I’ve demoed one of those in the store (the plainjane yellow one, not the distortion green one). I thought at straight-up clean tone it wasn’t loud enough for me though gain tones were better. YMMV. Perhaps the black one is a good balance, they didn’t have one when I looked.
I have the Gold TR10. I don’t play with other amplified instruments. It would get drowned out in a jam session.
I get away with the low volume in church because it’s just me & my vocal. Sometimes the choir leader plays acoustic piano.
That sounds pretty good. So much cool stuff available at relatively low prices now.
OP, here’s what a 50’s tweed deluxe sounds like, all 12 watts of it. Larry Carlton playing a Gibson ES-335, allegedly straight into a 57 Fender Deluxe. Steely Dan’s Kid Charlemagne. It must have been fucking loud in that studio.
The only review of the amp that the OP mentioned (and is secretly lusting after) is from a guy that bought it specifically to play in his bedroom.
Milkman? Now there’s a badass name for an amplifier company…
Your link takes me to the OP’s link for the amp.
You’ve obviously never played Psychonauts.
OP, I wouldn’t dive right into a boo-teak purchase like this if you’re just getting wet on tube amps. Go get a Blues Junior to start. Loud enough, tough enough. Goose it with a pedal for more juice, it’ll do great. Once you’re acclimated, branch out.
I can understand why “handmade” is desirable for products like furniture or jewelry, but why is it so good for an amp? Does it sound any different than an amp with a printed circuit that came off the assembly line?
I meant “handwired.”
It’s claimed that yes, it changes the tone. I’ve no dog in that argument.
American-made Fenders, and Gibsons, Martins & Taylors are high end stuff that costs roughly 1000 - 8000 dollars apiece, if the even pricier antiques are left out. Very few professional, let alone big name artists, use basic, low-cost instruments and amps, in the couple hundred bucks price range.
I guess it depends on what you call high end. You can buy a basic Fender or Yamaha for $200. I don’t think $1000 is high end since there are guitars that cost way more. But I agree $3000 and up is high end. And you can get lots of very good stuff for up to 50% off used when kids get tired of playing after a few months.
Heh, no. I’ve been planning to buy this guitar here, and would probably also buy one of the same-branded amps, were they not made only for European 230v. (If you’re unfamiliar with Harley Benton, here’s the video that turned me on to them.) I’ve never gotten into the “vintage” tone thing. I just happened to be browsing combo amps and the name and price of the Milkman caught my eye and made me say, “Wha?!”
I’m actually most likely to just buy a computer interface and use a software amp, since apartment living means I’m just going to be playing through headphones anyway.
I you want the shred + echo tone from that video, you’ll do fine with amp model software. GuitarRig, Amplitube, whatever.
I think the benefit, or at least one of them, of point to point hand wiring is serviceability.
Well, I’m certainly no shredder - I never really enjoyed trying to play lead guitar; I always preferred rhythm, largely because I sing, too. I think liking rhythm is what led me to the bass. But being more of a rhythm player is why the actual guitar I want is the one without the whammy bar. Though they’re not technically the same guitar. As the video mentioned, the Floyd Rose version has 24 frets and a “Fender” scale, while the other has 22 frets and the shorter “Gibson” scale. That actually suits me, since I’ve been playing a Gibson acoustic for 40 years (I have a 1968 Gibson BN-25 that my grandfather gave me in 1980 when he was drunk.)
hand wired is more expensive than a PCB and most people think expensive stuff is better. They cannot hand make tubes, resistors , speakers, etc so hand wiring is about the only thing they can do by hand.
And hand wiring everything usually results in poorer performance vs. a PCB. This is primarily due to the extra inductance and resistance of the long wires. Long wires can also cause EMI and capacitive coupling problems.
Well, you should be thinking about what rhythm tone you do want, which will lead you to what equipment you need. Classic rock crunch ain’t the same rhythm tone as metal crunch per se. You pick your goal and that informs your tools. That said, do the software thing (it’s cheap seats compared to amps) and see where that takes you.
You did well, padawan, skipping the Floyd Rose. Horrible, tone-sucking things and you need an allen wrench to fix a busted string. Yeesh, nightmare.
25 1/2" scale (Fender) vs 24 3/4" scale (Gibson). Honestly you probably wouldn’t tell the difference, though that difference supposedly informs the tone of the instrument. Which makes sense to me – the tension on the strings are different. I have both, in fact all three since PRS uses an in-between scale length.