Peavey Classic 20 for BLUES

I have plugged it in and tried the controls on various settings.  First with the Fender Deluxe Lone Star Strat and secondly with the Epiphone Riviera Custom P93.  The two EL84 and two 12AX7 Mullard tube replacements and the WGS G10c/s speaker provide a smoother, earlier breakup-- perfect for the blues guitar.  I actually anticipated a little more headroom, but I was able to mix it clean with no problem at all.  I turned the master to 3 o'clock and the volume set to to 9 o'clock, which cleans it up nicely and will allow me to play it at church on a mic to the PA system.

This amp was built in Meridian, Mississippi, in the good ol' USA!  I love American made musical instruments and equipment and they are getting harder and harder to afford, these days.  The amp came with the original owners manual/guide with some great information, such as how to mix the amp for clean, metal and blues. In the shipping box I found the seller had placed the original warranty cards/documents with the sign offs for quality assurance by the experts that built the amp!

I love the overall tone of this amp.  Truly, this will be my favorite amp ever, and I am including the Fender Blues Junior I sold-- though a great amp for clean headroom, in my humble opinion it is too loud and shrill without early enough distortion, and the VHT Special 6 Head and Cab, which I also sold because it, too, had to get too loud to get the breakup I needed for blues.  I will continue to use my Vox AC4TV10 for low volume practice, the Crate Vintage Club 20 for gigs requiring more volume and the Fender Deluxe 90 DSP amp when I need a lot of volume and great Fender clean tone.

I am ordering the gold Peavey logo badge in its original form because I love keeping things stock.  Some Classic 20 lovers remove theirs, I assume for an image purpose, but I like the look of completion that it will bring.  I am amazed at the condition of this amp built in the 1990's!  These things are solid.  The seller was very professional, removing the tubes and wraping them separately.  I enjoyed the ease in installing them in the amp.  So simple to reach in there and gently rock them in place. Also, the newish set of JJ tubes he had tried in the amp were also included in the shipment, in case I want to give them a try.

One of the things I love about this amp already is the open back for sound and, in addition, access to make tube changes.  The chrome chassis is beautiful, too; like the chrome bumpers on cars I remember longingly from the 50's and 60's.   The tweed tolex is gorgeous and in excellent condition, particularly given its age.  

My vintage Peavey Classic 20 is my new favorite amp-- hands down!  Point your mouse and click on the pictures to enjoy a better view of each one.  -- Guitar Man

Peavey Classic 20 Tube and Speaker Swap

Here is my Peavey Classic 20 15 watt tube amp.  It is a Class A with two 12AX7 and two EL84's.  The tubes were replaced recently by the individual I bought it from with a matched set of Mullards and the speaker has been replaced by a WGS G10 c/s, which I have researched a bit.  It is designed to smooth out the breakup and allow the amp to gain more clean headroom, while still achieving nice bluesy tone.  The tubes reduce the power output approximately 15-20%, also allowing for more versitile usage of both clean and overdrive sounds, as needed.

I will be pleased to use this amp for small gigs and plan to look for a 1X12 or 2X12 extension cabinet that will allow me to play this in a larger gig/venue. 

More pictures to come later.  Stay tuned blues guitar friends! -- Guitar Man

Crate Vintage Club 20 All Valve Amp

I received my new, but 30 year old amplifier, today in the mail.  It is a CRATE VINTAGE CLUB 20, Valve Amp. It is USA made in St. Louis, Missouri.  You can't touch a 15-watt valve amp of this quality retail in today's world for less than $450.  It has three 12AX7 preamp tubes and two EL84's in the power section. I took it out of the box and plugged it in. After noodling with the settings a bit, I started playing it clean with the gain low (7:45) and the volume a bit higher (9 o'clock). It has a nice full, clean sound with my Strat on the neck and mid PU's. I was amazed at the original condition of it for 30 years.  A great blues sound was had on my Epiphone Riviera P93 Limited Edition.

Very little hum-- much less than my AC4TV10 which is fairly quiet. It has a very nice, classic sounding reverb (better than my Boss '63 Fender Pedal) and plenty of low end for a 10" speaker, with 15 watts. I tried pushing the increased gain button to go to 20 watts, but I didn't need anywhere near that volume or power in the house.  Initially, I tried it with the gain high and it sounded very Marshall-ish and warm with natural tube distortion. A little scratchiness is detected in the gain pot and a very tiny tube rattle for a moment when I was distorting it on higher volumes, but nothing to worry about in either case.

If you read my blog, you know I love to play old blues songs by the likes of Elmore James and Albert King. I am going to love this amp and I don't need to do anything right now to improve it, which I am surprised about. A great seller and true to his word. I bought it for $139 plus $45 for shipping 1500 miles. My new favorite tube amp! -- Guitar Man

Vox AC4TV 10 Tube Swap

7:45 p.m. - I just had my Vox AC4TV retubed, thanks to my good friend Tavo Vega.  He knows his guitar amplification and was kind enough to diagnose the microphonic tube noise I was hearing when I plugged in and turned it up!  He ordered and installed a new Tung Sol 12AX7 pre-amp tube and a new Electroharmonix EL84 power tube.

Soon I will plug it in and see how it sounds.  In the meantime, here is a picture he sent me inside my VOX AC4.  I will post more when I have the chance to see the effect of this change of tubes.  Thanks Tavo!

10:30 p.m. - After getting my Vox AC4 back with new tubes already installed:  I plugged it in, grabbed my Strat and started playing with the knobs.  I found that with the new tubes it had a more open sound and a greater spectrum of sound choices I could dial in.  There is definitely more clean at a higher volume when setting the attenuator on 4 watts and setting the tone on 3 o'clock (75%).  It is a brighter sound overall and rocks quite a bit more.   Maybe a slightly less warm tone generally, but still retains plenty of Vox Chime.

Overall,  the tubes improved the sound, giving the knob adjustments control over more contrasting settings.  I bought this amp to play blues guitar, so if I want to overdrive the gain by reducing the tone to 10 o'clock I can enjoy the breakup.  Using the 1/4 watt setting still allows blues tone at a much lower volume for quiet home practice.

I recommend these tubes and am grateful to Tavo for his expertise.  Great, inexpensive mods. 

Fishman Loudbox Mini Exceeds Expectations

 

Picked up a Fishman Loudbox Mini (LBM) yesterday and I am really excited about the quality and size of this little workhorse.  I was able to get it out the door, tax included, for $299.00, which is unheard of!  My hat is off to Sam Ash Music for making that deal for me.  They saved me $60.00!

I was planning to buy one on Ebay because of the discounted used models, but went to Sam Ash to play through one.  I fell in love and was able to A/B it with the Roland AC60, which for my money is a bit processed sounding.  Don't get me wrong, the Roland AC60 is a great amp as well-- I just felt that it didn't have the pure acoustic sound that the Fishman LBM possessed.

The Fishman LBM is unbelievably clear and gives a real representation of the sound of my Taylor 210ce-G.  It is a remarkably woody, clear sound, with the warmth of the wood, plenty of bass and a polished sound for stage when employing the reverb effect set on 10 o'clock.

I got it home, plugged in a Shure SM58 and my Taylor and starting singing and playing.  I was so surprised at how much volume it could generate in such a small package.  This thing is like gold; all of the reviews I had read were absolutely spot on!

The chorus is a very nice and not cheesy sounding effect.  This amp packs a punch while giving you a sound true to the genuine acoustic nature of your guitar.  Incidentally, I tried my semi-hollow Epiphone Riviera P93 through it and I don't think that guitar sounds as good through my Vox tube amp.  It was warm, balanced and clear as I played through the Fishman LBM.

I am going to recommend this amp wholeheartedly to anyone who would like a compact, light (under 20 lbs.) and high quality acoustic amp that doubles well as a PA.  Having the 60 watts and the ability to fill a good sized small room (coffee house) makes this a great purchase for the $300 it takes to buy it.  -- Guitar Man

Taylor 210ce Acoustic Lives Up to its Name

Taylor guitars are known for their excellent construction, quality materials, wonderful playability and tremendous sound.  In June of 2011 I bought a Taylor 210ce for $1,000, with a hard gig bag case included, and I couldn't be happier.  Let me tell you why.

This guitar plays magnificently.  I know what you are thinking-- this guitar is not one of their high priced, made in USA versions with the solid wood sides and back.  No, but it is a great instrument!  Taylor makes quality guitars and the plant in Mexico is right in step with the California shop just across the border.  The guitar neck is very comfortable and allows for quick and smooth changes.  I am able to get up in the high notes with a cutaway that gives you the freedom to bend strings playing blues runs.  It came with medium strings and I went ahead and tried light gauge.  I found that mediums play like lights, and yet give you a greater volume and solid, brassy notes that ring out.  I recommend the medium and you won't have a problem with the action on this great neck.

These 210ce guitars are build very well.  This guitar is airtight in its construction.  The joints are all well designed and put together, and the fit and finish are as great as their $3,000 models.   Examine the guitar and you come away knowing it was constructed with pride and expertise.  It looks fantastic.  I love the resonant sound that comes from a chamber that is constructed without bracing on the inside of the back, allowing more room for sustain and tone (this design reminds me of the Guild D25 arch back accoustic they made in Rhode Island in the 1970's).

The tone woods sound beautifully.  This guitar does have laminated rosewood sides and back.  Do not underestimate the value of the rosewood, because, though it is in a veneer state, the rosewood is a factor in the sound character of this guitar.  It possesses a full, warm sound that rivals the 310 or 314ce.  In my opinion, it sounds better than the 314ce, which I have played.  It projects loudly and has a brilliant clarity to each note and an overriding sustain to a strummed chord.  The solid spruce top is a carefully selected piece of wood with a tight and beautiful grain.  I haven't seen a better looking and sounding spruce top on either my Martin D28 or Guild D55, both of which are much higher priced instruments.

The electronics in this guitar sound great and allow for the natural woodiness to shine through.  The Taylor system amplifies the guitar in a way that does not compromise its clarity or sustaining warmth.  I am proud to play this guitar on stage through an acoustic amp or a PA system. 

The case is very nice, and though it is a bag, it has a hard construction where it counts so it reduces weight while stylishly protecting this beautiful instrument it carries.

The machines or tuners are the best I have on any of my axes-- it holds tune quite well.  No, let me rephrase that-- it stays tuned in a surprisingly satisfying way!  I think this is one of the best reasons to buy and use this guitar to perform.  This guitar's tuning doesn't slip and I attribute that to quality construction, coupled with the excellent tuners possessing a favorable gear ratio.  I can't emphasize tuning enough in recommending this guitar.

I love the dreadnought shape and its sound.  It is big and full, while not getting muddy in the low end.  It remains clear and it provides very nice single note leads.  The sustain is inspiring as you accompany lyrics with chording.  The sound is particularly tasty when finger picking.

My Taylor 210ce sits here on the left next to my Fender Strat.

I am a happy Taylor 210ce owner.  Though I have several USA-made high end guitars, the Taylor is my every day practice instrument and sounds like a winner on stage.  When I don't want to risk taking my more expensive guitars, I don't give away quality or sound to happily take my Taylor to a gig or jam session.  I give it an excellent rating.  -- Guitar Man

Why the California Reference in "Sweet Home Chicago?"

Now you have had the chance to listen to Robert Johnson's version of Sweet Home Chicago.

Johnson sings, "Back to the land of California, To my sweet home Chicago."  Now, I ask you: Why does Robert Johnson sing the line about California?

I did some research and found that the song is an adaptation of an old blues number by a blues man named Kokomo in the 1930's.  But in adapting this song and writing his own lyrics Robert Johnson clearly used the phrase of his own I quoted above with the reference to California.  Chicago is not in California!  What did he mean?

There are two options:  First, California represents the "land of milk and honey", or the promised land if you will.  Second, it could be that Johnson's geography training just left him lacking on his knowledge of the location of California and he associated it with Illinois in some way.  This is also a reasonable assumption, because with Johnson's tremendous talent, he was also a very young man at this point.

Reference:  http://blueslyrics.tripod.com/lyrics/robert_johnson/sweet_home_chicago.htm

Give the song a listen again as played by Clapton.  Awesome version!  -- Guitar Man

Sweet Home Chicago

I haven't been able to post since Friday, since I have been recovering from a routine Gallbladder surgery that didn't go completely smoothly.  I am doing slightly better and expecting to recover well, in time.  The parkinsonian disorder complicates situations such as this one. 

I have to get back to where I can press the guitar against my abdomen (if you think about it, the gallbladder is right under where you put your guitar against your body, especially in a seated position).

I am never far from my blues music-- have been enjoying my blues CD's and was really drawn to Sweet Home Chicago after hearing a blurb of the President singing it with BB King last week.  Great song by Robert Johnson.  Here is his version:

Rich Mullins - Hold Me Jesus (song about Tremors)

This is the studio version of Rich Mullins' song I lasted posted as covered by Phil Keaggy.  I relate to this song for some obvious reasons.  Going through much medical difficulty and the tremors that come from my disease, a rare form of Parkinson's called Striatonigral Degeneration, this song says it all.

Keaggy Plays Rich Mullins' Hold Me Jesus

I was watching this video of Phil Keaggy singing one of my favorite songs I have covered in the past, HOLD ME JESUS.  This guy can play, although the video isn't always really clear.  Still you can get a sense of his technique.  It appears he has removed the steel strings and installed nylon/classical strings on this instrument, which is a high end boutique guitar similar to the one James Taylor plays.

The lyrics on this song say it all for me, and others:  Hold Me Jesus, because I'm shaking like a leaf...

I think of my tremors and this song represents that emotion that comes from a movement disorder like the one I have.  Enjoy the video and give me your feedback if you get the chance.