part of the reason why V30's are so popular is because they're easy to fit in a mix. Some more than others, tho.
 
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All I can say is I've never confused a V30 (any/all versions) for anything else...

Just for fun, you might check out the V-type. It's close enough to confuse a lot of folks.

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Honestly, on the topic of isolated tracks and whatnot, bit of a hot take, but I find anyone who dials in a tone on its own that he/she thinks it sounds good, and then it doesn't work in the mix, didn't really dial in a good tone at all.

JMO.
 
Honestly, on the topic of isolated tracks and whatnot, bit of a hot take, but I find anyone who dials in a tone on its own that he/she thinks it sounds good, and then it doesn't work in the mix, didn't really dial in a good tone at all.

JMO.

I dunno . . . I figure 'good tone' is heavily dependent upon context. It's going to be different in a three piece group, two guitar rock group, singer/guitarist setting, or 12 piece band. What is good in one won't be good in another.
 
sitting in a mix can be a tricky thing for sure, especially in a big band. the more things you have fighting over similar frequencies, the harder is it. in a trio, everything can sound fat, the more pieces you add the more narrow something has to be. cant have two fat guitars, fat drums, fat organ, and fat bass.
 
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