Great question! As that amp has a lot of great feedback, I wondered the same thing. But after me getting VERY interested in that amp once it hit, due to all the great reviews, I’ve noticed that there are many of the same people who loved it, who lived with it for a while and said that it simply has to be turned up too loud for it to sound great UNLESS you have an attenuator. One guy said he listed his for sale, and got lucky, that he bought a Power Station before it sold and now he’d never sell it because now that he had a great way to tame the volume it was a “lifer” amp for him.Has anyone compared this amp to the Marshall 20/5 studio plexi?
I own one first it has more gain , the PRS is old school plexi like a JTM in the gain department. Its fat and dynamic!! I boosted it with a Solo Dallas Shaffer replica it kickass for the ACDC back in black tones I love it! off its more like Free all right now tones. One of the best sounding amps ever! Always keep the bass channel low under 4 and under. Single coils rule on amp with the master up.Has anyone compared this amp to the Marshall 20/5 studio plexi?
You brought up something else that I see coming after I buy this… a new wave of pedal purchases. I have a Fulltone 69, but figure I may try another fuzz face type and another fuzz type or two, a treble booster and maybe even a klon…. I see myself chasing some Hendrix and other tones once I get this thing, which will require a few new pedals.I own one first it has more gain , the PRS is old school plexi like a JTM in the gain department. Its fat and dynamic!! I boosted it with a Solo Dallas Shaffer replica it kickass for the ACDC back in black tones I love it! off its more like Free all right now tones. One of the best sounding amps ever! Always keep the bass channel low under 4 and under. Single coils rule on amp with the master up.
Enjoy the hunt!You brought up something else that I see coming after I buy this… a new wave of pedal purchases. I have a Fulltone 69, but figure I may try another fuzz face type and another fuzz type or two, a treble booster and maybe even a klon…. I see myself chasing some Hendrix and other tones once I get this thing, which will require a few new pedals.
I’m also debating the cab. I sold so many of my 1x12s, that I figured I’d just get one, but I’m not ecstatic with the V type for the tones I’ll want. I’ll try it with a few that I have then decide about a cab, and which Scumback to put in it.
My PRS HXDA can do those tones, easily. I haven't played that 20W Hendrix amp, though.It's basically a baby Marshall, right? But instead of EL34's it uses 5881's?
Using a guitar with humbuckers, can it do Eric Clapton's sound with Cream? Those killer tones on Sleepy Time Time, I Feel Free and throughout the Fresh Cream album?
Well in both cases I suspect it’s just a Gibson through a dimed Marshall 100 watt. Although Peter might have used a boost to get that incredible sustain. Clapton didn’t though and I love his tone on the first 2 or 3 Cream albums. So did Eddie Van Halen. I’d settle for a tone like Clapton’s if that PRS HDRX 20 watt could provide it. I have some killer Celestions in 1 12 and 2 12 Matchless cabs I could play through.My PRS HXDA can do those tones, easily. I haven't played that 20W Hendrix amp, though.
I've never tried to get Peter Green's tone, so can't answer the other part of the question.
You know, sometimes it's really hard to say what's going on with a recording, especially an old one.Well I’m both cases I suspect it’s just a Gibson through a dimed Marshall 100 watt. Although Peter might have used a boost to get that incredible sustain. Clapton didn’t though and I love his tone on the first 2 or 3 Cream albums. So did Eddie Van Halen. I’d settle for a tone like Clapton’s if that PRS HDRX 20 watt could provide it. I have some killer Celestions in 1 12 and 2 12 Matchless cabs I could play through.
You know, sometimes it's really hard to say what's going on with a recording, especially an old one.
We're listening to the guitar > amp > microphone > mic preamp > recording console with onboard or outboard EQ > tape machine preamps > Tape > tape machine output amps > multiple bounces from track to track on the tape through the console because in those days they didn't have 24 tracks to work with, they had 4 or 8 > back to console with more EQ > compression > mix bus compression and EQ, > mastering EQ and compression >> master tape >> vinyl pressing / CD conversion.
In the case of Peter green we're also hearing tape echo/slapback (could have been done with a studio machine, or with an echo-plex) AND a ton of reverb chamber (or maybe plate reverb). The recorded sound is pretty low fidelity, and too echoey to try to match, unless you feel like pulling your hair out. Or in my case, what's left of my hair.
All that stuff is tone-altering. You can get the vibe, but not the whole thing.
There's a LOT of gear having a say in records, and any one of those factors can alter the tone. I've manipulated guitar tones for many years on my ad tracks.
That's why I sometimes think chasing a particular recorded tone is iffy at best, and often really a fool's errand (yes, I've been that fool!).
I can hear through to the Clapton tone on the Cream stuff, it was less highly processed. Not the other track. There's too much going on. Does sound like a serious treble booster hit, or maybe they goosed the treble at the console, though.
I can tell you that Page loved recording with a 50's Supro amp called a Thunderbolt with a 15" speaker. And he's terrific at combining close miking and distant miking to get the amp and also the ambience of the room in the sound. Live the Supro was too small to be used. But you hear it a lot on Zeppelin albums. It made his Tele sound like a Les Paul! Like on Communication Breakdown.Les, I’ve read about “re-amping” and I believe it was with respect to Jimmy Page. Not to send this discussion to another direction, but any thoughts on that aspect?
Having heard Clapton live back in the day, as you have too, I can safely say that his live tone playing through two full Marshall stacks was just as devastating as his recorded tone. And pretty much the same. Right?You know, sometimes it's really hard to say what's going on with a recording, especially an old one.
We're listening to the guitar > amp > microphone > mic preamp > recording console with onboard or outboard EQ > tape machine preamps > Tape > tape machine output amps > multiple bounces from track to track on the tape through the console because in those days they didn't have 24 tracks to work with, they had 4 or 8 > back to console with more EQ > compression > mix bus compression and EQ, > mastering EQ and compression >> master tape >> vinyl pressing / CD conversion.
In the case of Peter green we're also hearing tape echo/slapback (could have been done with a studio machine, or with an echo-plex) AND a ton of reverb chamber (or maybe plate reverb). The recorded sound is pretty low fidelity, and too echoey to try to match, unless you feel like pulling your hair out. Or in my case, what's left of my hair.
All that stuff is tone-altering. You can get the vibe, but not the whole thing.
There's a LOT of gear having a say in records, and any one of those factors can alter the tone. I've manipulated guitar tones for many years on my ad tracks.
That's why I sometimes think chasing a particular recorded tone is iffy at best, and often really a fool's errand (yes, I've been that fool!).
I can hear through to the Clapton tone on the Cream stuff, it was less highly processed. Not the other track. There's too much going on. Does sound like a serious treble booster hit, or maybe they goosed the treble at the console, though.
Having heard Clapton live back in the day, as you have too, I can safely say that his live tone playing through two full Marshall stacks was just as devastating as his recorded tone. And pretty much the same. Right?
Younger players who base their opinion of Clapton on what he's done in the last 20 years have no idea what the man was capable of or how important he is to the sound of guitar music.
He was as influential as Django Reinhardt, Charlie Christian or BB King. Or Jimi Hendrix or Eddie Van Halen.