I'm hoping one day I would have use for 100w cabs and heads. Someday...o

Also Retroverbial you have two very awesome strats especially liking the gold...

I'm thinking about getting a deluxe reverb reissue when I can get the money...

Is that Sunn company a new amp company? I was looking at fender's other brand sites and was wondering...

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Kid: "Hey Smokey! Where did you get your name?"
Smokey the Bear: "Well..."
(former user jimbo612)

Sunn's been around for quite a while, Jimbo......

http://en.wikipedia.org/wiki/Sunn

However, the late stuff re-issued by FMIC bears very little relationship to the original gear. My bass-player brother is a big Sunn fan and collector, with several vintage Coliseums, Concerts, and a (real) Model T.

Thanks for the kudos re my two "parts-casters"......the sunburst was my first, the Firemist Gold was my second.

I don't think you'll find a more useful "go-to" amp than a DRRI. Most everybody I know owns one -- even those whose "main rig" is something other than a Fender.

Arjay

I found this question to be hilarious.....because Pete Townsend plays through the Bassman channel of a Supersonic these days (when not a vibroking), and made his career with a 63 bassman head.....

Who hasn't used a bassman? Well, the WHO certainly have.

-Vince

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-Fender 92' Telecaster unknown
- 2007 Gretsch 6118T
- Ibanez 02' AF85 Artcore hollowbody, modded
- Epiphone Firebird
- Line 6 Variaxe 300
- Squire strat (refinished)
- 2008 Fender Supersonic
- Fender Blues Junior (original)

I think your right. As of right now I'm in our church's praiseband and we usually play all-around stuff, and I haven't really diverged into a genre yet. Trying to stay flexible...

I posted a forum about buying a new amp and I've gotten a lot of great ideas.

I really been wanting to build a parts-caster too before I go off to college. I was hoping to do it with my dad, but he's not that interested in it. He's more of a sports guy, which is something I never really got into (he thought it would be a better idea for me to get golf lessons). So it might be something I would try to do with my youth minister before I go.

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Kid: "Hey Smokey! Where did you get your name?"
Smokey the Bear: "Well..."
(former user jimbo612)

I have heard some people say fender amps sound bad when turned up. If you get the right fender amp you would not have that problem. I have a fender fm212r I put a jack in the back and hooked it in to a 412 cab and I got great sound low or all the way up. Even when I kick the overdrive in it still has a great sound. Buy fender

lol show them what real fender power is ya rock on my friend

dont be too quick to believe that those artists actually use said amps onstage. artists will often be involved in an endorsement deal that binds them to having certain products present onstage. from what i've heard, that doesnt guarantee that they are in fact using them. they keep them there for visual, but then in the back, they might have a little recording amp with a mic in front...you see?

the endorsing company wants to have the "product placement" thing going as a sort of advertising. they dont just give you stuff for no reason or because you're totally awesome. guitarist idolizing has its hidden motives.
so basically, you go to concert, see your favorite axe player with the honkin marshall stack, you become moved to buy the same rig for yourself, endorsing company just successfully picked your pocket. simple process. its very similar to what they do in movies.

next time you watch a concert, look closely at what's going on. you might occasionally see amps, even marshalls, without pilot lights lit, or without cables plugged in the jacks. then again, sometimes the artist does in fact choose to use it. either case can happen.

not all artists gig with marshall. alot of fenders get used, and misc. others. going along with what i said earlier, some guys are mic'ing up small amps. i've seen Pro Jrs. in several rigs, such as by Jeff Beck and someone in the E Street Band, not sure who, possibly Nils Lofgren. Warren Haynes uses one, but it might only be in studio, im not sure.
Then you have Mike Campbell rockin the Princeton Recording amp. its not rare to see that one right up front behind him.

i also follow in suit. Pro Jr + mic (if needed) = my amp setup. theres no need for the big wall of sound today. PA systems are superior compared to what they used to be. smart guitarists know to utilize this. imo, the "stack" today is just a way for someone to make money. they know that those things will sell with the uninformed.

Vulkan, don't matter what it looks like. If you're happy and it gets the job done don't worry about it. Have you ever tripped over and Egnater half stack? It's a tiny amp. I usually bring two cabs but just use one just so I don't have to bend over so far to dial it in. It doesn't fit on a chair very well and most times it doesn't even need to come off the floor. I could just put the head on a stand, but I hate carrying too much extra stuff with me. Good lick with the new amp too.

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Life...... It's sexually transmitted and always fatal

Maybe those people were referring to solid state amps whether Fender or any other brand. Generally speaking, the more you turn up a solid state amp the worse it sounds as the transistors start clipping but tube amps tend to sound better and better the more you turn them up and get the tubes cooking bringing out ear pleasing harmonics and natural compression.

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Obligatory gear list: Fender, Rickenbacker, Gibson, Gretsch, Vox, Martin, and more Fender.

I don't really agree. All in my opinion and experiences of course:
1. As mentioned earlier Fender never abandoned the high gain niche, because they never cornered that market to begin with. Ironically, Marshall's first successful amps were copies of the late 50's tweed Fender Bassman. Just compare the schematics of the 5F6a Bassman and a Marhsall JTM45. Scary similarities.

In the studio, bands have the luxury of having access to many kinds of amps with specific tones to enhance a song are used. Most bands cannot carry 30 amps with them on the road, so they go with what looks macho (the Marshall stack) and keep things simple. Or as mentioned earlier, they have an endorsement with Marshall/Korg and have to be seen in public with Marshall amps. They might be actually plugged into a Fender, or Mesa-Boogie, or Dr. Z, or Matchless, or Dumble, or Peavey, or whatever their favorite amp is that they brought along. This isn't a just strictly a Fender vs. Marshall game.

2. Ha! Have you ever cranked a Fender tube amp larger than a Blues Junior? Bassman, Twin Reverb, Super Reverb, Tweed Twin, Supersonic, Vibro-King, etc, etc, etc are NOT for smaller/intimate settings. They can hold their own against a Marshall. Volume is not linear. A 50 watt Bassman is NOT half as loud as a 100 watt Marshall. Through the same cab, the difference in volume is probably not perceivable, it's just that the Marshall will have some more clean headroom. Most venues mic the amp. You can gig Madison Square Garden with a tweed Fender Champ if it's mic'd and it's pumped up in your monitor.

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Obligatory gear list: Fender, Rickenbacker, Gibson, Gretsch, Vox, Martin, and more Fender.

Well theres a simple answer. Reliability and tone, though I hate to say that here.
Equating Marshall amps with high gain is a bit wrong too. The high gain stuff has only been recent starting with the DSL/TSL and Valvestate stuff. The SLX, 900 and 800 weren't that high gain at all. Infact the blues junior has more gain to it than a unmodded 2203. Their simply used for that stuff because they maintain clarity and dont mush up because of the strong high mids. Thats as much to do with the 1960 cabs as anything though.

Whatever someone has listed on the back of their CD is usually a lie anyway. It's all to do with sponsorship and endorsments. You dont see the studios gazzillion££££ setup listed ever do you? That has a far bigger role in the recorded sounds than anything else.

JB is suffering terribly from Tinitus, maybe thats why the smaller amp and baffleboard. On those JTM's he had all the bass and mids taken out of his eq onstage and added again at the desk, so his tech says.

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No no and no

I have used 100W amps, and to tell you the truth I can't really think of a single situation where 50W wouldn't have been enough.

that said, as someone above stated, there is nothing quite like a dimed out twin. Everyone should do it at least once.

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I'm not an expert, but I play one on the internet.

...and then collect their trousers from across the room.

Agreed. Turning a Twin all the way up ought to be mandatory for any rock guitar player. But only once.

I Love Fender amps. I usually gig with my Pro Reverb 45 watt and/or my Twin reverb 100 watt. I love their tone. Last two gigs, I mic'ed my DRRI 22 watt, trying to save my back. Great amps !!!

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2012 American Vintage Telecaster 1958
09 Fender american deluxe strat.
97 Gibson les paul special P90's double-cut
65 Princeton reverb re-issue
2010 Guild Gad-F40e

The only Fender amp I have ever owned that I didn't like was my old silverface Twin Reverb. To get that thing to break up, it was so loud it could make you sterile.

I have a '63 Reissue Vibroverb (40 watts; 2x10 speakers), and it is loud enough to keep up with anyone I've ever played with, whether it was 85W, 100W or even the goofball with the 120 watt Roland...even in a larger venue (which I rarely play).

I've always taken a perverse little thrill by keeping up with (and out-toning--if you can out-tone someone ) some guy's big stack with my one simple Vibroverb combo...imagine if I put on some extension cabinets!

People often forget, as far as voume is concerned, added speakers/cabinets will do more for you than higher wattage...more air moving=more volume (simple physics).

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Good Vibes To Y'all!



Screamin' Armadillos
Texas Roadhouse Music
Guitar/Slide Guitar/Harp/Vocals