Sorry for sounding like such a boner, Les. I've been feelin' ornery lately.
Hey, no worries, Serg! We're friends. You get to be ornery any time you want, I won't hold it against ya.
Sorry for sounding like such a boner, Les. I've been feelin' ornery lately.
Hey, no worries, Serg! We're friends. You get to be ornery any time you want, I won't hold it against ya.
Hi Steph,
The two amps are worlds apart, in my opinion.
The HXDA is truly the British Marshall Plexi tone from Allman and Hendrix records. It's got tons of "give", it has a buttery response, and has plenty of gain on tap unless you're into metal, in which case you'll want to goose it with a pedal. It's THE classic rock, blues, alt-rock, do-all amp as far as I'm concerned.
The DG30 is a thoroughly American, with old Fender-ish Tweed, Gibson GA-40, a little Magnatone and some other stuff thrown in. It's very, very versatile, and is a great platform for pedals. If I crank the treble and set it up a certain way, I can approach a little Vox sound, kinda-sorta. But really it's different.
I realize this doesn't help in any way.
Hey LSchefman!
It does actually help to learn, from someone who actually own and play these amps, that I'm in front of the old Fender/Marshall categories... again... It is a surpise though, considering they are both running EL34. I would've thought they'd be closer tonewise, as oppose to a 6L6 fender style amp.
This will not be an easy choice to make.
Thanks again! :top:
You are so right, Les...it only takes a small tweak to rekindle the romance. My Super Dallas came from an artist in Texas (there are only a couple) that had this built by CAD and it came with a hidden feature...a bass cut. To most, this may seem like a trivial option, but to the indoctrinated, this is a big-a$$ed deal. The SuperD has massive bass - so big that many shy away. It makes similarly sized amps sound puny (my co-guitarist just bought his 3rd amp to keep up with me...an Orange OR-50). I've not done much with the bass cut switch until the past couple of weeks, and it takes me to Plexi-land. Well, clean Plexi-land. It doesn't quite break up the same, but it is so sweet with the Klon. I'm solidly in lust again. The sonic onslaught is more under control. The "dominatrix with ball-gag and riding crop" assault on my speakers is much more subdued. Not that this isn't hot in its own right, just cool to try something different. :biggrin:
Les' spirit of adventure is alive and well in my cave. :rock:
Awesome! And who doesn't love hanging out with a dominatrix ?
Ooo, sharing the scary stuff there, Serg. Very Shawshank.Agreed! It's a lot easier to close your eyes and take it than it is to close your eyes and give it.
Ooo, sharing the scary stuff there, Serg. Very Shawshank.
Agreed! It's a lot easier to close your eyes and take it than it is to close your eyes and give it.
My question really boils down to this: is it a pure waste of amplification to produce all of those low frequencies to only have them ignored by the engineer? I love feeling the sound waves against my body, but if it is wasted energy, should I just embrace less bass? That rich low end can be really tough to capture with an SM57 and/or 414.
Ooo, sharing the scary stuff there, Serg. Very Shawshank.
I need to break out the spectrum analyzer.
What??!! Did you say something?Ears.
Sadly, a lot that I like about the SuperD is probably below 1kHz.
I think it's interesting that a cathode biased amp has bias test points. Even most fixed bias amps, where one actually needs the test points, don't have them.