misterwhizzy
Well-known member
The one time I played a Sig:X, it rocked my world. I think I might kill to have a Deliverance II, though. Unbelievable versatility and simplicity, and I need its effects loop.
THAT amp!? Which one rocks your world
- Thread starter Binnerscot
- Start date
solspirit
Ultimate Post Liker
Coma
Well-known member
What do you run yours through? IME they don't really gel with V30s, there's a harshness there that I could never dial out.
playas
Well-known member
My Laney Lionheart.
I almost always seem to gravitatate to it. Makes me want to play more.
I have a Princeton Reverb ri sitting on top and most likely I will take it off and plug in the laney.
There are a few things that could be improved about it...but it sounds fantastic both clean and crunchy...especially crunch.
I almost always seem to gravitatate to it. Makes me want to play more.
I have a Princeton Reverb ri sitting on top and most likely I will take it off and plug in the laney.
There are a few things that could be improved about it...but it sounds fantastic both clean and crunchy...especially crunch.
Rex_Rocker
New member
I think they gel with V30's fine, personally. Especially 8 ohm ones on Mesa cabs. But I used to run mine through a Marshall 1960A with 16 ohm UK Greenbacks or an Orange PPC 112 with a single Chinese Greenback.
I suppose to elaborate, what I meant to say the "666" settings are more in line with the current trend of taking the "you need mids to cut through the mix" to the extreme. I was honestly being facetous, but I do sincerely feel the mids above 4 on any of the 5150 iterations is just overkill. Especially because, to me, the mid knob on 5150's is placed centered around a certain frequency where it cuts just those ugly kind of vocal/nasal mids that 5150's can have. Even Eddie used to run the mid knob low on his.
That's just my opinion, of course, but "boxy", "vocal", or "nasal" are certainly not words I'd use to describe a rhythm I aim for.
Last edited:
Coma
Well-known member
I have fortunately never managed to get a boxy, honky or nasally tone out of my 5153. But the original Peavey 5150/6505 always sounded like that to my ears. The main offenders would be the slew of 90s death metal guitarists that used the Tube Screamer + Peavey 5150 + V30S combo.
Okay this is hard.. I have a lot of amps that do specific things that I love for specific stuff.
So I'm going to have to narrow it down to two.
For the ultimate clean black face ridiculous headroom fender tone, I actually am in love with Leo's other brand.. a Music Man HD 130 410. It's humongous so it doesn't go out, but it is the best "Fender" amp I have ever owned by far.. extreme clean and warm but with ridiculous headroom. With 130 watts I've never turned it past five and most of the time it's lower and it's half of my recording gear.
Absolutely loves pedals and the four tens give it a crisp upper end with beautiful low end. Found a head a couple of weeks ago for $475 but by the time I went to pick it up somebody smart had grabbed it before I got there
At the opposite end of the spectrum and the other side of my stereo volume pedal is my Spawn Street rod. It's incredible strength is going from the cleanest tube amp I've ever owned to one of the crunchiest.
If you're not familiar, Splawn started off modifying Marshalls and then came up with some really cool designs.. this one has a clean channel that is almost as clean as a JC 120. The second channel has three gears, essentially levels of crunch, that go from classic plexi to metallish.
The foot switch allows you to switch between the two channels and to switch two gears and also includes a boost switch... It is a perfect amp for me to stand alone, but it's in such beautiful shape that I'll never take it out.
And here's the reason I can't pick one over the other. They are both the core of my recording rig. With my volume pedal all the way down, I start with the clean spawn, usually with chorus.
As I move the pedal up, it brings in the music man to get more thickness and girth.
Then I shift gears on the splawn and as I bring the pedal back I start getting plexy kinds of crunch and then when I need to break through I change gears or hit the boost.
Other than modeling, this gives me the most flexibility I could ever imagine and I'm pretty spoiled.
Ironically, although I love both amps entirely on their own, some of my favorite tones have come from those in between sounds where you've got some of the clean splawn with the music man, or some of the clean music man with the overdriven splawn.
So I'm going to have to narrow it down to two.
For the ultimate clean black face ridiculous headroom fender tone, I actually am in love with Leo's other brand.. a Music Man HD 130 410. It's humongous so it doesn't go out, but it is the best "Fender" amp I have ever owned by far.. extreme clean and warm but with ridiculous headroom. With 130 watts I've never turned it past five and most of the time it's lower and it's half of my recording gear.
Absolutely loves pedals and the four tens give it a crisp upper end with beautiful low end. Found a head a couple of weeks ago for $475 but by the time I went to pick it up somebody smart had grabbed it before I got there
At the opposite end of the spectrum and the other side of my stereo volume pedal is my Spawn Street rod. It's incredible strength is going from the cleanest tube amp I've ever owned to one of the crunchiest.
If you're not familiar, Splawn started off modifying Marshalls and then came up with some really cool designs.. this one has a clean channel that is almost as clean as a JC 120. The second channel has three gears, essentially levels of crunch, that go from classic plexi to metallish.
The foot switch allows you to switch between the two channels and to switch two gears and also includes a boost switch... It is a perfect amp for me to stand alone, but it's in such beautiful shape that I'll never take it out.
And here's the reason I can't pick one over the other. They are both the core of my recording rig. With my volume pedal all the way down, I start with the clean spawn, usually with chorus.
As I move the pedal up, it brings in the music man to get more thickness and girth.
Then I shift gears on the splawn and as I bring the pedal back I start getting plexy kinds of crunch and then when I need to break through I change gears or hit the boost.
Other than modeling, this gives me the most flexibility I could ever imagine and I'm pretty spoiled.
Ironically, although I love both amps entirely on their own, some of my favorite tones have come from those in between sounds where you've got some of the clean splawn with the music man, or some of the clean music man with the overdriven splawn.
i totally get that. my rig for one band is my old deluxe reverb set cleanish and a tweed princeton with volume full up and tone at 9 (of 12) with an aby switch. deluxe is always on, tweed comes in and out. its only 4w but its kinda magical mixed with the cleanish reverb sound from the other amp
I can almost hear it.. Great combo! A perfect rhythm and a perfect lead with everything in between.
I was a Rush freak when I was a kid so always had a crunch amp and a hyper clean amp for chorus and faded back and forth.. That's the first time where I realized you can get some incredible tones in the in between settings.
But I'm not just a tube snob.. I went crazy with modeling and still use it when appropriate. As you can imagine, I have tons of fade patches going in between cleans and crunches... One of my favorite models was a Tom Schultz rhythm where the mid-range is hyperscooped, going into a Tom Schultz lead where the mid-range is hyper pumped. A lot of those in between tones were also magical, but as with all things Schultz, they pretty much only work with Boston songs
yeah, its great to have that kind of two amp setup. i used to run a a 50w jcm800 and a twin reverb, but thats way to much for me to deal with these days. the two small combos sound amazing together. i used volume pedals for a short while, but i found the aby and using the volume on the guitar suited me better.
you can great so many great tones with a clean/dirty amp setup. and boston songs are fun!
you can great so many great tones with a clean/dirty amp setup. and boston songs are fun!
Jeffblue
New member
This is the amp that works for me.
https://youtu.be/M2CxJR2_RWQ
My 1969 Fender Bandmaster Reverb modded by Benjamin Fargen. This is my actual amp.
https://youtu.be/M2CxJR2_RWQ
My 1969 Fender Bandmaster Reverb modded by Benjamin Fargen. This is my actual amp.
Laughing Kookaburra
New member
A JCM 800 2204 that I used many years back is probably the amp that was most inspiring for me.
I say “probably” because the Rockittretro 50 (68 Plexi clone) that I have now is pretty much its sonic equal in a slightly different sounding way.
One of those two…
I say “probably” because the Rockittretro 50 (68 Plexi clone) that I have now is pretty much its sonic equal in a slightly different sounding way.
One of those two…
Holy hell, that sounds good.
Jeffblue
New member
I love my Bandmaster Reverb. I use an A/B switch to switch from the Normal and Vibrato channel (blackfaced) with excellent results. The ODS mod is a fantastic mod.
