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The Amp Thread!


Soni
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So I guess his love affair with H&K is over? Such a pity, especially after he got Steven Wilson to jump ship from Bad Cat to H&K just a couple of years ago. What are all the Lifeson tone chasers who bought his H&K signature amp going to do now?

 

Oddly enough, the Marshall Silver Jubilee has been Joe Bonamassa's main amp for several years now. It's nice to see Alex get on that train.

 

And wouldn't Alex want them to be the Lerxst Alpha amps, instead of Omega?

Edited by Sheldon Cooper
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Anyone who bought the H&K Lifeson and hears this thing should feel pretty hosed. I found the H&K's more than a little harsh in the upper mids, made worse by running PRS through them. I like the demo of the Lerxst. More buttery and smooth.

 

Fanboys who buy gear because somebody's name or signature is on it baffles me because they are paying extra for marketing. I have a Geddy because I got a deal on it (which is reason #1) and I was in a Rush band when I got it. It is a great bass but I tend to favor my creme Mexican J because it's a little rounder sounding (I also refer to this bass as the "Jim Diaz" model because I put a tortoise pickguard on it. I'll sign the back of the headstock if you like). I have a creme 4001 because I wanted that sound but it is neither a Geddy, nor a Squire or McCartney model which they charge an extra granny for. I have Paragon splashes and ride because of how they sound, not because Neil's signature is on them. The ride is like a dark Zildjian Ping and the splashes are like old Zildjian splashes which are thin and airy. The splashes are no longer part of the recording set up because I found some Turkish (brand) splashes that sound even better to me. A friend of mine bought a Mexican strat over 2 Americans including a Custom Shop SRV.

 

The only guitar that anybody should own with a guy's name on it is Les Paul. So there. :P I mean the new Alex Lifeson Les Pauls have 2 guys names on them (same goes for anyone else who has used a Les Paul and tricked it out a little and got famous using one which Gibson can sell to suckers; Ace Frehley, Joe Perry, Jimmy Page, etc.).

Edited by CygnusX-1Bk2
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Anyone who bought the H&K Lifeson and hears this thing should feel pretty hosed. I found the H&K's more than a little harsh in the upper mids, made worse by running PRS through them. I like the demo of the Lerxst. More buttery and smooth.

 

A few years back when I was looking to get a multi-channel amp, I looked at the H&K TriAmp and Trilogy models, and you described their sound pretty accurately -- the upper mids and highs were harsh to me. There was crunch there, but it seemed "fake" or something. Even the clean channel had a layer of harshness of it. The amps didn't sound bad (the Egnator I tried was far worse), but they just didn't sound organic to me -- I wanted buttery smooth and those two amps didn't quite cut it. Who knows, maybe the stock tubes didn't do them any favors.

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The only guitar that anybody should own with a guy's name on it is Les Paul.

Not really.

 

You don't buy a Howard Roberts Fusion because you want to sound like Howard Roberts. Although many will have bought/wanted a HRF because of Alex, it's the special design of the guitar that makes a difference. You really can play jazz on it as well as rock and all in between, but on just another level than 335 like models.

 

http://www.youtube.com/watch?v=UdE0p_0y0Bs

Edited by peter_heijnen
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Fair enough. But how different sonically is it from any other ES with a similar structure?

 

Howard was great and a member of the Wrecking Crew in LA for a while but that was before the HRJF was produced. He played on a LOT of records so he sounded like a lot of different guys.

Edited by CygnusX-1Bk2
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The structure is not the same as ES models. The sustainblock in the HFR only touches the top or back of the guitar (i'm not sure which side) and thus leaves one side of the body floating free. The HRF fits in between full hollow and semi hollow guitars. It gives more 'air' but also rocks hard as we all know.
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That is a bit of a split hair. The block would have to be at the front for mounting pickups (which is the whole point to having a center block), essentially making it sound like an ES. Sorry, but that is not enough of a difference to make much of a sonic difference. I have played a couple and it is not that different than any center block ES. Not saying it isn't nice, but honestly the tone of a HRF is very similar to the ES line. But you know you bought yours because Alex plays one. :)

 

A Les Paul sounds like a Les Paul. But not Les Paul's (the man) because he played a doctored "Recording" model that had low impedance pickups and other trick electronics. Not to mention my declaration was made tongue in cheek (as indicated by the smilie) but I stand by my statement. The only guitar with anybody's name on it that anyone should own is a Les Paul. :P So there.

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That is a bit of a split hair. The block would have to be at the front for mounting pickups (which is the whole point to having a center block), essentially making it sound like an ES. Sorry, but that is not enough of a difference to make much of a sonic difference. I have played a couple and it is not that different than any center block ES. Not saying it isn't nice, but honestly the tone of a HRF is very similar to the ES line. But you know you bought yours because Alex plays one. :)

 

A Les Paul sounds like a Les Paul. But not Les Paul's (the man) because he played a doctored "Recording" model that had low impedance pickups and other trick electronics. Not to mention my declaration was made tongue in cheek (as indicated by the smilie) but I stand by my statement. The only guitar with anybody's name on it that anyone should own is a Les Paul. :P So there.

 

Elitist!

 

I like the idea of the Howard Roberts. The tone of an ES with a smaller body and, to me, a cooler body shape.

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I don't know if I'd say "rave" but it sounds great, despite maybe needing new tubes. Not sure because I like it. My buddy has a Blues Deluxe that I really like too which has a little more variety because of it's distortion flavors. Overdriving the Deluxe Reverb can yield mixed results, depending on the overdrive/line booster/pre amp. When you drive it a little it sounds really good just as it breaks up a bit. The one I have has a pull drive on the second channel but it is harsh and kills low end. But when it is clean it is super clean and you can really hear the fundamental differences between guitars. It is an amp I don't think I will ever get rid of. Especially now that I have the little Marshall for the killer distortion tones. The guy I record with has a couple Boogies, a couple GK's, the Blues Deluxe, an AC-15 and a Marshall like mine so we are more than covered for all kinds of tones. :)

 

But compared to a lot of the emulated amps sims I have used I would take this amp recorded over any sim I can pull up.

 

I'm having issues driving my Deluxe Reverb. I can't get the AC+ to sound good through it. For the Black 65 to sound good through it, I have to roll back the volume on the pedal, which takes away from its effect. The BB+ sounds pretty good in it, and I haven't tried the Diamond Fireburst. The amp has a gorgeous clean tone right around 3-4 on the volume knob. But beyond that is too loud for the house, or the jam. Of course I could turn it up and use the volume knob on the guitar. Clearly I still need to work with this amp.

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That is a bit of a split hair. The block would have to be at the front for mounting pickups (which is the whole point to having a center block), essentially making it sound like an ES. Sorry, but that is not enough of a difference to make much of a sonic difference. I have played a couple and it is not that different than any center block ES. Not saying it isn't nice, but honestly the tone of a HRF is very similar to the ES line. But you know you bought yours because Alex plays one. :)

 

A Les Paul sounds like a Les Paul. But not Les Paul's (the man) because he played a doctored "Recording" model that had low impedance pickups and other trick electronics. Not to mention my declaration was made tongue in cheek (as indicated by the smilie) but I stand by my statement. The only guitar with anybody's name on it that anyone should own is a Les Paul. :P So there.

 

Elitist!

 

I like the idea of the Howard Roberts. The tone of an ES with a smaller body and, to me, a cooler body shape.

Yeah, my Sheraton is a bit awkward. My buddy Don has a 339 which feels much better. Same shape but smaller.

 

Even better (for me) would be a Les Paul Florentine which is a Les Paul with F holes.

http://www.guitarmaniacs.de/gallery_pics/cm9Ea2fJ4KuIvE4E8XKVdmBNt.jpg

Even smaller than a HRF.

Edited by CygnusX-1Bk2
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I don't know if I'd say "rave" but it sounds great, despite maybe needing new tubes. Not sure because I like it. My buddy has a Blues Deluxe that I really like too which has a little more variety because of it's distortion flavors. Overdriving the Deluxe Reverb can yield mixed results, depending on the overdrive/line booster/pre amp. When you drive it a little it sounds really good just as it breaks up a bit. The one I have has a pull drive on the second channel but it is harsh and kills low end. But when it is clean it is super clean and you can really hear the fundamental differences between guitars. It is an amp I don't think I will ever get rid of. Especially now that I have the little Marshall for the killer distortion tones. The guy I record with has a couple Boogies, a couple GK's, the Blues Deluxe, an AC-15 and a Marshall like mine so we are more than covered for all kinds of tones. :)

 

But compared to a lot of the emulated amps sims I have used I would take this amp recorded over any sim I can pull up.

 

I'm having issues driving my Deluxe Reverb. I can't get the AC+ to sound good through it. For the Black 65 to sound good through it, I have to roll back the volume on the pedal, which takes away from its effect. The BB+ sounds pretty good in it, and I haven't tried the Diamond Fireburst. The amp has a gorgeous clean tone right around 3-4 on the volume knob. But beyond that is too loud for the house, or the jam. Of course I could turn it up and use the volume knob on the guitar. Clearly I still need to work with this amp.

Wow, you play louder than I do. Even with drums I don't need to push mine past 2-3 on the Volume. As I get up near 3-4 with humbuckers (especially the Les Paul with the 57s) my Deluxe starts to break up and get dirty (which is why I think I may be in need of tubes) which sounds really good actually but too much for the room. Which is why I am liking the Class 5 Marshall for dirty tones. But the Class 5 lacks a little low end because of the 10" speaker.

 

Surprised the BB isn't giving you some nice drive. When I ran my buddy's through mine I almost regretted getting the Class 5. It wasn't as edgey as that Marshall sound, but still very nice. Hearing the BB into my Deluxe is what made me want to get one.

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That is a bit of a split hair. The block would have to be at the front for mounting pickups (which is the whole point to having a center block), essentially making it sound like an ES. Sorry, but that is not enough of a difference to make much of a sonic difference. I have played a couple and it is not that different than any center block ES. Not saying it isn't nice, but honestly the tone of a HRF is very similar to the ES line. But you know you bought yours because Alex plays one. :)

 

A Les Paul sounds like a Les Paul. But not Les Paul's (the man) because he played a doctored "Recording" model that had low impedance pickups and other trick electronics. Not to mention my declaration was made tongue in cheek (as indicated by the smilie) but I stand by my statement. The only guitar with anybody's name on it that anyone should own is a Les Paul. :P So there.

 

Elitist!

 

I like the idea of the Howard Roberts. The tone of an ES with a smaller body and, to me, a cooler body shape.

Yeah, my Sheraton is a bit awkward. My buddy Don has a 339 which feels much better. Same shape but smaller.

 

Even better (for me) would be a Les Paul Florentine which is a Les Paul with F holes.

http://www.guitarmaniacs.de/gallery_pics/cm9Ea2fJ4KuIvE4E8XKVdmBNt.jpg

Even smaller the a HRF.

 

Can't argue with a purdy geetar such as that.

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The Florentines are pretty rare but they seem to be making them again this year. At lease I saw one from Gibson posted on FB. It was pretty but not like this one.
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I don't know if I'd say "rave" but it sounds great, despite maybe needing new tubes. Not sure because I like it. My buddy has a Blues Deluxe that I really like too which has a little more variety because of it's distortion flavors. Overdriving the Deluxe Reverb can yield mixed results, depending on the overdrive/line booster/pre amp. When you drive it a little it sounds really good just as it breaks up a bit. The one I have has a pull drive on the second channel but it is harsh and kills low end. But when it is clean it is super clean and you can really hear the fundamental differences between guitars. It is an amp I don't think I will ever get rid of. Especially now that I have the little Marshall for the killer distortion tones. The guy I record with has a couple Boogies, a couple GK's, the Blues Deluxe, an AC-15 and a Marshall like mine so we are more than covered for all kinds of tones. :)

 

But compared to a lot of the emulated amps sims I have used I would take this amp recorded over any sim I can pull up.

 

I'm having issues driving my Deluxe Reverb. I can't get the AC+ to sound good through it. For the Black 65 to sound good through it, I have to roll back the volume on the pedal, which takes away from its effect. The BB+ sounds pretty good in it, and I haven't tried the Diamond Fireburst. The amp has a gorgeous clean tone right around 3-4 on the volume knob. But beyond that is too loud for the house, or the jam. Of course I could turn it up and use the volume knob on the guitar. Clearly I still need to work with this amp.

Wow, you play louder than I do. Even with drums I don't need to push mine past 2-3 on the Volume. As I get up near 3-4 with humbuckers (especially the Les Paul with the 57s) my Deluxe starts to break up and get dirty (which is why I think I may be in need of tubes) which sounds really good actually but too much for the room. Which is why I am liking the Class 5 Marshall for dirty tones. But the Class 5 lacks a little low end because of the 10" speaker.

 

Surprised the BB isn't giving you some nice drive. When I ran my buddy's through mine I almost regretted getting the Class 5. It wasn't as edgey as that Marshall sound, but still very nice. Hearing the BB into my Deluxe is what made me want to get one.

 

It is definitely louder when I play the Music Man through it than the Strat or the Gretsch. Perhaps I need to rethink the whole volume thing. I'm definitely still learning how to use this amp.

 

And I don't have a regular BB, just a BB+, so that may explain the difference. But Xotic says that Channel A of the BB+ is based on the BB. Like I said, I have work to do.

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The + is the one my buddy has. But I was running my Lester through it. It gave me that nice, creamy tube drive as opposed to running my MXR Distortion+ which gets scratchy.

 

What you are saying stands to reason with the lower output of the single coils and TV style pups. I am considering lowering my pickups on the Les Paul a little to back them off a bit. I have just regular 57's in both neck and bridge opting to avoid the 57+ which have a little hotter output for the bridge position, but old guitars never did that so I went the way I did.

 

Comparing my Deluxe Reverb to my buddy's Blues Deluxe which is near new I almost decided to sell mine, which I can get a good price for, then bu a Blues Deluxe and pocket the rest. The Blues has a cleaner clean and gets really dirty in the drive channel. It seems more versatile tonally, but I like the Deluxe too much to let it go. I hate selling gear, especially when it was free.

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I've been considering selling the Deluxe Reverb, but I'm just not ready to do that. Peavey makes an all tube amp called the Delta Blues that has a single 15" speaker that is highly intriguing. It looks like a Fender Blues Jr, but it is 30 watts instead of 15, and it has an optical tremolo. I could sell the Deluxe Reverb, buy a Delta Blues, and put the difference towards some sweet overdrive pedals.

 

:LOL:

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Update - I played around with the Deluxe Reverb today and discovered a volume sweet spot somewhere between 2 1/2 and 2 3/4. Sitting on 2 was just way too quiet. I couldn't hear any of the guitar's or the amp's characteristics. Going to 3 certainly changed things, but it became much louder, and putting pedals in front of that would require rolling off the volume on the pedals, just to get to unity, and then that would subtract from the guitar and the pedal. But somewhere in between 2 1/2-3/4, the amp sounds good, and pedals can be added in with great results. So far, I have only used the Wampler Black '65 but it sounded exactly the way I wanted it to. It has the grit and dirt the Deluxe Reverb should have when turned up to 4 and above, but the volume level is more than tolerable. Over the next few days, I'll work in the AC+, BB+, and Diamond Fireburst to figure out how those pedals work with it. I also need to put the SP Compressor in front of it now, and have it push those tubes some, too.
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Yup that's about where mine lives. Channel 1 on mine is a bit rounder and channel 2 has a bit more bite. I usually keep the tones between 5 and 6 unless i want to bump something a little.
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I go about 6 and 6 with my strat and Gretsch. For the Music Man, I like to roll on a little more treble, and roll off some of the base, maybe a 7-4 split, just to brighten it up, and not be so booming.
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Wow, you'd think the MM would be brighter sounding and need more low end.
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Wow, you'd think the MM would be brighter sounding and need more low end.

 

It has humbuckers. Those pickups are definitely hotter with much higher output, even though they are passive. But their tone, even on the bridge position, is warmer and darker.

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I have found a confidence in my playing, that no matter what tube amp I play through I sound like me :).

 

I have 3 tube amps; one Mesa/Boogie Single Rectifier (1.generation) and a 2150 Marshall combo from 1979 that's in need of repair and a Marshall JCM900 100 watt head - well that one is borrowed but I'd buy it if I had the money.

 

This IS an amp thread, but I'll just throw it all in here:

 

Current rig: Gibson Les Paul Goldtop '57 VOS -> Mad Professor Sky Blue Overdrive -> MXR CAE Wah -> Skrydstrup buffer -> Ernie Ball VPJR -> Boss BF-2 -> Boss DD-3 -> Marshall JCM900 head running a 4x12 cabinet loaded with Greenbacks.

 

My sound is a mixture of preamp distortion, power tubes cooking and the sound of 4 Greenbacks pushing air. I play fairly loud with the master cranked to 12 o'clock (not drowning out the drummer), and the overdrive pedal adjusted just to give me the right feel and dynamics. My clean sound is backing off on the volume on my guitar. I started using the tone controls on my guitar more too - setting the presence of the amp higher than I normally would. When I need to solo or cut through the mix better, I just turn up the tone control and wail away. The key ingredients to my sound is warmth, controlled feedback and dynamics.

 

Would like to implement my Rectifier and Plexi into my rig, having the plexi add 'air', the Rectifier solid mass to the bottom end and the JCM900 in between those two. Sometimes I think about adding some effects after the preamp sections of the amps, but with the prospect of three amps running simultaneous, it seems too daunting too me.

 

Nice to see all your amps :haz:

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Don't see a lot of guys go overdrive into wah. Most players I've seen/played with the only thing before a wah is volume. That's a lot of stuff in line too (even if in a loop). No offense but how do you hear the guitar? :)

 

I record mostly and I spent a good couple hours not long ago going through my cables to hear what they sounded like and how much it affected tone. It was astounding. I encourage everyone to try it. I can only imagine the noise/signal loss by adding a stomp box and another cable to the chain. I have so many stomps and rack boxes that never get used anymore because all my processing is after the amp. I mean people spend a grand or more a piece on a guitar and amp then stick a $100 box in the middle (or more) with $5 cables and $1 connectors. Though our buddy Shelly has shown some nicer FX here, those are all usually in the $250+ range. Even still... Each piece you add to the line is filtering even if powered. Length is a top and bottom killer sonically. Bad construction can gut the middle or skew the spectrum.

 

I intend to get a couple more cables like the best one I have (Mogami gold with Neutrik connectors) so I can stick a wah in line occasionally. Any other effect can be done after the amp with better results. But that's me... I also have specific amps for clean tones and for distortion tones. My old original MXR Distortion+ is very lonely. :)

Edited by CygnusX-1Bk2
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