Given no financial limitation, it would be a fairly long list for me: Blackface Twin or Super Reverb Brownface Concert (or similar BrnFc with harmonic trem) Tweed Deluxe MusicMan 65 Plexi (JTM45 or 1959) Orange OR120 Hiwatt (CP or DR) Sound City 50+ Vox AC15 On the SS side of things: Lab series L Vox Conquerer Yamaha G212 Yamaha TA60 HH Electronics VS or IC Kustom Acoustic Control Corps
I gig a Fender Bassbreaker 30r. I love the convenience of a combo and since it has three gain stages I don't have to use pedals. I love that. If I ever upgrade I'd like to venture into the so-called boutique market but the prices are a huge deterrent
Fender 57 custom tweed twin 40W Two Rock TS 1 100W half stack 2x12 Friedman BE 100 deluxe half stack Dr Z Z-Wreck half stack 2x12 Divided by 13 BTR 23 head 1x12 cab 64-75 Fender super reverb Now that would be an amazing amp collection 💯🎉😎
My studio has a 1965 twin reverb and a backup deluxe 65 reissue just because vintage stuff can mess up. Then for the Marshall side there's a studio plexi, and for the marshall backup I have the secret weapon, a Dr. Z Maz 18 which can gig any of the three food groups, act as a stand-in for the marshall if it's in for service, and does a passable Vox sound. So all bases covered and backed up, I think.
I like the 'three basic food groups' idea . . . definitely a starting point for me with a couple of additions. I owned studios in HK, SNG & SHG from 1986 - 2015 and the amps we bought reflected the needs of the composers / players in each studio from Marshall Stack to Fender Twin & Blues Junior to Vox AC30 & Jazz Chorus. Times have changed for the studio biz (to put it mildly) with the advent of home rigs and amp modellers but in my one remaining personal rig in HK, which includes Pro Tools and the best of the rack-mount hardware (Tube Tech, Eventide HS3000 SE, Roland Dimension D, BAE 1028, Bricasti M7 & various Lexicon units) and software (WAVES, EastWest, Ilio, the Spectrasonics 'Heart of Asia (that we produced in the '90s), Reaktor etc.) that I have collected I am now in the process of slowly rebuilding a modest live amp room for ongoing recording projects. There is no market to speak of for quality vintage amps in Hong Kong so my dream amp rig is currently something like this: (a) Magnatone Stereo Tremolo for 'intimate' guitar work - a la Bill Frisell, clean finger picking and solos. (b) 2 x Supro for dedicated stereo work, mainly driven by a Neo Ventilator for arpeggiated Leslie and a couple of delays for more ambient multi-tap stereo (a la Edge etc) tracking. (c) Fender . . . maybe try the current Princeton, still have a nice old Blues Jr. - the workhorse. (d) a 'Master' Head + Cabinet' (to be decided*) that's open for my Pre-Amp Pedals - Effectrode Blackstar (Dumblish), Victory Copper (Voxy) and one or two other pedals like the Double Hot Cake, Dr. Robert, vintage Distortion+ which all have their uses depending on the track or the overall album vibe. *The Victory line looks enticing as a back-stop Head & Cab (maybe the Duchess) given its open ended 'pedal platform' design to accommodate their various pre-amp pedals but I'm a bit leery of price and servicing, frankly, so any thoughts on a mainstay 'Pre Amp Pedal platform' most welcome . . . If money gets freed up I'd definitely add a 'wooden box' Leslie a la Get Back sessions - I'vve recorded with these in the past and that sound suits me down to the ground - our George, and Clapton, of course - the break in the middle of 'Badge' 😅
@@oysteinhaugen7055 Thanks :) I could talk for hours but never done a podcast or anything like that . . . all I have to hand is an interview from 2010, not really guitar centric I'm afraid but there ya go. Dunno if this link will work? ruclips.net/video/I1OCMcE-PnQ/видео.html
Tough question. Give a recent stereo amp pack I bought for the HXStomp, I’m loving the combination of the AC30 with a Princeton. Getting a couple of vintage versions of those would be on the list.
Money no object: .Soldano SLO30 .Mesa JP2C .Friedman BE .Fender DR reissue .Fender Bassman reissue .One of the Amplified Nation dumbles Reality: .Synergy SYN-50 with modules.
7:02 I suggest that you look into the Boss Nextone Special with its Tone Logic functionality. I have used and preferred tube amps for 60 years. I now have finally been able to dial in my long-sought tone for playing blues/rock with my Nextone digital amp. With this amp, I am a believer in the path towards digital dominance. No doubt about it, I would like to own a Synergy amp with multiple hard plug-ins. But with only three countries now making tubes for guitar amplifiers--two of them our country's (USA) adversaries--I believe that once those countries have no need for tubes, that is, once there electrical, military, and computer infrastructure is almost totally digital, tubes will disappear. I believe that unless some tube amp entrepreneur decides to establish a niche business making tubes for amps, then there will no longer be business capitalization for tube amp makers' needs. Thus, for a short time, tubes for new amp manufacturing 😢will be available in the new, but unsold, and used amp markets. Then, what you discuss today portends for the path to digital dominance in the guitar market.
John, did you sell the Mesa? I want to get one so curious what your latest thoughts are on the V:25 or where you would go if you could do Mesa all over again.
For practice, recording, lower volume I could get by with custom 1x15 Tweed Deluxe and 1x15 Brown Princeton clone combos hotrodded, matching external tube Reverb units. ENGL Fireball 25 on a vintage Marshall 8x10 cab (for mojo purposes). I need a 2x15" Super Reverb and 6x10 Tweed Bassman clones with matching dual 4xKT150 power tube Blonde Bassman heads (w/switchable rectifiers) on top of that.
I have a 6L6 Fender Concert pr244, EL34 Marshall Origin 50, and EL84 VOX AC15C1. ✅ they all sound very different me… power tubes, circuit and the speakers are all different, and they all sound like their brand to me 🤷♂️and I love them all. The Concert pr244 is highly underrated. I’ll do a video on it eventually…
I really want you to try a Tone King Imperial mkii. You’d love the head version I’m sure. Does DR, JTM45 and Tweed. Also has attenuation (as you’ve started playing with)
I see six distinct amp "food groups": (1) Fender Tweed, (2) Fender Blackface/Silverface, (3) Vox, (4) Marshall, (5) High Gain (Hiwatt, Orange, Soldano, etc.), and (6) High Harmonic (Dumbles + their boutique derivatives: Two Rock, Fuchs, Amplified Nation, Redplate, Van Weelden, etc). A perfect amp collection would have representation from each of these tonal families in some form (tube amp, solid state amp, amp modeler, amp pedal, or preamp pedal). That Universal Audio has a UAFX amp pedal from each of these amp food groups is instructive. Long-term serviceability of the amp should be as much a consideration in amp selection as tone. I prefer hand-wired, point-to-point amps over those with printed-circuit boards because they will be easier for an amp tech to diagnose and service. This is the main reason I'm reluctant to get anything from Mesa Boogie, Blackstar, or Roland/Vox. Hand-wired/P2P amps don't have to be expensive or boutique. VHT's D50 Dumble clone is usually around $600-$800 used, and silverfaced Fender Bassman amps are around $1000.
Man I love your channel and I love your playing.. I think it's all what you grew up with and what you're used to playing through and with.. It's all what you learned from and what makes you comfortable.. in my day it was the jazz chorus that was my Jones.. Just couldn't afford it. Surprisingly tube amps were much more readily available at a better price.. Had I known! 😊. Started with a PV bandit! 😅 Anyway old fart now got back into it about 6 years ago.. decided to try a katana artist.. hated it at first.lol learned the tone studio after I had purchased several patches from experts.. amp is amazing. Is it a tube amp.. hell no.. that being said I decided to upgrade that to the Gen 3 artist.. a very very frustrating experience to say the least. I do not know if I got a lemon but it was terrible. It went back after I mucked around with it over Christmas break.. I tried everything. Factory reset.. downloaded patches from famed boss katana artist.. tried my own. Manipulated the ones I had from my artist 1.. several days I'll never get back.. again I'm hoping it was just a lemon and something was wrong with it.. I could hear the tone trying to come out of it which was weird.. But it felt compressed muffled and like it was in another room.. I just could not open it up to get the feedback as a guitar player you desire. Anyway my two cents.. Right now I'm just going to use the artist one.. I think a good lesson is everyone should go play it at a local store if they can which I did not do on this occasion. Lol very unlike me.. I do think I need another tube amp in my life though I'm going to start with the fender deluxe reberb I think. 😊
If I'm trying to build my dream "amp shanty" it's be a Magnatone Panoramic, late 50s Gibson GA-40T, early 60s Fender Bandmaster 3x10, Some form of modified Filmosound, Dr Z Maz, & probably a Victory Kraken would cover all my bases But honestly a couple Princetons or Deluxes from any era, in any jumbled mess would do the job as well.
Revv Generator 120 Bad Cat Lynx Engl Special Edition Founders Edition Soldano SLO-100 Fender Twin or Deluxe Something from Matchless Possibly some Vox and Marshall amps too
I’ve been demo’ing many of the UAD amp models in the Unison input of my interface and I gotta say the Friedmans & Diezel amps are pretty decent. I like the Suhr PT100 as well. In the real world, I’m going to gigging my new PRS DGT 15 head and Barefaced cab combo pretty soon… can’t wait!
First 2 should be 2 different 12” Combos. Good for grab n go, should be able to be paired for stereo applications and stacked for deployment in tight spaces. Next would be two 2x12 cabinets. One closed back, One open, 2 different speakers in each. 3 heads, 1st mid-wattage, 2, 100W 3, 5W and/or a 5W 10” or smaller combo.
Yeas thats an amazing trio that can more then cover all the realistic sounds you would want. As I get more into modelers/profilers I am realizing I frankly dont need all the tube amps I have.. JCM800, AC30, Plexi, JTM, Dual Rec, couple hotrodded marshalls. Only thing I am missing is a fender something... but I dont love fender distortion and fender cleans can easily be obtained from my Helix. I really only use 2 amps.. the rest just gather dust. Less is more IMHO.
Depends whether you are looking at practicality or not. I’d more likely to go down the rack route at present. Maybe a Soldano X88 IR or an old Mesa Triaxis plus a line mixer, Axe fx 3 for effects only and a Mesa power amp, 4x12 Marshall cab loaded with greenbacks and Hiwatt cab loaded with fanes. Only Fender amp I maybe interested in is the Vibro King and Marshall would be a JTM45. Not bothered about a Vox style amp. All of these would be way too loud and cumbersome for practice or the gigs I do though. (I could Possibly get away with the Soldano, Axe FX and a line mixer though going direct)
I’ve watched some demos comparing different types of tubes, and I found their tonal differences negligible. As far as the different tonal character of different brands of amp, I find it’s mostly down to tone stack design and speaker choice. Which frequency ranges are affected by the treble, middle,and bass controls, and whether the EQ stack is pre or post-gain stage is a massive factor in an amp model’s character, which is why Fender and Marshall have managed to make 100% solid state amps that still have the basic Fender or Marshall tonal character, or why pedal companies can make accurate sounding SS amp-in-a-box pedals. Tubes do wonderful things to tone when pushed, but they play pretty much no role in defining the basic tonal character of an amp.
VOXAC30. Marshall DSL40. PEAVEY BANDIT Redline. I'm currently running the VOX, with a Laney 65w AC65C acoustic as a vocals amp off a Shure SM58. Very clean. Oh... and 12 pedals (including a loop).
I’m weird. I early adopted modeling in the 90s. Before that I had 1 tube amp and 2 solid state amps. At this point being silent is essential for me. So I actually think my ideal is Tonex. I’d like to build a frfr powered cab and just run tonex through it if I needed stage volume. But the Jim Lill videos basically convinced me there’s no Santa Claus magic. It’s just gain stages and eq. And the Tonex stuff lets you catch the thing in optimal conditions and moments. My ultimate dual Tonex rig would be a matchless and a Princeton together with a Browne protein running into the front of both with maybe a boost before the protein. I don’t think I’d need anything else.
I wish you tube had something similar to tiktok. The choice to block a channel so you will never hear or see anything from that channel. This channel would be the first one I would block.
Given no financial limitation, it would be a fairly long list for me:
Blackface Twin or Super Reverb
Brownface Concert (or similar BrnFc with harmonic trem)
Tweed Deluxe
MusicMan 65
Plexi (JTM45 or 1959)
Orange OR120
Hiwatt (CP or DR)
Sound City 50+
Vox AC15
On the SS side of things:
Lab series L
Vox Conquerer
Yamaha G212
Yamaha TA60
HH Electronics VS or IC
Kustom
Acoustic Control Corps
I gig a Fender Bassbreaker 30r. I love the convenience of a combo and since it has three gain stages I don't have to use pedals. I love that. If I ever upgrade I'd like to venture into the so-called boutique market but the prices are a huge deterrent
Fender 57 custom tweed twin 40W
Two Rock TS 1 100W half stack 2x12
Friedman BE 100 deluxe half stack
Dr Z Z-Wreck half stack 2x12
Divided by 13 BTR 23 head 1x12 cab
64-75 Fender super reverb
Now that would be an amazing amp collection 💯🎉😎
Love that Headfirst it is stunningly Good.
My studio has a 1965 twin reverb and a backup deluxe 65 reissue just because vintage stuff can mess up. Then for the Marshall side there's a studio plexi, and for the marshall backup I have the secret weapon, a Dr. Z Maz 18 which can gig any of the three food groups, act as a stand-in for the marshall if it's in for service, and does a passable Vox sound. So all bases covered and backed up, I think.
I like the 'three basic food groups' idea . . . definitely a starting point for me with a couple of additions. I owned studios in HK, SNG & SHG from 1986 - 2015 and the amps we bought reflected the needs of the composers / players in each studio from Marshall Stack to Fender Twin & Blues Junior to Vox AC30 & Jazz Chorus. Times have changed for the studio biz (to put it mildly) with the advent of home rigs and amp modellers but in my one remaining personal rig in HK, which includes Pro Tools and the best of the rack-mount hardware (Tube Tech, Eventide HS3000 SE, Roland Dimension D, BAE 1028, Bricasti M7 & various Lexicon units) and software (WAVES, EastWest, Ilio, the Spectrasonics 'Heart of Asia (that we produced in the '90s), Reaktor etc.) that I have collected I am now in the process of slowly rebuilding a modest live amp room for ongoing recording projects. There is no market to speak of for quality vintage amps in Hong Kong so my dream amp rig is currently something like this:
(a) Magnatone Stereo Tremolo for 'intimate' guitar work - a la Bill Frisell, clean finger picking and solos.
(b) 2 x Supro for dedicated stereo work, mainly driven by a Neo Ventilator for arpeggiated Leslie and a couple of delays for more ambient multi-tap stereo (a la Edge etc) tracking.
(c) Fender . . . maybe try the current Princeton, still have a nice old Blues Jr. - the workhorse.
(d) a 'Master' Head + Cabinet' (to be decided*) that's open for my Pre-Amp Pedals - Effectrode Blackstar (Dumblish), Victory Copper (Voxy) and one or two other pedals like the Double Hot Cake, Dr. Robert, vintage Distortion+ which all have their uses depending on the track or the overall album vibe.
*The Victory line looks enticing as a back-stop Head & Cab (maybe the Duchess) given its open ended 'pedal platform' design to accommodate their various pre-amp pedals but I'm a bit leery of price and servicing, frankly, so any thoughts on a mainstay 'Pre Amp Pedal platform' most welcome . . .
If money gets freed up I'd definitely add a 'wooden box' Leslie a la Get Back sessions - I'vve recorded with these in the past and that sound suits me down to the ground - our George, and Clapton, of course - the break in the middle of 'Badge' 😅
I'd love to see a video of you explaining this and to hear stories from your studios!
@@oysteinhaugen7055 Thanks :) I could talk for hours but never done a podcast or anything like that . . . all I have to hand is an interview from 2010, not really guitar centric I'm afraid but there ya go. Dunno if this link will work? ruclips.net/video/I1OCMcE-PnQ/видео.html
I could probably do everything I would ever need with a Orange Rockerverb mk3 and a Fender Princeton Reverb.
Tough question. Give a recent stereo amp pack I bought for the HXStomp, I’m loving the combination of the AC30 with a Princeton. Getting a couple of vintage versions of those would be on the list.
Money no object:
.Soldano SLO30
.Mesa JP2C
.Friedman BE
.Fender DR reissue
.Fender Bassman reissue
.One of the Amplified Nation dumbles
Reality:
.Synergy SYN-50 with modules.
Try a Marshall Silver Jubilee mate and let us know how you feel about the same. Cheers
7:02 I suggest that you look into the Boss Nextone Special with its Tone Logic functionality. I have used and preferred tube amps for 60 years. I now have finally been able to dial in my long-sought tone for playing blues/rock with my Nextone digital amp. With this amp, I am a believer in the path towards digital dominance. No doubt about it, I would like to own a Synergy amp with multiple hard plug-ins. But with only three countries now making tubes for guitar amplifiers--two of them our country's (USA) adversaries--I believe that once those countries have no need for tubes, that is, once there electrical, military, and computer infrastructure is almost totally digital, tubes will disappear. I believe that unless some tube amp entrepreneur decides to establish a niche business making tubes for amps, then there will no longer be business capitalization for tube amp makers' needs. Thus, for a short time, tubes for new amp manufacturing 😢will be available in the new, but unsold, and used amp markets. Then, what you discuss today portends for the path to digital dominance in the guitar market.
John, did you sell the Mesa? I want to get one so curious what your latest thoughts are on the V:25 or where you would go if you could do Mesa all over again.
For practice, recording, lower volume I could get by with custom 1x15 Tweed Deluxe and 1x15 Brown Princeton clone combos hotrodded, matching external tube Reverb units. ENGL Fireball 25 on a vintage Marshall 8x10 cab (for mojo purposes).
I need a 2x15" Super Reverb and 6x10 Tweed Bassman clones with matching dual 4xKT150 power tube Blonde Bassman heads (w/switchable rectifiers) on top of that.
I have a 6L6 Fender Concert pr244, EL34 Marshall Origin 50, and EL84 VOX AC15C1. ✅ they all sound very different me… power tubes, circuit and the speakers are all different, and they all sound like their brand to me 🤷♂️and I love them all. The Concert pr244 is highly underrated. I’ll do a video on it eventually…
I really want you to try a Tone King Imperial mkii. You’d love the head version I’m sure. Does DR, JTM45 and Tweed. Also has attenuation (as you’ve started playing with)
I see six distinct amp "food groups": (1) Fender Tweed, (2) Fender Blackface/Silverface, (3) Vox, (4) Marshall, (5) High Gain (Hiwatt, Orange, Soldano, etc.), and (6) High Harmonic (Dumbles + their boutique derivatives: Two Rock, Fuchs, Amplified Nation, Redplate, Van Weelden, etc). A perfect amp collection would have representation from each of these tonal families in some form (tube amp, solid state amp, amp modeler, amp pedal, or preamp pedal). That Universal Audio has a UAFX amp pedal from each of these amp food groups is instructive.
Long-term serviceability of the amp should be as much a consideration in amp selection as tone. I prefer hand-wired, point-to-point amps over those with printed-circuit boards because they will be easier for an amp tech to diagnose and service. This is the main reason I'm reluctant to get anything from Mesa Boogie, Blackstar, or Roland/Vox. Hand-wired/P2P amps don't have to be expensive or boutique. VHT's D50 Dumble clone is usually around $600-$800 used, and silverfaced Fender Bassman amps are around $1000.
Man I love your channel and I love your playing.. I think it's all what you grew up with and what you're used to playing through and with.. It's all what you learned from and what makes you comfortable.. in my day it was the jazz chorus that was my Jones.. Just couldn't afford it. Surprisingly tube amps were much more readily available at a better price.. Had I known! 😊. Started with a PV bandit! 😅 Anyway old fart now got back into it about 6 years ago.. decided to try a katana artist.. hated it at first.lol learned the tone studio after I had purchased several patches from experts.. amp is amazing. Is it a tube amp.. hell no.. that being said I decided to upgrade that to the Gen 3 artist.. a very very frustrating experience to say the least. I do not know if I got a lemon but it was terrible. It went back after I mucked around with it over Christmas break.. I tried everything. Factory reset.. downloaded patches from famed boss katana artist.. tried my own. Manipulated the ones I had from my artist 1.. several days I'll never get back.. again I'm hoping it was just a lemon and something was wrong with it.. I could hear the tone trying to come out of it which was weird.. But it felt compressed muffled and like it was in another room.. I just could not open it up to get the feedback as a guitar player you desire. Anyway my two cents.. Right now I'm just going to use the artist one.. I think a good lesson is everyone should go play it at a local store if they can which I did not do on this occasion. Lol very unlike me.. I do think I need another tube amp in my life though I'm going to start with the fender deluxe reberb I think. 😊
If I'm trying to build my dream "amp shanty" it's be a Magnatone Panoramic, late 50s Gibson GA-40T, early 60s Fender Bandmaster 3x10, Some form of modified Filmosound, Dr Z Maz, & probably a Victory Kraken would cover all my bases But honestly a couple Princetons or Deluxes from any era, in any jumbled mess would do the job as well.
I have a Silverface Bassman, Benson Monarch, Morgan AC20, Bogner Atma, and Tone King Imperial.
All I know is it's too many and I want more.
Revv Generator 120
Bad Cat Lynx
Engl Special Edition Founders Edition
Soldano SLO-100
Fender Twin or Deluxe
Something from Matchless
Possibly some Vox and Marshall amps too
I’ve been demo’ing many of the UAD amp models in the Unison input of my interface and I gotta say the Friedmans & Diezel amps are pretty decent. I like the Suhr PT100 as well. In the real world, I’m going to gigging my new PRS DGT 15 head and Barefaced cab combo pretty soon… can’t wait!
First 2 should be 2 different 12” Combos. Good for grab n go, should be able to be paired for stereo applications and stacked for deployment in tight spaces. Next would be two 2x12 cabinets. One closed back, One open, 2 different speakers in each. 3 heads, 1st mid-wattage, 2, 100W 3, 5W and/or a 5W 10” or smaller combo.
Yeas thats an amazing trio that can more then cover all the realistic sounds you would want. As I get more into modelers/profilers I am realizing I frankly dont need all the tube amps I have.. JCM800, AC30, Plexi, JTM, Dual Rec, couple hotrodded marshalls. Only thing I am missing is a fender something... but I dont love fender distortion and fender cleans can easily be obtained from my Helix. I really only use 2 amps.. the rest just gather dust. Less is more IMHO.
I have a Boogie Mark V 90, a Black Cat Jet Black 38 a PRS Archon 50 and a Fender Base Breaker 15. I’m pretty much covered for any gig I do.
Depends whether you are looking at practicality or not. I’d more likely to go down the rack route at present. Maybe a Soldano X88 IR or an old Mesa Triaxis plus a line mixer, Axe fx 3 for effects only and a Mesa power amp, 4x12 Marshall cab loaded with greenbacks and Hiwatt cab loaded with fanes. Only Fender amp I maybe interested in is the Vibro King and Marshall would be a JTM45. Not bothered about a Vox style amp. All of these would be way too loud and cumbersome for practice or the gigs I do though. (I could
Possibly get away with the Soldano, Axe FX and a line mixer though going direct)
I think the perfect collection for me is an AC15, a tweed, and a Princeton. I have the first 2.,
Top of the box! 🏆
I have a Matchless Lightning and I have to say that Rift sounds very very similar.
the new panoverb looks interesting. haven't seen one in real life yet.
I’ve watched some demos comparing different types of tubes, and I found their tonal differences negligible. As far as the different tonal character of different brands of amp, I find it’s mostly down to tone stack design and speaker choice. Which frequency ranges are affected by the treble, middle,and bass controls, and whether the EQ stack is pre or post-gain stage is a massive factor in an amp model’s character, which is why Fender and Marshall have managed to make 100% solid state amps that still have the basic Fender or Marshall tonal character, or why pedal companies can make accurate sounding SS amp-in-a-box pedals. Tubes do wonderful things to tone when pushed, but they play pretty much no role in defining the basic tonal character of an amp.
Jtm 45, jcm 800, bassman, twin reverb, ac30, would be my dream
Bow down before the awesomeness of the Peavey Bandit,mortals.
Loved my Bandit
Add a Bogner Ecstasy 101B and a Matchless HC 30
I married Dirty Shirley two years ago, and not planning on divorce.
I use a Modeler, and there are 3-5 distinctive Amp sounds I ure, and the rest sound more like flavors of them. Still useful, but not essential.
VOXAC30.
Marshall DSL40.
PEAVEY BANDIT Redline.
I'm currently running the VOX, with a Laney 65w AC65C acoustic as a vocals amp off a Shure SM58.
Very clean.
Oh... and 12 pedals (including a loop).
800 covers me for everything but i have some others when it gets boring and a tonex to stop GAS
Not liking the Badcat? I haven’t seen it again since your first post
Think they were only loaners and probably have gone back
Best? The thrill is finding a different amp/guitar and finding how to get a good sound - like the thrill of breaking a bronco in older times.
How do crank out so many videos brother? Lol 😂
i would rather have loads of differant amps and just one guitar
Tone king imperial
Prs hdrx 50
Matchless dc30 probably
Realistic dream rig rn is a bassman 59 RI and a vox AC30 dual mono
Choose one amp, learn it really well and make your own sound..... no one remembers sound alikes.
I’m weird. I early adopted modeling in the 90s. Before that I had 1 tube amp and 2 solid state amps. At this point being silent is essential for me. So I actually think my ideal is Tonex. I’d like to build a frfr powered cab and just run tonex through it if I needed stage volume.
But the Jim Lill videos basically convinced me there’s no Santa Claus magic. It’s just gain stages and eq. And the Tonex stuff lets you catch the thing in optimal conditions and moments. My ultimate dual Tonex rig would be a matchless and a Princeton together with a Browne protein running into the front of both with maybe a boost before the protein. I don’t think I’d need anything else.
Content for content sake?
So?
Comment for comment sake?
I wish you tube had something similar to tiktok. The choice to block a channel so you will never hear or see anything from that channel. This channel would be the first one I would block.
@@bencowling8972 brilliant 😂