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Sounds nice. Though notice it's being mic'ed with a Neumann U-series and Royer mic, so chances are it's going through some pretty sweet pres and compressors, so it may not sound as sweet in person.

You can get great tone for les than $2000 CDN let alone $6000 USD. It's for the rock stars and accountant/doctor/lawyer types.
 

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Kestral said:
Sounds nice. Though notice it's being mic'ed with a Neumann U-series and Royer mic, so chances are it's going through some pretty sweet pres and compressors, so it may not sound as sweet in person.

You can get great tone for les than $2000 CDN let alone $6000 USD. It's for the rock stars and accountant/doctor/lawyer types.
Nailed it.

*high five*
 

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Sounds pretty nice... if you're on a budget and want a tone along those lines, check out the Peavey Windsor. It's like, $450 I think... screams classic rock / blues. I'm sure with a pedal or two it could rock out some metal tones too.
 

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Have you tried that Peavey Windsor? I was looking at some Classic 30's on Ebay. Almost bought one. Decided against it until I get rid of at least one of my amps. I could never see myself paying $6000 for an amp.
 

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Stratin2traynor said:
Have you tried that Peavey Windsor? I was looking at some Classic 30's on Ebay. Almost bought one. Decided against it until I get rid of at least one of my amps. I could never see myself paying $6000 for an amp.
Yep, gave it a pretty good run awhile back... sounded very Marshall JCM800-ish. If you roll back the volume on the guitar a bit it get's insanely bluesy it's not even funny. Very good amp, especially for the little cash it costs.
 

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I checked out the Peavey website and the combo looks very interesting. Says you can switch power tubes. "Class A Power Amp can use various octal power tubes including EL34 (stock), 6L6GC, 6550, 6CA7, KT88, KT66, or any variation on these types". Plus it has an attenuator. It must be Peavey's response to the Princeton Reverb.

I may have to dump one of my amps and pick up one of these puppies.Drool
 

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Stratin2traynor said:
I checked out the Peavey website and the combo looks very interesting. Says you can switch power tubes. "Class A Power Amp can use various octal power tubes including EL34 (stock), 6L6GC, 6550, 6CA7, KT88, KT66, or any variation on these types". Plus it has an attenuator. It must be Peavey's response to the Princeton Reverb.

I may have to dump one of my amps and pick up one of these puppies.Drool
it is gonna need service if you swap el34's with 6l6's.
 

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Last thing I need is another amp. Almost bid on a Classic 30 on Ebay. I've heard so many great things about the Classic 30. I've decided to hold back and check out one of the Windsors first. I keep playing with my Traynor YCV20WR and still have a problem getting what I want out of it.
 

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Kestral said:
You can get great tone for les than $2000 CDN let alone $6000 USD. It's for the rock stars and accountant/doctor/lawyer types.
Agreed but... ever own and play a top end boutique amp for a few years ?

IME after a while you understand what seperates the boutique stuff from Peavey, Marshall, Fender, Mesa/Boogie, Crate etc... It stops being a $6000 amp, and just a really good amp, maybe musical instrument.

It might only be 5% better, but... once you hear and feel the difference you can't go back.

I'm not calling you out, just discussing.
 

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evenon said:
Agreed but... ever own and play a top end boutique amp for a few years ?

IME after a while you understand what seperates the boutique stuff from Peavey, Marshall, Fender, Mesa/Boogie, Crate etc... It stops being a $6000 amp, and just a really good amp, maybe musical instrument.

It might only be 5% better, but... once you hear and feel the difference you can't go back.

I'm not calling you out, just discussing.
Cool man, I'm always up for a discussion. I'm primarily a keyboardist and producer and then a guitarist, and this has held true in keyboarding and producing, and so far in guitar as well.

Personally, given the choice between "vintage mojo" and "boutique hi end", "vintage mojo" has always won out. It's all a matter of personal preference. I was one of the first owners of the Keeley Compressor, and when I shot it out against my 1973 vintage MXR Dyna Comp (the pots say 1973 even though MXR officially opened in 1974 so it's a very early example of this pedal) and while the Keeley technically better parts, is cleaner sounding and better built, I far preferred the sound of the MXR Dyna Comp, it sounded like those old 70's records.

And it's been the same with producing gear, whether it's my rev B 1176 compressor vs. a Purple MC77 or modern reissue Urei 1176, which are better built and technically have better components and cleaner sounding.

I've also used Dr Z, Bad Cat and Matchless amps and you know what? They're great amps but my Bristish made Vox AC15 with the blue alnico speaker that's been beautifully broken in and blackburn era Mullard tubes can stand up against any of those amps.

My original statement is that you don't need a $6000 amp to sound great, and I stand by it completely. Once you get to a certain level, that 5% is minimal and even negligible. I have a Neve 1073, Urei 1176, I stick a Royer mic in front of my amp and record it into an Apogee converter into Pro Tools and that 5% is more than made up vs. someone who uses their more budget recording system to make sound clips.

People have been using vintage blackface Fenders, pre-1964 era Voxes, Marshall Plexi's and making great music that have stood the test of time. I haven't heard any albums that have been made with these boutique amps yet that have done so. Given time I'm sure they'll be there but for now, all the great tones I want can be had with amps costing far less than $6000. For that price, I'd personally rather have a pre-1964 Vox AC30 top boost more than any other amp out there and still have money for a great guitar. I should also mention, some of these boutique amps aren't imo voiced properly and sometimes don't sit very well in a mix. I find that the Dr Z's are like that, playing on its own, the midrange is out of this world, but I find that recording a Dr. Z, I have to use a ton of EQ to make it sit properly.

Since we're on the subject of expensive modern boutique amps, if there is one I'd pay the big money on, it's the Diezel VH4's. Those into a Marshall cab with vintage greenbacks is imo a modern classic.
 

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Kestral said:
Cool man, I'm always up for a discussion.
Good post. I agree with many of your points. Others are just personal preference ie.. vintage AC 15 vs compariable Matchless or Bad Cat... I'm not a Z fan either, but again that's preference.

Correct me if I am wrong but you are looking at this from the producer and recording perspective. My bias is more towards live performance, and just the fun of chasing cool guitar tone.

My personal favorite recorded tones are early Rush, Thin Lizzy, Free , Mike Bloomfield, Albert King, Jethro Tull etc... usually a Gibson into you, as you said, vintage Marshalls, High Watts, blackface Fenders and in Albert King's case Sunn or some solid state amp.

However for live performance, I would take my Bad Cat Hot Cat over any vintage Marshall. Simply can't wind out a 50 watt plexi without an attuenator for the places I play or the bands I play with. I've tried.

For my uses I'll take the modern features ( master volumes, effects loop, channel switching, lower output power) over the vintage amps, and unfortunately a DSL isn't exactly a '68 50 watt plexi which lead me down the boutique path.
 

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Sounds nice to me. I don't bother to argue about price etc. as the market will dictate what is worth it to people and what isn't. If you find something that has the tone / features etc. you want (and nothing else does) you can choose to either pay the price or not. Obviously it is an extremely pricey amp.
 

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Tone matters not price... if a $6000 amp has the tone you need and nothing else does then you will save up for as long as it takes to get one... if a $600 amp has the tone you need then you will get there quicker is all.
Having said that... very nice amp but I would not shell out $6000 for it.

Khing
 
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