Just ordered a new 1 x 12 Combo

[iim7v7im7]

Hi,

 

I just placed an order for a new 1 x 12 combo. I love my BF (Allen Accomplice Head + Cab) and my Tweed (Lil-Dawg D-Lux Head + Cab) but they tak up too much room and I was looking for more tones from a small single combo amp. I also want to down size my OD pedals as well. I placed an order with a small amp builder (Henry Heistand) in AZ who sells amps under the name Red Plate.

 

I ordered an amp called a BlackVerb Standard which is a two channel, master volume, BF style circuit with a very flexible EQ and tone stack. Henry does his own thing a bit different than Randall Smith (Mesa) or the myriad of dumble clones (e.g. Fuchs, Bludotone etc.) that are popular these days and still seems to maintain the BF clean tone that many of us love (or so people say, I will see).

 

http://www.redplatea...rb_Standard.php

 

1 x 12 Combo

19"x19"x10.5"

49 lb.

2x6L6- 50/40/32w (Fixed Bias/Cathode Bias/ Cathode Bias Triode Mode)

Celestion Vintage 30

 

It was expensive, but after I sell my two other amps and some pedals I should be fine. It is always uncomfortable ordering any musical instrument site unseen, but I have had good luck over the years. It should arrive in about 4-6 weeks.

 

Have any of you either played or heard this amp?

 

:-)

 

Bob

[eljay]

red plate has serious mojo from what i read. good on ya. what is delivery date?

[eljay]

i should read posts more closely . . .

[FredZepp]

 

I love a small amp that can do it all..... that looks like some great stuff..

[Kuz]

See them for sale on The Gear Page. Might want to consider buying used and save the depreciation if you aren't sure it is what you want.

[H]

I'm pretty certain that pegleg32 had one of these amps. I think he replaced it with a Two Rock.

[DetroitBlues]

Wow, sounds like a real solid amp. I think I've heard of the brand before. But a 49lb amp isn't what I call small or compact...

[pegleg32]

No, I still have my Red Plate Blues Machine. I'm pretty happy with it, but I think my expectations might have been too high for such a small combo package. I'm much happier with my Two Rock, and even prefer my Carr Rambler to the Red Plate. I suspect I could remedy some of this by using a larger speaker cabinet. It has a ton of bells and whistles. However, since I am happy with my other two amps, I have been thinking about selling it.

[fxdx99]

Cool - congrats on the upcoming NAD. Love trying out new amps. We've 'threaded' on this before, but I've the combo versions of both your Allen and Li'l Dawg (bottom 2 right below). All my amps are combos as portability (weight, getting in/out of gig in one trip) are requirements as much as voicing. That red plate reads like a really cool amp, somewhat Acc-like. Looking forward to your review.

 

[iim7v7im7]

I was looking at the BluesMachine as well. That amp is based on Henry's Tweed preamp circuit. I am sorry to hear that you were not as pleased as you hoped with it. The Carr Rambler has a great clean tone and I have never heard a TR Studio Pro yet. What were you hoping that it would do that it does not (and the inverse: what do your other amps do that it does not)? Which speaker did you go with? Have you spoken to Henry about your disappointment?

 

The BlackVerb Standard is similar in some respects, but is based on his Blackface preamp and sounds a bit different. I suspect like most small cabinets it may suffer from beaming. The only other amp that I was considering was a Tone King Metropolitan, but in the end its overdrive tone (at least what I could make of it) didn't sell me (but its a cool amp). I am hoping that my experience is better than yours?

 

:-)

 

No, I still have my Red Plate Blues Machine. I'm pretty happy with it, but I think my expectations might have been too high for such a small combo package. I'm much happier with my Two Rock, and even prefer my Carr Rambler to the Red Plate. I suspect I could remedy some of this by using a larger speaker cabinet. It has a ton of bells and whistles. However, since I am happy with my other two amps, I have been thinking about selling it.

[pegleg32]

I was looking at the BluesMachine as well. That amp is based on Henry's Tweed preamp circuit. I am sorry to hear that you were not as pleased as you hoped with it. The Carr Rambler has a great clean tone and I have never heard a TR Studio Pro yet. What were you hoping that it would do that it does not (and the inverse: what do your other amps do that it does not)? Which speaker did you go with? Have you spoken to Henry about your disappointment?

 

The BlackVerb Standard is similar in some respects, but is based on his Blackface preamp and sounds a bit different. I suspect like most small cabinets it may suffer from beaming. The only other amp that I was considering was a Tone King Metropolitan, but in the end its overdrive tone (at least what I could make of it) didn't sell me (but its a cool amp). I am hoping that my experience is better than yours?

 

:-)

 

Hey Bob, I'm terrible about describing quality charistics of sounds, especially amps, but to me it just sounded shallow and flat. My other amps are much fuller and rounder. Keep in mind that my general goal is to get the best clean sound I can get and then modify it with pedals so I always judge an amp by it's clean sound with all settings more or less in the middle - if there is a sound there that I like, then I will modify from there. My first impression of an amp usually revolves around the initial "striking" of the note - if it has a little punch there and the notes are nicely articulated, I will generally like the amp. For instance I was really taken with Knopfler74's KBP Stentorian amp. As I mentioned before, I think part of the problem may be that the speaker enclosure may just be too small on the combo. I even put my favorite speaker - a Jensen P12N - in it and still wasn't happy. But I don't know, I'm not very sophisticated in these things and it might just be me. I haven't spoken with Henry about it, it generally isn't in my nature to make much of a fuss about things. Don

[pegleg32]

Hey Bob, I just remembered, I have a demo of the Blues Machine on my Reverbnation site here:

 

[knopfler74]

checked out the video of that amp on the site, and I think it's gonna be pretty awesome! Congrats! I just had a NAD so I'm stoked for you. NAD's RAWK!!!

[iim7v7im7]

Don,

 

Thanks for your response and sharing your demo link. Based on how you judge amps I can imagine that a Rambler must be a perfect match for you (great cleans and takes pedals well to boot). I too look for punch or attack as well in amps.

 

Here is the manual for the BlackVerb Standard. It has a different pre-amp circuit and EQ:

 

http://www.redplatea...tions_Guide.pdf

 

Here is a demo of the BlackVerb Standard:

 

http://www.youtube.com/watch?v=_VtKv3XHTGc&feature=results_main&playnext=1&list=PL3D2331E16198A116

 

I would give Henry a call. He is a gem of a guy and he might have some ideas on how to make you happier with it? I don't think he would mind. I think that he want's his customers to be happy.

 

Thanks Again,

 

Bob

 

 

Hey Bob, I'm terrible about describing quality charistics of sounds, especially amps, but to me it just sounded shallow and flat. My other amps are much fuller and rounder. Keep in mind that my general goal is to get the best clean sound I can get and then modify it with pedals so I always judge an amp by it's clean sound with all settings more or less in the middle - if there is a sound there that I like, then I will modify from there. My first impression of an amp usually revolves around the initial "striking" of the note - if it has a little punch there and the notes are nicely articulated, I will generally like the amp. For instance I was really taken with Knopfler74's KBP Stentorian amp. As I mentioned before, I think part of the problem may be that the speaker enclosure may just be too small on the combo. I even put my favorite speaker - a Jensen P12N - in it and still wasn't happy. But I don't know, I'm not very sophisticated in these things and it might just be me. I haven't spoken with Henry about it, it generally isn't in my nature to make much of a fuss about things. Don

[iim7v7im7]

Hi,

 

Your post response is interesting to me. It made me think what is important in an amp to me is likely different than what is important to you (or others) and it is difficult to describe (as you stated). These are the characteristics that I am hoping for.

 

Break-up Point in Relation to Amp Volume: I want to be able to have the flexibility to play clean at a volume appropriate for a small venue to be at an appropriate volume in a band mix for playing straight ahead Jazz of T-Bone Walker style blues. I have found that 20-30 watts is adequate, but 30-40 is a bit more solid at volume. I also want the ability to dial in that break up point below that level for both playing on the edge depending on pick attack or playing over the edge into overdrive at a similar volume to my clean tone.

 

Clean Tone Character: I like both the scooped Fender Blackface type of cleans when playing the blues but I need tighter bass for playing jazz than I get out of a typical small BF combo like a Deluxe Reverb. I find that the speaker choice has a large influence on this. (Think Duke Robillard for blues or someone like Jimmy Bruno for Jazz)

 

Distortion Tone Character: I prefer a slower, smoother onset, more of a mid-range focused singing tone with notes that bloom based on touch than a sudden onset of compressed “crunch”. I like compression and sustain to onset also more slowly based on gain and pick attack. (Think Chris Cain, Robben Ford or Larry Carlton type tones).

 

Speed & Tightness: I do like an amp to provide an immediate response vs. a spongier slightly delayed response. My 5E3 is great for overdrive but it is a bit spongy when playing clean for my tastes. Actually my solid-state amp is fabulous at immediacy and I prefer it when playing my Sweet 16. I sometimes think immediacy also helps cut through the mix.

 

Touch: This is the interaction of dynamics and the amp’s response sensitivity to pick attack/instrument volume. It allows for arrange of overdrive to help express yourself. This is particularly important when you set the amp just below the edge of break-up where I set it frequently when playing the blues.

 

Projection: I like a balance between directional “beaming” and the open dispersion of on open back speaker cabinet. I like the directionality when playing Jazz to avoid the interaction with my guitar, but prefer more dispersion when playing the blues. In a small combo, I look for a “non-boxy” larger tone than the size would lead you to believe.

 

Other: I do like to play with a touch of reverb and delay, so a good reverb and the ability to place the delay after the preamp are also important to me. Size and weight are important (weight to a lesser degree). I only play out about a dozen times a year (hence my weight comment) and most of the time I am playing at home (trying to avoid a divorce). So how much room and the ability to play at house appropriate volumes is important to me.

 

If this amp works out, I will be selling my Allen, my Lil-Dawg and a boat loead of pedals, but keeping my AI Clarus. It will leave me with two compact rigs.

 

:-)

 

Bob

 

 

 

 

Hey Bob, I'm terrible about describing quality charistics of sounds, especially amps, but to me it just sounded shallow and flat. My other amps are much fuller and rounder. Keep in mind that my general goal is to get the best clean sound I can get and then modify it with pedals so I always judge an amp by it's clean sound with all settings more or less in the middle - if there is a sound there that I like, then I will modify from there. My first impression of an amp usually revolves around the initial "striking" of the note - if it has a little punch there and the notes are nicely articulated, I will generally like the amp. For instance I was really taken with Knopfler74's KBP Stentorian amp. As I mentioned before, I think part of the problem may be that the speaker enclosure may just be too small on the combo. I even put my favorite speaker - a Jensen P12N - in it and still wasn't happy. But I don't know, I'm not very sophisticated in these things and it might just be me. I haven't spoken with Henry about it, it generally isn't in my nature to make much of a fuss about things. Don

[pegleg32]

That's a mighty fine sounding amp Bob, I see you have some other quality amps also and this one will probably be a good fit for you. Let me know what you think of the comparisons when you get it. I'll be interested.

[rjsanders]

good job on the clips, Don.

 

Bob, Chuck D'aloia's an awesome player and that's as good as that amp's gonna sound (w/a tele anyway & whatever settings he's using, speaker cab, etc.). there are quite a few RedPlates around here & they all sound fine. there's no predicting others' perceptions of any amp, so good luck on it. Henry's a good guy by all accounts and knows what he's doing

[RJLII]

Hi,

 

Your post response is interesting to me. It made me think what is important in an amp to me is likely different than what is important to you (or others) and it is difficult to describe (as you stated). These are the characteristics that I am hoping for.

 

Break-up Point in Relation to Amp Volume: I want to be able to have the flexibility to play clean at a volume appropriate for a small venue to be at an appropriate volume in a band mix for playing straight ahead Jazz of T-Bone Walker style blues. I have found that 20-30 watts is adequate, but 30-40 is a bit more solid at volume. I also want the ability to dial in that break up point below that level for both playing on the edge depending on pick attack or playing over the edge into overdrive at a similar volume to my clean tone.

 

Clean Tone Character: I like both the scooped Fender Blackface type of cleans when playing the blues but I need tighter bass for playing jazz than I get out of a typical small BF combo like a Deluxe Reverb. I find that the speaker choice has a large influence on this. (Think Duke Robillard for blues or someone like Jimmy Bruno for Jazz)

 

Distortion Tone Character: I prefer a slower, smoother onset, more of a mid-range focused singing tone with notes that bloom based on touch than a sudden onset of compressed “crunch”. I like compression and sustain to onset also more slowly based on gain and pick attack. (Think Chris Cain, Robben Ford or Larry Carlton type tones).

 

Speed & Tightness: I do like an amp to provide an immediate response vs. a spongier slightly delayed response. My 5E3 is great for overdrive but it is a bit spongy when playing clean for my tastes. Actually my solid-state amp is fabulous at immediacy and I prefer it when playing my Sweet 16. I sometimes think immediacy also helps cut through the mix.

 

Touch: This is the interaction of dynamics and the amp’s response sensitivity to pick attack/instrument volume. It allows for arrange of overdrive to help express yourself. This is particularly important when you set the amp just below the edge of break-up where I set it frequently when playing the blues.

 

Projection: I like a balance between directional “beaming” and the open dispersion of on open back speaker cabinet. I like the directionality when playing Jazz to avoid the interaction with my guitar, but prefer more dispersion when playing the blues. In a small combo, I look for a “non-boxy” larger tone than the size would lead you to believe.

 

Other: I do like to play with a touch of reverb and delay, so a good reverb and the ability to place the delay after the preamp are also important to me. Size and weight are important (weight to a lesser degree). I only play out about a dozen times a year (hence my weight comment) and most of the time I am playing at home (trying to avoid a divorce). So how much room and the ability to play at house appropriate volumes is important to me.

 

If this amp works out, I will be selling my Allen, my Lil-Dawg and a boat loead of pedals, but keeping my AI Clarus. It will leave me with two compact rigs.

 

:-)

 

Bob

 

With the exception of the distortion aspects, you are describing my Rambler. I've gone through a number of amps trying to achieve the same goals as you. I could never find anything that would give me the breakup versus volume relationship I was after, or that would give me the character of distortion I was after. If it got close, it was only after a bunch of knob tweaking to find the one sweet spot. Change the guitar and all bets are off, more knob tweaking. If it was a channel switcher, the two channels were voiced so diffferently it got even worse.

 

Then I discovered my Rambler and transparent gain boxes. Quest over. It won't really do the Vox thing, but it will do everything else. Clean it can't be beat. A little edge when pushed. Tones from Blackface to tweed. The nice thing is that no matter what the gain level from the pedals, the tone is still sweet and full of harmonics and the character of each individual guitar comes right through. Vince Lewis used it for his set at PSP last summer and sounded fantastic (I only wish I could play like him).

 

These Redplates look really sweet and I'd be lying if I said I've not lusted after one. Here's hoping that it fills all your needs.

[iim7v7im7]

Ramblers are great amps! I have played one at Lark St. Music. I can see why they are so popular they have some of the best clean BF tones that I have heard. I prefer it to a Deluxe Reverb. The bigger iron, 6L6s and tone stack all add up to better bass with the BF chime that people like in a small, grab and go package. It has to be Steve’s most popular amps. My Allen Accomplice set up with 6L6s can sound similar with clean BF tones. The Rambler of course has the tremolo to boot. Like yourself, I have been using the Allen as a clean amp with overdrive pedals. I really do like its clean BF tones.

 

I also have a Lil Dawg D-Lux (5E3 Tweed) which I use as an overdrive amp. It does everything that I was describing on the overdrive side only I don’t like its clean tones as much as the BF tones; it is also very spongy in the bass and really strains to play over a drummer at the settings that I like. So I am hoping (key word) that the new amp will have the BF clean tones that I like from my Allen and the singing touch sensitive overdrive of the 5E3 in a small package where I can control the volume for home play as well. A tall order I know.

 

If it works out, I will sell the Allen and the Lil-Dawg but hang on to my Acoustic Image Clarus 3R Series III Head and my Raezer’s Edge Nighhawk 10ER for playing archtop jazz. I would be down to 2 very compact rigs which will both reclaim space in my guitar room/office and make those 10-15 times a year that I actually play out much easier.

 

Fingers crossed…

 

 

 

 

With the exception of the distortion aspects, you are describing my Rambler. I've gone through a number of amps trying to achieve the same goals as you. I could never find anything that would give me the breakup versus volume relationship I was after, or that would give me the character of distortion I was after. If it got close, it was only after a bunch of knob tweaking to find the one sweet spot. Change the guitar and all bets are off, more knob tweaking. If it was a channel switcher, the two channels were voiced so diffferently it got even worse.

 

Then I discovered my Rambler and transparent gain boxes. Quest over. It won't really do the Vox thing, but it will do everything else. Clean it can't be beat. A little edge when pushed. Tones from Blackface to tweed. The nice thing is that no matter what the gain level from the pedals, the tone is still sweet and full of harmonics and the character of each individual guitar comes right through. Vince Lewis used it for his set at PSP last summer and sounded fantastic (I only wish I could play like him).

 

These Redplates look really sweet and I'd be lying if I said I've not lusted after one. Here's hoping that it fills all your needs.

[RJLII]

When I bought my Rambler I had the choice narrowed down to that or an Accomplice. Allen makes nice stuff. I was also looking at an Old Flame Head for sale on TGP that I missed out on. It sold for $700.

 

I've just recently learned about Acoustic Image. A colleague was really crowing about how nice they sounded. He does a lot of clean tones for worship music and really likes it.

[iim7v7im7]

Well, my Allen may be for sale in a few months and it is a head and cab...you and others stay tuned

 

:-)

[iim7v7im7]

My AI jazz amp

 

With all this talk about tube amps, it makes me think about my solid state jazz amp. It is just the opposite of my tube amps. I find that Evans, Henriksen, Jazzkat and Polytone which are all great solid state jazz amps; impart a pleasing euphonic “sweetness” to the guitar’s tone that we associate with jazz guitar. The Acoustic Image is more neutral sounding amplifier with a very powerful EQ and a bunch of useful features. It is controlled, punchy, articulate, fast, articulate attack, with plenty of clean headroom. You really can hear your guitar with this amp.

 

It is ridiculously compact at 10”x 8” x 3.5” and weighs about 5 lb. It comes with a small gig bag that has a pocket for cables, strings and a tuner. I use it with a small, ported Raezer’s Edge Nighthawk 10ER speaker which is 14” x 14” x 10” and is 21 lb. It has very solid bass for a 10” speaker (surprised me). With this modest size, it produces 250w at 8 ohms and 400w at 4 ohms.

 

It has some features that are quite different than a normal amp.

• The treble control gives an additional + or - 10db in the 10 kHz range which is more useful for acoustic flattop players.
  
• There is also an XLR direct out for connection to the house PA system which can be quite useful. It also a switch allowing the XLR direct out to be either post or pre EQ.
  
• Each channel also has its own adjustable notch filter, something I use a lot depending on the room and volume levels. It can notch down between 30-700 Hz -12dB to help deal with feedback issues.
  
• It also has some usable (not great, but usable) effects for both channels (reverbs, delay and chorus, which I believe that they licensed from Alesis).
  
• Each channel has an effects loop with separate send and return jacks. I use the send jack to connect my electronic tuner. A mute switch allows you to tune while cutting sound to the speaker(s).
  

If you are looking for a Joe Pass, George Benson or Wes Montgomery sound, it is definitely not the amp that you are looking for. If you want a small compact amp with useful features and a powerful EQ for playing an archtop, flattop or Gypsy jazz guitar that will allow you to really hear your instrument, it’s a winner.

[pegleg32]

Well I tried to do an amp shoot-out with the amps I have on hand but the volume just pushes the camera mike too hard and I end up with some distortion on the bassier stuff so I gave up. The upshot of it however - I have the Red Plate Blues Machine @ $2,700, the Two Rock @ $3,000, the Carr Rambler @ $2,400, and an old beatup Heritage Lobo with a broken reverb that I have $700 in. The winner for home use is the Lobo - go figure.

[iim7v7im7]

I'd be interested to hear what about the Lobo that you were liking so much? Amp sound and feel is always difficult to describe.

 

As I recall, it is a 6V6, BF Fender AB763/ Deluxe Reverb (none in your case) type amp. The BluesMachine is Henry's take on a 6L6 Fender Tweed circuit with some extra preamp drive. The Two Rock is a single channel 6L6 that I have heard has incredible headroom and excels at cleans (not sure what circuit it is based upon). The Rambler is Steve Carr's take on a 6L6 based Fender BF circuit that also excels at headroom and cleans. The amps may have very different speakers as well.

 

The Lobo is lower wattage and is using different power tubes. Perhaps you are able to get it into its sweet spot easier than the other amps? Who knows. You are fortunate to have so many great amps to use. Price has very little to do with tone in many occasions. I have a friend who buys up Silverface Fender Bandmaster heads for $300-$400 and has a local guy mod them for a few hundred and they sound fabulous!

 

So those are very different amps to compare. It may come down to what YOU are looking for from an amp which may differ base don style of play, musical genre and size of venue that you play. What type of music do you like to play?

 

Thanks,

 

Bob

 

Well I tried to do an amp shoot-out with the amps I have on hand but the volume just pushes the camera mike too hard and I end up with some distortion on the bassier stuff so I gave up. The upshot of it however - I have the Red Plate Blues Machine @ $2,700, the Two Rock @ $3,000, the Carr Rambler @ $2,400, and an old beatup Heritage Lobo with a broken reverb that I have $700 in. The winner for home use is the Lobo - go figure.

[pegleg32]

LOL, I do tend towards a certain kind of sound don't I. No idea why, just like it. On the Lobo at low volumes, very full, with nice rounded bass, and lots of overtones. To me, that is a full sound. I really like a good clean bass bottom to my chords - similar to an acoustic I guess. For the rest, I want to hear more than just the notes played, I want to hear a fullness, or richness, which I describe as overtones. Then I want to hear articulate distinctive notes. Once I get that, then I will add an overdrive to get growl and sustain. I also like an overdrive that "sings" or has a saturated tone. Hope that helps.

 

p.s. Interesting that just trying to describe it makes me think about what it is I'm hearing that I like.