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zguitar71 last won the day on October 6

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About zguitar71

  • Birthday 05/04/1970

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    missoula montana

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  1. Speaker differences can make a large impact on volume. As far as point to point vs PCB, if the components are of equal quality and identical values with identical transformers, speaker and tubes then they should be very close in tone and volume. The mass produced amp will usually suffer from cutting quality for profit and as an end result the tone suffers. There is no reason a mass produced amp can’t sound amazing if that is the main focus.
  2. This thread woke me up and got me back into studying amps. I’ve been reading Rob Robinette’s site, watching “Uncle Doug” videos and messing with the Amp Books calculators to refresh my brain. If I don’t reread this stuff about once a year it starts to seep out of my brain.
  3. Me too, I was using new Tung Sol 6v6 tubes in my little Champ and they lasted about 6 months. I was sure I had messed up modifying the amp. I checked the voltages and everything was good. I ordered a big coke bottle RCA from WW2 and it has been in The amp for years without any problems. Fortunately they are relatively cheap for NOS tubes since they are not robust enough for the voltages in a BF Deluxe and I only have to have one so no matching.
  4. Back in my pedal days I had this same problem with a Dunlop Wah. I bought a Fulltone Clyde (non deluxe) and I was able to use it with different guitars and not have issues. I sold it along with most of my pedals. I still have the Dunlop. I dug it out the other day and used a pedal for the first time in years. I instantly remembered why I bought the Fulltone. The Dunlop I have is the Q version with the side knob for different tone frequencies, a boost switch (I never used) and a trem pot for gain. I always had the gain all the way down but it had a noticeable boost with the amp turned up. The wah sounded god with a powerful but clean amp like a 6l6 amp. When I started using it with 20 watt and less amps turned up for dirt the pedal sounded terrible. I really don’t think there is a wah that sounds good with an amp cranked so the power tubes are clipping. I do think the Fulltone sounds good with a Mater Volume amp and I used mine that way as well as clean. The Fulltone didn’t seem to have any added gain and I think that is very important for a wah.
  5. Well he’s right a 20 watt head isn’t the same sound. If only we could all be in band big enough to play stadiums so we could enjoy those big glorious amps. It’s alright with me though, 20 watts can fill up a small club pretty well and not require back surgery to get them from the car (or should I say moving van for a 100 watt head and two 4x12 cabs?) to the stage.
  6. The Marshall preamp is definitely darker than the Fender. The fender has way less mids and way more low end so it has more sparky and sparkly tone. The Marshall has a big drop of low end below 100hz which lets it stay tight when pushed. Both have about the same high end but the Marshall’s midrange influences it to sound less sparkly. As far as the power sections I don’t really know what the two did to influence the tone. Highs and lows can be bled off with the way the tubes are set up but I’ve have yet to figure out all that. I assume that Marshall continued to try and keep the amp tight sounding throughout the entire circuit. That could be why when mixing and matching the Fender sounds the way it does to you vs the Marshall. One thing that keeps the BF Champ from being farty is the cathode bypass on the second gain stage. The capacitor is 2mF vs 25mF in the more powerful Fender amps. This greatly reduces the amount of low end. It is after the tone stack so the “Fender” sound is achieved then some of the lows are bled off to keep from overwhelming the power tube. On higher gain amps that same capacitor can be an even smaller value. That type of designing is usually throughout am amp’s circuit to achieve what the designer is looking for. There is definitely way more to the tone of an amp than just the tone stack. You are probably hearing it correctly.
  7. The guy in the video kept saying “Second Amendment” instead of “second amended.” There’s a mighty big difference between the two.
  8. Wow! Very nice. The big amps are a thing of beauty. I can’t play them out because they are too loud but the big bold sound can’t be matched with a 5 watter. It’s a feel as much as a sound. That rig looks really nice and clean. I can’t wait to see the insides!
  9. The Marshall sound clean is a lot like a tweed clean as long as it’s through an open back cab. The Fender clean sound from the Black Face era is too sterile for me. The tweed amps sound beautiful clean and dirty imo. It’s everything in one amp.
  10. Yeah that price does seam a bit hefty. The vintage stuff is through the roof too. Lil’ Dawg can build a BrF amp with a “12 speaker of your choice for much less than the CS amp. The BrF amp I would love to have is the Deluxe, it’s a beast! Even the big BrF amps are up in price. The Concert like the one I have is about 2.5x as much as I paid for it 3 years ago and it’s so loud it can’t even be used anywhere.
  11. I’ve read through this thread and find it to have some really good input about these amps vs the real deal. I’ve only played a TMDR at a store so I’m limited in what I can actually take away from it. I found it to be a good DR “real” or not. That was at store volumes but I did crank it and then have the attenuation down and it sounded good in that situation too considering what was being done with the amp. I have never really been one to use attenuation and I do t think they retain the real sound of a cranked up amp. For practice or a super quiet gig it would be a great amp I think. Where it really shines is moving from gig to gig since it weighs so little and can accommodate an iron fisted sound guy or a sympathetic one that lets the guitarist be free. It will do that while delivering a large percentage of what the real deal will for under $1k. These amps definitely have a practical use. I like BF amps but tweeds are more my style and preference. I like the dirt and dynamics and midrange they offer compared to a BF amp. I also like Brown amps more than BF too. I wonder if they will start to make versions of them? if they do I may have a more critical eye since I have an undeniable bias toward the “ real” deal with those.
  12. The Tonemaster is a game changer for tubeless amps! They really do feel and sound like a BF Deluxe. I have not experienced the other models but they are probably the same. I have not gigged with one, only played at a store through one but I bet if I was blindfolded I would have though it was “real.” I would need to gig with one to know more. They can also go direct out which is a sound guys dream and probably why you see them on the GOO stage. I’m still a tube guy just for the romance and I can build and work on them if it’s point to point wired. I’m not good enough to work on printed boards.
  13. Well I have professed my love of the tube amp on this and other forums and will continue to do so. However, my world did get rocked by the Fender Tonemaster amps. This video is eye opening but misses the boat on a few spots. I’m not saying he is wrong, I think he is right but the rabbit hole isn’t deep enough that he is in. I owned and gig for about 15 years with a Carr Slant 6V just like his amp. The design of amps like this that can switch the bias for the power tubes isn’t really a good way to compare. There are compromises to make that happen. The cathode bias of the Slant 6 amp isn’t powering the tubes the same way a 5e3 does. The Carr is much hotter and is getting 18 watts out of them vs 12 for the 5e3 and that makes a huge difference and that is what people are referring to when they say there is a difference. It is also more of a dynamic difference than a tone difference. The rectifier is also in this same boat with a massive feel difference between a 5y3 vs solid state. A cathode biased 5y3 amp is worlds away from a solid state rectified fixed bias amp. I gig a lot with a Tungsten Creamawheat with a 4x10 open back. My buddy has a Blues DeVille with an open back 4x10. I Plug straight into these amps and they sound very different. If I plug into his pedal board and then into these amps and use his distortion pedal they sound very similar. This is what Jim found too. This is also why I love tube amps without influence from a pedal. IMO, to get the best of an amp or find it’s nature pedals must not be used. What happens is in the end is a tone that is both clean and distorted. The pedals don’t give this. This can be heard by the audience. I get a lot of comments about my tone and how different it is from other people they hear. It has been described as easier to hear and easy on the ears even though it is loud. The underlying clarity that comes from not using pedals is what they are hearing. It is, imo, what is missing from so many guitarist on stage today. It also highlights what people described about different amps and their circuits. I lean toward tube rectified cathode biased amps for their feel more than a tone they give. The tone stack and where it is in the amp gives it most of the flavor. This is also what Jim found. So in the end I agree with him but feel there needs to be about 5 hours more of explanation and falling down the rabbit hole.
  14. But just think of how much it will be worth right after you buy it!
  15. Nice! It is great we can all be back from being confined in our caves. I did a couple of private outdoor gigs during the summer of ‘20 and ‘21 but after the Delta variant calmed down and vaccines were available I began to play inside again. I still prefer outdoor gigs but I’m in Montana so we have about a 3 month window for that if we are lucky.
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