WILL they cease to exist?

are tubes going to be obsolete?

  • yes

    Votes: 3 10.0%

  • no

    Votes: 17 56.7%

  • why dont you find a real hobby

    Votes: 2 6.7%

  • pizza for 300 Alex

    Votes: 5 16.7%

  • Norm really works for Godin in the Marketing Dept. ;)

    Votes: 3 10.0%
  • Total voters
    30
When I played all these last week ......

Amp Heads.jpg

Tonight being the last hour of the week , this one is the best!

Tweed Champ.jpg

One Knob, it really doesn't need another, it's either Off, Loud, Or Surprisingly Very Loud! Just wire, wood, fingers and heart.

Tweed Champ 2.jpg
8" speaker, recorded with an SM57, sounds like a Marshall stack or pristine, uncorrupted clean w/presence. Your choice
 
Vox AC30 said:
When I played all these last week ......

Amp Heads.jpg
Click to expand...
I'm almost afraid to ask, but what's the hammer for?
 
One thing I've noticed over the years is, the biggest market for modeling and solid state amps are for bedroom players, beginners, and intermediate players. It's a huge chunk of the market. Like several have mentioned, they are a good stepping stone to move on from. Except the retardedly expensive Kemper, which has a useful place in the GB cover band setting. They are like the racks of the eighties, where you can switch between your "Dad Blooze" and your "Beyonce" sound on the fly.

As for anyone playing in any kind of live setting(maybe more original bands) and doing a serious amount of recording, they will have several tube amps at the disposal. Even the bass players. I've played with guys that have Hartke heads, and they sound like crap. They are a very late '80s sounding amp, and they do very little else. Old Acoustic 300 and 360 bass heads are very good sounding bass amps, but need the right speakers to sound correct. And, they are bloody loud when they actually start to sound good. They are one solid state bass amp that will rock the house, and are very impractical. Granted, my current bass player has one, along with his Ampegs, Oranges, and Marshalls. But seriously, for recording, most bass will always be DI. Sometimes, the bass rig will be in an iso booth with a mic or two in front of it, and a DI box. Sometimes, you really need the speaker flub on a bass track. So, I think the one is better is a moot point with bass amps, but more personal preference. I personally prefer the sound of a Hiwatt or Marshall tube amp for bass, which is preferably a Rickenbacker or Thunderbird. Again, personal preference.

Guitars, on the other hand will not be recorded with a DI. That's why old tube amps like Fender Tweed Champs, Deluxes, and Princetons, along with old Selmar, Gibson, Ampeg, Watkins, Vox, and many other old low output tube amps are essential. You are not going to replicate the sound of a Tweed Deluxe with long plate RCA tubes. Also, with low output tube amps wound up to the max, you'll get a sag that you can't get out of solid state, especially when running a tube rectifier. That's why when you see one for sale you're bidding against Neil Young, Joe Walsh, and several other people who know exactly how to use them. Their paychecks depend on that kind of gear so that they sound consistently the same as they did in 1975, or even 1965. My own experience in studios has dictated everything from Gibson Skylarks to Marshalls and Hiwatts running in stereo, with room mics grabbing the overall sound. Also, a good sized stage is a fun place to wind up an amp. Those venues are becoming less, but it's still fun to be "that jerk" who brings in a Hiwatt.

One thing I noticed to by going to the amp club in Cambridge, is that younger players want good tube amps. They'll buy a Fender Blues Junior because it's reasonable, but not cheap. Until it fails, and they realize it's cheaply made. Then Tim turns them on to a cottage industry of replacement boards specifically for Blues Juniors, and they can upgrade it to a great sounding tweed amp. Then they go into the rabbit hole of trying to find better quality tubes that are more reliable. All they want is a good tube amp to play out with and record with, because all the solid state stuff they had been using sounds like poop. These are all good players who are industry savvy, and are getting out into different forms of media I would have never thought of of. Thirty years difference in age shows sometimes.

Like everything, they have a purpose. Tubes won't go away. Just like points have not been replaced in many old cars and bikes. Yeah, solid state ignitions may run a bit smoother. But, when they fail, you're stuck on the side side of the road. With points, if you know what you're doing you are getting home. Just like a valve amp. When solid state fails, it's in the trash. With valves, you can fix it and play again.

I'll keep all my tube amps. Almost all of them have NOS tubes from the about the year they were made. They are very good quality, and will probably last in the amps as long as I still have them. They work for me. I love the sound. When I have time, I'll tinker with them a bit, but they are what they are.
 
Last edited:
SG John said:
One thing I've noticed over the years is, the biggest market for modeling and solid state amps are for bedroom players, beginners, and intermediate players. It's a huge chunk of the market. Like several have mentioned, they are a good stepping stone to move on from. Except the retardedly expensive Kemper, which has a useful place in the GB cover band setting. They are like the racks of the eighties, where you can switch between your "Dad Blooze" and your "Beyonce" sound on the fly.

As for anyone playing in any kind of live setting(maybe more original bands) and doing a serious amount of recording, they will have several tube amps at the disposal. Even the bass players. I've played with guys that have Hartke heads, and they sound like crap. They are a very late '80s sounding amp, and they do very little else. Old Acoustic 300 and 360 bass heads are very good sounding bass amps, but need the right speakers to sound correct. And, they are bloody loud when they actually start to sound good. They are one solid state bass amp that will rock the house, and are very impractical. Granted, my current bass player has one, along with his Ampegs, Oranges, and Marshalls. But seriously, for recording, most bass will always be DI. Sometimes, the bass rig will be in an iso booth with a mic or two in front of it, and a DI box. Sometimes, you really need the speaker flub on a bass track. So, I think the one is better is a moot point with bass amps, but more personal preference. I personally prefer the sound of a Hiwatt or Marshall tube amp for bass, which is preferably a Rickenbacker or Thunderbird. Again, personal preference.

Guitars, on the other hand will not be recorded with a DI. That's why old tube amps like Fender Tweed Champs, Deluxes, and Princetons, along with old Selmar, Gibson, Ampeg, Watkins, Vox, and many other old low output tube amps are essential. You are not going to replicate the sound of a Tweed Deluxe with long plate RCA tubes. Also, with low output tube amps wound up to the max, you'll get a sag that you can't get out of solid state, especially when running a tube rectifier. That's why when you see one for sale you're bidding against Neil Young, Joe Walsh, and several other people who know exactly how to use them. Their paychecks depend on that kind of gear so that they sound consistently the same as they did in 1975, or even 1965. My own experience in studios has dictated everything from Gibson Skylarks to Marshalls and Hiwatts running in stereo, with room mics grabbing the overall sound. Also, a good sized stage is a fun place to wind up an amp. Those venues are becoming less, but it's still fun to be "that jerk" who brings in a Hiwatt.

One thing I noticed to by going to the amp club in Cambridge, is that younger players want good tube amps. They'll buy a Fender Blues Junior because it's reasonable, but not cheap. Until it fails, and they realize it's cheaply made. Then Tim turns them on to a cottage industry of replacement boards specifically for Blues Juniors, and they can upgrade it to a great sounding tweed amp. Then they go into the rabbit hole of trying to find better quality tubes that are more reliable. All they want is a good tube amp to play out with and record with, because all the solid state stuff they had been using sounds like poop. These are all good players who are industry savvy, and are getting out into different forms of media I would have never thought of of. Thirty years difference in age shows sometimes.

Like everything, they have a purpose. Tubes won't go away. Just like points have not been replaced in many old cars and bikes. Yeah, solid state ignitions may run a bit smoother. But, when they fail, you're stuck on the side side of the road. With points, if you know what you're doing you are getting home. Just like a valve amp. When solid state fails, it's in the trash. With valves, you can fix it and play again.

I'll keep all my tube amps. Almost all of them have NOS tubes from the about the year they were made. They are very good quality, and will probably last in the amps as long as I still have them. They work for me. I love the sound. When I have time, I'll tinker with them a bit, but they are what they are.
Click to expand...
That all sounds pretty good to me... (y)
 
Even if one day in my lifetime they figure it all out, like how to do it with current instead of tube voltage I'd still stay with tubes since it won't happen in my lifetime. Eventually someone will figure it out! There was a time, with all this reissue stuff, that I wanted nothing more to say to the vintage dealers, FU, now we don't need your pricey amps and guitars anymore! And every time another reissue came out I'd take an original out to Sam's Ash or GC to see a last man standing kind of thingy and it was never even close, ever. First time was the Tweed bassman, Sammy Ash was right there, the young one BTW, and said that's some amp you got there, and I'd look at him and say but the reissue was not even close. Another time when Fender did the reissue 65' Strats for 3K-4K+ the guys would call me to tell me about them. Of course I went right over with mine and hand it to them while I played their reissue, after 10 minutes the look on their faces that they felt they got ripped off made me feel horrible. Thing is the reissue was an excellent guitar and sounded good BUT it was no 65' strat and was between $3-4K which is a pretty good amt of money for a new strat that it should of been an equal. Same with the 61'SGLP reissues, anyone in the store was invited to play the original as I wanted their opinion, Deja Vue all over again. Now the handwired Vox AC15 was a blast to play in the store, just a lotta great sounds, yet again the following week took an original there took the wind out of everybody's sails who tried them out. Made a slew of what became good friends, playing in all the bands on Long Island doing that, and ended up being mates to this day. Here in FloriDuh anyone I speak to about this stuff I love, well nobody knows what I'm talking about so I guess I vent here. So pay me no mind as I ramble on.

John, when I first got into AC30's and everything else Vox I would go over the Mass Ave Charles River bridge to Cambridge, pass Cambridge and Harvard, and MIT further north a mile or so and bring my Voxen to Roy at " Goodesound " and he had a friend in the same building who did guitars, I remember his name was Jim. He and Roy were great friends< would you know them? They were very good at what they did and were close to the same age so I thought to ask!
 
Vox AC30 said:
John, when I first got into AC30's and everything else Vox I would go over the Mass Ave Charles River bridge to Cambridge, pass Cambridge and Harvard, and MIT further north a mile or so and bring my Voxen to Roy at " Goodesound " and he had a friend in the same building who did guitars, I remember his name was Jim. He and Roy were great friends< would you know them? They were very good at what they did and were close to the same age so I thought to ask!
Click to expand...

Did not know Roy, but that’s probably Jim Mauradian you’re referring to. The man was a wizard when it came to guitars. He made the Mauradian basses that Chris Squire played. Unfortunately, he passed away a couple of years ago. It was a real sad day in Boston. His son John still runs the business, but he does not have the magic touch that Jim did. He was also an amazing musician, and backed up Ronnie Earl and many others.
 
Yeppers, that's him and Roy did all the amps of anyone whose anybody. One visit I recall him telling me Ronnie was " cut off " for a while since he couldn't pay for his amp repairs. I said he's well known why wouldn't he be happy to pay? I should of known when he replied It goes up his nose! Small world, since Roy had the same magic touch with anything amp/guitar electronics. I remember him sayin Aerosmith keeps him so busy, with every amp ever made! Small world … loved the Cambridge area as I met so many British and USA stars in the streets just hangin out there, Gong, UK, Queen the list didn't end. It was a very happening area around 79' probably still is. Now that hammer thing I'll field later in yet another day of sequestration. Very cool forum here as I've had the same discussions but in different areas of the country and we decided to keep clients names discrete from each other as it should be done!
 
No no and no. When I looked at this house to rent the manager knew me somewhat. So he said I know who you are and what you can do, so you can do anything you want to the house. Told him he'll get a daily list, hell I was just retired anyway. So I took the sliding glass door out of the dining room and the window system out of the living room and switched them. This stuff was the real Asbestos too. As I had to make one cut with the circular saw and what I smelled was the real nasty deal> luckily only one cut. Put a new kitchen floor and cleaned the sloppy paint job off the cabinets. Rescreened the Lanai and a new door in there, fixed everything, painted, the full nine yards. So one day the manager comes over and sees the big hole in the living room wall. And he goes, why did you pick the worst house of the bunch. I started laughing to myself snickering.... I say Look out of that hole and tell me what do you see? No answer, and I go the Atlantic Fuk'n Ocean. People all around this town are paying a million bucks to get that beachside Ocean view. And me I'm givin you $925 a month for a 4 bedroom,2 bathroom, one car garage on the oceanview! So I gave my son the large dining room and I had the other 2 bedrooms as music rooms and the master BR for the bride and the groom! All Ed said is I have to raise the rent as he's looking at the Atlantic and shaking his head. I did the outside up perfectly too. Plumbing and electric as well …. got tired of all the neighbors telling me how I transformed the house. For Cripes sake I did it for 50 years even while going thru college up in Boston. Got thru college and then 10 years on the road all over the states, Europe and Japan. I hooked up with an agent the last year in school, got a call, immediately went out to Cincinnati and the rest was a dream come true and a complete belladonic haze until I started feelin like a " Road Rat " , after 10 years, no time off, and, needed a break to get my head together. Anybody who needed "Time off" for any reason got immediately replaced and that's how that worked!
So about that hammer, it mostly sat there since you couldn't make any time lest you used cordless nail guns and collated screw guns.
 
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