Hey guys,
So I'm leaving for college in a month (UVM, phuck ya!) and am in need of a new amp since the twin won't fit in a dorm :D I'm looking for a smaller one, something that will have a good all around tone, specifically good for trey stuff but I want something that's also good for jazz since that's what I'm majoring in, 1x12 would be ideal cause I just got a celestion gold that I've been loving. I've sorta narrowed it down to a Deluxe RI, or a Mesa Express 5:25, but I'm not sure either are exactly what I want, since I've heard pretty mixed feelings about the RIs and I'm not sure the express is what I want tone wise, so I'd love to hear your opinions on it!
I was gonna say a Princeton Reverb, but yea a Deluxe Reverb or Express 5:25 would both be great selections. I'd recommend the Express if it's in your price range; they're pretty versatile.
Quote from: Deadicated Phan on July 10, 2014, 10:33:15 PM
Hey guys,
So I'm leaving for college in a month (UVM, phuck ya!) and am in need of a new amp since the twin won't fit in a dorm :D I'm looking for a smaller one, something that will have a good all around tone, specifically good for trey stuff but I want something that's also good for jazz since that's what I'm majoring in, 1x12 would be ideal cause I just got a celestion gold that I've been loving. I've sorta narrowed it down to a Deluxe RI, or a Mesa Express 5:25, but I'm not sure either are exactly what I want, since I've heard pretty mixed feelings about the RIs and I'm not sure the express is what I want tone wise, so I'd love to hear your opinions on it!
Blues Jr.
Dedicated Phan - Tried sending you a message, but says your inbox is full. Think you need to delete them to receive more.
Blues Jr. is a good amp for those needs, too. I think any of those are good, DR, 5:25, Princeton, BJ. One amp that in my opinion is really under priced and fantastic at low volumes and can handle higher volumes is the Fender Bandmaster. You can get a blackface for around 600-750. They sound identical to DR's, just less break up at low volumes, which can be awesome. If you have a Celestion Gold, that would actually pair the best. The market hasn't really caught up to the value of those amps, pretty hard to beat the exact same circuit (AB763) as the DR for about 2,000 less.
How about a 5:50+? You'd want clean headroom for the Jazz. Plus the wattage settings will come in handy at a dorm. Or, are you looking at getting dirt from pedals? If that's the case the GT Soul-O 45 I had was great for clean jazz so that's another option. Bandmasters are great, but they would need to be rehoused for the 1x12 application.
Just try as much as you can before you buy. Its really personal preference, but I'd suggest really trying to test out a Silverface DR thats in playing condition (the caps are new enough, tubes aren't beat, etc).
Any of the suggestions can work, but I personally thought the DRRI sounded pretty weak and uninspiring and I quickly grew tired of the Express line of amps after owning one.
If you just want a decent, cheap, portable amp for college, I'd even look at something like an old Roland Cube.
Since you're going to UVM you'll actually be close to 2 of the best Fender amp doctors in the country. One is in Burlington and the other in Bristol. The guy in Burlington is incredible.
If you can get a good silver DR, he can get it in incredible shape and voice it perfectly for about $150. I'd go that route. you'll never regret having a great DR, but the Boogie would give you some nice diversity w/ your Twin, and DR in a lot of ways would sound similar.
I actually don't likenthe Blues Jr for Trey - like tone. I've actually got one for sale right now. I'm not sure why you'd want a DRRI over a used SFDR. Same price range. On advice from this site I compared the SF to the RI and it wasn't even close.
anyone ever check out some of the Kemper amps... I was reading some things about them and they seem great for recording. any one ever try one?
Thanks for all the info guys!
Hoody- I did get your message, let me know if mine sent
As far as the SFDRs go, I just don't think I can afford it. I see RIs for between 600 and 900 on craigslist and eBay, but I've never seen a SF for less then 1200 or 1300.
The bandmaster is a really interesting option, I've never played one before, and while I was preferably looking for a combo I could be persuaded :D Has anyone here done Trey stuff with one? What exactly are the differences between them and the deluxe?
I think the 5:50 is just a bit to much for what I'll need, I think 25 watts will get me all the headroom I need.
I just got a SF for $900. It had had a cap job within the year. I still put a new speaker in it, but I had one already so that was no additional cost. I think they can be had by keeping an eye on Craigslist if you're patient. It took me about a month. I would guess Burlington would be a good place to find one too.
Pretty sure Trey used a Bandmaster at one point, might be before he got the Mesa.
(http://media.tumblr.com/ba0cd121dae3ddb4ea25d0cf82b5ced9/tumblr_inline_mleyxvhBDd1qz4rgp.png)
You could get a champ and a 12" speaker like this http://strangedesign.org/forums/index.php?topic=1951.msg11575#msg11575
You could go for a Superchamp X2 or XD. For around $225 with an all tube clean channel, it's not a bad option. 15 watts on the superchamps or 5 watts on the vibrochamp xd, which is only like $150 on the bay, and they also have the digital voicings for various fender amps which can be fun. I plan to use one to power my leslie.
The Bandmaster is a great option, and yes Trey did have one. Think Jon Mayer uses one all the time, too. They basically sound just like a blackface DR, except you can get the head for $600 and it has 40 watts and not 22 watts. But they sound amazing.
Another option is actually a Fender 30. Very little known, but a tremendous amp. Trey used one of these forever, too, and I think he still has it or gave it to Paul.
Both of those are great amps and you could get them for around 600/700. They can do bedroom or gigs.
You definitely do not need a 50 watt Express. the 25 is VERY loud.
Dedicated - i did not get the PM, try again. thx, sorry for public post
Can't thank you guys enough for the info and recommendations. I think you've all persuaded me to go with a Bandmaster, it seems too good to be true! It looks like mid 60s ones are going for around 800, which is blowing my mind. Will definitely let y'all know what happens ;D
PS- if anyone has a 1x12 cabinet they're looking to sell, please let me know!
Nice choice, you could also look at a Bassman head as well, if you don't need in-amp tremolo.
I'm looking to sell my Groove Tubes Soul O 45 combo shell with the Weber Cali ceramic 80W 8 ohmer in her. It's a solid birch cab, and is open back. Sounds great but it's heavy. Are you from VT? Maybe we could meet.
Since a few vintage amps are being discussed...
The Bandmaster and Bassman both use 6L6's while the DR uses 6V6 tubes. This will make a difference in tone. The JJ 6V6S is between the 6V6 and 6L6 as far as tone and feel - there are a lot of forum discussions out there about the difference in tone and feel. Completely a matter of preference.
Another difference is the Output Transformer Size. The DR uses a 20w Output Transformer while 2 6V6's can put out 24w. The Bandmaster uses a 38w Output Transformer while the 6L6's can put 50w. The Bassman uses a 50w Output Transformer for the 50w 6L6's. This affects the weight of the amp and tone. The larger the OT, the most bass. Leo Fender used smaller OTs to limit the wattage, namely the bass, of amps so they could be used with a wider range of speakers. Those amps limited by the OT had a sweet tone, but also broke-up differently since the OT is pushed before the the power tubes.
*The Bassman also sounds a bit different from the typical Fender, not in a bad way - just different*
I had a Bassman in a 112 and thought it was great, but wanted less Bass and I prefer the lighter weight of the DR as well. IIRC, I believe the combo cab was built by Nowell. A Bandmaster in a 112 would be really cool, a bit lighter than the Bassman with less weight. Definitely lighter and a bit less bass than a Twin. It will be a bit quieter, but I'd still wonder if it is ideal for a dorm-room amp - probably is ok, but the sweet spot will be loud enough to piss off neighbors and the weight might get annoying if you a few floors up.
Heady is correct that the sweet spot on a band master would be too loud for a dorm, but it also sounds really great at low volumes. One thing I'd check is to make sure it still has those little blue pill looking thingys. I'm blanking on what they're called, maybe someone can help me out. But those things are the key, and sometimes people harvest them out of these vintage amps and then sell the amp without them. They're what give it the natural compression and smooth sound and really key.
And I think you can get a great bandmaster for less than 800. More like 650-750 for the head in pretty good shape.
Wouldn't a bassman be a lot more? And also a good deal louder at sweet spot?
That's why I suggested the Express + for different volume situations. Of course 5W can still be way to loud but at that point the sweet spot is more within reach.
I actually have both, and I'd say there isn't really a sweet spot on the express. It's all good at any volume, and the break up is more with which channel and the dirt you set. Whereas on fenders the dirt/breakup depends solely on volume.
I think the band master is a better "value" at 650-750, an express will be over 1k for the plus model.
Quote from: Hoody on July 12, 2014, 09:45:27 AM
Heady is correct that the sweet spot on a band master would be too loud for a dorm, but it also sounds really great at low volumes. One thing I'd check is to make sure it still has those little blue pill looking thingys. I'm blanking on what they're called, maybe someone can help me out. But those things are the key, and sometimes people harvest them out of these vintage amps and then sell the amp without them. They're what give it the natural compression and smooth sound and really key.
And I think you can get a great bandmaster for less than 800. More like 650-750 for the head in pretty good shape.
Wouldn't a bassman be a lot more? And also a good deal louder at sweet spot?
I think your talking about the Capacitors? Caps usually last about 10 years - longer if the amp is used regularly, shorter if the amp sits. My SFDR had original caps - they looked and tested fine, but I had them replaced and it gave the amp more output and punch. The NOS ones are nice, but pricey. My tech used Sprague Atoms (not NOS).
A Bassman usually costs about the same. The BF Bassman I had was on the more expensive end, but it came with NOS glass and was a personal amp of a builder who learned a bit about the trade from Bill C. The local tech I was going to at the time said the amp was wired kinda like a Dumble, but I switched it back to stock at some point.
The Bassman has much less headroom than most Fenders and the extra wattage is mostly bass - bass eats up wattage/headroom and blows speakers. But the Bassman circuit is the only Fender circuit that sounds ok with a Master Volume IMO. I had a PPIMV in mine.
So I'm probably gonna pull the trigger on this avatar cab on eBay, looks like exactly what I want, what do you guys think about avatar
http://m.ebay.com/itm/201125892609?nav=SEARCH
Quote from: Deadicated Phan on July 13, 2014, 01:54:30 PM
So I'm probably gonna pull the trigger on this avatar cab on eBay, looks like exactly what I want, what do you guys think about avatar
http://m.ebay.com/itm/201125892609?nav=SEARCH
Avatar is pretty good and thats a fair price IMO. Probably one of the best/better bang-for-buck cabinets until you start dropping dime on something like a Mesa or boutique. I had one I got used from GC - it was a 212 and after I sold the speakers, I think the cab cost me $60 or less.
What do you guys think about the Deluxe Amps (non reverb) is it exactly the same as the deluxe minus reverb? They seem to go for quite a bit less the DRs
I think part of the fender magic is the reverb
Quote from: Buffered on July 14, 2014, 10:34:33 PM
I think part of the fender magic is the reverb
I have to disagree. My favorite amp on this planet is my '64 deluxe (non-reverb). You don't miss the reverb at all. You can jumper the channels on the non-reverb's too.
Part of the magic is the reverb IF you love Fender reverb ;). The DR has the best of any of the Fender amps, by a lot of accounts. I love the way it sounds, but reverb can make it hard to be heard in a live band situation and its easy to overdo it on a Fender.
The reverb is part of the magic IF you looking for the additional gain stage. The reverb tube works as an additional gain stage on the 2nd (reverb/tremolo) channel of the amp. This gives the 2nd channel a thicker & more overdriven sound while the first channel has more headroom. On a Non-Reverb Deluxe, both channels would be a bit more similar to the first channel of a DR.
Aside from nuances, if your looking for a clean tone and don't care for reverb (or prefer to use a pedal), the Deluxe is a great amp.
If you want real Fender Reverb and more tube overdrive, the DR is the way to go.
One of the members here has been using a BF Non-Reverb Deluxe for years and is completely in love with it. The clean headroom might be ideal for Trey-like tones (though of course you can set a DR clean too). For basic classic rock, sometimes I like the extra overdrive I get with the Reverb tube - I just crank the amp to 10 and use my volume knob, no pedals. However, I wonder if, as Sour D said, jumpering the channels would give you that extra 'umph' that the 2nd channel of the DR has. I used to jumper the channels of my Bassman sometimes and it has a cool effect. Not to mention, if you wanted to you could modify the Non-Reverb Deluxe to be a one channel amp with the preamp tube from both channels in series, adding an additional gain stage.
IMO, get the Non-Reverb Deluxe if you try it, it sounds good to you, and you don't/won't miss the reverb. However, if your a reverb junky, wait / save up for a DR. The cost difference might be worth it in the long run, because the reverb on a DR - IMO - beats any pedal by a mile.
To each his own I guess
It's funny, I always found the reverb on my 66 to sound kind of bad if I turned it up over 2.5/3. A little brittle and ice picky. Do you guys not find that?
I think the non reverb is really good bang for the buck, and a lot of times I actually prefer ch 1 of my DR, and don't miss the reverb at all. I feel like newer amps sound pretty bad without a good measure of reverb, but these old ones somehow don't, and can be better without.
Quote from: Buffered on July 15, 2014, 08:40:00 AM
To each his own I guess
Yep - I think thats the moral of the story: different strokes. We all have different ears. I personally like the Reverb version too.
Quote from: Hoody on July 15, 2014, 08:58:51 AM
It's funny, I always found the reverb on my 66 to sound kind of bad if I turned it up over 2.5/3. A little brittle and ice picky. Do you guys not find that?
I think the non reverb is really good bang for the buck, and a lot of times I actually prefer ch 1 of my DR, and don't miss the reverb at all. I feel like newer amps sound pretty bad without a good measure of reverb, but these old ones somehow don't, and can be better without.
My first wonder is your reverb tube? What do you have in there, have you tried anything else? Or maybe the tank itself...
Around 3 is the sweet spot IMO - below 2.5 and the reverb kinda disappears all together. Above 3 and it gets overwhelming and 'surfy' real fast. Mine still sounds good around 4-5, but not for my style of music, just for a fun, swampy, ambient thing.
Also, is your amp overdriven? Once mine I start cranking my amp, the reverb gets a bit thicker and muddier - I have to turn it down or off in those situations, but it still doesn't get ice-picky.
You can always run the reverb back into the first channel of the amp for more tonal control, but ice-pick is not what I hear in my reverb, its pretty warm.
Yeah i like it around 2.5/3, and agree that above that isn't very good. I think it gets a little icy because my guitar is extremely trebely.
Different topic but:
1 I saw the Fallon performance last night and it looked like Trey was only using his boogie. And I thought it was his best tone of late.
I'm not very tech savvy, but anyone able to get good screen shots on his amp? It's prominently pictured a lot so I'd think you could get really good stills and see if the settings have moved.
2. You get some really good views of his black cabs, to me they really look like he just painted his old ones. Anyone able to confirm?
3. What effect is he using on the beginning of Fuego?
He sounds great here, love the tone
Quote from: Hoody on July 15, 2014, 09:33:04 AM
Yeah i like it around 2.5/3, and agree that above that isn't very good. I think it gets a little icy because my guitar is extremely trebely.
Different topic but:
1 I saw the Fallon performance last night and it looked like Trey was only using his boogie. And I thought it was his best tone of late.
I'm not very tech savvy, but anyone able to get good screen shots on his amp? It's prominently pictured a lot so I'd think you could get really good stills and see if the settings have moved.
2. You get some really good views of his black cabs, to me they really look like he just painted his old ones. Anyone able to confirm?
3. What effect is he using on the beginning of Fuego?
He sounds great here, love the tone
His tone is great, I didn't see any lights on the boogie though. Any of you guys at Randall notice if it was MB or Shiva? I'm also really interested in the cabs, but I always thought his homebrews were more "angled" Maybe they're a HT model? They very well could just be painted also.
Mike's hair, haha.
I watched it here:
http://consequenceofsound.net/2014/07/watch-phish-deliver-epic-performance-on-fallon/
I didn't see a light on the mk iii either, but all the switches were in the upright, on, position. It was also plugge in and usually is not recently, and there was no other amp around.
If all the switches are up that means he was using full power, which would be totally odd given he usually only uses the EL 34 tubs (1/2 power switch down), and because they were in a small studios not a huge arena.
So that makes me wonder whether he used his ordinary settings or not.
I think they have to be his old cabs painted black. The speakers looked slightly recessed, although hard to tell.
If anyone is going to figure this all out it will be the folks on this forum
I haven't looked at the cabs closely, but the couple pics I saw looked like it was jut a paint job.
Thats cool if he went back to his Boogie. I haven't been using mine much lately - its at my old apartment that I'm slowly moving out of and too heavy to drag to gigs and practices, lol.
Does Trey have EL34's in his Mesa? The pics I've seen of the back of the amp look like he has 4 6L6's. He either does not have a simulclass amp, but rather a 100w 4 6L6 model, or he has/had 6L6's installed where the EL34's go. Usually the "half-power" mode is only on non-simulclass amps, but Trey has a long-head and some of them were mislabeled as "half-power" rather than "class-a" like the short-head simulclass amps.
Not sure i entirely follow, which is embarrassing b/c i've had a mark iii long head. The long head that I had used EL34's in the outer sockets, and was a simulclass. It also had the 1/2 power switch on the front.
I think Trey's is the same. It has the 1/2 power switch (sometimes labeled 1/2 power, sometimes labeled 100w/60w -- neither of which is correct, its not 100 watts/60 watts or 1/2 power).
Are you saying the simulclass did not have that function? Because if that's correct, then Trey's must be simulclass b/c his does have that switch.
Or did i totally misunderstand?
Quote from: Hoody on July 15, 2014, 10:30:30 AM
Not sure i entirely follow, which is embarrassing b/c i've had a mark iii long head. The long head that I had used EL34's in the outer sockets, and was a simulclass. It also had the 1/2 power switch on the front.
I think Trey's is the same. It has the 1/2 power switch (sometimes labeled 1/2 power, sometimes labeled 100w/60w -- neither of which is correct, its not 100 watts/60 watts or 1/2 power).
Are you saying the simulclass did not have that function? Because if that's correct, then Trey's must be simulclass b/c his does have that switch.
Or did i totally misunderstand?
There are two version of the Mark III: Simulclass & Non-Simulclass:
- The Simulclass amps had 2 EL34's and 2 6L6's.
- The Non-Simulclass had 4 6L6's.
Both versions - Simulclass & Non-Simulclass - had a lower-power setting:
- The Simulclass had a "Class A" setting (even though it wasn't truly functioning as a Class A amplifier).
- The Non-Simulclass had a "1/2 Power" setting.
- "Class A" on the Simulclass amps run only the 2 El34's at approx. 15-25w (Mesa has published different output ratings and IIRC the later MKIII's such as the green stripe, ran the EL34's differently for more output).
- "1/2 Power" on the Non-Simulclass amps were literally half the power, only using 2 of the 4 6L6's. This is the same as the 100w/60w.
This gets confusing though:
- Originally Mesa published that the EL34's in the Simulclass amps could be replaced with 6L6's.
- Many of the long-head simulclass amps were mislabeled with non-simulclass labels that state "1/2 power" or "60w" rather than "Class A" like their short-head counter parts (I think this is because the long-heads were less common, so they just use non-simulclass faceplates rather than getting a small batch of simulclass faceplates produced).
So without looking inside the amp, its impossible to tell - as far as I know - whether Trey's amp is:
- Simulclass with a mislabeled faceplate and 6L6's in place of the EL34's.
- Or Non-Simulclass.
PS - its confusing and took me a long time to figure out.
Extremely helpful!!! Thansk for taking the time to explain that to all of us.
Pretty interesting difference in the power, a Simulclass switch down is only 15-25, whereas a non-simulclass is 60.
Trey had always had his in the down position, so either 15-25 watts, or 60 (if nonsimulclass). Pretty sure mine said Full/Half power, and its simulclass, so that means it just had the wrong face plate.
You said Mesa previously said you could put in 4 6L6's. Do they no longer sanction that move?
And when you set it to Trey's settings, were you able to get a good Trey like tone?
Quote from: Hoody on July 15, 2014, 12:26:17 PM
Extremely helpful!!! Thansk for taking the time to explain that to all of us.
Pretty interesting difference in the power, a Simulclass switch down is only 15-25, whereas a non-simulclass is 60.
Trey had always had his in the down position, so either 15-25 watts, or 60 (if nonsimulclass). Pretty sure mine said Full/Half power, and its simulclass, so that means it just had the wrong face plate.
You said Mesa previously said you could put in 4 6L6's. Do they no longer sanction that move?
And when you set it to Trey's settings, were you able to get a good Trey like tone?
For sure!
- Mesa retracted the statement that EL34's could be replaced with 6L6's in Simulclass amps. IIRC, the 6L6's failed sooner.
- Re Power Difference: Since Trey uses 6L6's in his amp, even if it is simulclass, it would be more than the 25w you get with EL34's in the lower wattage mode. Also, 25w vs 60w is not a huge difference - the 6L6's has more bass and a bit more treble, a bit of a boost in perceived volume, a bit less 'squishy.'
- Mesa also does not sanction this, but you can completely pull out the EL34's and just use the 6L6's in the full-power setting. The 6L6's would run a bit hotter and, IIRC, the amp expects a different impedance speaker load. I ran my amp like this for a bit, but it would still differ from the lower-wattage setting for Trey's amp whether his is simulclass or non-simulclass.
- In which ever of these settings, I can get pretty close to Trey's tone with his Mesa. IMO speaker and cab selection will make a bigger difference than these aspects of the power amp. I think you really hear the output transformer in the Mark III more than the tube setting: its just a big chunk of iron that allows a tone of extended bass to pass through to the speakers. In a 112, the EVM makes the amp sound bigger and fuller, but in a 412, I think the tighter bass of a Celestion (with a 50 rather than 80oz magnet), might be ideal.
My speculation from the Fallon Show.
- I think Trey's Red stripe is non simul-class but that's just my opinion and critical thinking. BUT since he was using a head at full power last night perhaps he was using a simul-class head? I think it was the only amp he used during the Fallon taping as well.
- I now think those are the same Languedoc cabinets.
- NOT positive but I thought I saw the Japanese uni-vibe sitting on the floor on Trey's right hand side.
I love that idea of running full power but only w/ 2 6L6's in a simulclass. Clever idea.
Why do you guys think he has a non-simulclass? The simulclass are generally more desirable, and i actually thought when i ran EL 34's it sounded more like his tone than the 6L6's. So I almost thought that he may use EL34's, at least for a period. guess i'm wrong, was just my guess.
He definitely has at least 2 mark III's. Maybe one is simulclass and one's not. Hate to specculate, b/c that's really all i'm doing.
Just goes to show no matter how much you try to cop his tone you'll never really get it. So many variables you don't know, although i think what we do know is an awesome starting point and can direct you towards some awesome sounds.
The two biggest parts of Trey's sound is obviously the Languedoc components. Hollow guitar and open-back cabinets. The Ts9's and Ross really just help sustain and add a bit of drive (Divided Sky, YEM) The amp is almost the least important part of Trey's tone imho.
I've managed to get a Trey tone out of the clean channel from my MG50.... and endless sustain too. I amazed myself that day.
I think Trey's amp is non simul-class because he strictly uses 6L6 tubes and uses the half power very frequently. (6V6 for his Fender and Orchestra combos) I could just as easily be wrong though. So there is that too.
Well I pulled the trigger on a 1965 Deluxe Amp, honestly couldn't be happier with it. It sounds awesome, better than my twin. I honestly haven't found anything I don't like about it. It breaks up really nicely around 5 or 6. All in all the perfect amp!
Quote from: Deadicated Phan on August 10, 2014, 06:40:21 PM
Well I pulled the trigger on a 1965 Deluxe Amp, honestly couldn't be happier with it. It sounds awesome, better than my twin. I honestly haven't found anything I don't like about it. It breaks up really nicely around 5 or 6. All in all the perfect amp!
Congrats!
Tell us a bit more about it!
Yea congrats!! I was in the exact same boat - playing a fender twin, got a mesa head - too many options, sounds, loud etc!, bout a botique Fender 65' DR - man it sings at all levels, breaks up nice etc! You'll always own it I bet! Enjoy.
Quote from: Down_With_Sco on July 15, 2014, 02:09:16 PM
The two biggest parts of Trey's sound is obviously the Languedoc components. Hollow guitar and open-back cabinets. The Ts9's and Ross really just help sustain and add a bit of drive (Divided Sky, YEM) The amp is almost the least important part of Trey's tone imho.
I could not agree more with this!
I've owned a few Mark III's, deluxe reverbs, twins, etc, and the closet I've been able to get to trey's tone was a cranked fender pro junior with TS9's and Ross.
Do you really think the 2x12 cabinet is key? I've been GAS'ing for one, but since I mainly play alone - don't think I need one - but I've always loved 2x12's sound - is it going to be a huge difference than the 1x12 Deluxe Reverb?
Quote from: tsbot on August 11, 2014, 12:40:11 PM
Do you really think the 2x12 cabinet is key? I've been GAS'ing for one, but since I mainly play alone - don't think I need one - but I've always loved 2x12's sound - is it going to be a huge difference than the 1x12 Deluxe Reverb?
I wouldn't say 'key.'
It depends. If your 112 sounds boxy and small, a 212 will usually sound bigger and warmer, but the added bass might not be ideal in a band mix. I had a 212 for a bit and it was too much of a hassle to lug around. I also found an EVM12L in a compact Mesa 112 sounded just as big and warm, but was easier to tote. At this point, I don't miss a 212 - I'm happy with my Deluxe Reverb combo.
What benefit does the 2x12 cabinet serve for Trey if he's always just got one speaker miked? I mean I'm sure there's some bleed from the other speaker and on stage it may sound different, but to the crowd--the tone you're after--it would be negligible, no?
Quote from: Jkendrick on August 11, 2014, 03:54:11 PM
What benefit does the 2x12 cabinet serve for Trey if he's always just got one speaker miked? I mean I'm sure there's some bleed from the other speaker and on stage it may sound different, but to the crowd--the tone you're after--it would be negligible, no?
Stage volume.
Not to hijack the thread, but you're all saying it's prob not worth buying/trading for a 2x12 Hard Truckers if I only play to backing tracks, loop station and occasionally a drummer in my basement?
Quote from: tsbot on August 11, 2014, 07:44:28 PM
Not to hijack the thread, but you're all saying it's prob not worth buying/trading for a 2x12 Hard Truckers if I only play to backing tracks, loop station and occasionally a drummer in my basement?
For a Hard Truckers? Definitely worth it!
Quote from: Down_With_Sco on August 11, 2014, 07:38:31 PM
Quote from: Jkendrick on August 11, 2014, 03:54:11 PM
What benefit does the 2x12 cabinet serve for Trey if he's always just got one speaker miked? I mean I'm sure there's some bleed from the other speaker and on stage it may sound different, but to the crowd--the tone you're after--it would be negligible, no?
Stage volume.
Right, but what does that have to do with emulating the Trey tone? It may be what they are used to wrt stage sound, but it seems it would be negligible in terms of shaping the tone we, the audience, hears.