Trying Hard to Like the HDRX20

[gamjamm]

Actually, I do like the HDRX20, it has a couple sweet spots that absolutely nail some period specific tones that I love. My frustration with this amp is …

a.) Despite what most say, I feel this amp does NOT take pedals well, at least not in the way I’m used to using them. For starters, there is no effects loop, as PRS wanted to stay true to the original Plexi circuitry, so any reverb etc goes in through the front which gets totally decimated as you crank the volume. The power section just can’t handle it and it turns to mush. Additionally, drive pedals are very finicky with this amp. I find it difficult to get a setting on the amp that sounds good with and without the drive engaged - it requires some tweaking on the amp to get the tone right with the pedal on, and then with the pedal off, needs more tweaking.

b.) Switching between pickups requires more amp tweaking. What sounds perfectly dialed in on the neck pickup is way too bright on the bridge, and what is good on the bridge is far too muddy on the neck. The differences are too extreme for the guitar tone alone to mitigate so it requires a flick of the Bright switch or treble boost pedal. I find this with every guitar I’ve played through it.

c.) Good tone requires volume - this is not a bedroom amp. The Master Volume is helpful, but you need to get it up at least around 4 to avoid it sounding thin which is ear splitting at home. I bought a Bugera attenuator which does the trick, but there is tone compromise, so back to a) and b) with amp fiddling as you increase or decrease the attenuation.

To an extent I enjoy the tweaking to see what this amp can do. I’ve never had a Plexi and there was a learning curve with how these amps work - the EQ and Volume are extremely inter-dependent. Small adjustments make big differences. You need to know when to boost Treble Gain vs Treble EQ vs lowering Bass Gain and understand what the Master Volume is going to do to all three. This amp is not plug & play like my EVH 5150iii or my Marshall where I can set it and forget it and swap guitars and pedals with minimal tweaking - but that is part of the fun and I’ve found some particularly sweet tone pairings I’ll share here:

1. For dirt, my Marshall Guv’nor seems to gel well with this amp. Again, not always a simple switch without tweaking the amp setting but overall it pairs nicely, as does the Nobels ODR 1 for a little more drive articulation.
2. The Vertex SSS SRV is super helpful in the tone adjusting department - having that pedal dialed in is an easy tone enhancer/boost to accommodate pickup switching. I thought it may be redundant given it’s objective, but it is totally complimentary
3. Surprisingly, the Catalinbread Dreamcoat (Ritchie Blackmore clone) just sounds phenomenal with this amp. I haven’t been able to make it work well so far with my other amps. I was hoping to be able to get a faux fuzz/ psychedellic distortion with the HDRX’s Plexi- like platform and that pedal was the magic ticket for doing so at a reasonable volume. Add to that an MXR 90 phase or vibe pedal and you have swirly whirly Voodoo Chile distortion ecstasy.

After awhile I finally reached a point where I like this amp - it took time and patience, but if the relationship continues it may actually grow into love.

Actually, I do like the HDRX20, it has a couple sweet spots that absolutely nail some period specific tones that I love. My frustration with this amp is …

a.) Despite what most say, I feel this amp does NOT take pedals well, at least not in the way I’m used to using them. For starters, there is no effects loop, as PRS wanted to stay true to the original Plexi circuitry, so any reverb etc goes in through the front which gets totally decimated as you crank the volume. The power section just can’t handle it and it turns to mush. Additionally, drive pedals are very finicky with this amp. I find it difficult to get a setting on the amp that sounds good with and without the drive engaged - it requires some tweaking on the amp to get the tone right with the pedal on, and then with the pedal off, needs more tweaking.

b.) Switching between pickups requires more amp tweaking. What sounds perfectly dialed in on the neck pickup is way too bright on the bridge, and what is good on the bridge is far too muddy on the neck. The differences are too extreme for the guitar tone alone to mitigate so it requires a flick of the Bright switch or treble boost pedal. I find this with every guitar I’ve played through it.

c.) Good tone requires volume - this is not a bedroom amp. The Master Volume is helpful, but you need to get it up at least around 4 to avoid it sounding thin which is ear splitting at home. I bought a Bugera attenuator which does the trick, but there is tone compromise, so back to a) and b) with amp fiddling as you increase or decrease the attenuation.

To an extent I enjoy the tweaking to see what this amp can do. I’ve never had a Plexi and there was a learning curve with how these amps work - the EQ and Volume are extremely inter-dependent. Small adjustments make big differences. You need to know when to boost Treble Gain vs Treble EQ vs lowering Bass Gain and understand what the Master Volume is going to do to all three. This amp is not plug & play like my EVH 5150iii or my Marshall where I can set it and forget it and swap guitars and pedals with minimal tweaking - but that is part of the fun and I’ve found some particularly sweet tone pairings I’ll share here:

1. For dirt, my Marshall Guv’nor seems to gel well with this amp. Again, not always a simple switch without tweaking the amp setting but overall it pairs nicely, as does the Nobels ODR 1 for a little more drive articulation.
2. The Vertex SSS SRV is super helpful in the tone adjusting department - having that pedal dialed in is an easy tone enhancer/boost to accommodate pickup switching. I thought it may be redundant given it’s objective, but it is totally complimentary
3. Surprisingly, the Catalinbread Dreamcoat (Ritchie Blackmore clone) just sounds phenomenal with this amp. I haven’t been able to make it work well so far with my other amps. I was hoping to be able to get a faux fuzz/ psychedellic distortion with the HDRX’s Plexi- like platform and that pedal was the magic ticket for doing so at a reasonable volume. Add to that an MXR 90 phase or vibe pedal and you have swirly whirly Voodoo Chile distortion ecstasy.

After awhile I finally reached a point where I like this amp - it took time and patience, but if the relationship continues it may actually grow into

 

[gamjamm]

Actually, I do like the HDRX20, it has a couple sweet spots that absolutely nail some period specific tones that I love. My frustration with this amp is …

a.) Despite what most say, I feel this amp does NOT take pedals well, at least not in the way I’m used to using them. For starters, there is no effects loop, as PRS wanted to stay true to the original Plexi circuitry, so any reverb etc goes in through the front which gets totally decimated as you crank the volume. The power section just can’t handle it and it turns to mush. Additionally, drive pedals are very finicky with this amp. I find it difficult to get a setting on the amp that sounds good with and without the drive engaged - it requires some tweaking on the amp to get the tone right with the pedal on, and then with the pedal off, needs more tweaking.

b.) Switching between pickups requires more amp tweaking. What sounds perfectly dialed in on the neck pickup is way too bright on the bridge, and what is good on the bridge is far too muddy on the neck. The differences are too extreme for the guitar tone alone to mitigate so it requires a flick of the Bright switch or treble boost pedal. I find this with every guitar I’ve played through it.

c.) Good tone requires volume - this is not a bedroom amp. The Master Volume is helpful, but you need to get it up at least around 4 to avoid it sounding thin which is ear splitting at home. I bought a Bugera attenuator which does the trick, but there is tone compromise, so back to a) and b) with amp fiddling as you increase or decrease the attenuation.

To an extent I enjoy the tweaking to see what this amp can do. I’ve never had a Plexi and there was a learning curve with how these amps work - the EQ and Volume are extremely inter-dependent. Small adjustments make big differences. You need to know when to boost Treble Gain vs Treble EQ vs lowering Bass Gain and understand what the Master Volume is going to do to all three. This amp is not plug & play like my EVH 5150iii or my Marshall where I can set it and forget it and swap guitars and pedals with minimal tweaking - but that is part of the fun and I’ve found some particularly sweet tone pairings I’ll share here:

1. For dirt, my Marshall Guv’nor seems to gel well with this amp. Again, not always a simple switch without tweaking the amp setting but overall it pairs nicely, as does the Nobels ODR 1 for a little more drive articulation.
2. The Vertex SSS SRV is super helpful in the tone adjusting department - having that pedal dialed in is an easy tone enhancer/boost to accommodate pickup switching. I thought it may be redundant given it’s objective, but it is totally complimentary
3. Surprisingly, the Catalinbread Dreamcoat (Ritchie Blackmore clone) just sounds phenomenal with this amp. I haven’t been able to make it work well so far with my other amps. I was hoping to be able to get a faux fuzz/ psychedellic distortion with the HDRX’s Plexi- like platform and that pedal was the magic ticket for doing so at a reasonable volume. Add to that an MXR 90 phase or vibe pedal and you have swirly whirly Voodoo Chile distortion ecstasy.

After awhile I finally reached a point where I like this amp - it took time and patience, but if the relationship continues it may actually grow into love.

I find my PRS HDRX-20 takes pedals well imo. I base that on using pedals in front on both a Marshall 1959SLP and 1987x. Comparing pedals up front vs in a loop is apples and oranges. I am using a cheap Caline Pure-Sky OD, followed by a 70's DS-1 for everything from mild to wild OD & Distortion sounds. I boost either with an old BBE Sonic-Stomp for soloing. For effects I'm using a Memory-Boy, Electric Mistress, and Boss RE-202. I also use the Bugera power soak attenuator {which is Soldano designed BTW }. that indeed does force you to do a balancing act between it and the amp controls lol, so I'm feelin ya there. Also, because of the pot tapers, it's much easier to dial in great tone at higher volumes. It's the same on any Plexi as these type of amp designs become harmonically rich when they approach saturation. When you get the levels just to the edge of breakup, you can play clean or crunchy by varying your pick attack and the response is to die for. Probably why blues players love them so much. I'm looking to get the PRS MT-15 next. It does have a loop and half power switch and by all accounts it also does a good clean in addition to gains well beyond the HDRX-20. Either amp goes well past 20watts imho. For sure louder than a Deluxe Reverb. Both sport my favorite of all time 5881 tubes as well. Enjoy.!!

 

[El Fenix]

The DG 30 is still on my list…

Call up Jimmy Wallace in Dallas. I think they had one for a great price. Not sure its still there.

 

[andy474x]

I’ve been munching a bowl of popcorn in the sidelines of this thread for a while now!

I’d agree that this amp (and those like it) are harder to put time based effects in front of. Not that it can’t be done, but things can get messy in a hurry. I’ve found a couple that I like - for example, the Andy Timmons Halo, it’s like the cotton candy of delay. It starts as a couple of discrete delays, and after a moment, melds together into a sweet aura. So it sort of melts away before it gets messy in front of the HDRX.

Of course, much depends on everything else in the signal chain - a boosted signal into a delay, then into the amp might distort the delay, like on a DMM. There’s just so much that can happen. If things get too weird, I just take it as a sign from the guitar gods to keep it simple, turn the effects down and be interesting without them!

I maintain that the HDRX is a great canvas for using different drive and boost pedals, I don’t take it as a Hendrix wannabe thing at all, the guy just knew what to look for in an amp that would put out the right stuff based on what goes in.

 

[László]

I’ve been munching a bowl of popcorn in the sidelines of this thread for a while now!

I’d agree that this amp (and those like it) are harder to put time based effects in front of. Not that it can’t be done, but things can get messy in a hurry. I’ve found a couple that I like - for example, the Andy Timmons Halo, it’s like the cotton candy of delay. It starts as a couple of discrete delays, and after a moment, melds together into a sweet aura. So it sort of melts away before it gets messy in front of the HDRX.

Of course, much depends on everything else in the signal chain - a boosted signal into a delay, then into the amp might distort the delay, like on a DMM. There’s just so much that can happen. If things get too weird, I just take it as a sign from the guitar gods to keep it simple, turn the effects down and be interesting without them!

I maintain that the HDRX is a great canvas for using different drive and boost pedals, I don’t take it as a Hendrix wannabe thing at all, the guy just knew what to look for in an amp that would put out the right stuff based on what goes in.

Despite my post on how Hendrix recorded, I like to run an H9 ducked delay into the front of my amps. The ducked delay pulls the delay volume way back when a note is played, and then when the note releases, the delay kicks in.

This keeps the notes pretty much as-delivered to the amp, but adds some nice taps when the note is out of the way.

For a swampy tone, I like a real tape echo, but it can be an acquired taste.

 

[Lewguitar]

The HDRX takes my Strymon Timeline just fine! Likes my Hall of Fame II reverb pedal too.

The few who say this amp doesn't take pedals well must not actually own one of these amps.

Here's my revised pedal board:

https://imgur.com/FlkLuYY

 

[László]

The HDRX takes my Strymon Timeline just fine! Likes my Hall of Fame II reverb pedal too.

The few say this amp doesn't take pedals well must not actually own one of these amps.

Here's my revised pedal board:

https://imgur.com/VJflaSy

https://imgur.com/vck5nKL

I like the setup, and it all looks killer.

Based on what I've heard in clips here and elsewhere, I think the HDRX works well with the right pedals, as does my HXDA, but with any amp, the question isn't whether it goes well with pedals, it's which pedals? And how are they set up?

Of course, this is where my ideas take a turn that might be different from many players.

My guess is there will players who own the HRDX whose pedals might not work with the amp's character. They might conclude it's not a "pedal platform".

Well, in the strict sense, that's true; it's an amp with character and personality, which is a great thing, and that personality is the very reason the amp is desirable! Anyone who buys it thinking it's a straight wire with gain is kidding themselves, but that's true of most iconic amps.

Amps with a lot of character - and the HDRX, like the HXDA, certainly has that - need pedals that compliment and exploit an amp's characteristics. It's the same with lots of Fender style amps, or Vox amps, or any amps with a strong personality.

A good example is a fuzz face, a great choice with a Plexi, but horrid with a Twin (to me).

Amps that have a certain overdriven color, like Mesas, rarely need, or sound great with, overdrive pedals. With the exception of some of their models like California Tweed, the amp is all about how it overdrives - why would you use a pedal to do anything other than add a little complimentary color?

Just as with visible color, some colors go together tastefully, others don't. Moreover, even that is subjective.

Speaking only for myself here, so-called "pedal platform amps" are boring and uninspiring. Give me an amp with a strong personality any day, It'll lead to more interesting musical ideas. I'll adjust the pedals to the needs of the amp, or choose a different pedal if I want to use a pedal.

This, of course, isn't a prescription for anyone else. We all make our own choices.

 

[Goesto11]

100% agree that HDRX is not a "pedal platform" amp. It was designed for and with a very specific intent, and it does so very nicely. Despite it's Plexi-ish orientation, it does not accomplish all things Plexi on it's own and hence, pedals enter the equation in pursuit of alternate tones and "colors" when those are desired. For me, its not a matter of whether this amp meets all of those desires and determining if it's time to move on, rather exploring what the amp is capable of. In that regard, I find it can be challenging to get too far outside of it's intended purpose - not impossible, but not simple either. To be sure, some pedals work better than others and from my experience, less is more with this amp and that's fine too - it has it's place in the arsenal. \m/,

 

[Deleted member 5962]

Despite my post on how Hendrix recorded, I like to run an H9 ducked delay into the front of my amps. The ducked delay pulls the delay volume way back when a note is played, and then when the note releases, the delay kicks in.

I do this same thing with my Atomic AA12 and 3, on both verb (Rhythm tones) and delay (lead tones). I usually set the ducking to about 3-4 dB reduction and it adds clarity (especially on mid to high gain tones) while retaining the "space" on the notes that you add those effects for in the first place. I get spoiled with that, because I can't do it with my real amp and pedals.

 

[László]

I do this same thing with my Atomic AA12 and 3, on both verb (Rhythm tones) and delay (lead tones). I usually set the ducking to about 3-4 dB reduction and it adds clarity (especially on mid to high gain tones) while retaining the "space" on the notes that you add those effects for in the first place. I get spoiled with that, because I can't do it with my real amp and pedals.

It's a really good way to use certain amps, in my opinion.

For recording, I still like to use delay and reverb in the mix instead of at the amp, but for live? It's perfect!

 

[Deleted member 5962]

It's a really good way to use certain amps, in my opinion.

For recording, I still like to use delay and reverb in the mix instead of at the amp, but for live? It's perfect!

Yes, I'd love to have the option of using it with my amps as well, but my current pedals don't allow it. And, completely agree about normally recording a track dry, unless it's just a solo track and not one that's going to be mixed.

 

[Lewguitar]

In all of the demos of the HDRX 20 that have decent sound, I hear some reverb and delay. Unless it's added after the recording, it's being provided with pedals on the front end. Here's PRS own demo of the HDRX 20.

 

[Deleted member 5962]

In all of the demos of the HDRX 20 that have decent sound, I hear some reverb and delay. Unless it's added after the recording, it's being provided with pedals on the front end. Here's PRS own demo of the HDRX 20.

Yeah, but that's @bryanewald . He can make a broom stick with a rubber band on it sound good.

 

[bodia]

Yeah, but that's Bryan Ewald. He can make a broom stick with a rubber band on it sound good.

FACT!

 

[Lewguitar]

Yeah, but that's @bryanewald . He can make a broom stick with a rubber band on it sound good.

Yes, but my point is that there's delay and reverb added to the sound of the HDRX 20 even when played by Bryan Ewald.

It's not dry like it would be if you demoed it flat in a store or something.

A good overdrive pedal, and some reverb and delay...that's a must to get the most out of the HDRX 20.

 

[Mystic38]

My Marshall vintage Modern on the low gain channel is simply to the Hendrix with a little less bass it's a jtm 45 similar and HDM mode has more gain similar to a 800 to Van Halen tones.

another VM owner here...just to say that the phrase "The Vintage Modern is lacking in the bass" said nobody ever... lol

The 100W head into the matching 425a cab with the Marshall Custom G12c (Hendrix) speakers is simply phenomenal.. simultaneously deafening mind you, but phenomenal.

 

[Mystic38]

The HDRX takes my Strymon Timeline just fine! Likes my Hall of Fame II reverb pedal too.

The few who say this amp doesn't take pedals well must not actually own one of these amps.

Here's my revised pedal board:

https://imgur.com/FlkLuYY

This is a pretty categoric statement.

FWIW, there is an entire class of amps that rely on power tube distortion to get their core tone. These amps are designed to be run with master setting at 10 (if they even have a master volume). This is one such amp, along with a host of early NMV amps. FX loops in such amps are largely pointless as the bulk of the tone (distortion) is generated in the power section.

By example, I have the 100W Marshall Vintage Modern 2466. This is an updated JTM45/100 with a master volume, an extra gain stage, mid boost, and an FX loop. The FX loop works nicely when the amp volume is from 9-noon, exactly in line with your impressions and the amp sounds good-great.

HOWEVER, when I play the amp with Master >7 it will sound more like the amp should sound.. a NMV amp. At this point it sounds glorious, and the loop is largely useless.

You stated previously that you run the master at between 9 and noon. At these levels of master setting you are running the power section largely clean, and yet to experience the full tone this amp can offer, so it is quite possible that owners who say that the HDRX "do not take reverb well" perhaps, just perhaps, have actually turned their amp up.

 

[Lewguitar]

This is a pretty categoric statement.

FWIW, there is an entire class of amps that rely on power tube distortion to get their core tone. These amps are designed to be run with master setting at 10 (if they even have a master volume). This is one such amp, along with a host of early NMV amps. FX loops in such amps are largely pointless as the bulk of the tone (distortion) is generated in the power section.

By example, I have the 100W Marshall Vintage Modern 2466. This is an updated JTM45/100 with a master volume, an extra gain stage, mid boost, and an FX loop. The FX loop works nicely when the amp volume is from 9-noon, exactly in line with your impressions and the amp sounds good-great.

HOWEVER, when I play the amp with Master >7 it will sound more like the amp should sound.. a NMV amp. At this point it sounds glorious, and the loop is largely useless.

You stated previously that you run the master at between 9 and noon. At these levels of master setting you are running the power section largely clean, and yet to experience the full tone this amp can offer, so it is quite possible that owners who say that the HDRX "do not take reverb well" perhaps, just perhaps, have actually turned their amp up.

When I gig or sit in, my Deluxe Reverb is usually set at 4, even at blues clubs. I might bring my WAMPLER EGO compressor and use it mostly as a boost and to thicken and fatten the sound of my Strat or Silver Sky. But I wouldn't use an overdrive pedal. To artificial.

I used to get away with turning my 20 -40 watt amps up to 5, 6 or 7 to get natural overdrive. But that was 40 years ago!

These days you just can't get away with that.

It feels too loud to me onstage and feels to loud in the places I play.

Anyways, back to HDRX 20.

When I say I keep the Master Volume at 9 to noon, I'm referring to the hour hand on a clock.

So the Master Volume would be at 2 - 5.

5 being halfway up.

The preamp Volume controls are at 4 or 5 usually.

It varies a lot and has a lot to do with the time of day.

I practice more quietly at night.

 

[Deleted member 5962]

When I say I keep the Master Volume at 9 to noon, I'm referring to the hour hand on a clock.

So the Master Volume would be at 2 - 5.

So, that would explain why you prefer to use pedals. And it's nice to know the amp works well this way! I think though, that his point is that the true purpose/best tones of the amp, is with the master up, and that wouldn't necessarily require boost or OD pedals to get the fullness of tone (not that you couldn't still use them).

Several others have said that it really comes into its best tone with the master at 2 o'clock or better, so 7-ish on the 1-10 scale. That would make sense with this design of amp.

Again, I'm not disputing anything you're saying, and agree that it's great it works that way as well. If I get one, I'm prepared that I'll want to jack the master up more and run it through the power station... which also provides a usable loop solution for mod/time based effects.

 

[Lewguitar]

Several others have said that it really comes into its best tone with the master at 2 o'clock or better, so 7-ish on the 1-10 scale. That would make sense with this design of amp.

I guarantee you that if you showed up at any of the clubs I play or sit in at, and turned the HDRX up to 7, you'd get thrown out.

Either by your band mates or the club owner.

That would be louder than any gig I've played in the last 30 years.