My Super Dallas can beat up your DG30

[Boogie]

Super Dallas= Super Clean only

I think you're confusing the Super Dallas for the Dallas. Not the same thing at all. While I like using pedals to vary what I get out of it, on its own, it does great dirt. Not modern metal, but dirt. Plus, unless someone ordered a custom CAD creation, there weren't any 4x10 Super Dallas models, they were Dallas "from Hell" variants, like what Brent Moss and Chris Reynolds (though Chris' was a 1x12) commissioned.

And I have to admit, after an hour with the Archon, though it sounds very good, the cleans were too sterile for my tastes, reminiscent of Mesa Mark series clean. The hot channel was very cool, but again, for modern, I have my Mesa amp that covers that very well. As always, to each their own!

 

[László]

I think you're confusing the Super Dallas for the Dallas. Not the same thing at all. While I like using pedals to vary what I get out of it, on its own, it does great dirt. Not modern metal, but dirt. Plus, unless someone ordered a custom CAD creation, there weren't any 4x10 Super Dallas models, they were Dallas "from Hell" variants, like what Brent Moss and Chris Reynolds (though Chris' was a 1x12) commissioned.

And I have to admit, after an hour with the Archon, though it sounds very good, the cleans were too sterile for my tastes, reminiscent of Mesa Mark series clean. The hot channel was very cool, but again, for modern, I have my Mesa amp that covers that very well. As always, to each their own!

Wait just a danged second now...

I thought this thread was supposed to be about your Super Dallas beating up my DG30, and now you've got it beating up Archons? I, for one, object!

I'm very sorry to inform you that your Super Dallas cannot beat an Archon at its metal game, so it loses that round.

Let's stick to the topic here, before things get even crazier.

I still think your Super Dallas does not beat up my DG30 at what my DG30 does.

My DG30 does not beat up your Super Dallas at what your Super Dallas does.

PRS amps do not beat up other PRS amps. They are brothers. They are a team. They have each others' backs. The Team! The Team! The Team!

But your amp is free to beat up on Aristotle's new Marshall custom amp. So have at it. I want to hear that shootout.

 

[HANGAR18]

I think you're confusing the Super Dallas for the Dallas. Not the same thing at all. While I like using pedals to vary what I get out of it, on its own, it does great dirt. Not modern metal, but dirt. Plus, unless someone ordered a custom CAD creation, there weren't any 4x10 Super Dallas models, they were Dallas "from Hell" variants, like what Brent Moss and Chris Reynolds (though Chris' was a 1x12) commissioned.

I'm prepared to accept that. I only learned of the existence of the Dallas a short time ago (when one of my local PRS dealers gave me the sales pitch) Didn't realize that they made a "Super" version. The one he has/had looked just like this one... (random photo from the web)
http://larkguitars.com/products/prs...trucks-mods-black-w-fire-red-maple-fascia-219

 

[Boogie]

PRS amps do not beat up other PRS amps. They are brothers. .

Sorry Dad, you're right.

Hangar18, your observation is a solid one about the fundamental differences in the two model lines from the same maker. Different philosophies, approaches, applications, and market segments/customer bases. I didn't mean to have my post sound so defensive! And to the contrary of how I put it, the Archon - especially at the time of its release - was a game changer: PRS showed that they could put out a product that was every bit as viable to the hard rock/metal market as Mesa/Boogie. That's a huge accomplishment! No previous failures or missteps, the first one out...BAM!

And that's the whole point...PRS has amassed a reputation for world-class amp building in a very short time. Multi-dimensional, multi-market success. And to a degree, we are the perfect examples...two different products, differing music tastes, same results...satisfaction. Correction...elation. The kind of brand loyalty every maker dreams of achieving.

What I meant to say the first time was, I was a 23 year devoted Boogie player only. It was my thing and it defined me as a player. Changing directions 180 degrees from that amp approach to where I am now took a lot. If this process started today, I'd probably have started with the Archon because it would have been so similar to the MkIII. I can't give an amp a higher compliment.

 

[László]

What I meant to say the first time was, I was a 23 year devoted Boogie player only. It was my thing and it defined me as a player.

By no small coincidence, since you and I share a lot of thinking, I come from that same place. Though I started in 1966 with an Ampeg Reverberocket II, and later a '67 Fender Bassman Blackface, when I built the studio, I had my main amp, the Tremoverb, that I got as soon as it was released; a Subway Rocket; a Maverick; a Blue Angel; a Bass 400+; and I got my son one of the early Stilettos. Basically, I loved Mesa amps and couldn't imagine playing anything else.

But one day I decided I wanted to add something really different, and played a ton of other amps, and brought home a Bogner Metropolis. And it was indeed really different, and really cool, a single channel amp with click stops on a control that increased the gain and changed the character of the amp. While it didn't replace the Mesas, it did fire my interest in so-called "boutique" amps (since Mesa was the first boutique amp company in the beginning, the irony of this isn't lost on me). So I added a 30 Watt Hot Cat.

Shortly thereafter, I got my first Two-Rock, and became very good friends with the owners of the company. The TRs were ungodly expensive, and aside from the Tremoverb and Stiletto, I had sold the other Mesa guitar amps I had along with the Bad Cat to raise the dough to pay the TR entry fee. And while I still liked Mesas, I was utterly hooked on the Two-Rock sound. I mean, hooked. I couldn't even stand to play through anything else.

I did try a Mark V, and I liked it very much. It was very close to what I needed, but it wasn't quite my cup of tea. I wound up mostly using the clean channel on it, on the Tweed setting. Great amp, but the other two channels had a more modern gain that was a little harsher than what I was used to with the TRs. A characteristic of Two-Rocks is that they gain up very, very smoothly.

When I heard the HXDA on the PRS site's clips, I knew that would be the amp. I could tell just from the recording. And I was right. It's an incredible amp. The DG30 is fabulous, but for "Les style" lead tones, I'm all about the HXDA.

I'm still a Mesa player, in the sense that I have the Lone Star 100 Watt, and it's cool for spanky cleans and even higher gain stuff on channel 2, but to be clear, it doesn't have the sweetness of the HXDA, or the wonderful character of the DG30. I do use it, though. It's good to have choices.

But the PRS amps are the very, very best amps I've ever heard or played, and I could have gotten along just fine without the Mesa.