hi all, I've had a PRS Custom 20 and currently on the lookout for a used dG 30. Couple questions...other than the two channels of course, can someone weigh in on the differences between the PRS C and the Grissom? Also, does the DG 30 cabinet only come in a 2 speaker version? Thanks,
PRS DG Custom 30 Question
- Thread starter Jefrobie
- Start date
toothace
Zombie Thirteen, DFZ
Paging Les...
toothace
Zombie Thirteen, DFZ
Oh...and the DG30 is a single channel amp...
Howdy. My name is Les and I'm a DG30 user/addict.
There are a LOT of differences between the PRS C and the DG30, besides the fact that the DG30 is a single channel amp. A LOT of differences. The DG30 is a VERY distinctive amp, capable of some unusual sounds, and it is not intended to do the "usual suspects," i.e. Fender Blackface and Marshall. Definitely do not expect a 30 Watt version of what you already have -- this is the most unique sounding amp I've ever owned (and I've owned a lot of amps starting in 1965).
One question you have is about the cab - it's only available as a 2x12. It's ported in the rear behind each speaker, and the rear ports are also covered with grille cloth. The cabinet is made from pine, and it's quite light weight, and sounds much warmer than a plywood cab. It's got a very nice "swirl" and the sound is just perfect for the amp, in my opinion.
But that's the beginning.
Doug Sewell told me that the DG30 is PRS' most difficult and time-consuming amp to build. While it has a couple of traces on its circuit board, it's over 90% hand wired, and while people debate this stuff endlessly, I think it has a positive effect on the tone of the amp.
The preamp section sounds very much on the Tweed side to me. It has that easy-to-achieve grind of a vintage, old-school Tweed amp, and a similar feel in terms of headroom. But it's not purely Tweed; it has some tricks up its sleeve, and there are sonic elements of the old GA-40 Gibsons, a tiny bit of Vox, maybe some Magnatone...it's kind of a blend. But...the recipe for the amp's front end seems to me to sound vintage Tweed for the most part. It has that "halo" around a note you get at the edge of breakup, where you hear both the note as coming out of the guitar, and a halo of grit that almost floats on top of the note. Of course, it's also capable of full-out grind, but it's not a high gain amp. It's vintage grind. It's all over Grissom's new album, and mine sounds unmistakably similar to his, except I don't play as well.
With the gain set low, the amp does nice cleans, but again, they're not the wide open Blackface cleans some of the other PRS amps sport. They're warmer, they have less headroom. You can dial in the amount of high frequency cut, in addition to the Treble control, with a rear-panel Cut control. This helps you shape your high frequencies, along with a Presence control.
Turn the gain up, and the amp gets a beautiful "edge of breakup" thing going, but it's not like Matchless "crushed glass;" it's more vintage sounding. The amp also responds very well to pedals.
The amp has a "Boost" mode that makes it a loud beastie. Or set it to "Normal" and it's a very nice in-home and studio amp that won't make you deaf. Of course, I love the Boost mode...but I go back and forth.
It uses EL84M tubes, that are not your typical EL84s. They're a little larger, with thicker glass. They're a military tube, and the main ones you can find out there are made in Russia. I forget the Russian tube nomenclature, but you can find them on the market (I bought some NOS spares for the amp). Unlike your basic EL84s, the Ms will run for 50,000 hours (or at least are spec'd to), and are very robust. I've been using mine since the amp came out back in late 2013, and they still sound quite fresh.
The only tricky part of the amp is the Master volume control. I think it's a pre-phase inverter design, something that gives it part of its character; in any case, it's different from other PRS Master volume controls. Unlike the way you've been setting MVs on most amps, i.e., you set your gain levels and then turn down the Master, this design is more interactive. The setting of the Master affects the sound of the amp. So you set up the amp, and when you turn down the Master, you need to go back and adjust your settings.
Or you can do what I do, and what Grissom usually does, namely, dime the Master and just leave it all the way up, and control the amp old-school with the gain control (that happens to be conveniently labeled "Volume"). The amp is really meant to be run that way if possible. I think it sounds much better that way as well, though I've learned to live with the Master volume when absolutely necessary (like when I'm recording with a delicate ribbon mic that I don't want to blow up).
Anyway, if you haven't had a truly vintage-style amp, you're in for a treat, because the DG30 is the real-deal, all-singing, all-dancing modern version of lots of highly sought-after unobtainium vintage amps, once you get the hang of learning how to get the most out of it.
I love this amp, and can't imagine parting with it for love or money. Mine has NOS preamp and power tubes, and it just sounds...well...there's nothing like it. It's a very unique, very cool amplifier.
But it's not for the faint of heart, it's a serious tool for guys who want an amp they can take on stage, or into the studio, and make a living with. It takes some effort and experimentation to learn what it does well, learn it's little quirks, etc. You can't just "set and forget" this amp if you want to get the most out of it. It's not like a Mesa, where there's a small sweet spot, and once you find it, you're in business. However, it's worth the effort. Also, don't freak out when you discover the little volume jump just past noon on the gain control...
There are a LOT of differences between the PRS C and the DG30, besides the fact that the DG30 is a single channel amp. A LOT of differences. The DG30 is a VERY distinctive amp, capable of some unusual sounds, and it is not intended to do the "usual suspects," i.e. Fender Blackface and Marshall. Definitely do not expect a 30 Watt version of what you already have -- this is the most unique sounding amp I've ever owned (and I've owned a lot of amps starting in 1965).
One question you have is about the cab - it's only available as a 2x12. It's ported in the rear behind each speaker, and the rear ports are also covered with grille cloth. The cabinet is made from pine, and it's quite light weight, and sounds much warmer than a plywood cab. It's got a very nice "swirl" and the sound is just perfect for the amp, in my opinion.
But that's the beginning.
Doug Sewell told me that the DG30 is PRS' most difficult and time-consuming amp to build. While it has a couple of traces on its circuit board, it's over 90% hand wired, and while people debate this stuff endlessly, I think it has a positive effect on the tone of the amp.
The preamp section sounds very much on the Tweed side to me. It has that easy-to-achieve grind of a vintage, old-school Tweed amp, and a similar feel in terms of headroom. But it's not purely Tweed; it has some tricks up its sleeve, and there are sonic elements of the old GA-40 Gibsons, a tiny bit of Vox, maybe some Magnatone...it's kind of a blend. But...the recipe for the amp's front end seems to me to sound vintage Tweed for the most part. It has that "halo" around a note you get at the edge of breakup, where you hear both the note as coming out of the guitar, and a halo of grit that almost floats on top of the note. Of course, it's also capable of full-out grind, but it's not a high gain amp. It's vintage grind. It's all over Grissom's new album, and mine sounds unmistakably similar to his, except I don't play as well.
With the gain set low, the amp does nice cleans, but again, they're not the wide open Blackface cleans some of the other PRS amps sport. They're warmer, they have less headroom. You can dial in the amount of high frequency cut, in addition to the Treble control, with a rear-panel Cut control. This helps you shape your high frequencies, along with a Presence control.
Turn the gain up, and the amp gets a beautiful "edge of breakup" thing going, but it's not like Matchless "crushed glass;" it's more vintage sounding. The amp also responds very well to pedals.
The amp has a "Boost" mode that makes it a loud beastie. Or set it to "Normal" and it's a very nice in-home and studio amp that won't make you deaf. Of course, I love the Boost mode...but I go back and forth.
It uses EL84M tubes, that are not your typical EL84s. They're a little larger, with thicker glass. They're a military tube, and the main ones you can find out there are made in Russia. I forget the Russian tube nomenclature, but you can find them on the market (I bought some NOS spares for the amp). Unlike your basic EL84s, the Ms will run for 50,000 hours (or at least are spec'd to), and are very robust. I've been using mine since the amp came out back in late 2013, and they still sound quite fresh.
The only tricky part of the amp is the Master volume control. I think it's a pre-phase inverter design, something that gives it part of its character; in any case, it's different from other PRS Master volume controls. Unlike the way you've been setting MVs on most amps, i.e., you set your gain levels and then turn down the Master, this design is more interactive. The setting of the Master affects the sound of the amp. So you set up the amp, and when you turn down the Master, you need to go back and adjust your settings.
Or you can do what I do, and what Grissom usually does, namely, dime the Master and just leave it all the way up, and control the amp old-school with the gain control (that happens to be conveniently labeled "Volume")
. The amp is really meant to be run that way if possible. I think it sounds much better that way as well, though I've learned to live with the Master volume when absolutely necessary (like when I'm recording with a delicate ribbon mic that I don't want to blow up).Anyway, if you haven't had a truly vintage-style amp, you're in for a treat, because the DG30 is the real-deal, all-singing, all-dancing modern version of lots of highly sought-after unobtainium vintage amps, once you get the hang of learning how to get the most out of it.
I love this amp, and can't imagine parting with it for love or money. Mine has NOS preamp and power tubes, and it just sounds...well...there's nothing like it. It's a very unique, very cool amplifier.
But it's not for the faint of heart, it's a serious tool for guys who want an amp they can take on stage, or into the studio, and make a living with. It takes some effort and experimentation to learn what it does well, learn it's little quirks, etc. You can't just "set and forget" this amp if you want to get the most out of it. It's not like a Mesa, where there's a small sweet spot, and once you find it, you're in business. However, it's worth the effort. Also, don't freak out when you discover the little volume jump just past noon on the gain control...
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Thanks much! I realized the amp I had was the PRS custom C 50 watt, not the 20. I've just picked up a dgt guitar and super impressed with the guitar. In researching I really like the sounds as well from the Grissom amp. Hoping
to find a used one around somewhere..
to find a used one around somewhere..
