About
All feedback (436)
- ashi5558 (4044)- Feedback left by buyer.More than a year agoVerified purchaseGood buyer, prompt payment, valued customer, highly recommended.
- vtgbooks (3091)- Feedback left by buyer.Past monthVerified purchaseHope to deal with you again. Thank you.
- plus_music_products (81760)- Feedback left by buyer.Past 6 monthsVerified purchaseGreat communication. A pleasure to do business with.
- pe548997 (11)- Feedback left by buyer.Past 6 monthsVerified purchaseThank you for an easy, pleasant transaction. Excellent buyer. A++++++.
- partscontainer (1267194)- Feedback left by buyer.Past 6 monthsVerified purchaseGreat communication. A pleasure to do business with.
- sportsposterwarehouse (55747)- Feedback left by buyer.More than a year agoVerified purchaseA++ Excellent transaction. Enjoy your item from Sports Poster Warehouse!
Reviews (3)
09 December 2010
The Eye of the Beholder
19 of 20 found this helpful Buyers who are looking at a Deluxe Reverb amp are looking for several things. Maybe you are looking for a museum piece, a mid 60's blackface Fender amp in perfect condition, never used. Expect to pay $3000 to $5000. Not many of us have that kind of scratch, and we want to use our amp on the road. Maybe you are looking for an original blackface, a bit dinged up with the caps and cord replaced, with that old smoky original grill cloth, but updated to be safe to use. Expect to pay $2000 to $2500. Maybe you want that same sound in a hand wired boutique amp with no original parts, so you are looking at a new reissue that has been re-wired to old specs. Expect to pay $1400 to $1700. Maybe you want an all new amp from Fender but you don't care if the inside is a printed circuit board, and it is a bit flimsy and no one thinks you are "cool." A new reissue is about $1000, a used reissue is a couple hun less than that.
Why would a guitar player want this amp? I've been playing guitar since the early 60's and like most performers I've gone through stages. I had Fender amps with fuzztones at first. The bigger the better. I didn't understand what I wanted, but the louder the better. PA systems were terrible, and they wouldn't help the guitarist and you couldn't hear the vocals anyway. In the 70's and 80's I used Marshalls because I was still loud and wanted huge impressive amps, but I let the amp do the work of sustaining the notes and got rid of the stompboxes. Better tone, less buzz and fuzz. PA's improved because now you had monitors and a sound guy and could hear the vocals. You still didn't trust him though, and if you needed to solo you still turned up and did it yourself.
Fast forward to now. Maybe like me you are a geezer and you still like to rock but your back hurts. You have three full Marshall stacks in your attic but your old roadies are in rehab, you don't want to haul the damn things yourself, and you only play small clubs. When you are young everybody wants to hear you, but you can't afford good equipment. When you are a geezer you can afford the good stuff, but nobody wants to shake their booty to an AARP band.
Usually by now you want great tone from a small amp you can carry. The sound systems are so good that if you can get the amp to sing, you can let the PA system do the work for you (they don't even call them PA any more-I'm dating myself.) Bigger is NOT better. If you want the amp to growl and distort a bit, a twin reverb or a 100W Marshal is NOT want you want, because the bigger transformer is too heavy and you have to crank it before something happens. Don't even go with that amp modeling crap. It sounds good in the store, but on stage, no. Players have loved the Deluxe Reverb for decades because it is small and light enough to carry. The 22W is loud but still breaks up into distortion nicely. A 12 inch speaker still moves enough air that you get solid bass tones, unlike other small amps. It will get you a Stones-like rhythm sound. If you want an AC/DC or UFO screaming lead sound you don't need a huge Marshall-get a tube based preamp pedal like a Tone Bone and you can scream all night, but you can control it. Like many of us geezers, you may have branched out into other forms of music too, and a Deluxe will let you shine while playing country or blues.
That is why a guitar player would want a Deluxe Reverb, and why they are worth more than some of the bigger amps like a Twin or a Dual Showman.
Ed D
Mission Viejo, CA
09 June 2010
Digital Goodness
2 of 2 found this helpful I've been recording music for over 40 years, with open reel tape machines, graduating to cassette portastudios, and finally tape-based ADAT systems in the 90's. I was apprehensive about the HD-24 because I had been using the Masterlink hard disc recorder to mix down my other sources, and I didn't like the interface. I was afraid the HD-24 would be difficult to use, but SURPRISE it is not. I love it! I can find anything I want right away. The HD-24 has so many advantages that it makes recording fun. No more tapes and recording heads to wear out. If anything breaks, it would just be the hard drive itself, and that can be replaced at very low cost. The first time I hit return to zero and it happened RIGHT NOW, instead of waiting for the tape, I was hooked. I know this is old school compared to Pro Tools, but it integrates everything else in my studio. I feel like I have been wandering in the desert for years and someone just gave me water. I'm not fighting with the technology anymore and I can just concentrate on the music. I love it love it love it. Thanks, Alesis.
09 March 2013
Viagra for Clean Guitar Sounds
In 50 years of playing guitar I have amassed an array of pedals, rack-mounted signal processors, and stompboxes to get the perfect tone. Usually this involves fuzztones or distortion or "Marshall in a box" devices. Lately I have been searching for the ultimate clean tone with grit-think Knopfler, Gilmour, Brad Paisley, or Joe Walsh. I always thought that to get a good clean sound, just add some compression or chorus, but I never really worked on that before. After some research I found most of the guitarists I like use this one pedal-the Sex Drive. It is a clean overdrive to be used as a base sound, and you add another dirtier overdrive on top when you want to solo. Set up your amp where the tubes just start to break up, add the Sex Drive so the volume stays the same, and dial in the amount of compression (soft, off, or hard), gain, and tone. Even at the same volume, amaze your friends with how much better your instrument sounds. It is just night and day. Finger picking a strat or a tele just jumps out at you instead of a wimpy tone. The name can be embarrassing (try calling a music store and asking for a Sex Drive) and they can be hard to find, but it is well worth it. The buffer built into this pedal boosts the signal so the rest of your pedals wake up, and if you have an old blackface amp like mine the hotter signal just makes it sing. Tell your GF you got a new Sex Drive and she will be amazed (with your guitar playing.)