A young Albert Collins met his hero Gatemouth Brown and asked what that thing was Gate was using. Gate said you have to start using the "choker" it will help you find your identity. I think it did!!! If I remember correctly, on the instructional video Albert made he tells Keith Wyatt (tremendous player, instructor) that when he met Gatemouth he (Collins) was playing an "Eptiphone" and Gatemouth was playing an Esquire . Shortly thereafter Albert swapted his Epiphone out for an Esquire. It's funny in the video because Collins when he's first telling the story does pronounce it "Eptiphone" but Wyatt pronounces it correctly and then Albert does pronounce it correctly there after.
@@kevindean1327 I was lucky enough to see Gatemouth Brown in 1988 or so. He played with so much swing. Wonderful player and absolute master of the stage.
When I got my Tweed Princeton in L.A. it was in 1988. I paid $250 for it, and I was thrilled. But this was the heyday of the spandex poodle head glam metal bands, and everybody who saw the ol' Princeton laughed at it and said it was a "Grandpa amp," and "What the hell are you planning on doing with that piece of junk?" It sounded fine, but everybody was listening with their eyes and making fun of the size. 33 years later, I am vindicated. I routinely turn down offers of $2000-$3000, but I tell them, "if you want to commission me to build you one, I can duplicate it for about half of what you're offering me, and it'll be identical. So far, no takers, but who cares? I'm still rockin' the '56 Princeton and having a ball. It's one of my most prized possessions because it loves any guitar you plug into it. It's impossible to get a bad sound. The essence of simplicity.
Hear you. I still use my 79 Vibro Champ S I did in the 80s like you. And pushed with any boost and miked close, it’s an absolute festival killer. Small amps can get you to that magical liminal land where overdrive and fuzz make friends.
@@ricardorodriguez5549 yeah, not only that, but your hands become the master control for how much break-up you want, and the volume knob just kinda sets the limit on the headroom. It makes you want to play till your fingers fall off.
I knew Dick Dale for many years. He always told the story about how Leo Fender could not understand why he kept blowing up amps and needed more power. Then one day he went to the Rendezvous Ball Room to see Dick play and heard how the crowd of 4000 screaming teenagers sucked up the sound. Fender started working on more powerful amps eventually producing the Dual Showman. I believe Dick was using 85 watt power Transformers with 2x15” JBL speakers. He was still using those original cabinets the last time I saw him , shortly before he died.
I also read about that....Leo went to the gig with an engineer and pretty much was blown away by the 'SOUND' . . .that is when they beefed up the output xfmr's and redesigned the speakers......R.I.P. Dick Dale !
Yep. Try the Tonemaster Twin if you still want to push some air, but want an amp you can literally lift with one finger. And it sounds pretty darn good.
When I was a teen and I saw guys with Marshall stacks I thought that’s what I needed to be happy but as an adult I realized a small fender combo amp was not only what I needed but what sounded the best to me too.
Interesting stuff! I used to live quite close to Eric Clapton and he would occasionally play local gigs for free and self enjoyment. I remember seeing him one night in a village hall in a place called Cranliegh, he was paying a Telecaster through an AC30 both of which he’d borrowed from the other band that was playing. I was amazed! He sounded great, that Clapton tone was all there, as they say “ it’s in the fingers “
One person is almost entirely responsible for the present popularity of small amps - Jimmy Page. I lived through the era of amps getting bigger and bigger, more and more powerful, as players chased the HUGE sound they heard on records and radio. When, some years well into this arms race of amplification, it was learned that Page got his TITANIC sound using a breadbox-sized Supro cleverly miked and enhanced in post-recording production - the jig was up. People sniffing around for more answers soon discovered that others (like Clapton) were using Champs and Princetons on dozens of hits - and the only reason most folks needed anything bigger than a Twin was in performance in a large venue. Thanks, Jimmy!
Page layered guitar on top of guitar in order to get him sound - Eric didn't need to do that and - he would never record something he couldn't play live as well or better -
I played in indie rock bands in the very early 90s then started mixing live sound for other bands and grunge has a lot to answer for: bands playing to 20 friends midweek in a venue that could hold 500 with Marshall 100 watt heads and quadboxes and bassplayers with Ampeg 8x10 fridges. Just overkill.
It amuses me that last night I used a low output Tele neck pickup through the padded input of a Champ 600. Apparently a Tele bridge pickup into the normal input of a 5 Watt amp is now too much for me. What a long, strange trip it's been.
Really !!!!!! Fell into the wall of amp back in the late 60s to 71. Either Sunn or Marshall. Leasing for shows. Then one day the lease fell thru and I borrowed a Twin Reverb from a local music store. That was the last of the Wall Of Amp!!!!! When I finally came to the end professionally I was down to a Deluxe Reverb and DJBL. Covered everything with the PA if needed. What I keep in my studio is a Fender BDR, Bassbreaker 15 and VOX AC15. The stacks were nothing but Hype !!!
In the late 60s and early '70s, I saw Johnny Winter, Creedence Clearwater Revival, ZZTOP, Bo Diddley, Chuck Berry, Freddie King, B.B. King, Elvis Presley, Charlie Daniels, and many others, and some of those amps and stacks were very high and tall. Some of the band members would park their drinks and/or various other things on top.... sometimes reaching higher than their head. John Fogerty comes to mind in doing this.🎸
When I started gigging way back in the day, I played rock and metal but never could afford a stack, so I used what I could afford. Low wattage tube amps like Silvertone and I used an Ampeg Reverberocket for a decade. Just cranked and pushed em. Always had a brutal sound. Still use the same low watt style amps today but I’m a country player these days. It all worked out.
I think it' s a silly fashion not to have amps on stage. Even a metal band like Metallica banned their amps under the stage. For me as a guitar player it always was an eyecatcher to look on the equipment of my favorite bands.
Due to the position where I stood on stage for years with me and my 100-watt stack 30 years ago my left ear is really damaged. I can really tell with earphones or earbuds. Sure was an experience to have your guitar screaming loud enough to feel in your chest though.
Many years ago , I had a sound guy in Toronto suggest side-washing my amplifier so I could run a louder stage volume without messing with the front of the house mix. Doesn't look as cool but it works great.
I worked in a popular rock and roll music store in the 70's. Then played in bands into the 80's. IMHO two things happened that changed stuff almost overnight. Crown DC300's and multiple Altec A7's or the JBL Pro series speakers. 3 or 4 DC 300's with 4 Altec A7's could provide a clean sound in a club with up to 3-400 people. "Rich" bands might have 4 bi amped Crown DC300's with sub woofers could easily fill a hall with 500 plus folks. Then prices went down and QSC and others started producing higher watts for less bucks. Then the hi tech speaker arrays went way down in price. Finally smart live venues would attract better bands for less money if they had a killer house PA. It got back breaking and expensive to have to hire roadies for bands that didn't have a record deal but were still a popular live draw.
Great topic Zac, I've always wondered about the crazy rise of the listing prices of the Princeton amps and similar as opposed to the value of Twins and Super Reverb amps, which is steady for years.
So glad to hear when someone talks about Vox amps recognize mention Cliff and The Shadows, the importance they played (especially Hank Marvin) in the development of the AC15 to the AC30 and top boost development all prior to the beatles.
Led Zeppelin were probably the first band to start micing the whole band on their "Led Zeppelin 3" world tour which I saw in Auckland NZ in '74, Jimmy Page was using two Quads side by side with one angled to the other side of the stage and one facing forward and Marshall heads on both. It was the first time I had ever seen a studio mic up on a live drumkit as opposed to a single overhead.
Feel odd commenting on a few of your vids in one day, but this reminds me. In 2015 I was playing a lot in Austin up and down 6th street with a band. I started out using an Orange Rockerverb 50 with a matching 2x12 cabinet which was heavy and not always liked on stage. It sucked moving it back to San Marcos as the sun was getting ready to come up, and it sucked having to the sound guy just turn me off. Eventually, by the time we started playing Stubbs, I moved to just playing what was my small amp. An Orange Rocker 30. It worked, it didn't sound as amazing on stage but in the house? That Orange Rocker 30 was the biggest sounding amp of anyone playing due to having great sound guys. I'd see these bands with Twins, Marshall 100 watts, and Sunn amps (at the time they were trendy in Austin) that you'd only hear near the stage versus my little Orange that was cranked up enough with any competent sound guy making it sound good followed by and easy loud in and out. I have a Vox AC15TBX and the Rocker 30 these days, they sound great and are much easier to move around than my former Twins and Rockerverbs. Learned that small amps are great the hard way! At the most you just have to get over your drummer!
My Buddy saw Cream in 67 at the Shrine in LA in 67. He said both Eric and Jack were playing through 2 Marshall stacks. No mikes. He said the PA for vocals were 2 Fender Dual Showman amps. He said it was kind of a joke because you could not hear ANY vocals. I know they were both playing through both Marshalls because I have a bootleg recording of Cream at the Ricky Tick in London I believe, and one of Claptons' Marshalls blows up. He says to the crowd that he is sorry that he is down to playing one amp. No wonder Ginger got so mad about the stage volume. Can you blame him.
It's my recollection that the Derek and the Dominoes album was recorded on Fender Tweed Champs, which opened my eyes to what a big sound could be gotten out of a "small" amp.
This a topic near and dear. Back when was younger man with a bigger ego I would scoff at anything that wasn’t a Marshall half stack. So heavy, rarely ever got the amp past 1.5 on the volume knob. For the last 10 years or so I’ve pretty much only used low wattage amps 15-20 watt range and I’ve settled on a 20 watt Friedman Dirty Shirley mini and a 1x12 cab and I’ve never been happier with my sound. Being told to turn up rather than down has been a nice change of pace!
I’m starting to realize I like bigger amps with 2 speakers 🔊 ( or more). Twin Reverb and Super Reverb mostly. I dunno why but even at bedroom volume levels they seem to fill the room with more tone and feeling. Of course it could all just be in my head. But it’s not about volume for me, it’s how a amp fills a room with sound. For whatever reason the big twin and super reverb do it like no other I should clarify that I’m talking about at home playing. I do it for my own entertainment. My small amps just don’t do bedroom concerts as well lol
I will say, most rock shows I go to in clubs over the last 5 years have been a drag because the amps aren't moving any air. Every once in a while I go to a small room and there's no mics on the amps and it's amazing. I love small amps for sure, but I keep hoping for a middle ground.
In my opinion, the best option is to go big. Nowadays there are dozens of really good transparent attenuators on the market. I actually prefer the tone of a 100W Marshall Super Lead with a Tone King Iron Man 2 knocking off a few dBs. It has all the mojo and fatness of the 100W Marshall, but you can get it in your bedroom if you want.
It is kind of rare. At the Dallas Guitar Show a few years back, Greg Martin had his Burst thru a Category 5 plexi-style amp and it was a little window into that old era where it physically hits you in the chest.
Yeah, more like “how big amps got small”. I feel that live Rock ‘n Roll has suffered in many cases. I get it with the trend towards low stage volume, no monitors or back line, direct amp sounds, IEMs, the push for full FOH control, etc. Saving one’s ears is surely important so yes, things have evolved, it all has its place. But to this old geezer, nothing sounds as good as it did back when big amps got cranked up. Some bands still do it, thank heavens. Listen to older live albums, the guitars sound fantastic. Going to concerts and hearing the amps coming off the stage was mind blowing. These days, it’s just not as visceral. Can’t even do it anymore, you get fired or thrown out of the club. Many sound people don’t even know how to deal with stage monitors anymore or anything louder than a 20-watt amp. It’s really kind of sad to me.
I love small amps. Until I got my UA Ox it was pretty much exclusively smaller amps under 20 watts. I was going to sell my '67 Twin Reverb until I got the Ox. Now I play my Twin all the time without annihilating my ears. Even bought a plexi again. But there is something magical about small amps. Especially for recording.
I think one of the reasons for the evolution of smaller amps to bigger ones and then back to smaller ones is the role of distortion in popular music. The goal in '50s and much of the '60s was for the sound to be clean. Think of The Shadows as a prime example. The Beatles could be shrill, but didn't really deliberately aim for distortion until the "Rubber Soul" album. Being both clean AND "loud enough" demanded more power and headroom, and big speakers that could handle more power. As more and more music, and especially guitarists, aimed for a warm distorted tone, though, smaller amps became desirable again, because one could achieve those overdriven tones without having to aim for unreasonable volume. I know my band got asked to leave a gig because we were too loud, and I can't imagine we were alone in that. In the early '70s we started to see more amps having master volume controls. Heck, I bought my first "good" amp (a first-issue Peavey Classic) *because* it had a master volume. Again, the goal was to be able to get overdriven tones without requiring massive volume. And even though lower-wattage amps have once again become popular, even they have started to come with options for even *lower* power (1W anyone?).
@@jamesball5743 True, but the desire for small amps that could break up nicely at reasonable volumes was more a desire for that tone, rather than what the club could provide. Keep in mind that a Fender Twin was the go-to amp for a great many players for many years. Did they need that power? Nah. What they wanted was the ability to play clean at whatever volume was required. The first Mesa Boogie amps were expressly for the purpose of being able to dial in intense-but-smooth overdrive in a modest (1 x 12") package.
@@joncole4918 Hmmmm, I dunno. Feedback? Yes, clearly. But nothing as overt as the fuzz bass on "Think for Yourself". Now, whether one wants to classify the shrill bite of a Rickenbacker through a Vox amp turned up loud as "distortion" is a matter for debate. It *will* have more harmonic content, but not really enough to qualify as distortion. Overdrive at best and even that is doubtful. Maybe "breakup" is a better descriptor. Certainly gave things a "live show" feel.
(Just saw your Thumbs album!)Too Cool!!! I was in a band with Elvis’ side guy Charlie Hodge for 13 years & Charlie told me that he sold Thumbs his last car. He said he never got paid because Thumbs passed away. Charlie also said he never got the car back either. Loved Thumbs! I have many of the books that you have on your shelf. The Jimmy autographed album is Awesome! I actually have the old Japanese copy of that album. (My favorite Princeton amp that I ever owned was my 63 with white knobs. It growled like an animal. Always enjoy your videos..
Please stay away from Fender amplifiers. All fender amplifiers have cheap electronic components on the inside. Fact is the capacitors are the first thing that goes on these amps. Amp repairmen including myself love these amps for their easy money making income !!
@@DancingBearshy I'm looking into Quilter Mack lll head or Combo ! Egnater Tweaker head or Combo ! If you want to move up, then Victory amp heads! I've stopped working on newer Fender Amps for their poor electric components and functionality issues ! Cheers
2000s Epiphone introduced 5W and I believe it started the low watt craze. Key to good sound is twin power tubes. Hard to find decent sound with one power tube. It will always sound thin. Lockard 8W is a good one. NOS. (I have two) Fargen Mini-Plex 12W two EL34s.
Steve Miller, a Concert for everything from The Avalon to Winterland. Maybe mic'd later (Winterland was great). ha, back stage queen,,,, story was Peter Frampton mic'd a crank'd Ampeg Jet behind the Marshall's with Humble Pie. Could be wrong (hope i am ;)
Great episode! I remember back in the early ‘80 having to have a Laney AOR50 half stack to be taken seriously. I had much rather used my old black face Deluxe Reverb, but no, you would have been laughed out of the band. I sold that Laney, bought a small Vox, kept the Deluxe Reverb, and have used small amps ever since. For one of the latest church gigs, I even used a Suhr Corso, 4 watts! I had to keep stage volume down and it did perfect. I congratulate Fender for their resurgence of the small amps. I recently added a Carr Mercury V to the herd and it’s been my go to amp for now. Thanks Zac
I started collecting small amps too late and missed the days of $100 BF Princeton .;) my current lineup is ‘64 DR, ‘64 DR RI, ‘62 BRown Face Princeton, ‘’57 Fender custom shop Pro RI 115, ‘57 Custom Shop RI Champ, ‘57 Custom Shop Deluxe head RI, and a Tone King mkII imperial . I have not problem buying amp, can never sell them ;)
Would have liked to hear a little more about the era when rock/blues began making a name for it seif. Buddy Holly, Gene Vincent, Chuck Berry, Muddy Waters, BB King, Elvis, Eddie Cochran, T-bone Walker, Elmore Janes ........what were all those guys use as ger. Cliff Richard.......really...
Zac I I know ur a Nashville man but Jimmy Page used the Supro for recording Zeppelin 1 but also the Beano album with Clapton was achieved by turning up the JTM 46 sooooo man it can go both ways ……..
Even the 15-20 watt category of amps is not "small". I have a couple of amps I've built, a 2.5 watt Rob Robinette designed Bassman Micro which sounds incredible, and a Marshall 18 watt style amp with 6v6 power tubes, which is so goddamn loud I can't even believe it. With a microphone and PA, my 2.5 watt Bassman Micro is truly a "small" amp that works just perfectly.
There used to be a pedal demo guy on TH-cam who told a story about finding a Fender Deluxe tweed amp in the dumpster of his apartment complex in the '90s. He said it looked ratty but sounded great, so he kept it. Good call.
We were loud. I blew a Marshall 100 watt thru Sunn bottoms 15 inch EV s. It was smoking, really lightning flash. Now I have a DRRI. I don't like the look of no amps on stage.
Great episode Zach. When I was gigging, several years ago, I would aim my amp across stage so I could hear it. And not mess with front of house volume. Another thing, I saw Jimmy Eat World open for green day there at Bridgestone. All they had was 3 combo amps, I was blown away, they didn’t have to lug a bunch of gear from show to show.
I had a (mint)65 Princeton Reverb in ‘84. It was very embarrassing in the age of the Marshall Stack. Damn, I wish I still had that amp. I traded it for a Road case for a Marshall head. What a schmuck
Very interesting. I am older and just a hobbyist, but I like the sound and size of small amps. I am becoming a fan of 10 inch speakers as well. I also agree about the Clapton show. I had terrible seats that were very expensive, but the sound was excellent and he is still quite good. Big fan of Vaughan as well.
Been using Fender Tonemaster Deluxe Reverb since they were introduced about 2 years ago. Great amp at only 23 pounds! I play in a bit of a punk style so I use Fulltone OCD for distortion. Never been happier‼️😎🎸
My 1959 Tweed deluxe is my go to amp. I have others including a big boy 95 watt Mesa Mk V, but not just because of the sound, I just wanna play the Deluxe.
Great history thanks for the review. Also don't forget the "show" portion, monster amp on stage and the guitar is really goin through a "small" and or amp sim. Then there is the case that I've expereinced when the Fender amps are on stage but the speakers are disconnect and they are powering isolation box speakers behind the stage which are in turn mic'ed to the Front Of House PA, creating a quiet stage with IEM's and individual IEM mixes. A lot easier on the ears and looks the part for the audience.
@Ask Zac->When did u find out about Tres Hombre's & the fact that the guitar sounds on that album were recorded with a Brown Deluxe or a Tweed Deluxe or something like that?
So now that guitar players don’t play to audiences bigger than 10 people we are going back to small amps😂😂 just kidding I did watch the whole video I just couldn’t resist
I've got a little orange practice amp and a twin reverb but am looking for something in the middle. Thinking of getting a fender mustang 40 or a marshall 50. I'm not sure. Just want something to play the blues.
Great segment. It wasn't just the in ears crowd who helped move things towards smaller amps. In the mid to late 80's bands with more than one singer playing in clubs also realized if they were gonna hear the monitors smaller were gonna have to be part of things.
A few of the OG players like Betts kept using Marshall half stacks into to 2000s. My guess is that unless you have that kind of rep, you can’t really get by with that anymore.
Hi Zac, got some questions for you if you don’t mind answering: - what do you think of thinking with wide range humbuckers? Somehow I have never met a Tele lover who loves the thinline as much as they do blackguards and white guards - similarly what do you think of Gretsch guitars? I know most Tele players love them so wonder what you think thanks!
I have 5 marshalls from a 68 plxi 50 watt to early 100 w dsl but i still love my delux reverb 68 and 74 champ the champ is great for pedals and with whearhouse 8 inch speaker is a little monster
I learned the Hard way ! Now I use a Hand Wired Deluxe Reverb and I never have to turn it up past 5 ! And it cuts and keeps up with half stacks !!! Anything louder than 30 watts is too loud.
Small amps got big for me as my back got older! In my younger days I drug around a black face Twin, in those days I thought the tone was worth the weight. When I got a little older I moved to a Vibrolux, smaller speakers, less weight..... these days I'm down to the Princeton, so much easier to lug in and out of a gig, and between it and the mic I use with it, I'm more than happy with the sound, especially when I have to heft it up into the truck at the end of the night!
I get very frustrated today with psycho control freak sound engineers. I’m ready to die on that hill of, I refuse to play a direct non amp show. If you’re so pissed off at a Deluxe Reverb is too loud, you need to quit running sound and be a DJ if you want a stage so quiet that you can hear a mouse fart. Yes big amps are not needed today, but I’m not going to turn down my 22 watt amp for your ego.
Small amps are great … only problem with a small amp , if you run out of power because of the room , drummer etc … your entire gig depends on the soundman and 8 times out of 10 they will screw up . I would say the best is the 30w range to be safe . The amp i use the most is my 62 tremolux . No one ever complained !
I was sold on the small amp aesthetic upon learning that Neil Young's big sound comes from a 13 watt Tweed Deluxe. Built a Weber kit for myself, outfitted with a good ferromax speaker ... never looked back. Small amps and power tube distortion (without ear bleed) all the way.
I was shocked when I first saw Aerosmith in 1993. I had only seen metal bands before, and was used to seeing walls of Marshall stacks on stage. But Joe Perry and Brad Whitford each had small rigs, each containing about 6 different small combo amps, and their tone was amazing. I also remember seeing a funk band in a small club around that time, and it was the first time I had seen a guitar player used a 1 x 10" combo amp onstage instead of at least a half stack, and again, his tone was the best of all the bands that day.
You’re really doing a tremendous services with these videos. I love all of them. This one is especially profound as I have the most old school stripped down band you could imagine and many sound-men have a difficult time dialing us in correctly. Love the part about the Jazz Kits of the 50s/60s..
When I started building amps, I got hooked on the 1959 Tweed Princeton. I opted for the 10" speaker cutout. Using a Jensen P10R was pure Heaven! The sound is incredible. Initially I bought the amp as a kit (minus tubes and speaker). I substituted Jupiter tone caps, Sprague electrolytics, and NOS carbon composition resistors. The wire was upgraded from 22 gauge to 20 gauge. Love this stuff. Great video, and keep up the good work!!
All great information. I remember listening to Dr. Bob Heil telling stories of his early days of PA's and creating the big PA systems for The Who, etc. BTW, I think Bob Heil is the only sound guy that is in the Rock n Roll Hall of Fame in Cleveland, Ohio for his innovative work in creating those big PA systems.......Thanks again Zac for educating us. ....Russell D.
Bob Heil was supposedly the first sound technician who created the “fold back” (monitor) system when The Who asked if they could “have the same sound as the audience directed at the band.” The idea was pretty radical at the time but he developed it, which started also the battle with feedback and the further development of separate monitor consoles and EQ.
Great vid Zac! Always keeping your finger on the pulse of tone! My hearing may hold out longer after ditching Marshall half stack for blackface Princeton. The need for crazy stage volume with modern PA’s is a key change & sign of the time in the past 45 years
Lol...so true. The whole vintage thing didn't really hit until 2000. I remember being in L.A around '91 and thinking seriously about trading my trad Gibson SG for a Gibson L6S. Thank God I didn't but they were both just 'old guitars' at the time you could easily have for around $325. Then there was a Travis Bean in a pawn shop nearby that the owner literally couldn't give away. I turned down a friend's amazing tobacco burst '70 tele [like what Andy Summers plays] for $400 cause I a) just bought a guitar and b) had no extra $$. I also remember having "finally arrived" when I sold my amazing sounding 2x10 SF Vibrolux Reverb for a 100w fender Twin. Yes, we were all idiots at one time :)
I owned a Travis Bean. I got it for $35 in 1984 sold it for 2300 in 2009 but that was not real smart either 🤔 The absolute best guitar i have ever played. I have never found its equal.
A small correction here, the EF86 isn't a "power tube", it's a small signal pentode, which Vox did use. Probably getting mixed up with the EL84 which was the output pentode Vox are mainly associated with.
Great opener showing the power of the capo! Beautiful playing brother.
Yes, just lovely! Great video once again, Zac
A young Albert Collins met his hero Gatemouth Brown and asked what that thing was Gate was using. Gate said you have to start using the "choker" it will help you find your identity. I think it did!!! If I remember correctly, on the instructional video Albert made he tells Keith Wyatt (tremendous player, instructor) that when he met Gatemouth he (Collins) was playing an "Eptiphone" and Gatemouth was playing an Esquire . Shortly thereafter Albert swapted his Epiphone out for an Esquire. It's funny in the video because Collins when he's first telling the story does pronounce it "Eptiphone" but Wyatt pronounces it correctly and then Albert does pronounce it correctly there after.
Thank you so much, Keith
@@kevindean1327 I was lucky enough to see Gatemouth Brown in 1988 or so. He played with so much swing. Wonderful player and absolute master of the stage.
Hey Keith!
When I got my Tweed Princeton in L.A. it was in 1988. I paid $250 for it, and I was thrilled.
But this was the heyday of the spandex poodle head glam metal bands, and everybody who saw the ol' Princeton laughed at it and said it was a "Grandpa amp," and "What the hell are you planning on doing with that piece of junk?" It sounded fine, but everybody was listening with their eyes and making fun of the size. 33 years later, I am vindicated. I routinely turn down offers of $2000-$3000, but I tell them, "if you want to commission me to build you one, I can duplicate it for about half of what you're offering me, and it'll be identical. So far, no takers, but who cares? I'm still rockin' the '56 Princeton and having a ball. It's one of my most prized possessions because it loves any guitar you plug into it. It's impossible to get a bad sound. The essence of simplicity.
I've built some 1959 5F2A Princeton copies. Best sound ever!!
Love my 61
Hear you. I still use my 79 Vibro Champ S I did in the 80s like you. And pushed with any boost and miked close, it’s an absolute festival killer. Small amps can get you to that magical liminal land where overdrive and fuzz make friends.
@@ricardorodriguez5549 yeah, not only that, but your hands become the master control for how much break-up you want, and the volume knob just kinda sets the limit on the headroom. It makes you want to play till your fingers fall off.
I knew Dick Dale for many years. He always told the story about how Leo Fender could not understand why he kept blowing up amps and needed more power. Then one day he went to the Rendezvous Ball Room to see Dick play and heard how the crowd of 4000 screaming teenagers sucked up the sound. Fender started working on more powerful amps eventually producing the Dual Showman.
I believe Dick was using 85 watt power Transformers with 2x15”
JBL speakers. He was still using those original cabinets the last time I saw him , shortly before he died.
I also read about that....Leo went to the gig with an engineer and pretty much was blown away by the 'SOUND' . . .that is when they beefed up the output xfmr's and redesigned the speakers......R.I.P. Dick Dale !
Don't forget Pete Townsend asking Marshal to make his amps bigger....that's how the 100 watt Marshall came about.
The Showman 1-15" cab was designed by the engineers at JBL exclusively for bass. The internal design is stunning. Two baffles for bass enhancement.
Dick Dale said Dick Dale needed more power.
Got it with the Dual Showman.
Dick’s reverb units were suspended by ropes because his amps were so bleeding loud. I’m here to tell. RIP. Legend
As someone who grew up in the age of Marshall stacks, my first question about a new amp is not "how many watts is it?" "But, How much does it weigh?"
Me too!! 😎🎸👍
@@doctorskull8197 I'm 67 and my spine is trashed from carrying a 2-15" Bassman cabinet. I bought it in 1969 and still have it!!!
@@richardmerriam7044 I bet it still kicks ass and sounds killer! You can’t go wrong with a good ole Fender!
AMEN!
Yep. Try the Tonemaster Twin if you still want to push some air, but want an amp you can literally lift with one finger. And it sounds pretty darn good.
When I was a teen and I saw guys with Marshall stacks I thought that’s what I needed to be happy but as an adult I realized a small fender combo amp was not only what I needed but what sounded the best to me too.
Interesting stuff! I used to live quite close to Eric Clapton and he would occasionally play local gigs for free and self enjoyment. I remember seeing him one night in a village hall in a place called Cranliegh, he was paying a Telecaster through an AC30 both of which he’d borrowed from the other band that was playing. I was amazed! He sounded great, that Clapton tone was all there, as they say “ it’s in the fingers “
Lucky you mate ! Sounds fun
I'll second THAT emotion!@@mariannwatt2678
One person is almost entirely responsible for the present popularity of small amps - Jimmy Page. I lived through the era of amps getting bigger and bigger, more and more powerful, as players chased the HUGE sound they heard on records and radio. When, some years well into this arms race of amplification, it was learned that Page got his TITANIC sound using a breadbox-sized Supro cleverly miked and enhanced in post-recording production - the jig was up. People sniffing around for more answers soon discovered that others (like Clapton) were using Champs and Princetons on dozens of hits - and the only reason most folks needed anything bigger than a Twin was in performance in a large venue. Thanks, Jimmy!
Page layered guitar on top of guitar in order to get him sound - Eric didn't need to do that and - he would never record something he couldn't play live as well or better -
I played in indie rock bands in the very early 90s then started mixing live sound for other bands and grunge has a lot to answer for: bands playing to 20 friends midweek in a venue that could hold 500 with Marshall 100 watt heads and quadboxes and bassplayers with Ampeg 8x10 fridges. Just overkill.
The telecaster can be used for anything. Simple elegance, the intro to this video says so much
It amuses me that last night I used a low output Tele neck pickup through the padded input of a Champ 600. Apparently a Tele bridge pickup into the normal input of a 5 Watt amp is now too much for me. What a long, strange trip it's been.
What is meant by "Padded input"?
Also, it's a known fact that guitar amps grow heavier as they age.
Really !!!!!! Fell into the wall of amp back in the late 60s to 71. Either Sunn or Marshall. Leasing for shows. Then one day the lease fell thru and I borrowed a Twin Reverb
from a local music store. That was the last of the Wall Of Amp!!!!! When I finally came to the end professionally I was down to a Deluxe Reverb and DJBL. Covered everything
with the PA if needed. What I keep in my studio is a Fender BDR, Bassbreaker 15 and VOX AC15. The stacks were nothing but Hype !!!
In the late 60s and early '70s, I saw Johnny Winter, Creedence Clearwater Revival, ZZTOP, Bo Diddley, Chuck Berry, Freddie King, B.B. King, Elvis Presley, Charlie Daniels, and many others, and some of those amps and stacks were very high and tall.
Some of the band members would park
their drinks and/or various other things on top.... sometimes
reaching higher than their head. John Fogerty comes to mind in doing this.🎸
When I started gigging way back in the day, I played rock and metal but never could afford a stack, so I used what I could afford. Low wattage tube amps like Silvertone and I used an Ampeg Reverberocket for a decade. Just cranked and pushed em.
Always had a brutal sound. Still use the same low watt style amps today but I’m a country player these days. It all worked out.
The development of live sound reinforcement, PA systems and stage monitoring meant that you no longer needed big backlines.
I think it' s a silly fashion not to have amps on stage.
Even a metal band like Metallica banned their amps under the stage.
For me as a guitar player it always was an eyecatcher to look on the equipment of my favorite bands.
This is a silly trend. Most of us Need to see the equipment being used!!!
Marshall stacks or go home ha ha gotta see the amps
Tube power and speakers moving air.
I picked up a 5 watt Bugera that’s modeled after an early Fender Champ & it’s all I need; I did upgrade the speaker & tubes
Cool Episode Zac!
Re Fender back in the day, Dick Dale & Leo Fender made for a formidable duo!
Due to the position where I stood on stage for years with me and my 100-watt stack 30 years ago my left ear is really damaged. I can really tell with earphones or earbuds. Sure was an experience to have your guitar screaming loud enough to feel in your chest though.
Many years ago , I had a sound guy in Toronto suggest side-washing my amplifier so I could run a louder stage volume without messing with the front of the house mix. Doesn't look as cool but it works great.
I worked in a popular rock and roll music store in the 70's. Then played in bands into the 80's. IMHO two things happened that changed stuff almost overnight. Crown DC300's and multiple Altec A7's or the JBL Pro series speakers. 3 or 4 DC 300's with 4 Altec A7's could provide a clean sound in a club with up to 3-400 people. "Rich" bands might have 4 bi amped Crown DC300's with sub woofers could easily fill a hall with 500 plus folks. Then prices went down and QSC and others started producing higher watts for less bucks. Then the hi tech speaker arrays went way down in price. Finally smart live venues would attract better bands for less money if they had a killer house PA. It got back breaking and expensive to have to hire roadies for bands that didn't have a record deal but were still a popular live draw.
Great topic Zac, I've always wondered about the crazy rise of the listing prices of the Princeton amps and similar as opposed to the value of Twins and Super Reverb amps, which is steady for years.
So glad to hear when someone talks about Vox amps recognize mention Cliff and The Shadows, the importance they played (especially Hank Marvin) in the development of the AC15 to the AC30 and top boost development all prior to the beatles.
Led Zeppelin were probably the first band to start micing the whole band on their "Led Zeppelin 3" world tour which I saw in Auckland NZ in '74, Jimmy Page was using two Quads side by side with one angled to the other side of the stage and one facing forward and Marshall heads on both. It was the first time I had ever seen a studio mic up on a live drumkit as opposed to a single overhead.
Feel odd commenting on a few of your vids in one day, but this reminds me.
In 2015 I was playing a lot in Austin up and down 6th street with a band. I started out using an Orange Rockerverb 50 with a matching 2x12 cabinet which was heavy and not always liked on stage. It sucked moving it back to San Marcos as the sun was getting ready to come up, and it sucked having to the sound guy just turn me off. Eventually, by the time we started playing Stubbs, I moved to just playing what was my small amp. An Orange Rocker 30. It worked, it didn't sound as amazing on stage but in the house? That Orange Rocker 30 was the biggest sounding amp of anyone playing due to having great sound guys. I'd see these bands with Twins, Marshall 100 watts, and Sunn amps (at the time they were trendy in Austin) that you'd only hear near the stage versus my little Orange that was cranked up enough with any competent sound guy making it sound good followed by and easy loud in and out.
I have a Vox AC15TBX and the Rocker 30 these days, they sound great and are much easier to move around than my former Twins and Rockerverbs. Learned that small amps are great the hard way! At the most you just have to get over your drummer!
My Buddy saw Cream in 67 at the Shrine in LA in 67. He said both Eric and Jack were playing through 2 Marshall stacks. No mikes. He said the PA for vocals were 2 Fender Dual Showman amps. He said it was kind of a joke because you could not hear ANY vocals. I know they were both playing through both Marshalls because I have a bootleg recording of Cream at the Ricky Tick in London I believe, and one of Claptons' Marshalls blows up. He says to the crowd that he is sorry that he is down to playing one amp. No wonder Ginger got so mad about the stage volume. Can you blame him.
Paul Bogart? Great name, don't Bogart that joint my friend!
It's my recollection that the Derek and the Dominoes album was recorded on Fender Tweed Champs, which opened my eyes to what a big sound could be gotten out of a "small" amp.
Ahh yes, those Fender amps where you learn how to read upside down.
This a topic near and dear. Back when was younger man with a bigger ego I would scoff at anything that wasn’t a Marshall half stack. So heavy, rarely ever got the amp past 1.5 on the volume knob. For the last 10 years or so I’ve pretty much only used low wattage amps 15-20 watt range and I’ve settled on a 20 watt Friedman Dirty Shirley mini and a 1x12 cab and I’ve never been happier with my sound. Being told to turn up rather than down has been a nice change of pace!
I’m starting to realize I like bigger amps with 2 speakers 🔊 ( or more). Twin Reverb and Super Reverb mostly. I dunno why but even at bedroom volume levels they seem to fill the room with more tone and feeling. Of course it could all just be in my head. But it’s not about volume for me, it’s how a amp fills a room with sound. For whatever reason the big twin and super reverb do it like no other
I should clarify that I’m talking about at home playing. I do it for my own entertainment. My small amps just don’t do bedroom concerts as well lol
I will say, most rock shows I go to in clubs over the last 5 years have been a drag because the amps aren't moving any air. Every once in a while I go to a small room and there's no mics on the amps and it's amazing. I love small amps for sure, but I keep hoping for a middle ground.
In my opinion, the best option is to go big. Nowadays there are dozens of really good transparent attenuators on the market. I actually prefer the tone of a 100W Marshall Super Lead with a Tone King Iron Man 2 knocking off a few dBs. It has all the mojo and fatness of the 100W Marshall, but you can get it in your bedroom if you want.
It is kind of rare. At the Dallas Guitar Show a few years back, Greg Martin had his Burst thru a Category 5 plexi-style amp and it was a little window into that old era where it physically hits you in the chest.
My favorite guitarist growing up was David Gilmour. I have learned the hard way that tone is in the hands.lol
Sweet sounding rig!! Jimmie Vaughan and Slowhand show!! Lucky you! Pure heaven!!
Yeah, more like “how big amps got small”. I feel that live Rock ‘n Roll has suffered in many cases. I get it with the trend towards low stage volume, no monitors or back line, direct amp sounds, IEMs, the push for full FOH control, etc. Saving one’s ears is surely important so yes, things have evolved, it all has its place. But to this old geezer, nothing sounds as good as it did back when big amps got cranked up. Some bands still do it, thank heavens. Listen to older live albums, the guitars sound fantastic. Going to concerts and hearing the amps coming off the stage was mind blowing. These days, it’s just not as visceral. Can’t even do it anymore, you get fired or thrown out of the club. Many sound people don’t even know how to deal with stage monitors anymore or anything louder than a 20-watt amp. It’s really kind of sad to me.
“Embrace the small amps”….. Hello FiveWattWorld😎 Great topic and insights, Zac, and outstanding playing as usual!
I love small amps. Until I got my UA Ox it was pretty much exclusively smaller amps under 20 watts. I was going to sell my '67 Twin Reverb until I got the Ox. Now I play my Twin all the time without annihilating my ears. Even bought a plexi again. But there is something magical about small amps. Especially for recording.
I think one of the reasons for the evolution of smaller amps to bigger ones and then back to smaller ones is the role of distortion in popular music. The goal in '50s and much of the '60s was for the sound to be clean. Think of The Shadows as a prime example. The Beatles could be shrill, but didn't really deliberately aim for distortion until the "Rubber Soul" album. Being both clean AND "loud enough" demanded more power and headroom, and big speakers that could handle more power. As more and more music, and especially guitarists, aimed for a warm distorted tone, though, smaller amps became desirable again, because one could achieve those overdriven tones without having to aim for unreasonable volume. I know my band got asked to leave a gig because we were too loud, and I can't imagine we were alone in that. In the early '70s we started to see more amps having master volume controls. Heck, I bought my first "good" amp (a first-issue Peavey Classic) *because* it had a master volume. Again, the goal was to be able to get overdriven tones without requiring massive volume. And even though lower-wattage amps have once again become popular, even they have started to come with options for even *lower* power (1W anyone?).
@@jamesball5743 True, but the desire for small amps that could break up nicely at reasonable volumes was more a desire for that tone, rather than what the club could provide. Keep in mind that a Fender Twin was the go-to amp for a great many players for many years. Did they need that power? Nah. What they wanted was the ability to play clean at whatever volume was required. The first Mesa Boogie amps were expressly for the purpose of being able to dial in intense-but-smooth overdrive in a modest (1 x 12") package.
Beatles were using distortion overtly earlier, see “I Feel Fine” predating Rubber Soul. 🤷♂️🤔
@@joncole4918 Hmmmm, I dunno. Feedback? Yes, clearly. But nothing as overt as the fuzz bass on "Think for Yourself". Now, whether one wants to classify the shrill bite of a Rickenbacker through a Vox amp turned up loud as "distortion" is a matter for debate. It *will* have more harmonic content, but not really enough to qualify as distortion. Overdrive at best and even that is doubtful. Maybe "breakup" is a better descriptor. Certainly gave things a "live show" feel.
Speaking of low power, my Vox head can be turned down to 1/6th of a watt
@@wesleyzimmerman94 - My Laney Iron Heart can chase me out of the room using the
(Just saw your Thumbs album!)Too Cool!!! I was in a band with Elvis’ side guy Charlie Hodge for 13 years & Charlie told me that he sold Thumbs his last car. He said he never got paid because Thumbs passed away. Charlie also said he never got the car back either. Loved Thumbs! I have many of the books that you have on your shelf. The Jimmy autographed album is Awesome! I actually have the old Japanese copy of that album. (My favorite Princeton amp that I ever owned was my 63 with white knobs. It growled like an animal. Always enjoy your videos..
Please stay away from Fender amplifiers. All fender amplifiers have cheap electronic components on the inside. Fact is the capacitors are the first thing that goes on these amps. Amp repairmen including myself love these amps for their easy money making income !!
Like BMW’s - great cars but expensive upkeep?
First time hearing this.
What do you recommend?
@@DancingBearshy I'm looking into Quilter Mack lll head or Combo ! Egnater Tweaker head or Combo ! If you want to move up, then Victory amp heads! I've stopped working on newer Fender Amps for their poor electric components and functionality issues ! Cheers
2000s Epiphone introduced 5W and I believe it started the low watt craze. Key to good sound is twin power tubes. Hard to find decent sound with one power tube. It will always sound thin. Lockard 8W is a good one. NOS. (I have two) Fargen Mini-Plex 12W two EL34s.
but does it CHUG!!!! lol, small amps, big amps,........everything has it's place. :)
Steve Miller, a Concert for everything from The Avalon to Winterland. Maybe mic'd later (Winterland was great).
ha, back stage queen,,,, story was Peter Frampton mic'd a crank'd Ampeg Jet behind the Marshall's with Humble Pie.
Could be wrong (hope i am ;)
Great episode! I remember back in the early ‘80 having to have a Laney AOR50 half stack to be taken seriously. I had much rather used my old black face Deluxe Reverb, but no, you would have been laughed out of the band. I sold that Laney, bought a small Vox, kept the Deluxe Reverb, and have used small amps ever since. For one of the latest church gigs, I even used a Suhr Corso, 4 watts! I had to keep stage volume down and it did perfect. I congratulate Fender for their resurgence of the small amps. I recently added a Carr Mercury V to the herd and it’s been my go to amp for now. Thanks Zac
I've been having dreams about a Vox AC4 I played the other day!
I started collecting small amps too late and missed the days of $100 BF Princeton .;) my current lineup is ‘64 DR, ‘64 DR RI, ‘62 BRown Face Princeton, ‘’57 Fender custom shop Pro RI 115, ‘57 Custom Shop RI Champ, ‘57 Custom Shop Deluxe head RI, and a Tone King mkII imperial . I have not problem buying amp, can never sell them ;)
Would have liked to hear a little more about the era when rock/blues began making a name for it seif. Buddy Holly, Gene Vincent, Chuck Berry, Muddy Waters, BB King, Elvis, Eddie Cochran, T-bone Walker, Elmore Janes ........what were all those guys use as ger. Cliff Richard.......really...
Zac I I know ur a Nashville man but Jimmy Page used the Supro for recording Zeppelin 1 but also the Beano album with Clapton was achieved by turning up the JTM 46 sooooo man it can go both ways ……..
Even the 15-20 watt category of amps is not "small". I have a couple of amps I've built, a 2.5 watt Rob Robinette designed Bassman Micro which sounds incredible, and a Marshall 18 watt style amp with 6v6 power tubes, which is so goddamn loud I can't even believe it.
With a microphone and PA, my 2.5 watt Bassman Micro is truly a "small" amp that works just perfectly.
There used to be a pedal demo guy on TH-cam who told a story about finding a Fender Deluxe tweed amp in the dumpster of his apartment complex in the '90s. He said it looked ratty but sounded great, so he kept it. Good call.
We were loud. I blew a Marshall 100 watt thru Sunn bottoms 15 inch EV s. It was smoking, really lightning flash. Now I have a DRRI. I don't like the look of no amps on stage.
Great episode Zach. When I was gigging, several years ago, I would aim my amp across stage so I could hear it. And not mess with front of house volume. Another thing, I saw Jimmy Eat World open for green day there at Bridgestone. All they had was 3 combo amps, I was blown away, they didn’t have to lug a bunch of gear from show to show.
I had a (mint)65 Princeton Reverb in ‘84. It was very embarrassing in the age of the Marshall Stack. Damn, I wish I still had that amp. I traded it for a Road case for a Marshall head. What a schmuck
Very interesting. I am older and just a hobbyist, but I like the sound and size of small amps. I am becoming a fan of 10 inch speakers as well. I also agree about the Clapton show. I had terrible seats that were very expensive, but the sound was excellent and he is still quite good. Big fan of Vaughan as well.
Been using Fender Tonemaster Deluxe Reverb since they were introduced about 2 years ago. Great amp at only 23 pounds! I play in a bit of a punk style so I use Fulltone OCD for distortion. Never been happier‼️😎🎸
My 1959 Tweed deluxe is my go to amp. I have others including a big boy 95 watt Mesa Mk V, but not just because of the sound, I just wanna play the Deluxe.
Great history thanks for the review. Also don't forget the "show" portion, monster amp on stage and the guitar is really goin through a "small" and or amp sim. Then there is the case that I've expereinced when the Fender amps are on stage but the speakers are disconnect and they are powering isolation box speakers behind the stage which are in turn mic'ed to the Front Of House PA, creating a quiet stage with IEM's and individual IEM mixes. A lot easier on the ears and looks the part for the audience.
@Ask Zac->When did u find out about Tres Hombre's & the fact that the guitar sounds on that album were recorded with a Brown Deluxe or a Tweed Deluxe or something like that?
So now that guitar players don’t play to audiences bigger than 10 people we are going back to small amps😂😂 just kidding I did watch the whole video I just couldn’t resist
My favorite instrument is my Marshal that’s been modified and my plexi also a100watt
I've got a little orange practice amp and a twin reverb but am looking for something in the middle. Thinking of getting a fender mustang 40 or a marshall 50. I'm not sure. Just want something to play the blues.
I love my HT-5 Blackstar amp. It's sounds like 100 watts but it's actually 5 watts. It's all digital
Great segment. It wasn't just the in ears crowd who helped move things towards smaller amps. In the mid to late 80's bands with more than one singer playing in clubs also realized if they were gonna hear the monitors smaller were gonna have to be part of things.
Good insight!
I can’t even turn my Princeton Reverb up above 4 for most gigs! Maybe u
I should use my Vibro Champ.
A few of the OG players like Betts kept using Marshall half stacks into to 2000s. My guess is that unless you have that kind of rep, you can’t really get by with that anymore.
When you are an owner, you call the shots.
Hi Zac, got some questions for you if you don’t mind answering:
- what do you think of thinking with wide range humbuckers? Somehow I have never met a Tele lover who loves the thinline as much as they do blackguards and white guards
- similarly what do you think of Gretsch guitars? I know most Tele players love them so wonder what you think thanks!
I like wide ranges and Gretsch's, but a good old Tele is hard to beat.
Lovely opening playing. Gordon Kennedy is a legend. Oh to have his ear for an hour!
Try a quilter phantom block for your direct gig.
Angus Young: what the fuck are you talking about? Some rockers just have to do it old-school and blow your eardrums and it's glorious.
I have 5 marshalls from a 68 plxi 50 watt to early 100 w dsl but i still love my delux reverb 68 and 74 champ the champ is great for pedals and with whearhouse 8 inch speaker is a little monster
I learned the Hard way ! Now I use a Hand Wired Deluxe Reverb and I never have to turn it up past 5 ! And it cuts and keeps up with half stacks !!! Anything louder than 30 watts is too loud.
Small amps got big for me as my back got older! In my younger days I drug around a black face Twin, in those days I thought the tone was worth the weight. When I got a little older I moved to a Vibrolux, smaller speakers, less weight..... these days I'm down to the Princeton, so much easier to lug in and out of a gig, and between it and the mic I use with it, I'm more than happy with the sound, especially when I have to heft it up into the truck at the end of the night!
I subscribed. I really wanted to help the algorithm.☺☺☺ 😉
I get very frustrated today with psycho control freak sound engineers. I’m ready to die on that hill of, I refuse to play a direct non amp show. If you’re so pissed off at a Deluxe Reverb is too loud, you need to quit running sound and be a DJ if you want a stage so quiet that you can hear a mouse fart. Yes big amps are not needed today, but I’m not going to turn down my 22 watt amp for your ego.
I tune to C standard and use a Fender Rumble 40 on tour across the US. I never have a problem getting heard
Small amps are great … only problem with a small amp , if you run out of power because of the room , drummer etc … your entire gig depends on the soundman and 8 times out of 10 they will screw up . I would say the best is the 30w range to be safe . The amp i use the most is my 62 tremolux . No one ever complained !
That opening song w/the capo... sounds like a Christmas song.
I gigged throughout the eighties plugged straight into a blackface Princeton Reverb.
I was sold on the small amp aesthetic upon learning that Neil Young's big sound comes from a 13 watt Tweed Deluxe. Built a Weber kit for myself, outfitted with a good ferromax speaker ... never looked back. Small amps and power tube distortion (without ear bleed) all the way.
I was shocked when I first saw Aerosmith in 1993. I had only seen metal bands before, and was used to seeing walls of Marshall stacks on stage. But Joe Perry and Brad Whitford each had small rigs, each containing about 6 different small combo amps, and their tone was amazing. I also remember seeing a funk band in a small club around that time, and it was the first time I had seen a guitar player used a 1 x 10" combo amp onstage instead of at least a half stack, and again, his tone was the best of all the bands that day.
Ironically big amps now live in the studio, in isolation, to capture that sound. Small amps live and in the studio.
In other words, musicians and gear dealers have changed their amp-size opinions half because of tech advances, half because of fads.
You’re really doing a tremendous services with these videos. I love all of them. This one is especially profound as I have the most old school stripped down band you could imagine and many sound-men have a difficult time dialing us in correctly. Love the part about the Jazz Kits of the 50s/60s..
When I started building amps, I got hooked on the 1959 Tweed Princeton. I opted for the 10" speaker cutout. Using a Jensen P10R was pure Heaven! The sound is incredible. Initially I bought the amp as a kit (minus tubes and speaker). I substituted Jupiter tone caps, Sprague electrolytics, and NOS carbon composition resistors. The wire was upgraded from 22 gauge to 20 gauge. Love this stuff. Great video, and keep up the good work!!
“A Brown Deluxe For Fifty Bucks” should be your next T-shirt.
I picked up a 1971 Fender Bronco at a yard sale for $20 and it’s mint.
All great information. I remember listening to Dr. Bob Heil telling stories of his early days of PA's and creating the big PA systems for The Who, etc. BTW, I think Bob Heil is the only sound guy that is in the Rock n Roll Hall of Fame in Cleveland, Ohio for his innovative work in creating those big PA systems.......Thanks again Zac for educating us. ....Russell D.
Bob Heil was supposedly the first sound technician who created the “fold back” (monitor) system when The Who asked if they could “have the same sound as the audience directed at the band.” The idea was pretty radical at the time but he developed it, which started also the battle with feedback and the further development of separate monitor consoles and EQ.
back in the 80's EVH miked a 30 watt amp idk what amp it was probably a marshall with EL 34's?
Zac, EF86 is a pre-amp tube. Vox uses EL84's for their power tubes.
Great vid Zac! Always keeping your finger on the pulse of tone! My hearing may hold out longer after ditching Marshall half stack for blackface Princeton. The need for crazy stage volume with modern PA’s is a key change & sign of the time in the past 45 years
I've been using the HX Stomp to great effect. The princeton model is superb
I like little amps. But I've got to string 4 of em together so my very slappin' drummer can hear me.
Wait, what?! Clapton and Jimmie Vaughan in the same show? I gotta move there.
I noticed springsteen still plays a Marshall half stack but the cabinet is pointing straight up in the air it's almost laying on its back. Love it
4:15 a young Jerry Kennedy on the Fender bass guitar backing up Johnny Horton. th-cam.com/video/8_WUmBiiSrk/w-d-xo.html
Lol...so true. The whole vintage thing didn't really hit until 2000. I remember being in L.A around '91 and thinking seriously about trading my trad Gibson SG for a Gibson L6S. Thank God I didn't but they were both just 'old guitars' at the time you could easily have for around $325. Then there was a Travis Bean in a pawn shop nearby that the owner literally couldn't give away. I turned down a friend's amazing tobacco burst '70 tele [like what Andy Summers plays] for $400 cause I a) just bought a guitar and b) had no extra $$. I also remember having "finally arrived" when I sold my amazing sounding 2x10 SF Vibrolux Reverb for a 100w fender Twin. Yes, we were all idiots at one time :)
I owned a Travis Bean. I got it for $35 in 1984 sold it for 2300 in 2009 but that was not real smart either 🤔 The absolute best guitar i have ever played. I have never found its equal.
A small correction here, the EF86 isn't a "power tube", it's a small signal pentode, which Vox did use. Probably getting mixed up with the EL84 which was the output pentode Vox are mainly associated with.
Yes. Thank you
I love the approach of Joe Bonamassa. He’s pushing 240+ watts on stage with plexiglass shields. His shows sound glorious!
Also I recommend the Suhr Hombre amp ! A great 20 watts
No need to be louder than a violin, sax, voice, or reasonable snare. Just mic it up.
I love to learn about stuff like this! Thanks for the info and insight!!!