F/A: hotplate red 4ohm for blonde bassman

yep I am lettin' her go..

This will get your bassman clipping at usable levels for the
setzer sound:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=220316565145

I thought Timmys job was to break before neighbours.

ossi wrote:

I thought Timmys job was to break before neighbours.

different approach especially when you just go gretsch to RE-301 to
bassman head to THD hot plate to speaker cab.

Ronnie Crutcher does this but uses an Airbrake instead of the
Hotplate. It keeps the clubs happier.. A Bassman turned up is really
an evil monster every bit of a marshall stack ever was, when you
play up past 6 on the volume with the bass at 4 and the treble and presence
up.

The hotplate will let you crank all knobs on a blonde bassman dimed and
let you play with near 1 watt output. Obviously that doesnt FEEL as cool, but
everyone in the house can snore while you rock.

for me lately I just turn the amp way down to 2 and use the green channel of
my barber burn unit with the DL4 when the wife n kids are asleep after 11pm.

I just finished puttin' "little wing" on loop in the DL4 and has some stratocaster solo fun with my TIM, OD-9 tubescreamer and FL9 flanger.

...butterflies and zebras n' moonbeams & fairy tales
Thats all she ever thinks about riding with the wind.

I know what you talkin about, just thought you might use those overdrives instead hotplate.
Well, I suppose it's about the tone.


Some years ago I've played in big band and we did some Elvis / musical stuff.
We had about between 35 up to 60 players depending who could make it
what with the "real live" and all that stuff.

We did the American Trilogy pretty close to that video-version.
There's a flute solo part that comes around 2:52 in that video which was where
I was havin trouble to keep the Gretsch + Blonde in low volumes and not be
driving other folks nuts.

In the otherhand, it was great to play with big orchestra
since for example that song has lot's of dynamics.

It's a beast allrite, that Bassman. I had to have it in some other room/place,
could not keep it onstage because it starts farting in so high volume levels.

That's why I hardly play with it these days, it's too loud.
Plus im lazy and I've been using a Vox Tonelab-SE alot these days
since it's so easy to plug into PC and just record.
It does not have The Tone but it sure is convenient, easy to drag on gigs
and plug to PA etc.


Yeah, I should try to fix my 93-SSL a bit more and definately do some stuff
for the Blonde. I've read a lot about them here in VooDoo, thanks to you TV
and other Tone Nutters.

I just love the tone in songs like This Old House and Let's Live it Up but as we all
know just having a gretsch and a blonde does not quite cut the cheese.
'Some' tweaking is required also.

Got TV-Jones pickups, new frets on the SSL but im not sure what the blonde
has inside and it looks like somebody had they're greazy fingers innit allready.

I also got Roland RE-201 Space Echo but as it turns out, it does not have that
sweet preamp sound plus it's just a hassle to keep it running.

The whole yesterday (almost) I looked for info about Timmy and other pedals on the net.
And that's just the pedals, I've yet to take a closer look what I could do for the SSL and
the Blonde to get closer of That Tone.

ossi wrote:

It's a beast allrite, that Bassman. I had to have it in some other room/place,
could not keep it onstage because it starts farting in so high volume levels.

really? something needs fixin man.
A properly set up blonde bassman 6G6-B and 63' cab with V30s will
never fart. Never. Somethings wrong. Also while it can indeed be a monster
its one of the most controllable amps onstage (if you are using pedals) with
a band because its closed back and if its facing you its like a stage monitor.

Is it fun to play it down at controllable monitor levels...not really but since I
have 3 drive boxes on my pedal board, its easy. I sure doesnt sound at all like
the amp when you have it were it should be at 5 where it starts giving up tube
amp clip. ..but my last day job this amp was my stage amp and my rhythm electric guy used a vox ac15 and the sound man moved him back behind the drummer and put 2 gobos around him. still complained ONLY about his rig.
It was just a 1x12 15wt open back BUT it was open back and those throw sound
all over the stage.

anyway back to your amp sounding right and not farty.
question: how old are the tubes? the longest you can go with power tubes
is 2 yrs before they start losing primo power and dynamics. Preamp tubes
just get dull and microphonic after a yr or two when you are goosing them with
a boost and gretsch. You can use NOS tubes like I do and there's about a yr added to power tube life but still. Its just got to be small bottle 6L6s whether
they are expensive NOS tungsol 5881s at $150 ea, or NOS 6L6WGBs at $40ea,
or reissue Tungsol 5881s at $15 ea or even TADs spec'd from china for $13.

..imperative to a tight punchy low end that is 10watts lower for quicker breakup.
Even more important is that all the Electrolytic caps in your amp are no older than 15yrs, they dry up and lose their values. first culprit of a bassman amp
with old caps is farting lows and hum or crackle(with new tubes).
The other side is the speakers... that cab will rock a marshall half stack with
heavily doped 50watt + speakers. Thats what celestion vintage 30s are, they
are based on celestion blues cone and coil (loosely) but they are heavy duty and
can kick brutal ass. I use to play hamer guitars with mesa boogie dual rectifiers
w/ guitars tuned down a half step and still couldnt make those speakers give up.

Setzer knows this, he knows they have an upper mids resonant peak that works
the best with maple guitars using filtertrons and that they will clip in the upper mids of the cone but hold the low end tight and articulate as long as they are in
a 4ohm load closed back cab. (you should hear a bassman in an old marshall
cab at 4ohms...just ask Mike Ness of social distortion with his silverface bassman
and LP)

I may really be preaching to the choir to ya, but if you dont know these things
you will feel like you've been ressurected when you amp is dialed in correctly
just playin your gretsch with is tvjones (those too have to be correctly 3/16ths
to 5/32nds from the strings to do their job)

I better stop burning your ear and let the coffee go. let me know if I can
help.

ps. a fender blues junior with a celestion greenback takes away all excuses for
using evil digital toys. setzer recorded with a supro thunderbolt and it rocked,
so there are lighter, smaller amps that still keep that "tone" real. just my thoughts

tvthewiredturtle wrote:

ps. a fender blues junior with a celestion greenback takes away all excuses for
using evil digital toys. setzer recorded with a supro thunderbolt and it rocked,
so there are lighter, smaller amps that still keep that "tone" real. just my thoughts

Do tell? I have a tweed blues jr with a jenson, 10' monster cable into a danelectro slap echo. I don't feel like I'm able to get to close to "the tone" with the electromatic and TVJ Classics. The echo makes everything sound even more ice picky/ hurts my ears. To harsh and thin, without as much twang on the high strings and warmth on the lows as I'm after. It's been a bit of a dissapointment really, I should have listened to you all along.

And maybe someone could explain this: how are volume, master vol and presence different acoustically speaking. I know if I crank up the volume (5) and keep the master volume low(2), it distorts at a volume that dosen't scare the children, but how does it work on an amp without seperate volumes? I got a feeling this all has something to do with preamps and how they work and what they do that I don't understand.

Anyone, anyone?

vic wrote:

tvthewiredturtle wrote:

ps. a fender blues junior with a celestion greenback takes away all excuses for
using evil digital toys. setzer recorded with a supro thunderbolt and it rocked,
so there are lighter, smaller amps that still keep that "tone" real. just my thoughts

Do tell? I have a tweed blues jr with a jenson, 10' monster cable into a danelectro slap echo. I don't feel like I'm able to get to close to "the tone" with the electromatic and TVJ Classics. The echo makes everything sound even more ice picky/ hurts my ears. To harsh and thin, without as much twang on the high strings and warmth on the lows as I'm after. It's been a bit of a dissapointment really, I should have listened to you all along.

And maybe someone could explain this: how are volume, master vol and presence different acoustically speaking. I know if I crank up the volume (5) and keep the master volume low(2), it distorts at a volume that dosen't scare the children, but how does it work on an amp without seperate volumes? I got a feeling this all has something to do with preamps and how they work and what they do that I don't understand.

Anyone, anyone?

Hey Bueller!!!

well you know that if you take the firehose (the preamp) and open the nozzle all the
way but you dont open the Fire Hydrant (output pwr/ power tubes) you dont get much
and starving volume to the speakers doesnt let them to much more than if you
walked up to a forest fire and tried to put it out by pissin on the eges.
You just end up making little sizzling noises until you are overcome by smoke and
burn your winky..

uh.. all to say non master volume amps are by design generally created to NOT
cause signal distortion and rather created good solid clean tone and output.
Even early amps that had a master volume where using a vintage Mic preamp
mindset by having that input gain control on the amp so a variety of instruments
with varying input signals could all have a unity gain hitting the
given amps output pwr source so it could do its designed job.

the nature of the rock musician beast was having that desire to make an amp
clip and create musical note cacaphony. We call that RAWK!!
The interesting thing about Tube amps is that you can overload the signal and
the amp will either yield a sweet creamy break up or blizzard of nails, either one
is cooler than just a loud clean signal. Which is ALL that happens in a solid state
power amp. Its just taking a signal and making it Louder, in a very non instrumental
way. We guitarists have made the guitar amp part of our instrument.

Guys in the sixties and seventies started finding that they could induce tube clipping and speaker breakup (overdrive, distortion and fuzz tones) by adding front
end boost with certain frequencies long before Randal Smith of Mesa Boogie
invented the cascading gain circuit (using master volume) which consequently put the
saxophonist in the band out of work.

As old things become new again, or some of us discover things that older guys have been doing since the beginning, we have found better ways of doing the same thing
easier and with even nicer results sometimes. OR not... Setzer found his unique
frequency booster in his tape echo and made his own tone mark. Which we love and
are experiencing as something desirable. It works with that specific set up best.
we can do it with other things but..eh.. its not same.

which leads me to your little amp question. That amp is not a good amp design for
preamp gain, not at all. The damn circuit has a freakin op amp chip in it. like they put
a tubescreamer pedal inside the amp. Where that amp excels is in its clean sound, like its predecessors made by leo which ironically actually helped us find our
clipped tweed tones we like. Anyway... dont use that amps preamp booster. Just
keep the output/ master open. Get rid of that terrible jensen as they are not a good
match (i could go on forever about my bench tests) and even a boring silver series
celestion would make your nips hard at the tone difference.
That amp needs JJ/tesla tubes and a celestion, you'll enjoy it immensley. Plus a little
honey toned lacquer, a bit of sandpaper, a coffee stain and cigarette burn will turn it into a beaut!!

@ TV

Im not sure about the state of my blonde but I'll investigate what's innit when I got some time.
(maybe take some pics too)

Right now I've been reading info about pedals and I'm pertty much sold on the Timmy.
I wish I had the cash now to order but all I can do atm is play and sing:

"Im flat broke but I don't care"

Btw, I live in Finland, northern europe, currency for me to do biz is PayPal since
I don't have plastics and all this can be somewhat restrictive when ordering
stuff from US.

ossi wrote:

@ TV

Im not sure about the state of my blonde but I'll investigate what's innit when I got some time.
(maybe take some pics too)

Right now I've been reading info about pedals and I'm pertty much sold on the Timmy.
I wish I had the cash now to order but all I can do atm is play and sing:

"Im flat broke but I don't care"

Btw, I live in Finland, northern europe, currency for me to do biz is PayPal since
I don't have plastics and all this can be somewhat restrictive when ordering
stuff from US.

Ossi, wow finland that is so cool... finding a timmy at a decent price is totally
restrictive in general right now and a crime ebay wise in price as they sell for
$150 brand new.
I'll keep my eye out for one. for some reason they have a slightly different feel to them electronically since all the components are crammed into a tiny box, as compared to the full size tim, but man is it worth it to have one of these silly Tim
boost pedals via beg,steal or borrow!

if you can post some clear picts of the inside chassis circuit board and also the caps
underneath in the filter pan (be careful, if complete circuit is made between those
and your heart, you can die instantly as they hold some 400 DC current (way different that AC) each and if they are discharged through you, it could mean death.
I for some reason have survived it several times as I promised each time I would
be more careful..but sheeze. the old testament has a proverb that rings true:
as a dog returns to its vomit, so does a fool to his folly! )

then I could at least tell you what you might have or havent got going for ya in there.

I love my Tim. A lot.

Nikko

Nikko wrote:

I love my Tim. A lot.

Nikko

wholly sheeeit boy, my cuzzinzz done come back to roost!!!

tvthewiredturtle wrote:

which leads me to your little amp question. That amp is not a good amp design for
preamp gain, not at all. The damn circuit has a freakin op amp chip in it. like they put
a tubescreamer pedal inside the amp. Where that amp excels is in its clean sound, like its predecessors made by leo which ironically actually helped us find our
clipped tweed tones we like. Anyway... dont use that amps preamp booster. Just
keep the output/ master open. Get rid of that terrible jensen as they are not a good
match (i could go on forever about my bench tests) and even a boring silver series
celestion would make your nips hard at the tone difference.
That amp needs JJ/tesla tubes and a celestion, you'll enjoy it immensley. Plus a little
honey toned lacquer, a bit of sandpaper, a coffee stain and cigarette burn will turn it into a beaut!!

Wanna talk about the Smoot-Hawley tarriff or just tell me about the 'Fat Switch", your pick? I tend to leave it on all the time cause it makes it sound a little dirty...but maybe I should be going for that Pigat tone with that amp instead, which strangely(or not so) my Gibson ES 125 with P-90s does pretty well?

vic wrote:

tvthewiredturtle wrote:

which leads me to your little amp question. That amp is not a good amp design for
preamp gain, not at all. The damn circuit has a freakin op amp chip in it. like they put
a tubescreamer pedal inside the amp. Where that amp excels is in its clean sound, like its predecessors made by leo which ironically actually helped us find our
clipped tweed tones we like. Anyway... dont use that amps preamp booster. Just
keep the output/ master open. Get rid of that terrible jensen as they are not a good
match (i could go on forever about my bench tests) and even a boring silver series
celestion would make your nips hard at the tone difference.
That amp needs JJ/tesla tubes and a celestion, you'll enjoy it immensley. Plus a little
honey toned lacquer, a bit of sandpaper, a coffee stain and cigarette burn will turn it into a beaut!!

Wanna talk about the Smoot-Hawley tarriff or just tell me about the 'Fat Switch", your pick? I tend to leave it on all the time cause it makes it sound a little dirty...but maybe I should be going for that Pigat tone with that amp instead, which strangely(or not so) my Gibson ES 125 with P-90s does pretty well?

well other than thanks to the Bretton Woods Agreement in 1944 for reducing global tariffs in general, I dont have much to say into it other than JP Morgan a prominent
international bankster, was celebrating smoot-hawley's demise even though hoover
ignored his plea to veto it. I am sure Morgan had every thing to do with the woods agreement passing
in 1944, as Mason's love doing things divided by the number 11.

regarding the fat switch, I'm just saying dont use the inferior boost of a reissue fender's front end. Go with something external. Even a fulltone fulldrive II in uncompressed mode does wonders for reissue fenders.

btw.. I want Pigats amp

Not to hijack, but has anyone had any luck getting 6G6-B-ish tones out of another, lower-powered Fender? I see TV mentioned the BJr... had one, didn't so anything for me, but I never thought of putting a V30 in it.

Just wondering if there's any Fender (or other manufacturer) offering to get in the ballpark of the 6G6-B, but with lower power? (which would probably mean it would be a combo)...

ruger9 wrote:

Not to hijack, but has anyone had any luck getting 6G6-B-ish tones out of another, lower-powered Fender? I see TV mentioned the BJr... had one, didn't so anything for me, but I never thought of putting a V30 in it.

Just wondering if there's any Fender (or other manufacturer) offering to get in the ballpark of the 6G6-B, but with lower power? (which would probably mean it would be a combo)...

the weirdness is that amp builders either build a tweed or a blackface style
fender amp. Allen amps, Clark,etc... all offer that "mojo" but they also miss
the peculiarity of when things for a few yrs in history went half
tweed and half blackface and created a marshall-esque oddity in gain structure.
Having said that you have a marshall JTM-45 modeled after a tweed bassman
circuit (which is probably why the Whos "whos next" was recorded with a
blonde bassman and a gretsch) and the vox ac-3o was also modeled after a tweed
bassman but the mind set there was super hi fidelity for an amp that would do
both instrument and vocal projection..that too became a classic....

BUT the blonde fender bassman 6G6-B remains a little blip on the radar.
for what its worth, I was after setzers tone before I ever owned a blonde and
Brian of Tophat amps put an amp together for me called the Super Deluxe.
Its a Class A vox style amp but with 6L6 power tubes instead of EL84 power tubes
and a Fender Brown tolex era tone stack. It can be purchased as a 1x12 combo
but open back amps cant produce the sonic dynamics correctly with a jazz box
guitar, nor are most open back 1x12 combos sporting a custom 4ohm speaker load,
an 8ohm load doesnt react properly with the amp and gretsch guitar. its too bluesy
and swampy. the lows never hold.
The Tophat Super deluxe 212 combo with 2 V30s at 4ohms came the closest ever
to a 63 blonde rig. Its 33watts class A and costs $2000. They are all gonna cost
big dollars unless big companies like fender find that they can make a dollar in high
production.


I also took a mid 60s silverface Deluxe, put in a blackface circuitboard and a
vintage 30, changed the 6V6s tubes to 6L6 small bottles, changed the tube rectifier
for a solid state plug rectifier and came semi close...but the lows never can keep that
woody, tight and marimba like dynamic at volume the way that darn bassman
does.

Remember that while a blonde 63 bassman is technically a 50watt amp, that is
with 6L6GC big bottle tubes. When you use 6G6WGBs you lose about 10watts on
the duo of tubes and pretty much are running 35 to 40watts.

..still take a fender blues jr or deluxe, put a celestion greenback in it and watch the smile on your face. That celestion punches a big solid bass but since its only rated
at 25watts, the cone starts breaking up a tad in the upper mids. Rockabilly smiles on
every gretsch face.. oh yah..change the stock SH%t tubes.

[quote="tvthewiredturtle"]

ruger9 wrote:

Not to hijack, but has anyone had any luck getting 6G6-B-ish tones out of another, lower-powered Fender? I see TV mentioned the BJr... had one, didn't so anything for me, but I never thought of putting a V30 in it.

Just wondering if there's any Fender (or other manufacturer) offering to get in the ballpark of the 6G6-B, but with lower power? (which would probably mean it would be a combo)...

the weirdness is that amp builders either build a tweed or a blackface style
fender amp. Allen amps, Clark,etc... all offer that "mojo" but they also miss
the peculiarity of when things for a few yrs in history went half
tweed and half blackface and created a marshall-esque oddity in gain structure.
Having said that you have a marshall JTM-45 modeled after a tweed bassman
circuit (which is probably why the Whos "whos next" was recorded with a
blonde bassman and a gretsch) and the vox ac-3o was also modeled after a tweed
bassman but the mind set there was super hi fidelity for an amp that would do
both instrument and vocal projection..that too became a classic....

BUT the blonde fender bassman 6G6-B remains a little blip on the radar.
for what its worth, I was after setzers tone before I ever owned a blonde and
Brian of Tophat amps put an amp together for me called the Super Deluxe.
Its a Class A vox style amp but with 6L6 power tubes instead of EL84 power tubes
and a Fender Brown tolex era tone stack. It can be purchased as a 1x12 combo
but open back amps cant produce the sonic dynamics correctly with a jazz box
guitar, nor are most open back 1x12 combos sporting a custom 4ohm speaker load,
an 8ohm load doesnt react properly with the amp and gretsch guitar. its too bluesy
and swampy. the lows never hold.
The Tophat Super deluxe 212 combo with 2 V30s at 4ohms came the closest ever
to a 63 blonde rig. Its 33watts class A and costs $2000. They are all gonna cost
big dollars unless big companies like fender find that they can make a dollar in high
production.


I also took a mid 60s silverface Deluxe, put in a blackface circuitboard and a
vintage 30, changed the 6V6s tubes to 6L6 small bottles, changed the tube rectifier
for a solid state plug rectifier and came semi close...but the lows never can keep that
woody, tight and marimba like dynamic at volume the way that darn bassman
does.
The blackface deluxe is a good way to go in that it puts out a whoppin 400+plate volts to the tiny little 6V6 tubes and while even NOS Mazda 6V6's are sweet they just
lend to the farts.. but swap in the small bottle 6L6 and the lows tighten the hell up
and are getting goosed with the plate voltage. Yes you will eventually have to rebiase your deluxe but its a great way to go. I've sold the 6L6s with SS rectifier plug to many a semi hollow/hollow body player and they just smile.

Remember that while a blonde 63 bassman is technically a 50watt amp, that is
with 6L6GC big bottle tubes. When you use 6G6WGBs you lose about 10watts on
the duo of tubes and pretty much are running 35 to 40watts.

..still take a fender blues jr or deluxe, put a celestion greenback in it and watch the smile on your face. That celestion punches a big solid bass but since its only rated
at 25watts, the cone starts breaking up a tad in the upper mids. Rockabilly smiles on
every gretsch face.. oh yah..change the stock SH%t tubes.
I also like the celestion G12H30. its got more sparkle in the top like an alnico blue
and it performs in the lows much like a V30... its overkill but we've got that in
a valve jr. I modded and its sweet even at 16ohms in a semi closed back 1x12.

Thanks for the insight. I always wondered if maybe a Deluxe would get me there... I was looking at the Blues Deluxe Reissue actually... I've been told by fender freaks that a 5E3 could never sound like a 6G6, simply not enuff headroom.

Don't know how close (if at all) the BD is the the 5E3.

ruger9 wrote:

Thanks for the insight. I always wondered if maybe a Deluxe would get me there... I was looking at the Blues Deluxe Reissue actually... I've been told by fender freaks that a 5E3 could never sound like a 6G6, simply not enuff headroom.

Don't know how close (if at all) the BD is the the 5E3.

you be the judge of cheap high production from mexico,component wave solder PCB amps of fender now
(dont mind the cheapo burned parts that fail often)


verus this heavenly scene below:


but there is hope for several hundred dollars with retrofit circuit board conversions, I had a sweet one for my deluxe, here is one done to a hot rod delx. (looks much
like a tophat amp build)



ps. regarding a 5E3, put a solid state recto plug and 2 small bottle 6L6s in it and
stick that sucker in the naysayers face! Its non purist but do I care..not if it makes
my gretsch sound like I was laying tracks for 68' comeback or Nitro burnin funny daddy albums!

Is the 5E3 the 59' Bassman?
Would this also give me good results with a Blues Deluxe Reissue?
I'm not trying to copy Brian's Sound in detail, I just want something good for Rockabilly and Rock'n Roll and since the Blues Deluxe Reissue is really affordable with my small budget it would be really cool if it could get me in that direction.
But if I change the tubes, the BIAS must be readjusted, I think, so I'll have it done by a professional guy.
Another advantage of the Blues Deluxe is that because it's affordable for me I don't have to wait another 10 years to buy me a Gretsch, maybe only 5^^.
Didn't go for the Garage Deal from the Gretschpages, as the guy never sent me pics of the Neck and Headplate.



Greetings from Germany
Chris

WELL LOOKEE WHAT I FOUND...

These guys just happen to be 30 minutes from me...

http://www.cpamps.com/f_chassis.html

They make a "High-powered Tweed Deluxe w/5881s, 25 watts" I could buy the chassis, throw it in a combo with a V30.... what do you think?

[I'm still accepting the fact that I will be getting as 6G6-B asap, but I thought this might be a cool idea...]

ruger9 wrote:

WELL LOOKEE WHAT I FOUND...

These guys just happen to be 30 minutes from me...

http://www.cpamps.com/f_chassis.html

They make a "High-powered Tweed Deluxe w/5881s, 25 watts" I could buy the chassis, throw it in a combo with a V30.... what do you think?

[I'm still accepting the fact that I will be getting as 6G6-B asap, but I thought this might be a cool idea...]

mojotone.com has helped develop the small booteek amp kit builders and now we
are seeing more and more of them shine. These look good and their prices are
very competative. The guy above rebuilds your existing chassis for $575.
that tweed bassman makes my nips glow, I'd like to have that chassis and have my
supplier make me a lacquered tweed head cab for it!!

As the worst president in the world once said "stay the course"... get that blonde
bassman. There are million other amps to take your eyes off the goal, but they are
all just gold diggin strumpets!! Be true now.

Guitarmaniac wrote:

Is the 5E3 the 59' Bassman?
Would this also give me good results with a Blues Deluxe Reissue?
I'm not trying to copy Brian's Sound in detail, I just want something good for Rockabilly and Rock'n Roll and since the Blues Deluxe Reissue is really affordable with my small budget it would be really cool if it could get me in that direction.
But if I change the tubes, the BIAS must be readjusted, I think, so I'll have it done by a professional guy.
Another advantage of the Blues Deluxe is that because it's affordable for me I don't have to wait another 10 years to buy me a Gretsch, maybe only 5^^.
Didn't go for the Garage Deal from the Gretschpages, as the guy never sent me pics of the Neck and Headplate.



Greetings from Germany
Chris

I forgot the addition of a Celestion V30^^
So, TV and fellow soundnerds (in a positive way^^)
do you think this will give me a good Rockabilly/Rock'n Roll Tone?

Guitarmaniac wrote:

Guitarmaniac wrote:

Is the 5E3 the 59' Bassman?
Would this also give me good results with a Blues Deluxe Reissue?
I'm not trying to copy Brian's Sound in detail, I just want something good for Rockabilly and Rock'n Roll and since the Blues Deluxe Reissue is really affordable with my small budget it would be really cool if it could get me in that direction.
But if I change the tubes, the BIAS must be readjusted, I think, so I'll have it done by a professional guy.
Another advantage of the Blues Deluxe is that because it's affordable for me I don't have to wait another 10 years to buy me a Gretsch, maybe only 5^^.
Didn't go for the Garage Deal from the Gretschpages, as the guy never sent me pics of the Neck and Headplate.



Greetings from Germany
Chris

I forgot the addition of a Celestion V30^^
So, TV and fellow soundnerds (in a positive way^^)
do you think this will give me a good Rockabilly/Rock'n Roll Tone?

5E3 is a tweed deluxe, the 5F6-A is a bassman and was from 58'-60'...and
yes a V30 will not blow up in that amp and is sonically a mate of your gretsch.
caveat... the celestion greenback... oooooh thats a nice low power honey for that
amp and with a tele you will DIE. (all predicated on pedal users)

ouch, the tweed 57 deluxe is a bit to expensive for my taste.
Would it also work with the Blues Deluxe Reissue?
It has about 40 Watts so i think the V30 would be he right speaker for that.

Sorry for all my dumb questions.
I only want to make sure i'm well informed before I buy me a new amp.

tvthewiredturtle wrote:

As the worst president in the world once said "stay the course"... get that blonde
bassman. There are million other amps to take your eyes off the goal, but they are
all just gold diggin strumpets!! Be true now.

I knew you would say that. 6G6-B it is. Thanks for helping me not get distracted...