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I’ll be happy to drop a 20 in the mail, if anyone would send it to me here inFrance. (Eric and Jamie are not shipping overseas currently.)
🙂
Daniel
Interestingly, this amp has both reverb and tremolo. And even weirder, 5 knobs! There are more controls for the trem and reverb than for the preamp stage! It’s like someone said, “Let’s build a dirt simple Class A amp. Fifteen watts, volume and tone.” And then another guy in the room said, “No one will buy an amp without reverb. Add it.” Third guy in the room says, “You know all those really cool old Fenders had tremolo rather than reverb. Why don’t we use that?” And finally the boss said, “I love it! One model with the reverb, and one with both reverb and tremolo that we’ll sell for $100 more.” And no one said, “Hey, what about splitting the tone control?”
To be sure, I love the trem on mine too. I usually just set it at three for both speed and intensity and leave it on. It would be nice if I could turn it on and off without rolling either the speed or the intensity all the way down.
Well, Ok. I dusted off the Ampeg reissue Jet II (1×12 w/tremolo) this weekend. It does need to be cleaned up: dirty pots, and a 2nd channel whose volume varies randomly. But the first channel sounds better than I remember. I wonder if it has anything to do with the fact that I have to use an external transformer to step down the voltage from 240 to 120? It’s possible that the voltage is a both touch higher and more consistent than regular wall current in the US.
Rehearsed using the Hathway octave mando, the JBovier 5 string emando, and the Esquire’d Tele. Really nice. So yeah, the guitar is staying in the mix now. And the Ampeg has been more or less permanently relocated tothe living room. Claudine has yet to complain.
🙂
DanielHard to state how important Crosby, Stills, and Nash are to me. For me Crosby was the least accessible of the three. My favourite songs were more often written by Stills and Nash, and Crosby’s voice blended so well with the others.
But listening closely was such a rewarding experience. He taught me the value of active listening and the value of singing to support the melody. An enormous lesson.
Daniel
Redwood on mahogany sounds like a nice combination. With the H I’m picturing a sound somewhere between Leadbelly and a grand piano. 🙂
I’m sure the folks at SCGC will make something amazing.
Daniel
BTW, you do realize that 12 string guitars are a gateway drug. You’ll be looking at mandolins next!
🙂
Daniel
12 strings are powerful beasties and sometimes difficult to wrangle.
I was thinking: you would want to focus the sound a bit in order to avoid taking up all the sonic space in the room. So yeah, the H13 could well be the ticket.A normal scale length (25.5″) might feel less articulate with 12 strings, so something shorter (24.9″ maybe) might be of interest.
Questions:
- Will you tune down to D or C?
- Will you use alternate tunings?
- Leadbelly, Leo Kotke, or The Rooftop Singers?
🙂
Glad you’ve avoided the worst of it all!
Daniel
Played a bit more with it this afternoon and learned a few things.
– REALLY really needs a service. Will do that in the next few weeks.
– The Tube Synth isn’t a channel, it’s an effect. The Synth Resonance goes from distortion àla a ProCo RAT (1) to 80’s hair metal (10), and it includes a boost (about 5db) as well.
– I can get some decent overdrive (whereby I mean you can go between fat clean tones and nice break-up by using the volume knob on the instrument) of the unaffected signal if I use the ‘volume’ knob on the amp as a gain knob.
– The Chorus must be the same circuit as my Boss CH-3. The tone of the amp and the pedal are exactly the same. Though the pedal has stereo capabilities tha amp does not have.
– The Reverb is ok. You can only adjust the amount of it in the signal, not the intensity.
– The parametric EQ is effective and easy to dial in.
I tested the effects loop by running all the modulation effects through it. I left the boost, EQ, and overdrive pedals “in front” of the preamp. the results were interesting. The Flange and Chorus pedals worked nicely, though I didn’t notice any boost/drop or any change in clarity.
The Multi-Overtone (MO-2) did not work properly in the loop. This pedal is at its heart a combination of an octave pedal and a chorus pedal. The high end frequencies just didn’t come through while the pedal was in the loop, but the ‘detune’ function worked fine. Back in front of the preamp portion of the amplifier, the MO-2 worked as normal. An interesting lesson learned there.
At volume, there’s a lag in the attack, which I like. My current gigging amp, a Marshall MG-30CFX, has a VERY quick atttack. Sometimes I have to back everything off to lose the ‘pop’.
The Stinger is heavier than you’d expect from a solid-state amp. That might be because the driver on the 12″ speaker has a really big magnet.
I’ll post more after getting it serviced.
Daniel
For giggles, I asked Google to give me driving directions to Sylvan Music. It said… “Sorry, we could not calculate driving directions from ‘Laon, 02000, France’ to ‘1521 Mission St, Santa Cruz, CA 95060, USA'”
I suppose Google doesn’t know everything, then.
Have a great time!
Daniel
