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  2. https://reverb.com/item/29788196-demeter-demeter-ssc-1-silent-speaker-chamber-alnico-blue-speaker-2-mic-ins
  3. Today
  4. Hmm. Maybe an iso-cab. You know a box with a speaker and a mic, sealed and soundproofed. You can crank your amp and then send the mic out put to a pa or possibly a amp cab?
  5. I own a fair share of American made tube amps and I love the tone but not the weight. I am fortunate enough to have two residences. I play in a snowbird band in Florida and I was not going to lug around a tube amp, so I purchased a Boss Katana 100 watt amp. The Boss is adequate for my needs. I recently picked up a Quilter Labs 101 amp head for a backup. I like the sound of both amps. The Boss has a lot of features, so there is no need for a pedal board if you purchase the Boss footswitch. The quilter has better sound, which is amazing considering how little it weighs, but neither sound as good as a decent tube amp. IMO the Quilter sound is closer to the sound of a tube amp than the Boss amp.
  6. I think the new Fenders are basically, analog solid state amps. My guess they took the idea from Peavey and Quilter, but using their own unique voicing. One of the biggest issues with solid state is the confusion between digital modeling and analog circuitry. Many agree analog circuitry does come close to tube amp tones. Digital modeling is in the ballpark, but rather unreliable, often finicky, and puts many users in tweaker paralysis. Both are often put in the same camp. To me, that's like taking a fully hollowbody with humbuckers in the same category as a solid body single coil guitar. Sure they are electric guitars, but they are not the same in sound or functionality. When everyone above mentions the different tones, articulation, bloom, etc.. of a tube amp, the problem is most people cannot turn their tube amps up enough to get the power tubes to react that way (most of what everyone is talking about is related to the power section of a tube amp). So to many solid state amps, analog or digital fit the bill because to their ears (and I will say my ears too), the non-tube amps sounds the nearly identical because we cannot turn tube amps up loud enough to really hear the difference. I think that is why solid state amps are the getting more popular, even among the pros. Not to mention, when in a band environment, I think the nuances of tube amps is lost with digital effects, compressed processing, and digital recordings.
  7. Collings, Gibson and Heritage semi-hollow body guitars are all great guitars. I have played a few Collings I35's and they are amazing guitars.I own a Gibson ES-335 and several Heritage H-535's. IMO it's not necessary to spend the extra money for a Collings or a Gibson when the Heritage guitars look. play and sound just as good as the more expense ones mentioned. Of course I would purchase a used Collings, if the price was what I would be willing to pay for it.
  8. After hearing about the new Fenders I did a search. A month ago there was a thread on TGP of over 100 pages..if anyone is really bored. I skimmed a few pages. It seems some love them, others say they are a one trick pony and other brand options may be as good with more versatility.
  9. And no edits to #2000 post! Congratulations, sir.
  10. Yeah... I really like the lively aspect of the H-530. With a warm amp, they really go. The floating block on a Prospect does a bit of that too.
  11. Good eye FZ!. Might have been. I didn't think of that. It played like a dream, and it did feed back. Controllable, but definitely a factor. Once I got the levels right I could hover right on the edge of howling and fly. Was an amazing match between that amp and guitar. Like they were made for each other. I don't mean to over-romanticize it, but man, it was very cool.
  12. Yesterday
  13. I would think that the photo with the trapeze tailpiece is an H-530. Basically a full hollow version of the H535... no block for the stoptail , hence the trapeze.
  14. There is a public radio show that airs from here called Live From the Divide and I occasionally play on it. The studio bought one of the new Fenders and it is pretty amazing. The acts that come in from the road want a deluxe reverb and unbeknownst to them play through the new modeled deluxe. After the show it is pointed out that they were playing through a non tube amp and to a person, they have been amazed. I am stubborn and did not want to like the amp but I do.
  15. What KBP 810 most eloquently said...and speaking from the standpoint of the guy that was the first to pen the phrase, over and over again... Boutique amps for boutique guitars, Boutique guitars for boutique amps!
  16. Tap the acoustic through the Twin. One of my favorites.
  17. Man, I would love a P90 loaded 535!
  18. Very happy with my SS DV Mark Jazz, then again I do love my Matchless Lightning... Horses for course.
  19. Good one. I'll get out my Twin this week and give it a go, it's been a while. You jogged my memory, I had an Acoustic 4 x 12 / 200 w beast back in the early 70's. It was loud, not sure I was aware of other subtleties back then. And I had a LP SG back then as well. I've been kicking around the idea of getting an acoustic amp as I have one electric acoustic guitar that does not sound great with my tube amps. Maybe one of these new crop of amps can do double duty. Thanks, great info.
  20. Yes it was. A P90 loaded 535 though a 50's Tweed Deluxe. Maybe the most fun I've ever had playing guitar. It was sublime. Other-worldly. They were both for sale in a long-gone local guitar shop. It was a great place. They let you play anything in the shop for as long as you wanted in these little lesson/demo rooms that were full of gear. I took that picture in one of those rooms. I stayed a while....
  21. Many of the songs I enjoy include a sizzling guitar, often at low volume, in the background; e.g. China Grove. I’ve been looking for a way to reproduce that background sound in the company of others. Getting to the level where sizzle and big iron punch both bloom comes with high volume which circumvents group playing. I also cohabitate with others. While they’re polite about the volume, I know there is a point where it becomes obtrusive; I don’t wish to cross the line. I believe this dichotomy is intrinsic to all guitarists. Here is my latest approach at a solution. I’ve been quite disillusioned with the sound coming from static load attenuators. I have a couple THD models; while not cheap, I don’t care for the results. I have a few 100W amps that really don’t give up the goods until their cranked. The THD restrict the amp’s personality when cranked. As I kept my ear to the rail for Something that doesn’t choke the amp’s personality, I discovered the OX. The OX has dynamic load that is supposed to behave like a speaker cab would at different volume levels. I’ve done a lot or reading about this unit. While aware of marketing hype, I don’t encounter the pushback in forums. I haven’t found many used units for sale – the two or three I see are within 15% of MSRP. While I only have crappy computer speakers and ear buds, I hear blossoming of the overtones that excites me. I also see experienced players floored when trying it and an honest smile while putting it through the paces. So, I now await my opportunity to explore and experience. Just to muddy up the water a bit; I’m still considering a Fryette Power Station. I haven’t decided on the PS-2 or (about to be released) PS-100. Again, it’s all about natural attenuation; getting the goods without cracking plaster or nose bleeds. Has anyone here tried the OX or PS unit? Are they that different or am I headed down another rabbit hole?
  22. Hello,

    I was wondering if you have sold your 2000 Heritage H-150CM guitar.  

    Thanks,

    Mark

     

  23. Eh... if it sounds good to your ears, that's all that matters; and in the hands of someone who has things dialed in, and hitting all the right notes, it's probably going to sound good to most others as well. Myself, however, am one of those cork sniffin' tube aficionado types. My ears are sensitive to details and highlights. When I'm playing for myself, or listening, and I mean really listening, to what's coming out of someones amp... my ears long to not only hear the note, but what happens immediately after the note. That harmonic, bloom, chime, after note, momentary decay, etc... that tiny little, blink (with your ears), and you'll miss it detail, that happens in that instant after a note is played. And while I have heard some amazing sounding SS amps (which were also conveniently paired with amazing playing), I have yet to hear one that legitimately reproduces this effect in the same way that a tube does (to my ears). Then there is also the way a guitar can interact and manipulate a tube amp... you sort of become one with the amp, and figure out how to strike a note of chord just so to either get a tight accurate sound, or heavier attack to get some grit or sag. Yes, you can get some interaction with an SS amp, but not at the same level of character you can coax out of tubes. That's not to say I think anyone else should think or feel the same way I do on the matter... it's just the way my ears work and what they want to hear.
  24. No, it does not. Also, the power cable is hard wired... not even a jewel lamp indicating it’s on...
  25. Solid State amps should be easy to repair if you take them to any proper service center for brands like Nord, Roland, Yamaha, etc. Not a big deal for their techs to fix SS amps. Solid State amps are not digital modelers like the Tone Master. A Solid State amp is still a fully analog build and has the same complications in that sense where parts drift, voltage effects tone, etc. Digital amps will sound the same until they die on ya. Digital amp lovers should look into plug-ins with their computer more often. You'll find many, many bits of software out there you can tweak at your leisure. Some digital boxes are like this, others like the Tone Master are one set of engineer's ideas on how something should sound. The way to test a modeler versus tube is to find two similar guitars whose difference you notice well in an amp like a Twin Reverb. Say, a 335 and a Les Paul. Plug both into the Tube Twin and see how different they sound. Then do it with the modeler, chances are the modeler will not give you as much variation in attack/punch/etc though both will "sound good." It's more the conversion of the sound to digital before it hits the algorithm that changes the way they react versus tube amps. But, like a computer plug in, a digital amp can still get far enough to model tones of a certain nature. They're all tools. I like tube amps because they're just works of 20th century art. Hot glowing tubes, insane analog resolution, so many cool looks from an old tweed to a 70's Orange to a blackface Fender to the Marshall head. Just, an aesthetic quality that pleases me to no end.
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