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Discussion in 'Ampage Area' started by MKunie, Mar 31, 2017.
I drive my amps with an RE-20 as well.
The bad idea refers to a previous post of mine which was ill conceived and edited out.
Perhaps I should have simply left the box blank. My bad.
These two sound great together.
I still miss a '70s Champ that sat atop the Twin. I was keeping it for a friend (for a year). The two complimented each other well.
Well, J Bird, looking to your picture, I am afraid that your Twin-Reverb is too close from the wall to benefit enough ventilation for his 10 tubes...
At 32kg it ain't no lightweight for sure but then a Twin Reverb weighs in at 29kg.
At least the vox has hand grips at both ends so two people can share the carrying!
Good eye hcsterg, that was a 'posed' shot just after rearranging. I wouldn't even be able to get my hamhock of a hand in back to flip it on where she sat. The whole stack is pulled out about 8" from where the picture shows it.
Roger49, with two jbl d120f's (@ 14# each), I believe my twin is pushing 100#. I'm a big, strong guy, but I've all but given up on hauling it anywhere. That's one reason I'm psyched to have a 5e3, I can take it places.
Double post, oops.
Je me disais aussi... Well, I guessed it ... Fine !
I have an ABY switch and have run different combinations of amps. The one I like the most, out of my options, is the Trinity 5E3 and Traynor 1mod1 YBA. The only problem is I fall into the rabbit hole and end up spending far too much time tweaking and adjusting. But when I find a setting where the 5E3 is sounding out dirty highs, mids with some cross over on the YBA taking care of cleaner mids and lows it is a sweet sound.
Hendrix did it too
How do you guys set up the two amps on stage, I mean in terms of position, not connections. What works best for you?
Ah yes, the rabbit hole of knob turning, volume battles and seemingly endless sound checks. Sometimes I feel like I'm a roadie/guitar tech who is just getting the rig ready for a really good guitarist to come play. To be honest, I really enjoy this part (my neighbors are collectively rolling their eyes right now). When I do finally buckle down and play a few songs for real is when all that OCD driven work pays off. With a grin on my face, I say to myself, "Wow, you could be in a band! This sounds exactly as it should." Minus my hamfisted, brash playing, lack of technical expertise and my hands usually need a break after 10-15 minutes of chopping wood (that's what I refer my style to--lots of bar chords with groove setting hammer-ons, usually pickless, so I've got calluses on the fingertips of both hands).
Right now, my 5120 splits into the Twin's vibrato channel, input 1, with the Atomic Brain on, the other goes into input 2 of the bright channel of the 5e3. Basically, the 5e3 has brilliant presence, and the twin (with the Brain on) has brilliant depth. Two great sounds complimenting each other quite nicely.
What worked best for me was the stack combination, as shown below :
J Bird, is that a plectrum or tenor banjo pictured? Us 4-string harp players are getting pretty few in number!!
It's a B&D Silver Bell style no. 1 plectrum, it was my grandfather's. After years of piano lessons as a pre-teen, I then only fiddled around with a keyboard a little in high school and lost my chops. Then, when I was 19, I asked to have the Silver Bell that sat under my granpa's empty bed for ten years. I was a slow learner, as strings were new to me. Slowly but surely, guitar playing friends got me to where I was learning to play the banjo by learning to play the guitar.
My grandpa played guitar as well and tuned the banjo like a guitar, DGBE. I took one lesson early on and tuned it to real Dixieland jazz plectrum tuning, but then I took it back to DGBE shortly afterward.
To sound really Dixieland, it would need a new head and strings appropriate for plectrum tuning. Right now, and as it's ever been, she's got a great honk--from the thick, old finger grease covered skin and the string gauges I'm playing.
She's probably from the late 20's to early 30's. Factory hot-rodded with fine tuners and the Soft Pedal mute, which I have enjoyed immensely for imparting tremolo, vibrato, pitch shift, phaser, and even distortion sounding effects, all from a mechanical mute.
I am forever grateful for the opportunity to have her, I wish I could do her justice. Over the 27 or so years I've had her, I've been so thankful that I've had this unique perspective of the world of stringed instruments, it's really opened up my tastes and playing style to include ragtime, jazz, Dixieland, old-timey, gypsy, early blues, early rock and roll, the list goes on--all thanks to the Silver Bell and my much adored by all, grandpa Phillip Whitney Hobson.
Hmm I never tried 2 Amps, but thought of it often. I'd love to try a pair of 2 Fenders - 1 Blackface + 1 Brownface and see what that does...ROARRR
hey Nick I've not done much of this 2 amp mixing stuff but.... maybe you can advise me here....
I thought the main advantage of it was to mix 2 very different sounding amps so you get a great blend. Looks to be what you've done - what's your opinion here?
Is there much benefit in blending 2 very samey sounding amps ?
I've blended Marshall and vox amps to get a great sound, also mixed the blondeshell and the moonshine and the sound was beautiful. Better to blend either two different amps or two amps that each have different character to get one sound. In the case of the Marshall/vox combo it was Marshall overdrive but you could still hear all the notes in chord because the vox
I have a deLisle 3 way switch with one input and three outputs, amazing what you can blend together with more than one amp.
I need to try that!