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#46
10-22-2019, 06:38 PM
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Tube amps die, not in my lifetime. A few days ago I picked up this little tweed monster of amp, a Clark Beaumont Premium, and the tone is GLORIOUS! I'm pretty sure there's no modeler on the face of the planet that can get the harmonically complex clean tone this amp is capable of, and the dirty tones are wicked good! I lost about 3 hours today in a tone wonderland with this combo...
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#48
10-22-2019, 08:28 PM
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My humble little BJ-lacquered tweed with Jensen speaker produces some fine tones, but I’m sure you’re new addition is a whole other level. Is it a Clark Beaufort with Celestion Blue?
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2023 Martin GPC-11e 2023 Fender Players Tele Limited Edition - Oxblood 2022 Gibson Les Paul Standard 60’s - Unburst 2021 Fender Strat American Pro II - Black 2014 Gibson ES-335 Memphis Dot - Cherry 2013 Gibson Les Paul 50’s Tribute P90 - Tobacco 2012 Yamaha FS720 TBS
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#49
10-22-2019, 09:10 PM
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 As far as the V55 is concerned, unfortunately it's largely a niche item - not enough gain for the Mesa/Boogie crowd, not enough cachet for the boutique tube-amp guys, many club jazzers opt for dedicated solid-state rigs with twice the power and half the weight, and the Fender devotees can be fiercely loyal IME; unless you've had experience with early/mid-60's Ampegs, it's easy to underestimate both the potential of a good mid/high-powered tube combo and the role dynamic headroom can play in your tone (PSA: "big power" isn't necessarily about raw volume or massive gain - in spite of their intense corporate/personal rivalry and differing philosophies Leo Fender and Everett Hull both understood this) - and the fact that it can be had for the price of dinner-and-a-show-in-the-big-city should have made it more popular among discerning players on a budget, looking for those elusive "big clean" tube tones that are the domain of four- (and sometimes five-) figure vintage rigs. Another drawback is right within Bugera's own lineup: speaking as a longtime owner the V22 covers much the same sonic territory for most applications (I've had experienced players who heard my V22 mistake it for a V55), if you're looking at higher power for larger/outdoor venues you're likely going to want a multi-speaker setup (Bugera doesn't offer a 2x12"/4x10" combo), and in the latter case a head/bottom rig (which they do offer in a variety of configurations - including a V55 top box and matching 2x12" cab) can be preferable for a number of reasons - not the least of which being distribution of weight for us older rockers. Price-wise the V55 also doesn't cost too much more to make, if anything: higher-power transformers/slightly larger cabinet (both sourced in-house), 6L6 vs. EL84 power tubes (domestic Chinese manufacture and bought in bulk) - and given the fact that, with the sole exception of the $199 V5 combo, they implemented whopping price hikes across the tube amp line over a year ago (perhaps a proactive move, in anticipation of economic changes), I sincerely doubt they're losing any money attempting to jumpstart sales by offering it at the current $449 street price... Frankly it's been years since my '65 Super RI left the music room/home office: the size and weight don't lend themselves well to either advancing age or the type of venues our band plays these days, I've got a 100W Frontman 212R in '64 blackface livery for those rare outdoor shows (25% lighter than the Super at 48 pounds, does "Fender clean" well enough in an open-air setting), and while my V22 serves me well (and isn't going anywhere - ever) there's something to be said for the inimitable sonic impact of big American-style tubes being driven by a Gretsch hollowbody; got something else in the pipeline right now (with the full approval and cooperation of the Home Accounting Department - NGD to follow upon receipt), but if/when I can flip the Super there's the strong possibility of a V55 combo in the future... In the meantime use it well, often - and louder than you think... 
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) Last edited by Steve DeRosa; 10-22-2019 at 09:16 PM.
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#50
10-22-2019, 10:35 PM
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Thanks, yes that's what it is a Clark Beaumont Premium with a Celestion Blue, and the guitar is a 1978 L5s. Man did I have fun with the rig today 
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#51
10-23-2019, 09:50 AM
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If so, were you asleep when CCR played with solid state Kustom amps? How about that Santana set though! Pure, singing, tube tone---oh, opps--I guess Carlos was plugged into a GK solid state amp. If I have a serious point, it's that there's a lot of valid guitar sounds out there, and some things we think are mandatory for valid sounds, even "vintage" sounds, aren't.
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----------------------------------- Creator of The Parlando Project Guitars: 20th Century Seagull S6-12, S6 Folk, Seagull M6; '00 Guild JF30-12, '01 Martin 00-15, '16 Martin 000-17, '07 Parkwood PW510, Epiphone Biscuit resonator, Merlin Dulcimer, and various electric guitars, basses....
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#52
10-23-2019, 06:11 PM
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So what is modeling then? It's taking those great creations and... modeling them. Why not just have the real deal? I guess if you really want to sound like Eddie or Satch then you can preprogram a patch and have at it. That, after fiddling through thousands of presets to tweak to get something close that in the end is ... still a model. What does the future hold? What will it be like in say 2040? Will there be modeling technology that models the models of the past? "Dude I just got a Zoom 505 model that totally rips the 90's canned modeled guitar sound like no other!" 
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#53
10-23-2019, 07:34 PM
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased)
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#54
10-24-2019, 10:59 AM
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Examples: A Hammond B3 and the like is a complex analog device (with tubes) that makes a Twin Reverb look like a cinder block in the old-school technology sweepstakes, and even more so with something like a Leslie cabinet. Some folks still use the "real thing", but a great many professional acts use something that simulates them with....modeling. (Oh, what about those stops on the big Hammonds. They're modeling tubes--well, pipes I guess is the preferred term--but they aren't the real thing) Or how about the original drum machines. Cheesy sounding even then, but they've been imprinted on listeners as sounding from the street. Some producers use the real boxes, some use samples from those boxes, and some use Virtual Instrument TR-808s and the like...you know, modeling. I love the Mellotron. I really love the Mellotron. I was imprinted with records that used it at an impressionable age. In terms of hardware and money for VIs I'm somewhat constrained, but I have much more convincing Virtual Instruments for the "real thing" ones the Mellotron was to stand in for using tape strip samples as technology--but they don't sound like a Mellotron any more than a TR-808 sounds like Clyde Subblefield. I doubt I'd ever want to maintain a real Mellotron if I could afford one, but I play one often, using...modeling. You mention Satch and Vai and the like from that generation. I believe some of them have moved off their original big racks, and now tour playing the songs the audience comes to hear using....modeling. Why not use the "real thing." There's those practicalities I've referred to. You get simplicities. Yes, you could have a Twin Reverb, a hand truck, an attenuator, and some kind of speaker simulator/direct out box. Or you could consider one of these new amps. That's a lot narrower than the simplification of something like a B3 etc, but it still might be a logical choice. Yes, a Princeton, a cable and a Tele is pretty simple too. I know, I've lived there. It doesn't do exactly what a Twin or a Twin with some additional stuff can do, but it usually did what I had to do. I used to have a Marshall amp, just for those rare times when I wanted to record a Marshall kind of sound. Sold it. Modeling is close enough for that occasional use (mine was a combo, the modeling does a better mic'ed up 4x12 closed back cabinet simulation even if it doesn't get the playing feel perfect). I gave up the "real thing." Or someone could choose modeling a 20th Century beat box, not to save an aching back or because it won't fit in your Honda Civic, but because you can do a lot of handy interaction with DAWs and controllers and the like that makes things better at meeting some goals as well as easier. I don't know if guitarists who have a complex setup of effects (stuff that the Satch generation helped pioneer) sometimes prefer modeling for additional ease of use, repeatability and flexibility, or largely because it's easier to cart around in an era of tighter touring budgets. My guess is it's both.
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----------------------------------- Creator of The Parlando Project Guitars: 20th Century Seagull S6-12, S6 Folk, Seagull M6; '00 Guild JF30-12, '01 Martin 00-15, '16 Martin 000-17, '07 Parkwood PW510, Epiphone Biscuit resonator, Merlin Dulcimer, and various electric guitars, basses....
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#55
10-24-2019, 11:17 AM
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I've played through Fly Rigs too and I will admit for the sake of convenience they do indeed sound incredible. I'm just giving the OP a hard time for saying tube amps are dead... No way.
As for the B3. Ha! I saw the Allman Brothers a few years ago (actually probably 5 years ago now) at Red Rocks and while Gregg Allman was playing the B3 something went wrong with it, as I'm sure is pretty common now that they are so old, so in the middle of the song he quickly switched to his electric keyboards, a group of roadies came running out and wheeled the old B3 off the stage. Another minute goes buy and here come the roadies again wheeling on a replacement B3 and Gregg finished up the song on the B3. Who needs modelling with that kind of support hahahahha
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#56
10-24-2019, 11:18 AM
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The rb120 was the one I had too. Yup killer amp. I probably should seek out another one of those.
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#57
10-24-2019, 12:58 PM
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"for the sake of convenience..."
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   You cannot halt progress.
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________________________________ Carvin SH 575, AE185-12 Faith Eclipse 12 string Fender RK Tele Godin ACS SA, 5th Ave Gretsch G7593, G9240 Martin JC-16ME Aura, J12-16GT, 000C Nylon Ovation: Adamas U681T, Elite 5868, Elite DS778TX, Elite Collectors '98 Custom Legend, Legend LX 12 string, Balladeer, Classical Parker MIDIfly, P10E Steinberger Synapse Taylor 320, NS34 Yamaha SA503 Last edited by Sonics; 10-24-2019 at 01:03 PM.
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#58
10-24-2019, 02:48 PM
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Patrick 2012 Martin HD-28V 1984 Martin Shenandoah D-2832 2018 Gretsch G5420TG Oscar Schmidt Autoharp, unknown vintage ToneDexter Bugera V22 Infinium
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#59
10-24-2019, 05:20 PM
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased)
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#60
10-24-2019, 05:47 PM
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Hmmm. My band released an album on vinyl last year. Which brings up an incredibly good point... Nothing sounds better then vinyl
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