#31
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The EL84 Trainwreck (the Liverpool I believe) is Vox based and should have nice projection. The Dumbles, IIRC, come from the BF Fender family of amps, and would have a natural mid scoop. I can offer some tips on Champ mods that can help tighten the sound if you like, or point you in the direction of some info. As a few others have noted, the key in a band mix is to heavily cut bass and push some mids to be heard when needed. My Bassman is only 40W, but doesn't struggle in the least to be heard even against much larger amps due to its naturally midrange heavy sound.
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"You don't have to be great to start, but you have to start to be great." -Zig Ziglar Acoustics 2013 Guild F30 Standard 2012 Yamaha LL16 2007 Seagull S12 1991 Yairi DY 50 Electrics Epiphone Les Paul Standard Fender Am. Standard Telecaster Gibson ES-335 Gibson Firebird |
#32
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I've really enjoyed following this thread. Thanks for asking us and for being so active in your replies. And hey, I like a Champ as much as the next guy, but there is no way that little fella is going to clear the drum/bass/other electric high bar. You almost for sure need more watts. You'll know as soon as you switch rigs. So my money is now on: speaker pointed at ears, more watts, less gain, more volume from pedals, less bass and low mids, more mids and highs.
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Steve Mcilroy A25c (Cedar, English Walnut) with Schatten HFN (custom MiSi Crystal Jack Preamp, putty install.) Maton 75th Anniversary OM 50th Anniversary Fender Am Std Strat. Gretsch 6120 Nashville Players in Blue. Line 6 Helix. If I played as much as I read threads, I'd be a pro.... |
#33
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It sounds like you have some familiarity with this circuit, as you describe it fairly well. My own knowledge level regarding tube amps is.....well......I know some things......I have some opinions......but I also recognize that there is a lot that I DON’T know. I would be delighted to hear your thoughts on voicing this amp, but I also don’t want you to be offended if you suggest something that I may have already tried and passed on. I think the Weber Blue Dog is okay, but I am not married to it. I do want to try to work with what I already have for right now, as opposed to spending a lot more money. If you feel so inclined, please share your amp-tweaking thoughts. |
#34
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You may be right, but I would like to at least see if I can get the Champ (5F2A circuit) to work better for me. I am almost always mid-in the amp and running into a PA, however, so I feel like this should not be a matter of sheer volume. It does struggle with head-room......that I freely admit. Another limitation is the single tone knob on the amp. I have been using an Empress Para EQ pedal to help sculpt the input signal, but that might not be enough. I suspect that some benefit may be realized by voicing the actual amp circuitry. More to do...... |
#35
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Steve Mcilroy A25c (Cedar, English Walnut) with Schatten HFN (custom MiSi Crystal Jack Preamp, putty install.) Maton 75th Anniversary OM 50th Anniversary Fender Am Std Strat. Gretsch 6120 Nashville Players in Blue. Line 6 Helix. If I played as much as I read threads, I'd be a pro.... |
#36
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The last thing a guitarist who is losing the drum 'n' bass wars needs is a Champ.
A Twin, however, can stand toe-to-toe with any basher, and sound glorious doing it, too. |
#37
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I've seen some Champ mods that are master tone monsters. I have a friend that used to run a small Peavy amp with a full band. He'd set it ear high and mic it. If he wanted to hear himself better he'd just move closer to the amp. Simple!
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#38
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The first thing you can do to tighten up the amp's sound is a couple of cap swaps. From V1a, the input stage, the first change I'd make is to swap the cathode bypass cap from 25uf down to 4.7uf or smaller. 2 to 4uf is where the change first starts to become noticeable. This trims some bass, which helps prevent the low muddiness especially when overdriving the amp. If that's to your liking and you'd like to experiment a little further, the coupling cap for that stage is the next stop. Stock is .02, you can lower that value by half or more to find a value you like. The third swap you can do is change the first filter cap from 16uf to 22 or even 30uf. This cap forms the foundation of the power supply, and upping the size some will let the amp better handle bass notes and transients. Don't go over 30 if you're running a tube rectifier instead of solid state diodes or a Weber copper cap.
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"You don't have to be great to start, but you have to start to be great." -Zig Ziglar Acoustics 2013 Guild F30 Standard 2012 Yamaha LL16 2007 Seagull S12 1991 Yairi DY 50 Electrics Epiphone Les Paul Standard Fender Am. Standard Telecaster Gibson ES-335 Gibson Firebird |
#39
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If you are putting your sound through the PA (believe you said that) - miked amp, I assume - can the audience hear your leads ok? If so, you just need to get your guitar UP in the monitor mix, or the easy fix - get the amp off the floor where it's pointing at your knees. A simple adjustable angle amp stand can do wonders.
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Mike My music: https://mikebirchmusic.bandcamp.com 2020 Taylor 324ceBE 2017 Taylor 114ce-N 2012 Taylor 310ce 2011 Fender CD140SCE Ibanez 12 string a/e 73(?) Epiphone 6830E 6 string 72 Fender Telecaster Epiphone Dot Studio Epiphone LP Jr Chinese Strat clone Kala baritone ukulele Seagull 'Merlin' Washburn Mandolin Luna 'tatoo' a/e ukulele antique banjolin Squire J bass |
#40
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All,
I very much appreciate the dialog and the helpful replies. Thanks to the suggestions, I at least have a number of things to try.......and that is exactly what I intend to do: try a number of things. As circumstances would have it, I am going to be out of town most of next week, and my more-immediate time reserves are very limited. Please do not think I am dismissing anyone's good ideas -- I simply may not be able to try out some of these suggestions until after next week. I shall try to follow-up on this thread with some observations when I am able to test out some ideas. I am especially intrigued about re-voicing the tone-shaping circuitry inside of the amp itself. More from me when I have more to add. In the meantime, thank you everyone! |
#41
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I use a Fender Twin and one does not have these problems with a Fender Twin
But even so I kick back the amp so it points at me. It makes a HUGE difference. Guitar amps are very directional so it could be that your sound is just whizzing right by you. |
#42
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Yep, a Twin is just a superb all-around gigging amp. Rich and full, and it takes pedals so well. With a Twin, you always have enough rig for the gig. |
#43
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Getting a sympathetic solo connected to your amp playing medium levels at home against a backing track is easy to dial in, and more importantly feel. To cut through at gigs on a new stage, room or even outdoors one might have to lose that physical amp immediacy. Unless you are playing Grand Funk on 10. In a way it is more of a trust thing at gig level. Less of the intimate moving air of your amps speaker. Whether or not your signal is in the PA (nice trend). Or with your combo amp and all band members. Or with the sound man in charge. I like my combo amp(s - Stereo gigs periodically) on a 3' high angled amp stand right in back of me. Old school but at least I know I won't completely disappear. The other ideas of less time based pedals and using the bridge PU more at gig level than at home or practice is good. My next build is an Esquire. They cut through the mix and sound huge at gig level volume. Ric's cut through too. Go brighter than at home and roll off the amp lows for solo's. EQ pedals are nice for larger gigs. That tele might sound weak at Guitar Center but turned up at gigs they cut. |
#44
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I might add that this subject has something to do with my issues with hearing now that I am in my mid 60s. Nobodies got much I want to hear about anyway
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Waterloo WL-S, K & K mini Waterloo WL-S Deluxe, K & K mini Iris OG, 12 fret, slot head, K & K mini Follow The Yellow Brick Road |
#45
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Deluxe Reverb. A twin is awfully heavy. The EV speakers in mine didn’t help.
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