Timelessness.

[László]

Have you noticed that certain gear is simply timeless? That no matter what other gear comes out on the market, what you have is still the stuff that 'does it' for you?

To my way of thinking, amps that have that characteristic of timelessness are among the most valuable, useful and important things I own.

My #1 and #2 amps meet that description, the PRS HXDA and DG30. These are amps that, no matter what comes down the pike, will never become useless door stops. They're the best amps I have, by no small margin. I've had them since 2014, and they have proven themselves on tons of tracks I've done. I still adore the way they sound and react to my playing.

7 years is a pretty good, long time, and many amps to fall out of favor after a much shorter time with lots of players. These haven't. They're timeless.

I also have some Mesas I like, the Fillmore 50 and the Lone Star 100. While I don't put them in quite the same sonic league as the PRS single-channel CAD amps I own, they sound fantastic, I have a hearty respect for them, and they're certainly keepers. The Lone Star is 5 years old. The Fillmore about two. I use them both in my work, and they'll be here for the duration. Are they timeless? I think so.

The point I'm struggling to make is that certain gear is (a) worth the investment because it's great stuff; and (b) it's going to be around for a long, long time (or as long as I'm around, which is anyone's guess).

I feel the same way about my PRS guitars, most especially the incredible PS models I'm lucky enough to own.

Timeless gear that you can love for the remainder of your years on this planet is 100% worth the effort to acquire, and owning it is never going to come back and bite you in the ass.

We are incredibly lucky. We can actually go out and buy timeless gear right now, this very minute. There's plenty of it out there. I believe in taking advantage of opportunity when it slaps me in the face.

An amp that keeps you happy for a short time, and then forces you to look for a different amp because you're dissatisfied? To me, that amp is not worth buying in the first place. If you're getting it because it's cheap, and that's the only reason, think twice my friend. Something you're going to turn over is not a bargain. It's an expensive PITA.

There will come a time, maybe sooner, maybe later, that all of us who are fortunate enough to own PRS gear will thank our lucky stars that we have it on hand. I'm already feeling that way. If you feel like it, share your thoughts.


"Les, was that a rant?"

"I have no idea. But when do I not rant? I'm all about the rant."

 

[RickP]

I have to agree with you on the single channel CAD amps. I’ve not been as impressed with an amp in many, many years as I’ve been with the HXDA. I’ve got some really great classic amps, but the HXDA just stays out and plugged in all the time. It certainly lived up to the hype!

When I think about how things were back when I started playing in the mid-70s, it is mind-boggling to consider what it must be like to have so many superlative options available as a new player now. Smorgasbord.

 

[Davey]

I, like Rick, agree as well.

The HXDA is in a class by itself. I am always taken back everytime I plug in. Top shelf quality. There are so many good tones and genres in that single channel using the MV, EQ and toggles it is hard to believe its only one channel. It's definitely not leaving my stable.

Not a single channel, but the Archon 100 I just picked up is a pretty remarkable amp in its own right. Just had a chance to sit tonight and run it through it paces. Beautiful glassy cleans and a great crunch in the lead channel all the way into blistering metal. Easy to quickly find a good tone in both channels which is refreshing not having to diddle with knobs all night looking for a good sound.

I havent sold much gear to date because I thouroughly research everything before purchase and I know what I am getting so things tend to stick around, but the Archon may have put 2 of my amps on the block soon. Its that good.

Now I need to check out the DG series....

 

[László]

I havent sold much gear to date because I thouroughly research everything before purchase and I know what I am getting so things tend to stick around, but the Archon may have put 2 of my amps on the block soon. Its that good.

I've had a lot of amps, because I've had a lot of GAS, pumped into my brain by means of a lot of research. Fortunately, no clunkers going back to 1968.

Since then, two amps have caused me to re-evaluate every assumption I previously had about my amps: The HXDA and the Two Rock Onyx. When I played the Onyx I sold all of my other amps. The same thing happened when I played the HXDA later on.

Sometimes a piece of gear awakens me to new sonic possibilities and musical territory.

 

[Alnus Rubra]

I’m with you Les, I’ve owned the same little Mesa for 25 years now and have never felt the need to change.

Whilst tempted to go to a bigger amp, the thought of having to move it has been a major factor. Also without playing them in a true “real life” situation, am I really getting value for money.

 

[veinbuster]

I’ve been playing my Mark III for over 30 years. Good odds I’ll still be playing it when it turns 60.

I consider the MDT more of a time capsule than timeless. I’ll probably pass it on to DTR one day.

 

[Davey]

Since then, two amps have caused me to re-evaluate every assumption I previously had about my amps: The HXDA and the Two Rock Onyx. When I played the Onyx I sold all of my other amps. The same thing happened when I played the HXDA later on.

Sometimes a piece of gear awakens me to new sonic possibilities and musical territory.

Completely agree. The HXDA, at least in my world of amps, is in completely new teritory and really puts to shame my older amps. I am blown away how it allows the individuality and tonal characteristics of each guitar come thru. Not to sound like a PRS fanboy, but it really is a special amp.

The Archon is still very new to me, but I am so impressed in this early stage that I have already considered selling a few of my other amps.

Granted both of these are mfg early/mid 2010's compared to my 80's/90's amps, but I can definitely hear the differences in quality.

I’ve been playing my Mark III for over 30 years. Good odds I’ll still be playing it when it turns 60.

I consider the MDT more of a time capsule than timeless. I’ll probably pass it on to DTR one day.

Same boat. I've played the same amp, my first, for the past 30 years. Another one I've owned and played for 20+, but neither are a Mesa or MDT.

 

[WEDGE]

I’ve been playing my Mark III for over 30 years. Good odds I’ll still be playing it when it turns 60.

I consider the MDT more of a time capsule than timeless. I’ll probably pass it on to DTR one day.

I have quietly looked at the MDT from afar, can you tell me what the tones are like when cranked? Only seen mid gain videos done with it.

 

[veinbuster]

I have quietly looked at the MDT from afar, can you tell me what the tones are like when cranked? Only seen mid gain videos done with it.

I don’t know if I can. You might have to come over and try it yourself.

The MDT starts to break up early on and that builds fairly aggressively. I think it shines as a mid range amp, but I might not have played it enough above the 15th fret to really appreciate what it can do with highs. It’s kind of like the mids are an angry bubble on the verge of exploding, but the note never really loses its core - I feel some amps gain can turn most notes into noise that hides the note, if that makes sense.

I might remember to make a more concerted effort to find the truth the next time the house is empty. And maybe the neighbours away.

 

[goat-n-gitter]

I played my first Mesa for over 20 years, and my current MK V just gives me an extra channel and added versatility compared to the old .50 Caliber + it replaced. They give me the sounds i hear in my head (if not the voices.....). When I try other amps, I seem to try to dial them in to sound close to what I get from my Mesa.

 

[László]

It’s kind of like the mids are an angry bubble on the verge of exploding, but the note never really loses its core - I feel some amps gain can turn most notes into noise that hides the note, if that makes sense.

It makes complete sense. I'd describe the HXDA as putting a halo of overdrive around a note, but you still hear the tone of the guitar. For me, that's a great thing. I don't want to have so much mustard on a hot dog that I can't taste the hot dog.

"You can't eat hot dogs any more, Les."

"I have sublimated my desire for excellent grilled hot dogs with the just right mustard by playing a PRS through the HXDA amp."

I played my first Mesa for over 20 years, and my current MK V just gives me an extra channel and added versatility compared to the old .50 Caliber + it replaced. They give me the sounds i hear in my head (if not the voices.....). When I try other amps, I seem to try to dial them in to sound close to what I get from my Mesa.

The Mark V is a super-nice amp, as are most Mesas. Different in concept from the HXDA, of course, but lots of "just the sound I was looking for" tones to be had.

 

[WEDGE]

I have a used Mark V head incoming.....the Crunch on channel two is really good. The thought of foot switching between that and my Royal Atlantic red mode makes me smile.

 

[László]

I have a used Mark V head incoming.....the Crunch on channel two is really good. The thought of foot switching between that and my Royal Atlantic red mode makes me smile.

I played the one I had on channels 1 and 2, and almost never used Channel 3. But I suppose it's there if you need it.

 

[WEDGE]

On channel three I run it like halfway, it has way too much gain for even me but like that it feels better under my hands for stuff like palm muting and heavy stuff without getting too saturated.

 

[László]

On channel three I run it like halfway, it has way too much gain for even me but like that it feels better under my hands for stuff like palm muting and heavy stuff without getting too saturated.

I used Channel 3 on some of those Denis Leary Ford F-150 ads when I had it. The idea behind that campaign was, 'make it sound un-produced and raw'. So I did. But if memory serves, that was the last time I was asked for anything needing that much gain.

The HXDA is about as high gain as I need to get. I replaced the Mark V with it, but that's not a criticism of the Mk V at all. It was more the case of the HXDA being 'amp in Les' head like no other amp'. For me, when something like that comes along, it takes a while before I want to play through anything else. So I sold the Mk V. Pretty sure I funded some guitar or other with the dough.

The interesting thing is that when my son last visited, he said his favorite amp wasn't the HXDA, or even the Lone Star, an amp he toured the world with. He dug the Fillmore in a big way.

All this stuff is SO personal taste.

 

[Boogie]

Not surprisingly, I completely agree with Les…again. It’s easily evidenced by the lack of new amps on my part for many years, except for the Kemper. In fact, the only amp on the planet I would consider adding is the HXDA 50. It’s just different enough from my Super Dallas to justify and would feed my Plexi hunger, which is currently handled by the Kemper. But, honestly, my guitars, my pedals, and my amps are so good for me, I’m quite content. Fortunate be me!

Rick, I started gigging in the late 70s and remember how no one would share their tone secrets. I knew what I wanted but had no idea how to get there and advice was non existent. More like, misinformation was the norm. If I had a little of the info available today back in 79, I would have been modding my own Marshalls! Whenever possible, I share anything I know with younger musicians so that struggle isn’t as debilitating. My tone sucked for 5 years straight until I got into Mesa Boogie.

 

[WEDGE]

Got the MK V in the house……beast. Sat it on top of a Marshall 1960A and damn…..need a bigger amp room.

 

[László]

I knew what I wanted but had no idea how to get there and advice was non existent. More like, misinformation was the norm. If I had a little of the info available today back in 79, I would have been modding my own Marshalls! Whenever possible, I share anything I know with younger musicians so that struggle isn’t as debilitating. My tone sucked for 5 years straight until I got into Mesa Boogie.

When I was a kid in the late '60s-early '70s, I didn't understand much about tone. I'd notice that some folks sounded good, look at their gear, and basically copy it - if I could afford to. But back then, if you used a Vox, Fender or Marshall amp, and a Gibson or a Fender guitar, you weren't going to sound terrible unless you played badly.

Of course, the sounds on records we liked were simpler then, there wasn't as much stylistic variation. If you had the above gear, a Vox wah, and a fuzzbox, you were pretty much in business. If you had a tape echo, so much the better.

There was plenty of mediocre gear, but if you stuck to the above brands, the tone was at least pretty good. So it wasn't hard to figure out how to get the sounds you heard on records. Later on it became more difficult as people began pushing their tone to more extreme or different places. I suppose that's when things got really interesting. On the other hand, there are now even more bad-sounding options and ways for folks to be misled by the marketplace.

When I got into recording in the late '80s, I began to realize that guitar sounds had changed, and needed gear that could do the job. Mesa amps were my lucky charm. I couldn't get a bad sound out of my Tremoverb, and played only Mesas for about ten years, including a Mesa bass amp.

Good as my Mesas were, and my current ones are, when I switch on my HXDA and DG30, I do feel like I'm in a different category of tone. But we're all different, and I still use my Mesas plenty.

 

[Jazzedout]

Although not an amp, the piece of gear that I find as timeless for me is a TC Electronic Nova System multieffects unit that I had since new... I like the way it sounds, can get almost anything out of it, sounds good in front of any amp I have put it. The delays are awesome, the reverbs really great, chorus is heavenly (yes I like chorus... lived through the 80's... )
The analog overdrive and distortion are great classics and the only thing that I haven't found as useful is the boost function (because of the strange way it operates...). When needed I have TC Spark at the front and yes it takes pedals with no issues at the front.
One these used now is less than most single effect boutique pedals out there which still puzzles me... /rant off...

 

[Boogie]

When I was a kid in the late '60s-early '70s, I didn't understand much about tone. I'd notice that some folks sounded good, look at their gear, and basically copy it - if I could afford to. But back then, if you used a Vox, Fender or Marshall amp, and a Gibson or a Fender guitar, you weren't going to sound terrible unless you played badly.

Of course, the sounds on records we liked were simpler then, there wasn't as much stylistic variation. If you had the above gear, a Vox wah, and a fuzzbox, you were pretty much in business. If you had a tape echo, so much the better.

There was plenty of mediocre gear, but if you stuck to the above brands, the tone was at least pretty good. So it wasn't hard to figure out how to get the sounds you heard on records. Later on it became more difficult as people began pushing their tone to more extreme or different places. I suppose that's when things got really interesting. On the other hand, there are now even more bad-sounding options and ways for folks to be misled by the marketplace.

When I got into recording in the late '80s, I began to realize that guitar sounds had changed, and needed gear that could do the job. Mesa amps were my lucky charm. I couldn't get a bad sound out of my Tremoverb, and played only Mesas for about ten years, including a Mesa bass amp.

Good as my Mesas were, and my current ones are, when I switch on my HXDA and DG30, I do feel like I'm in a different category of tone. But we're all different, and I still use my Mesas plenty.

I had the misfortune of wanting to cop Kerry Livgren’s tone on Carry On. Little did I know that he and Tom Scholz (my other idol at the time) achieved those heavenly tones in the studio and almost impossible to duplicate live.

We agree on the “buy quality and you probably won’t suck” method of gear acquisition. It was the precise combination of gear that eluded me for several years. I had a good guitar, a good amp, decent fx, but I wasn’t inspired. Others were impressed, but not me. When the MkIII hit my scene, with channel 3, my world changed forever.

With that said, there was an equal epiphany when I bought my CAD amp. That 3D character that was fabled from boutique builders was there in spades and it took whatever I threw at it and made it sound fantastic. Once I discovered the right OD and distortion box for it (that was about a 2 year deal if I remember correctly), the dial-in period was over. Swapping a cab here or there to match the venue was all that remained. Doug and Jeff @ PRS amp department are artists and geniuses and I thank my lucky stars I took a chance all those years ago.