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Celery Man

By Celery Man
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dcbc

dcbc 14644

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It's a jumper to run both channels at once. Pretty much any multi input amp can do it. It doesn't make the amp any louder or have more gain, contrary to a popular myth, but what it does is allows you to blend the output of the two channels to have more options tonally.
You can do it on most nonreverb four holers. Exception is the low power tweed twin. You have to use a y cable to run both channels on that one.

I got to run my Victoria bassman with both channels about half way up at a show in an auditorium once. It took about a week before the grin started to leave my face. They are such great amps.
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G650

G650 14438

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3 minutes ago, dcbc said:

You can do it on most nonreverb four holers. Exception is the low power tweed twin. You have to use a y cable to run both channels on that one.

I got to run my Victoria bassman with both channels about half way up at a show in an auditorium once. It took about a week before the grin started to leave my face. They are such great amps.

Yeah there's couple that phasing issues mean you have to Y cable. I honestly kind of forget as I haven't played a reverb or vibro amp in so long. Like probably 25 years or something.

 

A singing Bassman is the most glorious thing on earth. Plus, who cares about amps that go to 11. Bassmans go to 12. Literally.

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dcbc

dcbc 14644

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3 minutes ago, tbone_ said:

I think I remember you had a video. You had a 335 or something right?

Yeah, it was from a holiday show at my kids' elementary school, hence the dumb reindeer antlers.  The school uses the adjacent 1920s civic auditorium.  The hole thing was kind of last minute and we'd never played together before.  Sound check?  Yeah, right.  We got five minutes to set up.  So I just plugged in, turned up, hit a kill lick and started smiling when I heard the echo off the back wall.  No reverb required.

 

 

 

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dcbc

dcbc 14644

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7 minutes ago, G650 said:

Yeah there's couple that phasing issues mean you have to Y cable. I honestly kind of forget as I haven't played a reverb or vibro amp in so long. Like probably 25 years or something.

 

A singing Bassman is the most glorious thing on earth. Plus, who cares about amps that go to 11. Bassmans go to 12. Literally.

The phasing issue comes up on the reverb amps for sure.  Something about the reverb return tube or something.

 

On an amp like the bassman, the input jack PAIRS each use one half of the V1 preamp tube, but on the Low Power Tweed Twin (5e8a), each of its input jacks uses one half of one tube. The first input pair (Normal jacks 1 & 2) goes to V1, the second pair (bright channel) goes to V2.  So you can "Y" cord inputs 1 & 2 on either channel and get the same effect as jumpering the channels.  Better yet, you can then "Y" cord the "Y" cords. Now you'll have all four triodes of the preamp tubes working for you and driving the next stage like a freight train.  I've never actually tried the double y cord thing.  But the LPTT really sings with both inputs in play.

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G650

G650 14438

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13 minutes ago, dcbc said:

The phasing issue comes up on the reverb amps for sure.  Something about the reverb return tube or something.

 

On an amp like the bassman, the input jack PAIRS each use one half of the V1 preamp tube, but on the Low Power Tweed Twin (5e8a), each of its input jacks uses one half of one tube. The first input pair (Normal jacks 1 & 2) goes to V1, the second pair (bright channel) goes to V2.  So you can "Y" cord inputs 1 & 2 on either channel and get the same effect as jumpering the channels.  Better yet, you can then "Y" cord the "Y" cords. Now you'll have all four triodes of the preamp tubes working for you and driving the next stage like a freight train.  I've never actually tried the double y cord thing.  But the LPTT really sings with both inputs in play.

Yeah on the tweeds for sure. The blackfaces V1 and V3 are for bass and normal respectively. I'm not sure when that changed though, I really don't know much about the blonde era.

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Celery Man

Celery Man 21098

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I can’t remember my exact login for choosing not to get the C-30R (reverb) when spec’ing out my Matchless, but it may have just been because I wanted to use the Strymon Flint for reverb. Either way, glad I got the non reverb 4 hole version because not only is jumping the channels great but the high and low inputs are different enough to be interesting.

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G650

G650 14438

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Way back in the mists of time, a wise man told me you never run reverb on a guitar amp. While I'm not quite as strident about it these days, I will say that in most rock guitar cases you shouldn't as it really muddies the sound. It's nice for practice amps at home or small quiet shows, but otherwise a delay is usually the way to go. Reverb can be used pretty well as a post effect in the studio though on an Aux return, especially trying to blend tracks.

 

Now for country, you boys twang your hearts out with that reverb.

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tbone_

tbone_ 14451

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Way back in the mists of time, a wise man told me you never run reverb on a guitar amp. While I'm not quite as strident about it these days, I will say that in most rock guitar cases you shouldn't as it really muddies the sound. It's nice for practice amps at home or small quiet shows, but otherwise a delay is usually the way to go. Reverb can be used pretty well as a post effect in the studio though on an Aux return, especially trying to blend tracks.
 
Now for country, you boys twang your hearts out with that reverb.

Idk. I have a 1970 dual showman reverb with the huge transformer. It’s the most glorious reverb I have ever heard. I run a Marshall style dirt pedal in front of it and it’s just fantastic. The air that thing pushes through a 4/12 will definitely wake you up.
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G650

G650 14438

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8 minutes ago, tbone_ said:


Idk. I have a 1970 dual showman reverb with the huge transformer. It’s the most glorious reverb I have ever heard. I run a Marshall style dirt pedal in front of it and it’s just fantastic. The air that thing pushes through a 4/12 will definitely wake you up.

I'm sure by itself it sounds wonderful

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Bogeywon

Bogeywon 2548

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13 hours ago, Chad Fuck said:


I wonder if that’s a prototype of his signature Tele. It has the look but not the Thinline style pick guard.

https://reverb.com/item/57777877-fender-custom-shop-merle-haggard-telecaster-maple-fingerboard-2-color-sunburst-749?utm_source=rev-ios-app&utm_medium=ios-share&utm_campaign=listing&utm_content=57777877

That looks like fender trying to copy PRS tops ;)

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Celery Man

Celery Man 21098

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I don't think I ever got to a point of "no reverb" as a rule, but I absolutely did find that, in a loud band

a) too much wet and swirly and makes your guitar turn into a puddle

b) pretty tones disappear

All those nice round reverb dripping neck pickup sounds don't make it past the cymbals. And if you're playing anything melodic on the bass (again, in a loud band) don't scoop the fucking mids. Stuff that sounds a bit harsh and ugly not only cuts through but doesn't sound as much that way in the mix.

And some light delay can keep you from being too dry while still being clear. I keep wanting to call it "one one", because the producer my old band worked with a bunch would call slapback "one one", relating a story of working with... some aging british rocker and I wish I could remember who the story was about.

"Put a bit of one-one on that for me Jim"

"One one?"

"I say 'one', I hear 'one one'."

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Topper13

Topper13 3640

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On 7/15/2022 at 8:09 PM, G650 said:

Cobain played Twins I thought but I'm not 100% sure.

 

Pretty much all Social Distortion from their major label days on is a Bassman into a Marshall cab. Mike Ness uses greenbacks though and has his bass channel modded by Billy Zoom originally, and another guy now who's name escapes me. Basically the tone is not far off an early Marshall, more bark than grit though. I'm still on the fence with the Sylvania 6L6s I just put in this one. It's like mega barky. The 5881s were definitely more saturated and smoother.

 

Voodoo Chile was a Bassman as well.

Fred Taccone of Divided by 13 Amps. I was going to say, tell me you're a Mike Ness fan, without telling me you're a Mike Ness fan, but you said it. Cool rig.

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G650

G650 14438

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7 hours ago, Celery Man said:

I don't think I ever got to a point of "no reverb" as a rule, but I absolutely did find that, in a loud band

a) too much wet and swirly and makes your guitar turn into a puddle

b) pretty tones disappear

All those nice round reverb dripping neck pickup sounds don't make it past the cymbals. And if you're playing anything melodic on the bass (again, in a loud band) don't scoop the fucking mids. Stuff that sounds a bit harsh and ugly not only cuts through but doesn't sound as much that way in the mix.

And some light delay can keep you from being too dry while still being clear. I keep wanting to call it "one one", because the producer my old band worked with a bunch would call slapback "one one", relating a story of working with... some aging british rocker and I wish I could remember who the story was about.

"Put a bit of one-one on that for me Jim"

"One one?"

"I say 'one', I hear 'one one'."

Yeah exactly this. And I want to stress I'm not an absolutist, anything can work in the right situation, but by and large in a loud ass rock band reverb will mostly just make you disappear while simultaneously annoying the sound dude for muddying up his mix.

 

I definitely don't claim innocence for a lot of this stuff either, it took me way too long to learn and/or accept that a guitar that sounds good on its own has almost no relation to one that sounds good in the mix. I played one show in high school where I dialed in the most badass scooped metal tone on my Fender M80 stack, or so I thought. When we listened to the recording, I literally couldn't hear me. Like not at all. Turns out no mids isn't all that great.

 

 

7 hours ago, Topper13 said:

Fred Taccone of Divided by 13 Amps. I was going to say, tell me you're a Mike Ness fan, without telling me you're a Mike Ness fan, but you said it. Cool rig.

That's him. Yeah, I uh slightly like Social D and Mike Ness. I may or may not have a Skelly tattoo on one arm.

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Foggy Notion

Foggy Notion 1202

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I posted this one back when I got it about 6-7 years ago, but here’s the Mini Strat in our house. It’s a 2005 Fender Stratocaster Junior. Made in Mexico out of standard Fender hardware and electronics, but smaller body and 22.75” neck, same dimensions as the Squier Mini. Fender made these for a couple years and then discontinued them. This is my daughter’s guitar.

 

DCA529A4-6818-480C-8332-568E29322299.jpeg

C01BFF38-D80F-48CE-95BD-A27B2D739052.jpeg

BD3A1335-9E5F-4F2F-9FB7-070219E3F56F.jpeg

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G650

G650 14438

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6 minutes ago, Goredho said:

Anyone got a Soldano SLO-100 or SLO-30, or have experience them?  I played a SLO-100 recently, and its got me rethinking my amp lineup.

My good friend and sometimes bandmate played a SLO 100 for quite awhile. I'm not a super fan of it, but probably the best guidance I can give is if you like Mesas you will like it as it's precursor amp.

ETA: Warren Haynes has been rocking a SLO lately I noticed.

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Goredho

Goredho 17657

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12 minutes ago, G650 said:

My good friend and sometimes bandmate played a SLO 100 for quite awhile. I'm not a super fan of it, but probably the best guidance I can give is if you like Mesas you will like it as it's precursor amp.

ETA: Warren Haynes has been rocking a SLO lately I noticed.

The one I played sounded great with a Suhr custom modern with Thornbucker pickups.  Very dynamic and responsive to tweaks in playing intensity and volume/tone adjustment on the guitar.  I put all the amp knobs on 5 (except for master volume) and I could go from almost clean/slight breakup, to warm jazz, to overdriven rock to metal with just adjustments in playing or to the guitar controls.  I don't know how much of it was the guitar/pickups/controls and how much was the amp.

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AnotherUTFan

AnotherUTFan 9990

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Actually tbone pointed it out from a picture I'd taken of the guitar player in Blondie recently. I am semi in the market for a new head, but I dont have an urgent need so its been on the back burner. I think i want to spend some time with a JCM 800 and a EVH 5150, I dont think Soldano is in my future. I like the sound of my Marshall 1987x, but I have to crank it too loud to get the crunch im after. I want something with a master volume.

Anybody have recommendations on bass pedals? I've never used one. The backline is being provided in Vegas and I have no idea what the bass amp will be. Im hoping to carry a pedal where I can dial in my sound, then just set what ever amp is there to clean. Thats what I do for my guitar parts with my Shaggy Screamer in Dirty Years. I never bring an amp, I just run through the SS into whatever amp happens to be there.

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G650

G650 14438

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1 hour ago, Goredho said:

The one I played sounded great with a Suhr custom modern with Thornbucker pickups.  Very dynamic and responsive to tweaks in playing intensity and volume/tone adjustment on the guitar.  I put all the amp knobs on 5 (except for master volume) and I could go from almost clean/slight breakup, to warm jazz, to overdriven rock to metal with just adjustments in playing or to the guitar controls.  I don't know how much of it was the guitar/pickups/controls and how much was the amp.

 

They certainly have a devoted following. I guess the other thing I left out is every Soldano owner swears you can't make a Mesa sound like a SLO and everyone else pretty much shrugs their shoulders lol.

 

14 minutes ago, AnotherUTFan said:

I want something with a master volume.

 

Eh, the JCM 800 still has to go very loud to really make it sound like something. Which I happen to love but be prepared to not if you are going for lower volume. it's been a super long time since I played a 5150, but that is a much different amp as I recall.

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AnotherUTFan

AnotherUTFan 9990

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I'm going mostly by paying attention to guys whos sound is something i'm after at venues the size of the ones I play - like 75 to 350 capacity venues. A friend who I share studio space with has a JCM800 in there and I can get good sound of it at lower volumes than I can from that 1987x, I think im gonna ask to borrow it for a show we have at the end of August. By no means am I looking for quite. In this room coming up the 1987x would be fine.

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G650

G650 14438

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2 minutes ago, AnotherUTFan said:

I'm going mostly by paying attention to guys whos sound is something i'm after at venues the size of the ones I play - like 75 to 350 capacity venues. A friend who I share studio space with has a JCM800 in there and I can get good sound of it at lower volumes than I can from that 1987x, I think im gonna ask to borrow it for a show we have at the end of August. By no means am I looking for quite. In this room coming up the 1987x would be fine.
 

Yeah I agree it's a great amp for that size show. If you are getting the sound you want at a lower output volume then could be a great option. Personally I don't think an 800 sounds like much until your master is at like 7 or 8, at which point you've gotten like 90%+ of the amps volume and are in the same boat as the 1987. The 5150 can definitely rock at lower volumes than that, but it's a very grainy sound if I remember. Definitely a cool amp.

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tbone_

tbone_ 14451

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Autf - you ever considered Mesa? I have an Electrodyne, which I think is the precursor to the Royal Atlantic.

It’s their version of a twin on the clean side and a hot rod 80s Marshall on the dirty side. 45/90 watts. I love it. Loud af as expected though.

Although I still prefer a lower watt clean tube amp with a dirt pedal when in our band situation.

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AnotherUTFan

AnotherUTFan 9990

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I've had a Mark V that I had a love hate relationship with, and I passed on an opportunity to buy our drummer's wife's Dual Rectifier cheap when they moved away. They're great amps for what they do. I played with that DR a ton and couldn't get my sound out of it. I like that open, organic 70's type crunch and those things are like a more focused, gain crunch. I wish they worked for me since they built here in Northern California.

The last show I was part of I played a Gretsch DuoJet into Twin Reverb with the Shaggy Screamer in between. Afterwards, this younger guy I know, who a wonderful musician in one my favorite local bands, was telling me how much he loved my sound. He said he had no better way to describe it other than pure Rock and Roll! Ill take it! It's those FilterTrons I keep going on about.

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