Amps On The Radar Screen?

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Too Many Notes
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I might not ever need another amp.

Then again, a project could come waltzing in the door that requires something different from what I have. Crystal Balls R Not Us. Anyway, there are a few amps on my radar as of this five minutes that I'd consider based on what would be needed; this can, and undoubtedly will, change at any time.

I'd certainly get the HDRX 50 amp if I didn't have the HXDA. There are all kinds of uses for the HXDA, I'm sure those same uses would work with the HDRX 50.

I had a friend's Komet Concorde in my studio in 2005. At the time I was only playing Two-Rock amps, mostly a 2-channel model called the Onyx. I thought the Concorde was a wonderful amp, but at the time I was only interested in two channel amps with master volumes, and Komet amps aren't that. They're single channel, NMV amps properly licensed from Ken Fischer's (and now his estate's) Trainwreck design.

One of the amps I'm interested in is the Komet 60 (the amp the Concorde is based on, same amp, slightly lower gain), but the Komet 29 also seems interesting.

I also think the Mesa Mark VII could work in my studio. I'm not often a high gain player, but the amp can do lots of other tones in all three channels, and I'm impressed with the demos. Totally different type of amp from the Komet, but roughly similar price point so for me the two amps compete for my attention.

And finally, I still have a hankering for a real-deal, vintage AC30.
 
I might not ever need another amp.

Then again, a project could come waltzing in the door that requires something different from what I have. Crystal Balls R Not Us. Anyway, there are a few amps on my radar as of this five minutes that I'd consider based on what would be needed; this can, and undoubtedly will, change at any time.

I'd certainly get the HDRX 50 amp if I didn't have the HXDA. There are all kinds of uses for the HXDA, I'm sure those same uses would work with the HDRX 50.

I had a friend's Komet Concorde in my studio in 2005. At the time I was only playing Two-Rock amps, mostly a 2-channel model called the Onyx. I thought the Concorde was a wonderful amp, but at the time I was only interested in two channel amps with master volumes, and Komet amps aren't that. They're single channel, NMV amps properly licensed from Ken Fischer's (and now his estate's) Trainwreck design.

One of the amps I'm interested in is the Komet 60 (the amp the Concorde is based on, same amp, slightly lower gain), but the Komet 29 also seems interesting.

I also think the Mesa Mark VII could work in my studio. I'm not often a high gain player, but the amp can do lots of other tones in all three channels, and I'm impressed with the demos. Totally different type of amp from the Komet, but roughly similar price point so for me the two amps compete for my attention.

And finally, I still have a hankering for a real-deal, vintage AC30.
I Really Think You Would Love The Diezel VH4 And That Komet. I Also Think You Would Dig The Sound City Master Lead 50.
 
I Really Think You Would Love The Diezel VH4 And That Komet. I Also Think You Would Dig The Sound City Master Lead 50.
I've given up ruling a certain piece of gear out. Because I never know what's around the corner.

The Komet’s Trainwreck pedigree has me mighty curious.
Apparently Hogy Notzel worked the Trainwreck license out with Ken Fischer as he was becoming less and less able to build amps due to illness. So it's a real-deal Trainwreck circuit.

Having spent a little time with one, these were my impressions:

1. It's one of the most touch-sensitive amps I've ever played through. Every nuance comes through. Whether that works for a given player is personal. It's a good match for a player that likes a "fast" amp, though there's also a switch to make it a little less sensitive. My DG30 is what I'd call a "fast" amp, too, so it's something I'm used to.

You don't have to be all-guns-blazing-great to benefit from the sensitivity; touch isn't the same thing as speed. On the other hand, it's not going to hide your flubs.

The "edge-of-breakup" thing is truly magic with the amp, as it is with a few other high end single channel amps.

When you plug in and play, you absolutely know you're playing one of the Mac Daddy, Real-deal amps of the world. I feel pretty much the same way about my PRS CAD amps, and felt that way about my former Two-Rocks.

2. The construction is very, very impressive. In that way, it reminds me of PRS' CAD amps, like my HXDA or DG30, with thick welded aluminum chassis and everything you'd expect of a high end, hand wired, amp.

3. It rips; like many serious pro amps, it's meant for your most critical recording sessions and live performances. Bedroom players, maybe not unless you use an attenuator. But man, I'd hate to run that tone into an attenuator.

To have that amp to compliment my two PRS CAD amps? I'd be the king of the world. 😁

"You're already king of your basement, which is pretty much your world, so..."

"OK, but I don't feel like a king, I feel more like a janitor."

"Oh, then would you mind cleaning my bathroom?"
 
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I'd like to get my hands on some of the Two Rock amps, as well as some from Amplified Nation. What else, hmm... Suhr Hombre, Tone King Royalist, DG30, and a Silver Jubilee - the 20 watt would make most sense for me, but I've heard the Marshall 20 watt series have terrible build quality.

I also must say, I'm very impressed by the updates to the PRS Sonzera... I wish they made it in a head version, now it's just the 20 combo, and it does suffer from the boxy sound of a smaller combo, if I had to give it any critique. Maybe I'll snag a used one and build a head shell for it.

My recurring fantasy is just that some fool pops up locally trying to sell a CAD era, Maryland made PRS amp for a crazy low price. I'd take a "30", Blistertone, MDT, or a Dallas/Super Dallas (especially in a 4x10 format).

There are some other very cool amps out there, I just can't say I need them given what I have on hand. Mesa Badlander, Fillmore, Cali Tweed, Friedman Twin Sister and BE Deluxe. I think I have TAED - Tube Amp, uhh, Excitement Dysfunction. I've got a nice supply of amps sitting around me that cover many popular tones, and I feel that what's left for me to lust after is just filling niches that don't need to be filled.

Or maybe I should say for the sake of filling them.

Nope, that's just as bad.
 
I might not ever need another amp.

Then again, a project could come waltzing in the door that requires something different from what I have. Crystal Balls R Not Us. Anyway, there are a few amps on my radar as of this five minutes that I'd consider based on what would be needed; this can, and undoubtedly will, change at any time.

I'd certainly get the HDRX 50 amp if I didn't have the HXDA. There are all kinds of uses for the HXDA, I'm sure those same uses would work with the HDRX 50.

I had a friend's Komet Concorde in my studio in 2005. At the time I was only playing Two-Rock amps, mostly a 2-channel model called the Onyx. I thought the Concorde was a wonderful amp, but at the time I was only interested in two channel amps with master volumes, and Komet amps aren't that. They're single channel, NMV amps properly licensed from Ken Fischer's (and now his estate's) Trainwreck design.

One of the amps I'm interested in is the Komet 60 (the amp the Concorde is based on, same amp, slightly lower gain), but the Komet 29 also seems interesting.

I also think the Mesa Mark VII could work in my studio. I'm not often a high gain player, but the amp can do lots of other tones in all three channels, and I'm impressed with the demos. Totally different type of amp from the Komet, but roughly similar price point so for me the two amps compete for my attention.

And finally, I still have a hankering for a real-deal, vintage AC30.
I’ve always wanted Concorde. That was one of first Pete Thorn videos I ever watched. Although now, I might prefer a lower gain offering.
 
A Morgan AC 20 Deluxe might scratch that AC30 itch at a smaller wattage and much lighter package weight. I have a 30th Anniversary reissue Vox AC30TB, and it does sound cool, but is hellaciously loud, and even more incomprehensibly heavy! The AC20 Deluxe gets that sound in a smaller 1x12, or head and cab configuration, with a variable wattage control.

A real early-mid 60s Vox AC30 is a Grail sort of amp, and I’d take one in a minute. The one I have has the vibe at a lower pain point, but I’m not sure I wouldn’t go with the Morgan AC20 Deluxe if I had it to do over.
 
I’ve always wanted Concorde. That was one of first Pete Thorn videos I ever watched. Although now, I might prefer a lower gain offering.
It's a great amp, but I'm in the same boat.

However, the original 60W Komet is just about right; based on the demos, their 29W model might also be a good choice for the studio. I figure if I get to the point of ordering one, I'll find a store that has one or the other to try out, and make the drive (or fly if it's more than a few hours by car).
 
A Morgan AC 20 Deluxe might scratch that AC30 itch at a smaller wattage and much lighter package weight. I have a 30th Anniversary reissue Vox AC30TB, and it does sound cool, but is hellaciously loud, and even more incomprehensibly heavy! The AC20 Deluxe gets that sound in a smaller 1x12, or head and cab configuration, with a variable wattage control.

A real early-mid 60s Vox AC30 is a Grail sort of amp, and I’d take one in a minute. The one I have has the vibe at a lower pain point, but I’m not sure I wouldn’t go with the Morgan AC20 Deluxe if I had it to do over.
I love playing through an AC30, but never really liked the AC15. The headroom of the AC30 is one element that gives the AC30 that "Kerrrrannnnggg!" thing. Morgan does make a 40W I'd like to try some time.

I had one of Mark Sampson's original Hot Cats, and it's a fantastic amp with that Vox preamp vibe. I'd probably go with a C30 version from either Bad Cat or Matchless for a take on the AC30 vibe. Granted, it's a little different from the AC30, too, but they're great amps in their own right.
 
I'd like to get my hands on some of the Two Rock amps, as well as some from Amplified Nation. What else, hmm... Suhr Hombre, Tone King Royalist, DG30, and a Silver Jubilee - the 20 watt would make most sense for me, but I've heard the Marshall 20 watt series have terrible build quality.

I also must say, I'm very impressed by the updates to the PRS Sonzera... I wish they made it in a head version, now it's just the 20 combo, and it does suffer from the boxy sound of a smaller combo, if I had to give it any critique. Maybe I'll snag a used one and build a head shell for it.

My recurring fantasy is just that some fool pops up locally trying to sell a CAD era, Maryland made PRS amp for a crazy low price. I'd take a "30", Blistertone, MDT, or a Dallas/Super Dallas (especially in a 4x10 format).

There are some other very cool amps out there, I just can't say I need them given what I have on hand. Mesa Badlander, Fillmore, Cali Tweed, Friedman Twin Sister and BE Deluxe. I think I have TAED - Tube Amp, uhh, Excitement Dysfunction. I've got a nice supply of amps sitting around me that cover many popular tones, and I feel that what's left for me to lust after is just filling niches that don't need to be filled.

Or maybe I should say for the sake of filling them.

Nope, that's just as bad.
Didn’t know/remember you had a twin sister! Been on my radar for a bit. I nearly purchased a used Dirty Shirley at decent price recently but hit the pause button wondering if I’d regret not getting the dual channel TS instead. I don’t picture using it live where I’d need that but it’s got the other added controls that increase the versatility too.
 
I'd like to get my hands on some of the Two Rock amps .....
My recurring fantasy is just that some fool pops up locally trying to sell a CAD era, Maryland made PRS amp for a crazy low price. I'd take a "30", Blistertone, MDT, or a Dallas/Super Dallas (especially in a 4x10 format)

From personal experience:

Abandon all hope all ye that enter here!

Play through any of the above and your current amps will be collecting dust, or finding themselves on Reverb.
 
The Matchless C30 does a thing. You crank it and there is a lush swirly harmonic complexity that I have yet to hear from any other amp, including some very nice vintage AC-30s. IMO they tend to have a bit more honk, and the Matchless has a certain solid authority. But unlike the AC30, it has a half power switch which sounds pretty darn good. You still have the huge iron, but less punishing on the volume front.

They are built like a tank, if you haven’t heard the story look it up, but off memory.,. a while back a C30 was on a shipment bound for Japan. It went overboard into the ocean. Someone fished it out. Dried it out, and it fired right up. Matchless bought that one back, for the story it represented.

They are incredibly loud. They are incredibly heavy. And if you crank it, it will give you glorious sounds. Humbuckers. Single coils. P90s.

I’ve been through all kinds of C30 style amps. Multiple Voxes, 65 Amps, Morgan, etc and short of the real Ken-made Trainwreck Express (a whole other level of amp) my fave is still the Matchless.

I remember several DC area PRS guys being early adopters of the Komet 60s in the very late 90s/early 2000s. My takeaway of the 60 at that point was “too loud” and I had to leave the room, but that was so very long ago. Would love to try one now. Hogy is a brilliant chap. I owned a Marshall he did some Ken mods to, that I wish I had back. Sold it to someone in a time of need, when I thought I couldn’t play again. I miss it dearly.

YMMV
 
And finally, I still have a hankering for a real-deal, vintage AC30.
One of my bucket list amps and probably the only reason why I haven't pulled the trigger on the Gibson Falcon 20.

Vox is releasing vintage spec hand wired AC 10, 15 and 30's this summer so I want to see the pricing on those, before making a decision on my next tube amp (going for a 15 I think).
 
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