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One very major problem with the combos was that they fitted 60W speakers to 80W amps - I actually spoke to the chap at Trace about it and questioned if that was sensible, after they'd sent some replacements which were the same. He said they "were meant to be like that so you got the sound of the speakers being pushed hard". Which is OK up to a point... and with valve amps. With a solid-state amp that gets turned up all the way it's just idiotic . Then the fried speaker would frequently cook the power amp as well. Doh.
The all-valve ones were laughably unreliable, yes - a combination of the same sort of "run it too hot" design fallacy and simple poor build quality.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
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I also have a Marshall V265, which sounds excellent. Have quite happily gigged next to valve amps and has easily kept pace. It also weight half of a valve amp of its size and is open back so you can shove your pedal board and beer in the back.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
On the other hand you can go vintage and save a bit of money too...specifically thinking early 80's Peavey's like the Special 120w combo, which you can easily convert into a head. Or what I have now, an Acoustic 150...by far the best sounding solid state amp i have played and works perfectly with all pedals.
Interestingly this is much more similar to how valve amps are designed, although they use an output transformer rather than a cap of course. I've always wondered whether it's simply this similarity which makes Acoustics sound so good, but they really do - for bass too.
The one serious disadvantage is that if that cap ever fails, you can instantly say goodbye to your speakers - I know someone who had this happen with a quite expensive JBL cabinet...
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
But I still say look for a marshall mosfet lead 100 - looks and sounds the part
I had the SuperTramp Tube 100w version and it sounded great.
Was totally reliable for the 12 years I had it and it is still going strong with its new third owner.
Horror stories just do not apply to my version so I must have got lucky.
Ive had the yamaha thr100 and it was glorious but didnt cut it in a band situation.
Used the orange cr heads and combos at festivals and rehearsal rooms and they arent half bad. But the quilter pro block i have is better clean wise and takes pedals beautifully.
Had one of the old yamaha G100 which I think was a 2x12 in the 90's. used it for 10 years with no problems and always sounded good with my ancient Korg a4 fx processor!!
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein