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I believe if you purchased a Dumble you could arrange for it to be modded to suit your sound more, though generally Dumble himself did not like second hand sales of his amps, as they were all tuned to the player. His business model was indeed quite different, and as time went on he had more and more custom stuff like the HRM mod and other things. Just looking at the Ceriatone website shows 10 different "styles" of Dumble clones. Both Amplified Nation and Two Rock also have a good number of models, while Fuchs seems to have kept it a bit more streamlined. Still there are supposed to be some specific things that Dumble amps are known for, like the transparency, and the "bloom" of the overdrive.

It depends on what you mean by country music. Classic Merle or Buck would almost require a fender. Or that 80s to 90s George Strait, Clint Black, Alan Jackson, etc.. is still tele/fender sounds. However, the stuff I hear now that is called country often has almost metal tones. I got hired to do a couple of gigs backing a country guy. He said he wanted that Waylon style sound. I had the tele/deluxe thing and he, being young, said that wasn’t the sound he had in mind. I pulled out my Kramer that I got from Brent a few years back and a slightly gainy Friedman and got the gig. Kids these days……

thanks! similar to mine with my Millie, but slightly different. I'm not 100% satisfied with mine, so I'll try yours!

My "Robben " settings VOL/OD at 12 oclock, output at 1/4 , mods and bass at 1 oclock, treble at 9 oclock, Jazz switch , EV12 M cab Signal path : Xotic Super Sweet boost( set for mid boost and 6db of gain)->JA Hourglass dual compressor( set 50% comp )->Keeley Darkside->Enigmatic->Keeley Hooke Rev/Trem/Univibe (set for mild Uni- Vrb)-> TC stereo Chorus/Pitch/ Flange (set for subltle oitch shift)--> ch 1 Mesa Studio 22 + with 4x12 Marshall slant front / Ch 2 PRS Blue Sierra 50w with 2x 12 That's with my H 535 , slight tweaks for other instruments.

While a bit pricey, it is AWSOME

I'll never have the coin to own a Dumble, and truly the "Dumble sound" is sort of a misnomer as He built each one specifically for the artist. Robben Ford ( lifetime fan) has the #1 and he's played others that he didn't like. The pedal allows for an enormous amount of tweaking, I have a a full PA setup, (retired soundman) as well as 9 amps to play with . While it has a great OD sound, I set it more towards the "Robben" tone .. Clean , Rich and very touch sensitive. It makes all the other pedals on my board sound more Hi-Fi , similar to when I plug in my Alembics.

Although while they're are doing it, they have seriously upped their quality control game. You don't hear many people complaining about file marks along the bindings and fretboard, or ridiculously bad cut nuts these days And I think their custom core LPs rank with some of the best guitars to come out of Kalamazoo.

This guitar is a monster player. Playing it with three different amps, with and without a drive pedal. Sounds huge and beautiful no matter what it is paired with. I had to stop because my ears were ringing.

Not everyone has the wherewithall to put themselves in a position to rack up those hours on the gate and make the big bucks. More dumbles than I can shake a stick at.

My 30-something yrs old H150 came with Schaller pup's, "Golden 50s" I think, which I swapped for Seymour Duncan Antiquities, the a SD '59 in the neck, then I put a first production Gibson '57+ (the Tom Holmes ones!) and it always sounded wonderful. Not for nothing it's called a pick-up, after all the acoustic sound of the guitar is what every pickup has as the basis for the sound it will eventually produce, unless one goes through extreme processing, then the guitar becomes "almost" irrelevant because 99% of what we hear is the effects: Anyway, few years ago I fitted a set of OX4 "Beano" pups on my H150 (I also have a set of OX4 "Jimmy Page" on my Gibson '58 Reissue) and oh my God, who ever said that perfection is not of this world has never tried this combo! It's just "that" sound and it has everything, sustain, thick while extremely dynamic, sensitive to the touch and changes in Volume or Tone controls on the guitar, a perfect EQ with just the right balance of bass - mids & treble....as I said perfect, and these are the only pups that hit me like that, love at first chord. I have to say that I tend to go for a very simple set up guitar - 1 or 2 pedals - Marshall on crunch, however I am a professional musicians hance at time I h=found myself playing though elaborate set up, both live and in the studio (I used this guitar straight to the console when laying down parts for a Netflix soundtrack...) nevertheless the results have never been short of impressive! That's my experience anyway...

When I got my H150 I thought it had Seths in it. It didnt, it had 59s. I cant remember why I thought they were seth's. I loved the sounds I got out of the guitar, cleans, low gain, high gain, neck or bridge. I talked about Seths as though they were the best things. After a few years I found out they were 59s....lol. So I swapped them for seths. Didnt like the guitar so much after that, played it less. Eventually I put the 59s back in and joy was restored. Then I temporarily swapped the guitar with a friend for a gibson R59. When we traded our guitars back to each other the SD 59s were in the case and it had SD antiquities and new potentiometers. He thought he was giving me a gift, a nice surprise. He is a lovely guy, a good friend, he meant well... it had lost some of the immediate rocknroll crack and snap, there was a lazy fizz and ear fatiguing boxy mid honk. It lost some the sweetness and clarity when played through a clean amp. It had lost chug and that deep percussive "thunk" That was 10yrs ago, the SD antiquities are still in it. I never got around to putting it back to original. Sounds great, its a really good sounding guitar. Some where during that 10yrs the pick ups just conformed to my expectations and developed all the traits I liked of the SD59s.