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Report: ’58 Fender “Tweed” Champ

Posted in Guitars, tagged , , , , , , , , , , , , , , , on July 5, 2010| 1 Comment »

I know, not a very good picture, oh well…

In any case, I recently won this amp in an eBay auction. As soon as I got it, I turned it over to Jeff Aragaki of Aracom Amps for him to inspect it, clean it up, and make it “safe.” The amp was in excellent working condition, considering it’s 52 years old, but to be safe, I wanted to make sure there was nothing amiss.

One of the first things Jeff looked at were the capacitors. Visual inspection didn’t reveal any leaks, but they needed to be measured to ensure that they were still able to keep a charge. Amazingly enough, they were still measuring well within operational tolerances, and none had to be replaced, which Jeff said indicated that the amp was being used. With those old paper capacitors, if they sit for a long time without use, they’ll eventually leak acid. But these were in great shape!

The next thing Jeff checked was the speaker. Interestingly enough, the speaker was a replacement, and not only that, it was a 16 ohm speaker, which actually attenuated the amp a bit, so I had Jeff replace the 8″ speaker with a new ceramic speaker.

Since the amp used a two-prong electrical plug, I asked Jeff to upgrade it to a three-prong medical-grade plug. Unfortunately, the way the amp was designed, doing that would require playing with the heater voltages, and while that wouldn’t necessarily harm the amp, it may have had an effect on the tone – not a good idea. So I just had Jeff replace the cord, which was in decent physical condition, but according to him, wasn’t carrying a full load of current to the amp.

In addition to cleaning it up and making sure it was in good working order, Jeff wired up an A/B switch box to the amp, so I could flip between using the internal speaker and an external cabinet (which is how I’ll normally play this amp). Jeff did this to avoid having to install a 1/4″ jack which would alter the amp from its original condition. Being a vintage gear collector, Jeff thinks about that stuff… This amp is going to be a player, so that wasn’t much a concern to me, but he kind of insisted, just in case I decide to sell it later.

Finally, since the amp didn’t have a back plate (which accounts for the great price I got it for), Jeff cut a nice 1/2″ ply board to protect the chassis. We’ll do a proper back plate with a tweed cover later, but I wanted to start using the amp right away, so we’ll do that as a future project.

Gig Report

With the amp complete, I played it all week to get used to how it responded. Now that I have one of these, it’s no small wonder why these have been long-time residents in studios all around the world. Hooked up to my 2 X 12, loaded with a Celestion Blue and Gold, the amp’s voicing is super rich, if a little on the bright side. But no matter. The cleans are absolutely incredible! They ring with a vintage chime that at least to me, invokes a visceral response in me that’s hard to explain. It’s a classic Fender clean, and through my 2 X 12, the cleans resonate and float through the air! As far as dirty is concerned, the Champ is no high-gain amp. Overdriven, it’s a dirty grind, perfect for blues- or classic-rock tones.

The Champ is also incredibly pedal friendly. I hooked up my super-versatile Doodad Guitars Check-A-Board RED overdrive/booster up to it, and the amp just responded! The overdrive is wonderful on this pedal, adding great sustain without overly compressing the signal, but where the pedal really worked with the Champ was with the booster. Slamming the front-end of the amp, I was rewarded with a gorgeous, smooth overdrive tone. Again, I thought to myself, this is why this little monster has been on so many songs over the years!

Yesterday, I took the amp to my church gig. Being the 4th of July, we had a skeleton crew: Just one other guitar besides myself, but no matter, I wanted to play it live. For this gig, I just used my custom Aracom 1 X 12 with a Jensen P12N, and I played my “hybrid” Fender Stratacoustic Deluxe through it. Despite the fact that I was ostensibly playing an acoustic guitar through the amp, the tone was absolutely natural. I was like, “This really shouldn’t sound that good, but I’m amazed at how it sounds!” Granted, the Stratacoustic is more like a hollow-body electric than an acoustic, but the Champ just took its natural voice and amplified it beautifully.

Once I have my studio set up again (just finished construction on the house, so I lost my recording space temporarily), I’ll make some recordings!

If you live in the Silicon Valley area and need some amp work, though Jeff sells his own line of amps, three of which I own, with a fourth on the way, Jeff is one of the best amp techs I’ve ever worked with and he’ll hook you up! He thinks of things I would’ve never thought of! Check out his site at http://www.aracom-amps.com. Needless to say, he is also the creator of the best attenuator on the market, the Aracom PRX150-Pro.

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Quick Review: Groove Tubes GT-6L6GE US Re-issues

Posted in 6L6, GAS, gear, gear reviews, guitar, guitar gear, guitar gear reviews, guitar tone, guitarists, Guitars, Music, musicians, NOS, tubes, tagged , , , , , , , , , , , , , on June 18, 2010| 1 Comment »

If you read this blog with regularity, you know that I love NOS tubes. Who knows? Maybe I’m being a cork-sniffer, but the significant impact NOS tubes have had on my amps has led me to preferring them over new production tubes. Unfortunately, NOS tubes are getting scarcer and scarcer, so I suppose that eventually I’ll  have to get new production tubes.

Now a company that I’ve tended to steer away from is Groove Tubes, mainly because they’re just re-labeler of various OEM tubes. They just measure voltage, match ’em up, relabel them and sell them as their brand. Nothing wrong with that, but I haven’t met a Groove Tubes tube that I’ve liked, until I discovered the Groove Tubes GT-6L6GE Re-issues.

Before I go on, I should clarify that I’m not talking about the current production 6L6GE’s, which are assembled overseas. The tubes I’m talking about were made in the USA up until about 2003, as far as I can tell.

What makes these tubes special is that they’re constructed of NOS materials (except the glass), and to the same specs as the original GE 6L6’s of old. Plus they were constructed in Southern California, so the quality is incredible. These tubes rock! To be honest, I’m not sure of all the details of their production, but I got the information from Brent Jesse @ audiotubes.com who recommended them to me.

I bought two sets so I could have a spare set, and have been in tonal heaven with my Hot Rod Deluxe! The cleans are lush and deep, and the overdrive is creamy smooth. I have other GE power tubes, and I’ve gotten used to their smooth distortion. These GT-6L6GE’s are no exception! In addition to their smooth breakup, they also don’t compress much, which is another thing I just dig. I prefer a more open distortion.

I compared these to both JJ’s and regular Groove Tube 6L6GT’s, and these just blow them away. The JJ’s and GT’s have nice, clear cleans, but forget about their tone when cranked up. The tone is harsh and gritty, even if I bias them a little hotter than spec; whereas the 6L6GE’s remind me of the breakup I get from my Plexi clone – without hot biasing! Amazing!

As these are no longer in production (don’t confuse these with the new 6L6GE’s), they’re a bit more expensive than the new production 6L6GE’s; $80 per pair as opposed to $55-$58 a pair. And because they have the same labeling as the new ones, it’s hard to tell them apart. So I recommend that if you want to get a pair, get them from a source you trust. As I mentioned, I get them from Brent Jesse Recording and Audio, and having purchased several tubes from him, I trust him implicitly.

All that said, I will be getting a set of the new production tubes to make a comparison, as they are also made with NOS materials, though assembled overseas. Who knows? They may just sound killer as well!

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Gear Review: Fishman SA220 Solo Amp

Posted in amplifier reviews, amplifiers, amps, Amps/Amplification, GAS, gear, gear reviews, guitar, guitarists, Guitars, Music, musicians, performing, tagged , , , , , , , , , , , , , , , , on June 17, 2010| 37 Comments »


Click to enlarge

Click to enlarge

 Fishman SA220 Solo Amp

Summary: Compact and weighing in at just 25 lbs., the SA220 Solo Amp is an ideal PA solution for the solo acoustic guitarist/vocalist, but it’s versatile and loud enough to be used as a PA for a band (if you have a couple of them).

Pros: It may not have the Bose name, but I’d put this up against the L1 Compact system any day. With built-in, independent, 3-way EQ, and a variety of other features, if you’re a solo acoustic artist, you owe it to yourself to check this unit out! I got it set up in less than a minute!

Cons: None

Features:

  • Drivers

    • – Six 4″ mid-woofers, patented dual gap, high excursion design, neodymium magnets (200W)
    – One 1″ neodymium soft dome tweeter with level control (20W)

  • Auxiliary Stereo Input with Level control
  • Four Digital Reverb effects with master level
  • Balanced XLR D.I. outputs for both channels and main mix
  • Independent effect loops for Channel 1 and Channel 2 (OMG!!!)
  • Unique Monitor I/O for improved on-stage ensemble monitoring
  • Mute with remote footswitch input
  • Tuner Output
  • Ships with Stand and padded Carry Bag (w/ wheels)
  • Dimensions: 41.5″ H x 5.6″ W x 6.6″ D
  • *Weight: 25 lbs without Stand, 35lbs with Bag and Stand

Price: $999 Street

Tone Bone Score: 5.0 ~ Talk about ease of use! As I mentioned above, I got the SA220 set up in less than a minute! And my Yamaha APX900 sounds absolutely killer through this, not to mention the great clarity of the vocals. This is a winner, folks!

Year over year, I play between 100 to 150 gigs a year, with about half of them as a solo acoustic act. My solo gigs have consisted mainly of my weekly restaurant gig, but I do lots of weddings and special events throughout the year as well. Of late, the restaurant I gig at moved my act outside in a public patio area as the weather is gorgeous.

To make a long story short, even though the restaurant has a decent PA system, I ended up bringing my own PA last week, which was the first week we did the outdoor show. That worked pretty well, and my PA has a great sound. But it also made me realize that the old mixing board, and big 300 Watt speakers was just too much gear to haul around. Even if I ended up using the restaurant’s PA, which is a nice one, I’d still have to lug the board and speakers and stands down from the office upstairs. Enter the Fishman SA220 Solo Amp.

Plug It In and Go!

I finally received my SA220 today after having to wait for a couple of weeks for it to arrive (had to be ordered). So when I got home, I knew I had to try it out to see how it sets up, and of course, to work out kinks before I gig with it. There’s nothing worse than fighting your rig or sound DURING a gig – especially when you’re solo.

The guys at the shop assured me that Fishman’s claims of easy setup were true. I am now a believer! I had the SA220 set up in exactly 42 seconds!!! That didn’t include hooking up my pedal board, guitar, and microphone, but I had the system on its tripod stand and plugged into power, ready to go, in that short amount of time. That just blew me away! Plus, everything you need to get up and running fits into a single carrying unit that consists of two bags: One for the array/PA, and one for the tripod that buckles to the main bag. Talk about convenience! Fishman really had the solo artist in mind when they built this!

How It Sounds

For my audition, I just plugged my guitar into the SA220 directly, and hooked up my microphone. All I can say is that the sound is spectacular! I was actually concerned about the bass response of the unit, but apparently Fishman distributes the bass response among the six main mid-woofers. It may not get boomy with the bass, but the sound is absolutely rich, and vocals are clear and full. Normally, I use a DI to go into a board – and will probably do the same with this unit, but my guitar sounded clear and natural and full plugged in directly without those annoying high-end transients and flattened tone that is so annoying with plugged in acoustics. Admittedly, the ART system in my Yamaha APX900 has quite a bit to do with that, but Fishman really knows how to condition sound.

At first, I had a bit of a problem with feedback, but setting the phase switch and tweaking the anti-feedback knob (it’s a variable frequency notch filter designed to subdue a resonant peak – just turn it to where the feedback gets reduced or eliminated – very cool), and attaching the rubber sound hole cover on my guitar took care of the feedback problem.

Luckily no one was home when I tested the SA220. I set it up outside so I could see how it performed. Damn! Even with just 220 Watts, the SA220 is LOUD!!! I had the Master volume set at around 10 am, and that will be enough to fill the large patio space I’ll be playing in tomorrow! It’s not a stretch to say that the SA220 can cover a lot of venues.

As far as listening angle is concerned, the SA220 disperses the sound incredibly well! Even at extreme angles, where I was almost even with the array, the sound was clear with good volume. Of course, narrower angles are better, but this unit will have no problem playing in the open space I’ll be playing.

Talk About Bang for the Buck!

The sound is great, but I have to tell you, I was ready to get the Bose L1 Compact, which is a great unit, but the mere fact that if I wanted more EQ control and other features, I’d have to spend another $499 really soured my taste for the unit. On the other hand, Fishman has packed all sorts of features into the SA220 that make it hands-down the better value. Independent 3-band EQ for each channel, phase and anti-feedback control, 4 types of digital reverb, a mute switch (that is REALLY handy!), independent balanced XLR outs to go into a board, and my favorite feature: independent effects loop for each channel! You just can’t argue about with what comes built-in on this unit!

Overall Impression

It’s hopefully obvious that I love this unit! For me as a solo artist, it’s a true game changer! It’s light and versatile, and the sound is spectacular. What more could I ask for?

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Choosing Your First All-Tube Amp

Posted in Guitars, tagged , , , , , , , , , , on June 11, 2010| 16 Comments »

So you want to get a tube amp, but there are literally hundreds of manufacturers, not to mention, amps on the market. That can make for a rather harrowing experience in making a choice; especially if you’re new to tube amps. Plus, there are so many amp features to contend with as well. But have no fear. It’s not as hard as it may seem on the surface as long as you take some things into account.

1. Tone is king!

The most important thing to keep in mind in your search for a tube amp is that YOUR opinion of the tone of an amp is the most important opinion of all. By all means, listen to the input of others to help guide you, but in the end, you need to make your decision based upon how good an amp sounds to YOU. To formulate an opinion, you have to play several. And for goodness sake, don’t buy anything unless you’ve heard it in person.

2. Sound clips don’t tell the whole story…

Bear in mind that sound clips are great as an initial reference, but that’s all they should be. And make sure to listen to clips that have been recorded with the raw sound of the amp; that is, the plugged straight into the amp, and no EQ on the recording medium. Be especially wary of clips of fully arranged songs where a particular amp was used because more likely than not, even if the amp was recorded straight with no pedals in the chain, the other instruments and the EQ of the song can interfere with potentially negative aspects. Nothing beats listening to an amp live or raw.

3. Higher cost doesn’t mean better

Sometimes higher cost is well, just higher cost, and it doesn’t necessarily buy you much. I’ve played some pretty expensive amps that to me sound like crap, so don’t be lured into buying an amp by its price. Also, bear in mind that some amps simply have a higher price because a well-known guitarist actually uses one.

4. Don’t jump onto the boutique wagon right away!

In your search, you’ll come across people who’ll recommend all sorts of boutique amps. Don’t jump there immediately. I recommend this mainly because a boutique amp will fix you into a certain tone or range of tones. That’s NOT a bad thing at all. It just means that they serve up a certain flavor of tone and they’re good at that; not wanting be so versatile. For instance, my Aracom PLX18-BB Trem is a great example of a fairly focused tone with its abundance of mid-range, and smooth and creamy breakup. This amp was built based upon the classic 18-Watt Marshall Plexi, which has distinctive tone and dynamics. It’s not muscular at all, and was never meant to be. Contrast that to my Aracom VRX22 which, while based upon a Marshall Plexi design is A LOT more “ballsy” with a fatter bottom end, and slightly compressed overdrive. As a foot-switchable 2-channel amp, it is much more versatile and is my “go-to” amp for gigging.

In addition to the focused tonal characteristics, boutique amps in general cost significantly more than their mainstream counterparts; let’s face it: They’re investments. But like any investment, you should choose wisely, and go more generic starting out to get an idea of what tone you’re after. A good place to start is a low-cost tube amp, and there are several mainstream tube amps on the market that cost under $500. Some of them, like the Peavey Windsor Studio or Egnater Tweaker will allow you to change power tubes to change tone and dynamics. For instance, a 6L6-based amp will sound quite different than an EL34-based amp or even a high-gain 6V6. Amps like this let you play a bit. Here’s an example list.

VOX Night Train $499
Blackstar HT-5H  $399
333 Amp JCA20H  $333
Epiphone Valve Jr. $129
Egnater Tweaker  $399
Blackheart Little Giant  $199
Fender Blues Jr. $499
Fender Champion 600 $149
Peavey Windsor Studio $399

I started out with a Fender Hot Rod Deluxe myself. I got it before Fender did their price hike last year, so I got it for a great price. It’s a great starter tube amp, and really an unsung hero among amps. But with the right tubes and a replacement speaker, that amp can keep up with many of the boutique amps out there. It’s more pricey than what I listed here, but you can find used ones for around $500. It’s also loud as hell, which makes it viable for doing lots of different venues.

5. Don’t rush… Try learning how a tube amp operates…

The worse thing you can do in making your first tube amp purchase is rushing into it. As I mentioned above, try out several before making your decision. The best advice I ever got was from Noel over at Tone Merchants in Orange, CA. I told him I wanted to get a tube amp, but he insisted that I take my time, and in the meantime get a Fender Hot Rod Deluxe because it was tweakable. That turned out to be the absolutely best advice I had gotten from anyone, and it saved me thousands of dollars. Buying that amp gave me time to learn about how tube amps operate and form an opinion on what I’d like different.

6. Use the buddy system to evaluate an amp

By all means, play through the amps that you are evaluating, but something I’ve found very useful in evaluating amp settings is to have someone else play while I tweak. When I did the Dumble amp video series, I had the fortune of the great Doug Doppler playing so I could REALLY get how it sounded. That’s sort of rare, but even when I’m in a Guitar Center, I’ll sometimes walk up to some dude playing an amp I’d like to evaluate, and ask him if I could tweak while he plays. It’s a great way of quickly evaluating an amp’s capabilities.

So… Not rocket science by any stretch of the imagination, but useful, practical advice that you can hopefully use to your advantage.

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Waiting on a Piece of Rock ‘N Roll History

Posted in Guitars, tagged , , , , , , , , , , , , , on June 9, 2010| 2 Comments »

I’ve always had an appreciation for vintage gear, though the most “vintage” that I’ve ever gone is purchasing several sets of NOS tubes over the years. And quite frankly, though I’ve appreciated vintage gear in general, I’ve never been compelled to be a vintage gear collector as I’m an active musician who uses his stuff all the time.

But despite that, I have wanted to get an 50’s tweed Champ for quite awhile. I love small, low-powered amps, and the tweed Champ from the 50’s has been on my list to get for quite some time. After all, that little amp has been used in studios around the world for recording hundreds, if not thousands of Rock ‘N Roll songs.

My only problem with ever getting a tweed Champ was that I didn’t want to spend upwards of $1500 for a mint-condition unit, which is what these puppies go for. And since I’d use it as a player, I’d have to make modifications to it as soon as I got it to make it safe and usable with different cabinets; thus immediately reducing its value.

But luckily there are tweed Champs out there that aren’t in pristine shape, and they’re low enough in cost to warrant consideration. My criteria was that the amp had to work. Period. As long as it did, I wouldn’t have to do too much once I got it. So I found a ’58 Tweed Champ on eBay for a decent price that was missing the back plate, but was still in great working condition, so I purchased it, knowing I’d have to do some mods to make it safe, plus add some longevity to it.

Right now, it’s on transit here, and should arrive tomorrow – I’m so excited! But I will not plug it in until I have a few things done to it, that my good friend Jeff Aragaki of Aracom Amps will be doing:

  1. First of all, it still has the original two-prong plug. Jeff will install a three-prong grounded plug in it – I’m probably going to go with medical grade on this just to be extra-safe.
  2. It was clear from the pictures that a couple of the original capacitors had leaked a little, so they will be replaced with Sprague caps.
  3. The speaker is also hard-soldered to the amp output, so I’m having Jeff install a 1/4″ female jack so I can use different cabinets with the amp.
  4. Finally, Jeff will create a simple backplate to provide some protection to the electronic components.

All of these “mods” will be reversible, so at least I can retain some value in the amp should I ever sell it. However, I probably will keep this amp forever. I don’t even have it yet, and it still holds some nostalgic value for me. Can’t wait until it arrives!

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It’s Always Nice to Be Surprised…

Posted in Guitars, tagged , , , , , , , , , , , , , , , on June 8, 2010| 4 Comments »

I broke the guide post on one of the 6L6 tubes in my trust Fender Hot Rod Deluxe awhile back, and even though the tube still worked just fine, I used it as an excuse to get a new set of power tubes. So after doing a search around the Internet for a new set of 6L6’s, I found myself on Brent Jesse Recording’s (audiotubes.com) site, looking for some NOS replacements for the JJ’s I had in there.

Not knowing what to purchase, I called Brent up, and asked for his recommendation. Surprisingly enough, he recommended a set of Groove Tubes. I said, “Groove Tubes? I can’t stand ’em.” But Brent explained that these particular Groove Tubes were not the imported, relabeled stuff from Russia or China. They’re re-issues of RCA and GE black plates made from NOS materials and constructed here in the US. Intriguing. I’ve purchase a few sets of tubes from Brent in the past, and he has never steered me wrong, so I decided to take a chance and get a pair.

The tubes arrived yesterday so of course, I just had to install them. What’s the verdict? They sound absolutely KILLER! The big test for me – especially with NOS tubes – is to run them full out to see how they break up. The problem I’ve had with late model power tubes in general (but especially with 6L6’s) is that they feel stiff and the breakup can be a bit harsh.

To me, NOS tubes have always felt much more smooth and dynamic. These Groove Tubes tubes are a huge exception to late model tubes. I can’t believe just how nicely these re-issues break up! The distortion is creamy smooth and slightly compressed with nice bloom and sustain without being too squishy – just how I like it! Caveat: They’re not cheap. These tubes are $80 for a matched pair, but they’re worth every penny! I just ordered a second set for spares since these tubes are limited quantity. They may not necessarily be NOS tubes, but as they’re made with NOS materials, there is definitely a limit. So if you’re looking for new production tubes that sound absolutely fantastic, you gotta check these out!

A word on the Fender Hot Rod Deluxe

It’s my contention that the Fender Hot Rod Deluxe is one of the most underrated amps on the market. Okay, I admit it: Stock it doesn’t sound all that good. But with the right tubes and the right speaker, it can sound incredible! Granted, a year or two ago, I wouldn’t have even considered buying this amp because of the huge price hike. I got mine on special for something like $550 in a blowout sale a few years ago. But the prices aren’t all that bad now. They’ve come down significantly from their nearly $900 price tag, and you can find them for around $649. Admittedly, it’ll probably cost $300-$400 more in tubes and replacement speaker, but what you get is an AWESOME amp. I’ll have clips in a few days.

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Gear Find: Li’l Dawg Amps

Posted in Guitars, tagged , , , , , , , , , , , , , , on June 2, 2010| 2 Comments »

Being “GoofyDawg,” it’s always cool to find gear with the “dawg” moniker. 🙂 So when I came across Li’l Dawg Amps on one of the forums, I had to check out their web site. All I can say is, “Wow!!!” The reason for that is because I was completely blown away by the prices of these handmade amps! For instance, a 5F1 Champster (based on the 5F1 circuit) in a metal lunchbox enclosure is only $399! After seeing the prices of his amps, I had to get the low-down on the low prices, so I called Jim Nickelson up.

The story of how Li’l Dawg started is actually really cool, and Jim tells the story well in his Story page. What started out as a labor of love turned into a full-on amp business. What a way to retire! This was “supposed” to be a hobby. 🙂 Well personally, I’m glad he took up the hobby because many people have benefited from it.

Jim’s approach to Li’l Dawg is no-nonsense. He can keep the price down because he does all the work himself. He doesn’t advertise, which is another cost saver, and he’s worked out a product system where he turn around an order within 2-3 weeks! That’s amazing as most single man shops typically take months to complete an order.

But what about the amps? Well, I haven’t played one – yet. But Jim specializes in classic Tweed circuit amps, like the Champ and Deluxe. The model that I’m particularly interested in is a hybrid amp that has a 5E3 preamp (replete with jumperable inputs – nice) and a 5F1 power section, called “The Mutt.”

Now, Jim could probably just stop there and produce reproductions, but he has some nice added touches with his amps, such as Mercury Magnetics or Heyboer trannys, Sprague caps, and choices of steel or aluminum chassis.

As Jim shares, he wants to create a “candy store” experience when people choose an amp, and provide a basic foundation from which options can be added. So very nice, indeed! Then when you see the prices well, how could you not consider one of these amps?!!!

In any case, here are a few clips of the Mutt to whet your whistle:

Bright Rock Style

Clean, Chords

Jumpered

I don’t know about you, but that has TONS of classic rock mojo going on! Can’t wait to try one out! Or maybe I shouldn’t – I just may leave with an amp. 🙂 Well, that’s NEVER a bad thing. 🙂

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Doug Doppler on the Dumble Overdrive Special: Episode 4

Posted in amplifiers, amps, doug doppler, dumble, GAS, gear, gear reviews, guitar, guitar gear, guitar gear reviews, Guitars, Mullard, musicians, tagged , , , , , , , , , , , , , , , , , , , , on May 14, 2010| 6 Comments »

Dynamics. It’s what separates a mechanical  and boring piece from something that can move an audience to tears. In this episode, Doug talks about the incredible dynamics of the Dumble Overdrive Special.

This is the last video in the series of Doug Doppler on the Dumble Overdrive Special, but it’s not the last. I’ve got many more “Doppler on…” videos to come, so stay tuned!!!

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Doppler on the Dumble Part 3: Shred on a Dumble!!!

Posted in doug doppler, dumble, GAS, gear, gear reviews, guitar, guitar gear, guitar gear reviews, guitar reviews, guitarists, Guitars, Music, musicians, nighthawk 2009, tagged , , , , , , , , , , , , , , , , on May 12, 2010| 7 Comments »

That’s right! As I mentioned in episode 1 of the series, the Dumble can shred, and it sound unbelievable. In this part, Doug talks in-depth of the tonal capabilities of the Dumble amp and demonstrates it versatility by shredding on it!

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Welcome to GuitarGear.org!

Posted in Guitars, tagged , , on May 10, 2010| 4 Comments »

Welcome to GuitarGear.org! Established in January of 2007, we’re still going strong and growing! I want to personally thank everyone for their support! You’ve made this site what it is today, and that’s a major destination for finding out about gear. I invite you to explore the site! There are over 900 articles and discussion on gear and the number grows each day. If you want to keep up to date, please use the subscription area to your right! Cheers!

~GoofyDawg

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