DG-50 and HX/DA. Should I get both ?

[sergiodeblanc]

I probably would’ve liked a 50, I was digging my 30 when I was using it wrong, but it wasn’t loud enough for really clean headroom playing…. Which is not what David is into or the amp is designed for at all, lol.

 

[Maximum Guitarage]

I probably would’ve liked a 50, I was digging my 30 when I was using it wrong, but it wasn’t loud enough for really clean headroom playing…. Which is not what David is into or the amp is designed for at all, lol.

Have you looked at the Ceriatone JM100 or JM50? It is basically the Two Rock John Mayer clone. Lot's of clean headroom.

Yeah I hear the DG30 and DG50 takes time to dial it in. Once dialed in they are stellar so I hear. Working man's amp for studio and stage. That is a good point regarding the clean head room on the 50, be interesting to see.

I think I still maybe on track for the DG50. I have seen so many other sites and forums where the DG30 and HXDA are the staple. Starting to see folks just starting to bring in other boutique amps looking for that x-factor such as Metropolitan Amps and Ceriatone to give tones some shape or shades of something else. Even though the DG30 and HX/DA will cover so much needs of probably 90% of what you hear on records today.

unless something else turns my head I am headed that way .... Of course last night I looked at the JM100 from Ceriatone.....

Link Below of SRV influenced player playing on the JM100

 

[sergiodeblanc]

Have you looked at the Ceriatone JM100 or JM50? It is basically the Two Rock John Mayer clone. Lot's of clean headroom.

Yeah I hear the DG30 and DG50 takes time to dial it in. Once dialed in they are stellar so I hear. Working man's amp for studio and stage. That is a good point regarding the clean head room on the 50, be interesting to see.

I think I still maybe on track for the DG50. I have seen so many other sites where the DG30 and HXDA are the staple. Starting to see folks just starting to bring in other boutique amps such as Metropolitan Amps and Ceriatone to give tones some shape or shades of something else. Even though the DG30 and HX/DA will cover so much needs of probably 90% of what you hear on records today.

unless something else turns my head I am headed that way .... Of course last night I looked at the JM100 from Ceriatone.....

Link Below of SRV influenced player playing on the JM100

Nah, I just went back to Boogie amps.

Dunno if I could call the DG’s “working man’s” amps… they’re like, $3,600

 

[László]

Have you looked at the Ceriatone JM100 or JM50? It is basically the Two Rock John Mayer clone. Lot's of clean headroom.

Yeah I hear the DG30 and DG50 takes time to dial it in. Once dialed in they are stellar so I hear. Working man's amp for studio and stage. That is a good point regarding the clean head room on the 50, be interesting to see.

I think I still maybe on track for the DG50. I have seen so many other sites where the DG30 and HXDA are the staple. Starting to see folks just starting to bring in other boutique amps such as Metropolitan Amps and Ceriatone to give tones some shape or shades of something else. Even though the DG30 and HX/DA will cover so much needs of probably 90% of what you hear on records today.

unless something else turns my head I am headed that way .... Of course last night I looked at the JM100 from Ceriatone.....

Link Below of SRV influenced player playing on the JM100

That's a very nice sounding amp, truly, but it isn't all that Dumble-ish. I say this as a long time Two-Rock player. It's missing something that's hard to describe. Which does NOT mean it sounds bad, in fact it sounds quite good.

 

[László]

Nah, I just went back to Boogie amps.

Boogie amps are too often underrated. They have a lot of midrange thickness (that I think is enhanced by internal compression) when clean, and that's great for certain styles, plus most have very good clean headroom. And of course, the unique Boogie gain sounds are something lots of players have used forever on tons of records, and love.

It'll be interesting to see how badly Gibson screws up Mesa/Boogie. So far, as I understand it, you can't place a custom order any more, but that might be due to backlog more than discontinuing that program.

 

[Maximum Guitarage]

That's a very nice sounding amp, truly, but it isn't all that Dumble-ish. I say this as a long time Two-Rock player. It's missing something that's hard to describe. Which does NOT mean it sounds bad, in fact it sounds quite good.

Yes, you are correct it is missing the $15,000 dollar price tag!

It is actually a Two Rock John Mayer exact clone that has been modded to have some qualities from the SSS. It is suppose to be a straight guitar to amp approach with less components than the SSS. Sure there is probably something sonically different, but it is pretty darn close.

I agree it does sound really good, and could probably cover a lot of blues ground. Hrmm well if it is missing something could be enough to be a differentiator than other amps haha

 

[sergiodeblanc]

Boogie amps are too often underrated. They have a lot of midrange thickness (that I think is enhanced by internal compression) when clean, and that's great for certain styles, plus most have very good clean headroom. And of course, the unique Boogie gain sounds are something lots of players have used forever on tons of records, and love.

It'll be interesting to see how badly Gibson screws up Mesa/Boogie. So far, as I understand it, you can't place a custom order any more, but that might be due to backlog more than discontinuing that program.

Yeah! It’s a great clean tone (for me)! And it’s also got that amazing “liquid lead” thing that’s a Boogie hallmark.

When I got my MkIV it was right before the Gibson thing, and before people started loving IV’s again, lol. So, perfect timing for me.

I hate to be a hater but… I dunno, I wish there was one example of Gibson not completely ruining an acquisition/partnership they made. I think the glue they must use in Les Paul’s make people f@ckin crazy or something.

They ruined Epiphone in the 60’s, Moog in the 70’s, Oberhiem in the 80’s, Steinberger in the 90’s, Echoplex in the 00’s, KRK, in the 10’s, and now…. Ugh… fingers crossed.

 

[Maximum Guitarage]

Nah, I just went back to Boogie amps.

Dunno if I could call the DG’s “working man’s” amps… they’re like, $3,600

Sure it is if it is the last amp you ever play

 

[László]

Yes, you are correct it is missing the $15,000 dollar price tag!

It is actually a Two Rock John Mayer exact clone that has been modded to have some qualities from the SSS.

Having familiarity with the TR models (I was a TR Artist), I still think it's a bit different. Just a little something here or there.

But whatever...it's a very fine sounding amp!

 

[Maximum Guitarage]

Having familiarity with the TR models (I was a TR Artist), I still think it's a bit different. Just a little something here or there.

But whatever...it's a very fine sounding amp!

No doubt Les. Indeed! And at only $1750!

 

[László]

Yeah! It’s a great clean tone (for me)! And it’s also got that amazing “liquid lead” thing that’s a Boogie hallmark.

When I got my MkIV it was right before the Gibson thing, and before people started loving IV’s again, lol. So, perfect timing for me.

I hate to be a hater but… I dunno, I wish there was one example of Gibson not completely ruining an acquisition/partnership they made. I think the glue they must use in Les Paul’s make people f@ckin crazy or something.

They ruined Epiphone in the 60’s, Moog in the 70’s, Oberhiem in the 80’s, Steinberger in the 90’s, Echoplex in the 00’s, KRK, in the 10’s, and now…. Ugh… fingers crossed.

Mesas are like Marshalls, Fenders, Vox' and very few others: they have truly iconic tone.

Granted, the Mesa tone isn't everyone's cup of tea (what is, after all?), but the tone is certainly unique and wonderful, and it records SO easily. I've undoubtedly made more money with tracks I used Mesas on, since the early '90s, than all of my other amps put together. Adds up to a lot of coin, and that's why I usually have at least one Mesa available in my studio.

They're forgiving amps, too. But the compression is what makes them so uniquely easy to record.

As for Gibson, yeah, I totally agree. You can also include Baldwin pianos, Opcode sequencing software, Maestro effects, Tobias basses, Valley arts, and several piano brands owned by Baldwin. And Wurlitzer. Oh, and I think they owned Dobro at some point. Plus they left Kalamazoo, Michigan, in the lurch completely. Unforgivable.

No doubt Les. Indeed! And at only $1750!

Yeah, that's a terrific price for an amp that good.

My thinking (only applies to myself here) is that if I can hang onto an amp for 8 years, as I have with the DG30 and HXDA, I've hit on a formula that's pretty satisfying. Again, not a prescription for others, because it's totally subjective.

Then again, I was a TR player for 12 years. And I'd get another one if a project demanded it, and hang onto it as well. They're special amps.

But my next amp - it won't replace anything I have - will be an HDRX. Because...I dunno. How many chances do ya get to own something like that? Life's too short not to go for it.

I'll say again, speaking only for myself here. I'm not suggesting that anyone else should want the same things I do.

 

[Maximum Guitarage]

Begs the question ... If I get this amp 100w as it can be switched to 50w and has MV ...

Where would that leave me with the DG50 and HXDA... It would seem I have the cleanish amp, I would then need something on the Plexi range.

I wonder if the DG can handle the HX/DA lifting ....anyone know ? Or am I barking up the wrong tree here ...

 

[László]

I wonder if the DG can handle the HX/DA lifting ....anyone know ? Or am I barking up the wrong tree here ...

It can't. Different tonal balance and tone structure all along the frequency range. Different speed of attack, too.

However, I think HXDA OR the DG30 would be a complimentary tone to the Ceriatone. I use a Lone Star 100W for my 'Blackface-style' clean tones. The amps compliment one another.

 

[László]

Bwahahaha!

And it’s this type of top drawer entertainment that made me get out of bed this morning. Tip-o-the-hat to Mr. Les for using enhanced vocabulary mode.

So was it 'gig/shmig'' or effluvia' that reeled you in?

 

[Maximum Guitarage]

It can't. Different tonal balance and tone structure all along the frequency range. Different speed of attack, too.

However, I think HXDA OR the DG30 would be a complimentary tone to the Ceriatone. I use a Lone Star 100W for my 'Blackface-style' clean tones. The amps compliment one another.

Definitely wrong tree...claiming down now, Thanks Les!

That is good to know about which amps compliment each other ...I feel I will most likely stay course with the DG and HXDA first ... then get something else.......oh that Vid I did not notice that the lad had all of his pedals going on such as the Vertex SSS which adds that dumble glassier shape at the end of the chain , you know the SRV sonics . I would like to hear this amp with out all the " SRV" gear going.....

 

[Maximum Guitarage]

Mesas are like Marshalls, Fenders, Vox' and very few others: they have truly iconic tone.

Granted, the Mesa tone isn't everyone's cup of tea (what is, after all?), but the tone is certainly unique and wonderful, and it records SO easily. I've undoubtedly made more money with tracks I used Mesas on, since the early '90s, than all of my other amps put together. Adds up to a lot of coin, and that's why I usually have at least one Mesa available in my studio.

They're forgiving amps, too. But the compression is what makes them so uniquely easy to record.

As for Gibson, yeah, I totally agree. You can also include Baldwin pianos, Opcode sequencing software, Maestro effects, Tobias basses, Valley arts, and several piano brands owned by Baldwin. And Wurlitzer. Oh, and I think they owned Dobro at some point. Plus they left Kalamazoo, Michigan, in the lurch completely. Unforgivable.



Yeah, that's a terrific price for an amp that good.

My thinking (only applies to myself here) is that if I can hang onto an amp for 8 years, as I have with the DG30 and HXDA, I've hit on a formula that's pretty satisfying. Again, not a prescription for others, because it's totally subjective.

Then again, I was a TR player for 12 years. And I'd get another one if a project demanded it, and hang onto it as well. They're special amps.

But my next amp - it won't replace anything I have - will be an HDRX. Because...I dunno. How many chances do ya get to own something like that? Life's too short not to go for it.

I'll say again, speaking only for myself here. I'm not suggesting that anyone else should want the same things I do.

All valid points my friend. I am still looking for that formula that works for me. I at least know getting the PRS DGT Guitar is leading me in the right direction. I now have a humbucking versalitle guitar and a Strat for those strat sounds.

Just need to get the amps situated.

 

[Boogie]

So was it 'gig/shmig'' or effluvia' that reeled you in?

The Anglo-Yiddish forced the bite and ‘effluvia’ set the hook.

ppffftt…effluvia…lmao!

 

[Maximum Guitarage]

Well that is disappointing..someone bought the second hand DG50 under me ...I wonder who picked it up as this amp sat for months at the shop then I talk about it on two forums and then someone picks it up within a day or two.. hrmmm definitely not thrilled about it, I suppose to the victor goes the spoils...

I was ready to move forward as it was second hand and low risk for the price. Also everything settled for me on the difference's between these two. This video explains it well , pardon me if someone sent this video early on on, it never sunk in for me until today as I re watched it today.

Link -

Everything clicked also as I have been listening to ZZ top greatest hits. Per David DG50 has that vintage Marshally 1978 Billy Gibbons vibe and nothing like a Plexi. David Grissom used it for the drive tones on his record to get that punch and the DG30 only for solos to get that creamy tone. He did mention he could use one on the record , I am sure it would be the 30 and be could have used a marshall in a box pedal. I probably would have gotten along with the DG50 who wouldn't want early Billy Gibbons tones with a louder amp with more head room ? oh well I suppose onto the next best thing and lesson be told, " just get both !" Cheers

 

[Maximum Guitarage]

Like many others here, I have a DG30, not a 50. I specifically sought out a 30 because it wasn't as "Marshally" as the 50 was supposed to be. And weirdly, the used market (when it was normal, pre-COVID) priced the DG50 lower than the 30, so perhaps that bore out the idea that the DG30 was a bit more unique.

I really like my DG30, great tone, great range of volume levels (it does sound best at high volume...), and it looks great too!

Oh, I also have an HXDA, and it also sounds fantastic, and the DA/HX switching allows for a nice variety of tone shaping.

I will also admit that I gig with neither. I use a Flyrig and go straight into the PA a lot of the time - it is the nature of the music my band plays. My amps are for home enjoyment and studio recording only, it appears.

Thank You for the great insight ! Yes , even David Grissom did say for those who have Plexi style amps such as the HXDA the DG30 is the better choice as there would be less overlap between these amps. There seems to diffenitely be a stigma put there about the DG50. I really feel it was not marketed properly and as David gravitated toward the 30 so did other players. I like the fact that you knew what you were going for, I am kind of in this phase between my quad cortex and realizing I would like some good amps for home use and studio that can bring out my unique personal style and hand tones. I drank the koolaid from David stating that at the base for a start of good tone is getting a good guitar or guitars that you want to play a great deal and getting a good amp that has great touch dynamics so you can hear as to what your hands are doing. Really I haven't heard many artist talking like that. Usually they push like a uses car salesman " this is super cool because it crushes ! It sounds like a xxxx" so I was intrigued once I got my DGT to go down that path like many before.

Definitely need to find what works best with your band and happy you have the tools at home and realized what works best for you band. It really is a process of finding the right tools for each situation.

Well I am going to have to rearrange the furniture as someone bought the second hand DG50 out under me.

 

[László]

Well I am going to have to rearrange the furniture as someone bought the second hand DG50 out under me.

Maybe should've had the store hold it for you while you decided? Since there aren't a lot of them out there, or on the market, that'd be a prudent thing next time you find one.

BTW, I wasn't the buyer. The only amp I plan to add to my little arsenal will be an HDRX. It's one of those 'can't pass this up' things.

Interesting thing about the first twenty '30's made...The finished the first batch the day before they were introduced, and Grissom actually helped put in the NOS tubes they came with to get them ready for Experience that year. Indeed they are the Brimar, which was "British-American" tube company. One went bad on mine, and I was able to find a replacement, but I had to look pretty hard for it!

Jack had one or two of these in stock for his store; mine's one of these.

Subsequent DG30s came with JJ preamp tubes (and probably still do). When I met Doug Sewell at PRS a couple of years later, he told me that the DG30 is pretty complicated, and takes longer to build than any of his other amps (which at the time were the other CAD amps, like the HXDA, Dallas, etc).

It's an interesting amp. Built like a tank.