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To be fair, I thought exactly the same thing about the last Celestion Blue I bought new, I was horrified at how bad it sounded, I wanted to return it but was denied by the store....it took a LOT of breaking in before I started liking it. There was a definite change.
Even after break-in though it was still no match for the '63 Vox/Celestion Blue I had refurb'd by recones.com. The 63 is on a completely different level.
It’s a long time ago but I recall that they always sounded good and cut through the mix on stage easily….
the current Blues are still made in the U.K……someone correct me if I’m wrong and it’s most interesting to hear your comments on the tonal difference between your recone and a current production version.
The recone would have used a new modern paper cone cone…….or did they have some originals ?
I think the current production Blue is a very good speaker and wouldn't hesitate to use one - I think they're in the same tonal area as my vintage examples and any differences is more due to age rather than construction.
I had the same impression of Rubys that @Dodge has, when I looked at some demos. That smoothness can seem very nice in a solo, demo context but it'll sound muddy and characterless once there are other instruments playing along.
The Gold can be nice or horrible depending on context. I didn't like the pair I had with an AC30 but loved them with a Marshall 2204 combo. And the Cream, despite being 90 watts, sounds fantastic at all volumes - the 15 Watt blue actually needs to be quite loud before the low end fills out, until then it's mostly shouty mids. The Cream, even at home volumes, gives a decent frequency balance. I have one in my AC30 1x12 combo.
Bandcamp
Spotify, Apple et al
A VERY good choice indeed. It might just be my favourite speaker of all time.