You might have read in earlier posts about my main guitar rig, which is centered around a Pure Sixty-Four Mean Street Classic 6V6 with matching 1x12 cabinet loaded with an Austin Speaker Works KTS-70. This rig is a monster tone and volume wise, and even though it is by many standards very portable, it along with my pedal board is still more than I prefer to transport back and forth to rehearsals each week. So for quite some time now I've been doing some research on (or as my wife would put it, obsessing over) an acceptable practice amp.
On one hand, one probably shouldn't expect a lot out of an inexpensive amp whose purpose in life is to simply make enough noise to allow you to hear yourself at band rehearsal. It has to have a clean and dirty sound and not completely suck, but surely you'd never gig with such an amp, right? Well, when you spend as much time, money and energy in your guitar tone as I have over the years, its really hard to settle for just any old practice amp. The conundrum I faced however is that I was not going to spend a lot of money on this amp, so I figured I'd never find anything suitable for so little cash. So on went my research...
I quickly found no shortage of options. I focused on 10" combos of around 30 watts or so. I figured anything less just wouldn't be heard at rehearsal volumes and wondered if even a 30 watts would be enough. After looking at all of the major manufacturers, and thinking I'd end up with some run of the mill solid state or modeling combo, I stumbled upon what struck me as an almost unbelievable amount of positive reviews gushing over the Fender Super Champ XD. Most of the amps I was looking at ran about $200, with the Roland Cube 30X considerably higher at $260. I kept thinking to myself that for another $40 I could at least get some tube-influenced tone and ultimately decided on the little SCXD. What I didn't anticipate is what a monster this little amp really is.
As I stated above, I needed at least a clean sound and a dirty sound - without the need to carry around drive pedals - and the amp needed to sound at least decent and be loud enough to cut through at rehearsal. Since the little Fender does have a full tube power section (a pair of 6V6 tubes, a tube I have always liked and currently run in my big rig), I figured it's 15 watts would be far more powerful than a 15-30 watt solid state counterpart, and I was right. This amp is incredibly loud and easily cuts through at rehearsal. Furthermore, it sounded really good! Interestingly, there's also a 12AX7 in there, so that no doubt has something to do with warming up the - yes, digital modeling - preamp.
Its actually kind of interesting to see all of the reviews and to read about how surprised people are about how good this amp sounds. In my opinion, there really isn't anything surprising about it other than Fender happened to correctly exploit the true secret behind getting modeling technology to actually sound good: warm it up with tubes! Fender wasn't the first manufacturer to do this as I believe Line 6 did this first with their larger Spyder Tube tube-powered amp, but to be honest with you, a number of us have been essentially doing the same thing for years and well before many of the major industry manufacturers caught on or accepted that tubes needed to be a part of the signal chain (Atomic amps figured this out long ago). Vox figured this out too by using a 12AX7 years ago to make their modeling technology more authentic. The point is, for anyone reading this and wondering what I'm talking about, take the modeler of your choice and run it into the effects return of almost any tube amp and presto, you now have a modeling rig that sounds exponentially better than it did on its own. I've done this with Digitech, Boss and Line6 modelers with very good results.
So getting back on topic, there was another surprise I found in the Super Champ XD, and one that exposed its potential for greatness (and at the same time its greatest weakness). Just for giggles I plugged this little amp into the 1x12 from my main rig, and this little beast really came to life! I could not believe the volume and depth of this amp through that speaker. So my conclusion is that, while no 10" speaker can compare with the 1x12 I had connected to the SCXD, a better, more efficient 10" would do this amp wonders. The stocker just can't stay clean at full volume and the overdrives lose their character and definition when overwhelming the very inefficient little stock speaker. So, true to my form, I did more, uh...research and ordered an Eminence Ramrod. I'll be reporting back on that shortly!
While I've spoken a lot about how the amp performs when played loud and how it could use some help achieving better tone at volume, I can't leave out the important observation that at night time/home office low volume levels, there may be no better amp out there other than maybe some of the really low power 5 watt and under options. This amp sounds just great at very low volumes.
Since this amp's preamp tone does come from digital modeling, which at times is still hard for me to believe, I should at least mention how incredible most of the models are. Channel one is clean only, but my understanding is that it is in fact fixed on a clean blackface model, and going through the 12AX7 and power tubes, it does sound great. Channel 2 has 16 models from clean to screamin, and I have to admit once I found #8 which is very Marshall like, I didn't really go any further. This amp's outstanding tone comes close enough to the core tones I get from my main rig that I can easily rehearse with this each week. Furthermore, since its got tube umph, I can use it with my pedal board as a backup rig and if I really wanted to, I could actually do a gig with just my guitar, cable and amp (as long as I put a mic in front as it would never fill the room unassisted, but would be plenty to hear on stage). This amp is really that good.
So in an attempt to wrap up this already overly verbose post, I'll simply say that $299 has never bought so much guitar amplifier. Period.
Tuesday, October 27, 2009
Monday, October 12, 2009
Looking for a loud acoustic guitar amp? Buy an active/powered PA speaker instead!
My requirements seemed straight forward enough: a decent sounding acoustic guitar amplifier that would be loud enough to hear on stage with my band. So I started doing my research (and obsessing over the task, as I usually do) and was happy to find no shortage of seemingly well equipped acoustic guitar amplifiers from a fairly large number of manufacturers. Since so few local music stores carry any kind of a selection of these amps, I decided to do my research online and take my chances ordering something sight unseen/unheard. I decided to take a chance on a Hartke AC150, which did not cut it to say the least. After looking for amps that were in the 200 watt plus range and finding very few, or those that were in my opinion overly priced, I began to consider going the active/powered PA speaker route. I had used powered PA speakers in the past with good results and set out to look for whatever current models were available.
I really wanted the convenience of a self contained combo amp configuration, because the 15" EONs and 12" SRM 450 speakers I've used in the past were awfully large given my needs, which is basically to monitor my acoustic sound on stage. With this in mind I looked for and found some very compelling offerings in 10" speakers and narrowed my selection down to the EON 510 and the QSC K8. I ultimately decided on a Boss AD-8 acoustic guitar preamp/processor and the new QSC K10 powered PA speaker. I went with the K10 because the K8's cabinet did not offer a floor monitor orientation. What I found in the K10 was a speaker that not only could keep up with my band but could actually compete with my 40 watt tube rig.
If you're still looking for the convenience of an acoustic combo amp, then the Ultrasound Pro 250 (250 watts) and 300W Shenandoah models from Genz Benz are probably worth a look. Street price on those ranges from about $980 to almost $1,300. The combination however of the AD-8 and the K10 will cost about $1,000 and will give you 1000 watts and more clean power and volume than you could ever need. And what's really great about the current smaller powered PA speakers like the EON 510 and the QSC K10 I purchased is that they have integral mixers, so an acoustic guitar pre-amp and a modest vocal processor paired with one of these speakers will give even an solo acoustic performer far more system for the money.
Play well, play often and God Bless!
I really wanted the convenience of a self contained combo amp configuration, because the 15" EONs and 12" SRM 450 speakers I've used in the past were awfully large given my needs, which is basically to monitor my acoustic sound on stage. With this in mind I looked for and found some very compelling offerings in 10" speakers and narrowed my selection down to the EON 510 and the QSC K8. I ultimately decided on a Boss AD-8 acoustic guitar preamp/processor and the new QSC K10 powered PA speaker. I went with the K10 because the K8's cabinet did not offer a floor monitor orientation. What I found in the K10 was a speaker that not only could keep up with my band but could actually compete with my 40 watt tube rig.
If you're still looking for the convenience of an acoustic combo amp, then the Ultrasound Pro 250 (250 watts) and 300W Shenandoah models from Genz Benz are probably worth a look. Street price on those ranges from about $980 to almost $1,300. The combination however of the AD-8 and the K10 will cost about $1,000 and will give you 1000 watts and more clean power and volume than you could ever need. And what's really great about the current smaller powered PA speakers like the EON 510 and the QSC K10 I purchased is that they have integral mixers, so an acoustic guitar pre-amp and a modest vocal processor paired with one of these speakers will give even an solo acoustic performer far more system for the money.
Play well, play often and God Bless!
Friday, October 9, 2009
Signature and pre-worn guitars: Gimmie a Break!
I've always been interested in signature guitar models, mainly because of my interest in some of the unique features specified by each artist. On occasion I've played a few just to check them out. Eric Clapton's V contour neck and special tone control, John Mayer's mid-scooped pickups and Dave Murray's DiMarzio humbuckers are interesting insights into these artist's special requirements. And to be fair to the maker of those guitars and bring some others into the picture, models bearing George Lynch's name and Zakk Wylde's signature are equally interesting. So while I've always been interested in these guitars, because I'm a curious kind of enthusiast, I have never spent the money on one and never will. So at the risk of drawing some contrasting points of view, I'll elaborate on my position, which includes two reasons why I'll never buy one, the one and only reason I could possibly understand why people do and what I did as an alternative.
First and foremost, I believe that the price of American made guitars by the largest and very familiar companies are unjustifiably expensive. And in many cases, the signature guitars in my opinion are no better and often so odd and unique in their appointments, to meet the specs of the people whose signatures grace the headstock, that these guitars are even less valuable to the average player and especially any player trying to achieve their own style and tone. Clearly its the player's name that commands the highest prices and not because the guitar is any better than its more vanilla albeit more useful cousin.
Secondly, as a guitar player, I'm more concerned about being myself than trying to be someone else. If a buyer of these guitars is doing so in an attempt to play or sound more like the artist, then I'd say practice more. If your equipment is even close to the type of equipment your idol plays (meaning single coild guitar versus a humbucker guitar), then let me tell you that a guitar player's tone comes first from their hands. Yes, equipment is an important part, but I can assure you that buying an SRV guitar is not going to make you play or sound like the legend. You'd probably have a better chance striking a deal down at the crossroads. ;-)
Now, I can see a reason why someone would pay the ridiculous amounts of money these greedy companies charge for these guitars, and that's if you're a fairly wealthy person who simply wants a collectors item. If I had unlimited funds, I might line the walls of my house with these guitars, but when it comes to actually playing guitar, I'll play my own guitar, thank you very much!
So lastly, I offer an alternate approach. As I said, I've always been intrigued by these guitars, especially if I've been a big fan of the artist. Most recently, I became very interested in Dave Murry's guitar. Not only because I've been a lifetime Iron Maiden fan, but because one of my most versatile and favorite guitars was a Fender American Deluxe Stratocaster that I modified into a Humbucker-Single-Humbucker guitar with a piezo bridge. So wanting to get back to a guitar like the one I once had, I actually thought about buying the Dave Murray guitar. I really like the way it looked, but soon realized that I could only get it with a maple fretboard, yet I wanted rosewood. I liked the hum-single-hum setup, but I knew I'd rip out the DiMarzio pickups and put in something better. The 5-way switch I would require is only a 3-way on his guitar and the neck was only 21 frets when I need 22. So for $1800 I would have to make hundreds of dollars of modifications, alter the guitar from stock, which would no doubt destroy the resale value and I couldn't even really use the 21 fret neck. The alternative? I made my own.
The platform I chose was the latest version of the Highway One HSS Stratocaster (alder body with 22 jumbo frets on rosewood). I replaced the pickguard with an H-S-H from Warmoth, chiselled out the neck single pickup cavity for a humbucker, installed a Graph Tech Ghost piezo bridge and Acoustiphonic preamp, installed a set of WCR American Steele humbucker pickups and a Lindy Fralin Blues Special in the middle with 500k pots and treble retention circuit, wired the 5-way to split the buckers in positions 2 and 4 and installed a mini switch that gives me mag pickups, piezo pickups or both simultaneously (in stereo) and have possibly one of the most tone-rich and versatile guitars on the planet. And my total investment is still significantly less than the Dave Murray guitar. And wait until I post a pic; it looks just like his guitar (all of the mods are the same colors as his guitar and I even installed the chrome pickup rings - really sharp looking guitar). As a matter of fact, I brought the guitar into my outstanding local music store (http://www.parkwaymusic.com/) and the very qualified guitar playing, tone aware salesman on the other side of the counter looked at my guitar and said: "Oh, a Dave Murray..." I took great pride in correcting him!
.JPG)
Oh, and the last part of this peice has to do with the latest trend of paying for guitars that have been pre-beat up! Are you kidding me? Buy your own guitar, play the hell out of it and it will eventually get worn in, by you! It will tell your story and nobody else's. And with the recent trend for some makers to go back to the ultra thin nitrocellulose finishes on moderately priced guitars, like my Dave Murray inspired Highway One, it really won't be that long before the guitar looks and feels very broken in...by actually playing the guitar!
God bless and play a lot!
First and foremost, I believe that the price of American made guitars by the largest and very familiar companies are unjustifiably expensive. And in many cases, the signature guitars in my opinion are no better and often so odd and unique in their appointments, to meet the specs of the people whose signatures grace the headstock, that these guitars are even less valuable to the average player and especially any player trying to achieve their own style and tone. Clearly its the player's name that commands the highest prices and not because the guitar is any better than its more vanilla albeit more useful cousin.
Secondly, as a guitar player, I'm more concerned about being myself than trying to be someone else. If a buyer of these guitars is doing so in an attempt to play or sound more like the artist, then I'd say practice more. If your equipment is even close to the type of equipment your idol plays (meaning single coild guitar versus a humbucker guitar), then let me tell you that a guitar player's tone comes first from their hands. Yes, equipment is an important part, but I can assure you that buying an SRV guitar is not going to make you play or sound like the legend. You'd probably have a better chance striking a deal down at the crossroads. ;-)
Now, I can see a reason why someone would pay the ridiculous amounts of money these greedy companies charge for these guitars, and that's if you're a fairly wealthy person who simply wants a collectors item. If I had unlimited funds, I might line the walls of my house with these guitars, but when it comes to actually playing guitar, I'll play my own guitar, thank you very much!
So lastly, I offer an alternate approach. As I said, I've always been intrigued by these guitars, especially if I've been a big fan of the artist. Most recently, I became very interested in Dave Murry's guitar. Not only because I've been a lifetime Iron Maiden fan, but because one of my most versatile and favorite guitars was a Fender American Deluxe Stratocaster that I modified into a Humbucker-Single-Humbucker guitar with a piezo bridge. So wanting to get back to a guitar like the one I once had, I actually thought about buying the Dave Murray guitar. I really like the way it looked, but soon realized that I could only get it with a maple fretboard, yet I wanted rosewood. I liked the hum-single-hum setup, but I knew I'd rip out the DiMarzio pickups and put in something better. The 5-way switch I would require is only a 3-way on his guitar and the neck was only 21 frets when I need 22. So for $1800 I would have to make hundreds of dollars of modifications, alter the guitar from stock, which would no doubt destroy the resale value and I couldn't even really use the 21 fret neck. The alternative? I made my own.
The platform I chose was the latest version of the Highway One HSS Stratocaster (alder body with 22 jumbo frets on rosewood). I replaced the pickguard with an H-S-H from Warmoth, chiselled out the neck single pickup cavity for a humbucker, installed a Graph Tech Ghost piezo bridge and Acoustiphonic preamp, installed a set of WCR American Steele humbucker pickups and a Lindy Fralin Blues Special in the middle with 500k pots and treble retention circuit, wired the 5-way to split the buckers in positions 2 and 4 and installed a mini switch that gives me mag pickups, piezo pickups or both simultaneously (in stereo) and have possibly one of the most tone-rich and versatile guitars on the planet. And my total investment is still significantly less than the Dave Murray guitar. And wait until I post a pic; it looks just like his guitar (all of the mods are the same colors as his guitar and I even installed the chrome pickup rings - really sharp looking guitar). As a matter of fact, I brought the guitar into my outstanding local music store (http://www.parkwaymusic.com/) and the very qualified guitar playing, tone aware salesman on the other side of the counter looked at my guitar and said: "Oh, a Dave Murray..." I took great pride in correcting him!
.JPG)
Oh, and the last part of this peice has to do with the latest trend of paying for guitars that have been pre-beat up! Are you kidding me? Buy your own guitar, play the hell out of it and it will eventually get worn in, by you! It will tell your story and nobody else's. And with the recent trend for some makers to go back to the ultra thin nitrocellulose finishes on moderately priced guitars, like my Dave Murray inspired Highway One, it really won't be that long before the guitar looks and feels very broken in...by actually playing the guitar!
God bless and play a lot!
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