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Discussion in 'Ampage Area' started by Trash Kidd, Jul 8, 2021.
You guys think FMIC will issue these in a head format . . . Or maybe even a pedal?
The need to 'announce' the return of the HARVARD!!!!!
Ironically Rev's albums all have the ES-175 gibson on them w the super.. I found it interesting several yrs ago, he was playing at the HOB and
put the gretsch down, then came out w the gibson.. Instantly the album sound was "There". ie..the old school sound
He has said multiple times in interviews that he used his 6120w on the 90’s albums, with his Gibson for a few parts here and there.
They peaked on their 3rd album.
This sounds like a Gretsch to me.
Oh goodness me. It doesn't happen just to modelling amps. The "novelty" wears off Blues Juniors, Pro Juniors, Blues Deluxe, Prosonics you name it and millions of pedals as well.
Musicians like to try something new and pass them on. IMO it has nothing to do with SS, digital or tubes for that matter.
I've discarded more tube amps than digital only because I've owned more tube amps.
My last SS amp was a Tech 21 TM 60 which I gigged with for ten years. I sold it off only to try the new digital Tonemaster DR.
I won't be selling the Fender in a hurry but based on my appreciation of the TMDR I may well sell my Mesa Boogie 5:25+ to fund a new TMSR.
The "novelty "hasn't worn of the Mesa it's simply that IMO the TMDR, and I'm fairly confident the TMSR, is a better gigging amp and better for home use and recording.
Edit: For what I do.
Given the differences between DR and SR are minor as you say, could you get a DR to sound much more like an SR by adding an EQ pedal and bumping up the mids ?? Then the main difference would be the speaker configuration
That’s essentially what the Custom channel of a ‘68 CDR does. Running an EQ in front of a regular Deluxe tone stack might help, but the scooped mids inherent to the Deluxe’ tone stack might prove formidable.
Agreed. Best bet would be to change the mids resistor on the DR, maybe put a mid pot in... it's a popular mod to Princetons.
I’m sure that may get you closer. Also mentioned above, adding a mid pot or changing the value for the mid cap/resistor would help as well.
But at louder volumes there’s no hiding the difference in output tranny size between the two amps. The 6L6’s vs 6v6’s play into factor here as well.
The cap value is different too. The mids cap on the stock DR is a .047 mfd while on the Super or the ‘68 CDR is a .022 mfd. In the case of the ‘68 CDR, and most Blackface amps without a midrange control, the fixed value is 6,800 ohms. On a Super Reverb, the Normal channel has the same fixed resistor value, but the Vibrato channel has a 10 k, audio taper pot. IMO, that 6.8 k resistor is a pretty decent compromise, but obviously not as flexible as an audio taper pot.
My ‘68 CDR is a pretty decent sounding amp. The Custom channel works for a lot of what I do. JMO, but I’d see it as a budget-friendly way to approach the Blonde Bassman sound (which uses the same basic tone stack). The only thing I don’t like about it is the fact that there is no bright cap on the other channel, which makes it a bit listless at lower volumes, at least according to my ear.
Somewhere, off in the mists of the future, I’d like to pop it open and solder a .047 pfd cap across the volume control of the second channel, then use and A/B/Y switch to allow me to dynamically switch between the stronger midrange of the Custom channel and the Bakersfield sunrise brightness that we normally would associate with the Vibrato channel of an AB763 DR.
The difference as I see it - tube amps tend to keep their value and the really good ones go up in value. I don't expect that to happen with modeling amps.
Modeling amps and all computer based stuff lose value and become obsolete.
I had a buddy who got rid of a great sounding Mesa Boogie amp for a Line 6 Pod. He's still kicking himself for that screw up....
Like I said at the end of my post - we'll see.
Yes 6v6 v 6L6 is a small difference for sure - I've owned amps with both.
Another reason I'm not a fan of many of these early Fender amps like DR and Princeton is some have no mids controls. We're only speaking here of small variations in clean tones between all these Fender clean amps but lack of a mids pot on some of them only limits the tonal options even further.
If people already own a DR (either tube or TM) I don't understand why they'd also need an SR.
SR sounds a touch different with more mids and you easy reduce that small difference by adding on an EQ pedal to adds mids.
Then you'd have 2 Fender amps that sound almost the same which is the same as having 2 Tele's or Strat's that sound the same. Doubling, tripling up on sameness never made any sense to me unless you're a heavy gigging player who needs multiple backups
A Deluxe Reverb with an EQ pedal unfortunately does not turn it into a Super Reverb. It will sound like a deluxe reverb with more mids.
These amps all have different amounts of clean head room, that some people desire for a variety of reasons. While it may not make sense to you, it does for others. I own a 72’ Twin, 65’ Super Reverb and a 72’ Bassman. All different sounding because of the headroom, speaker configuration, tube rectified vs not, reverb vs not and wattage etc.
To each their own
Makes perfect sense to me and you said an EQ pedal would make a DR sound much more like an SR.
I never said it would turn it into an SR.
I've played/gigged all these amps and owned a Twin for many years.
Yes, they all have different clean head room etc but outcome is the clean tones and reverbs on all of them are very similar imo.
Actually I said it may get you closer
Anyways enough with the derail, this thread is about the ‘Super’ Super Reverb Tone Master!!
I know with my TM Deluxe, I do find the need to put some mids-boosting pedals in the mix, otherwise it's definitely too mid-scoopy, especially if you're already using Filtertrons! For my tastes, anyway.
Silly question, just got one.
Do people prefer to have the Super upright, or leaning back on its legs, and why? Guessing more bass when not tilted back?
I don't have this amp, but for me tilting the amp is a live playing / monitoring thing - my ears are on my head not my knees. I often play with my band in a circlen which means the people across from me can hear me better than I can. Tilting up addresses this a little.
I agree that it makes a big difference with bass response, depending on the room/floor.
My teacher said that when he was on stage he would tilt the amp and point it at the back wall, that would lower the perceived volume of the amp and the highs would rain down.