What Are Your Favorite Amps To Play?

László said:
As I understand it, the amps are identical except for the B-Rails. I wish I could explain how a B-Rail works, or even what it is,
Click to expand...

László said:
However, I can describe the main tone difference between the two: The 30W is a little leaner in the lower midrange and bass, the 50W is a little fatter.
Click to expand...

This describes exactly what you would expect if you were an amp designer/expert on b-rail voltages, so whether or not you understand the electronic aspects, you understand the important part! ;)

More voltage on the rails = more guts, punch, and power in the low mids and lows.
 
DreamTheaterRules said:
This describes exactly what you would expect if you were an amp designer/expert on b-rail voltages, so whether or not you understand the electronic aspects, you understand the important part! ;)

More voltage on the rails = more guts, punch, and power in the low mids and lows.
Click to expand...

Playing my go-to-for-maximum-fun Two Rock a few days ago - the 50W Akoya with 5881s - I was enjoying the fluid quality of the lead voice and its contrast with the sparkling clean the amp is also capable of. A new music friend plugged in and remarked on the amp's musical nature, and it got me thinking: why on earth doesn't PRS make a smaller J-MOD?

Imagine one with a pair of 5881s and tube rectification, whose breakup behaviour is less awkward than the 100's rather stiff presentation. I'm convinced that one of the 100's main problems, especially when used away from the specific context of Mayer's setup, is that it leans too far into a slightly charmless (yeah, shoot me...) big clean. It's an uncompromising amp as it stands, one that mildly disappointed me when I tried it; but the idea of what it could be has stuck with me. To my ears, even my MkIIC+ does this stuff more effectively than the J-MOD :rolleyes:

I can't be the only one here who has a D-style bone, and who tried it and thought: "Meh!?!" I'd love to support the team with a smaller (and hopefully considerably less pricey:oops:) amp than the J-MOD, especially since I'm about ready to try something new.


Other thoughts, anyone?
 
Wyzard said:
Playing my go-to-for-maximum-fun Two Rock a few days ago - the 50W Akoya with 5881s - I was enjoying the fluid quality of the lead voice and its contrast with the sparkling clean the amp is also capable of. A new music friend plugged in and remarked on the amp's musical nature, and it got me thinking: why on earth doesn't PRS make a smaller J-MOD?

Imagine one with a pair of 5881s and tube rectification, whose breakup behaviour is less awkward than the 100's rather stiff presentation. I'm convinced that one of the 100's main problems, especially when used away from the specific context of Mayer's setup, is that it leans too far into a slightly charmless (yeah, shoot me...) big clean. It's an uncompromising amp as it stands, one that mildly disappointed me when I tried it; but the idea of what it could be has stuck with me. To my ears, even my MkIIC+ does this stuff more effectively than the J-MOD :rolleyes:

I can't be the only one here who has a D-style bone, and who tried it and thought: "Meh!?!" I'd love to support the team with a smaller (and hopefully considerably less pricey:oops:) amp than the J-MOD, especially since I'm about ready to try something new.


Other thoughts, anyone?
Click to expand...
I'm a big Two-Rock fan, and played their 50 Watt amps exclusively for a dozen years. They're wonderful amps, and as your friend said, very musical.

I haven't tried a JMOD. There weren't any near me to check out. But with amp wattage - especially tube amps - there are design choices with the power section that involve unavoidable trade-offs.

There's more headroom on a 100, and therefore the bass/lower midrange is always going to be a little tighter than a 50 as you push the amp a bit.

It's the nature of the beast; amps have to work harder to reproduce low frequencies, and when they're working hard, they're more likely to break up. It's why very low powered amps like a 12 Watt Tweed Deluxe often sound mushy in the lower frequencies.

Of course, the breakup can be wonderful and very musical, but it's hard to get super-tight bass going on a 50 vs a 100.

When I got my first Two-Rock I had a conversation with the designer, Bill Krinard, about getting a tighter low end on my Onyx 50W, and the upshot of the conversation was basically, "Get the 100W version if you want tighter bass."

My guess is that tight, articulate low end was part of the design goal of the JMOD, and for that amp and that artist, 100W was simply a necessity. I have a Lone Star 100W that I use as my clean amp, and while it can be switched to 50 and even 10 Watts, I generally run it at 100 Watts when I need a tight, piano-like low frequency response.
 
László said:
My guess is that tight, articulate low end was part of the design goal of the JMOD, and for that amp and that artist, 100W was simply a necessity. I have a Lone Star 100W that I use as my clean amp, and while it can be switched to 50 and even 10 Watts, I generally run it at 100 Watts when I need a tight, piano-like low frequency response.
Click to expand...

I'd agree with all your observations: and as you saw, I acknowledged that the amp was designed for Mayer's specific context. I'd add, however, that for my purposes - and from a strictly "musical" point of view - I'd currently pick a well-sorted Lone Star myself over a J-MOD anyway. The Lone Stars I've played (never owned one, but played quite a few) have varied; but the best one I ever got to use was freakishly good. Like I said, shoot me......

Maybe I just need more time on the J-MOD to learn its ways. I'm adept with big iron amps, but the J-MOD's presentation suggested that it wasn't going to be particularly biddable at the volume levels I've been favouring lately.



It seems a shame that the J-MOD hasn't (so far at least) been used as a jumping-off point for a new line of PRS amps. It could offer something that's interestingly different from what's currently available, suitable for a variety of use cases, and with every possibility of challenging the usual suspects in the D-style realm. Say they tried slightly smaller transformers, valve rectification, maybe 5881s or a quad/pair of 6V6s......... I think the idea has some potential.
 
Wyzard said:
I'd add, however, that for my purposes - and from a strictly "musical" point of view - I'd currently pick a well-sorted Lone Star myself over a J-MOD anyway. The Lone Stars I've played (never owned one, but played quite a few) have varied; but the best one I ever got to use was freakishly good. Like I said, shoot me......
Click to expand...
I think my Lone Star 100 combo is pretty well set up and tweaked, at least for what I need from a two channel, general purpose amp.

The preamp has all-NOS RCA, GE and Siemens preamp tubes that transformed the amp from a pretty good amp into a truly boutique, long term keeper. The output tubes are Telefunken 6L6s. With these tube changes, I like the amp a lot, and it gets steady use, though I generally prefer single channel amps.

I have one of those first world problems: I like this amp too much to sell it and replace it with another single channel amp! :)
 
Last edited:
László said:
I think my Lone Star 100 combo is pretty well set up and tweaked,
Click to expand...
I played a Lone Star 100 combo. Had it in my house for a while. The cleans were great, and honestly so was the OD channel "for what it does." It's a Mark 1, and I really wanted something more aggressive but did love that tone once dialed in.

That said, there is one thing that amp needs and it would make both channels sound even better... so while I know you're happy with it... there is one thing that would TOTALLY make it reach it's full potential, and that is...

An Alnico speaker. Or two. That amp is MADE for it, and I mean BOTH channels. At least one. I couldn't sleep without at least one Alnico speaker in there.
 
DreamTheaterRules said:
I played a Lone Star 100 combo. Had it in my house for a while. The cleans were great, and honestly so was the OD channel "for what it does." It's a Mark 1, and I really wanted something more aggressive but did love that tone once dialed in.
Click to expand...
This is a case of horses for courses. It's a useful amp in my studio arsenal. but I don't use the OD channel on my Lone Star much.

When I want Mesa-style OD tones, I use the Fillmore 50W.. It sounds so much better to me. I freakin' love the Fillmore's overdrive modes. I also like the Fillmore's clean channel more than the Lone Star's for most things. For my money, the Fillmore 50 is the best sounding Mesa I've ever had, and I've had a sh!t ton of Mesa amps, including many that cost a lot more.

What the Lone Star gives me is piano like, tight, low frequency and low midrange sounds. Can't beat 100 Watts for that purpose, and that's what I use it for.

I do, however, take advantage of several of the Lone Star's interesting features when I run the amp on the clean channel, which is its purpose in my life. I switch the global master volume and effects loop completely out of the circuit. It's great to have that option. It sounds better without the extra circuitry.

I use the variac feature from time to time to get different sonic signatures. I also switch between the solid state and tube rectifiers.

The ability to switch the amp to 50 and 10 Watts is nice for practice situations, or just to get different tones.

DreamTheaterRules said:
That said, there is one thing that amp needs and it would make both channels sound even better... so while I know you're happy with it... there is one thing that would TOTALLY make it reach it's full potential, and that is...
Click to expand...
I'd be interested in which Alnico speakers you used/heard and liked with the Lone Star. I've tried my Lone Star with the Alnico Blackbirds-loaded Mesa 2x12 that I had in the studio.

The Blackbirds are wonderful Alnico speakers that match up well with a lot of amps. Blackbirds are absolutely great with the Fillmore, for example.

On paper, the Alnico Blackbirds seemed like a great matchup for the Lone Star. In the event, the combination was merely good, not great. You never know with this stuff until you get hands-on.

Though the Black Shadow C90s like to be cranked up, that's when they come to life, and I can push them with the Lone Star's 100 Watts. My 2x12 combo has plenty of swirl, and it sounds good - really good. I should record a clip and post it at some point.

With the KHE switcher, I can also flick a switch and use the Lone Star with the DG cab, and it sounds terrific. That cab has pine construction, ported back, and V-30s. The LS also sounds very good with the 212 I use with the HXDA and the 4x10 Mesa cab I got earlier this year.

Granted, my amp is tweaked to the nines with a grand worth of NOS preamp tubes, and they make a difference compared to the stock Mesa tubes.

In any case, I suspect the question isn't Alnico vs Ceramic, but which Alnico, and which Ceramic. It'd be interesting to try the Lone Star with Celestion Alnico Cream 90s. Might be a different world; let me know if you've heard that combination.

As far as buying and installing different speakers in my 2x12 combo goes...probably not. It ain't broke. I ain't fixin' it.

My next amp will be a Komet 60 (or maybe a 33 if I want to be able to crank a little more, the 60 is LOUD). It's one of the four best amps I've ever heard in my studio. I should've invested in one years ago. It's very expensive, hence my reluctance to sink more into the Lone Star.
 
Last edited:
I am a simpleton..

1. I cannot ever not love the clean tone of Fender Deluxe Reverb.. it would be the last amp out of my door...unless a Twin showed up.

2. Marshall Vintage Modern : Better than expected cleans, does blues and 70's classic rock and more. Much misunderstood and highly underrated.

3. Orange Rocker 30 : The AD30 has more going for it with flexibility, more edge and a better "clean" channel, but once you have opened up the gain channel on a Rocker 30 it has a certain dynamic STFU raw tone that is just inspiring.. Does not fit every song and feels temperamental at times but man when you have it right, its just right.
 
Mystic38 said:
3. Orange Rocker 30 : The AD30 has more going for it with flexibility, more edge and a better "clean" channel, but once you have opened up the gain channel on a Rocker 30 it has a certain dynamic STFU raw tone that is just inspiring.. Does not fit every song and feels temperamental at times but man when you have it right, its just right.
Click to expand...
There are several Orange amps that are underrated; yours is one of them. I like the AD30, too.

I say this having no axe to grind, since I've never had an Orange amp.
 
My only real amp is a 76 Fender Deluxe Reverb. It’s a great amp for clean sounds. These days, I mostly use a Fractal Axe-Fx III and FM9 modeler. I play the Axe-Fx III through Adam A7V studio monitors. I’m just scratching the surface of what I can do with it but am blown away by what I’m hearing. I ordered an Electro Voice PXM-12MP powered floor monitor for the FM9. The PXM-12MP allows you to select a full range studio monitor frequency response or a guitar cabinet frequency response.
 
I'm done with all this guitar stuff.

When I graduate, I'm going to cut the soles off my shoes, climb a tree, and learn to play the flute.

-- Firesign Theater, A.D. Nineteen Whenever It Was, Who Even Remembers

"I remember, sir!"

"You do not. Now shut the f^ck up and eat your beans."
 
You must log in or register to reply here.

Similar threads

SteveGlitch
Curious, what's your amplifier of choice?
4 5 6
Replies
101
Views
2K
BGood
BGood
László
Amps On The Radar Screen?
2 3
Replies
43
Views
747
GGJJGG
G
Clashcityrocker
Cabinets. Should we collect those over amps?
2
Replies
31
Views
1K
Sonic Blue 55
Sonic Blue 55
Bogner
List Some Of Your Favorite Bands
2
Replies
23
Views
394
alantig
alantig
nussbajh
Pedals and Amps
2 3
Replies
43
Views
1K
László
László
Back
Top