I have a stock VHT Special 6 and like the tone pretty much. I've been thinking about a larger amp because I am using it as my stage monitor and I have a couple outdoor gigs lined up. I was thinking Deville with mods. But, I was wondering about getting another VHT Special 6 and separating them in back of me and maybe tilting them up towards me.
I know that Adam uses 2 amps alot and I am wondering if having 2 amps would be better than 1 larger amp. It would definitely be easier to carry and cheaper too.
I like the idea of running two VHT's together. But the question I'd ask is HOW do you plan to run them together?
I suppose a couple possible options would be a y-jack of some kind, or running the low input jack of the one you blow through into the high input of the second Special 6. I know that works on some amps.
One thought that I had is instead of getting another Special 6, get a VHT Classic 6 and run your mic into that. It has a line out built into it that you could then run into the Special 6. Now, I could be wrong, but from all I can tell, the Special and the Classic look to have the same basic circuitry and features. The exceptions are the line out jack in place of the different external speaker jacks, and a 12" VHT Special Design instead of a 10" High Sensitivity speaker. But the 12" could be advantageous. The Classic doesn't run a great deal more than the Special in price either....
Again, like I said, I could be wrong about the Classic, and if I am, feel free to correct me.
---------- Hawkeye Kane
Last Edited by on Jun 19, 2012 10:10 AM
Two amps, either two smaller amps or a smaller amp and a larger amp, is a great choice for the following reasons:
1) In larger spaces, you can separate the amps and push more air, fill more space, deliver a bigger sound
2) In smaller spaces, you can always turn up the smaller amp into a good, hot operating range, a range where it really sings, and then supplement with the larger amp if/as needed. This prevents the problem of showing up in a small venue with a big amp and not being able to turn it up to the point where it sings.
3) If one amp happens to crap out, as occasionally happens, you've got a backup.
4) If you choose to go with two smaller amps, you can crank them both up, delivering bigger richer sounds than you could with just one smaller amp, and you've got the choice of whether to separate them or--as I do in cramped conditions--stack them, putting one on the ground and one on a chair just behind the one on the ground. Here's Johnny Sansone doing an incredible chromatic blues that way. (The fireworks come between 5 and 6 minutes; this still qualifies as one of the top-3 all-time moments at HCH, and it came in 2010)
5) In big-stage conditions, as in an outdoor festival, you can turn both amps up, then mic the small amp. I saw Mark Wenner do this. He got a big, killer sound: Tweed Champ on top of tweed Bassman.
Last Edited by on Jun 19, 2012 10:25 AM
Greg, I'm dealing with LOUD stage volumes. The guitarist uses a Twin. We have keys, bass and heavy hittin' drummer. At least it's sounding good lately.
Adam, Smaller and larger seems better than 2 small. I've been procrastinating about buying a 4x10 for about a year now and I think I need to do it and get it over with. I will keep the VHT for small venues.
After reading about the Deville III, it seems Fender has fixed the weak jack and the volume knob, it has reverb and.... well Kim uses 2. ;-)
I do like the tweed finish on the Blues Deville, but the tolex amp is cheaper.
So, my next question is anti feedback. I wonder if Kim uses an anti feedback into a stock amp?
I wouldn't be the least bit surprised if he does. Cranking with 120 combined watts...damn.
If I had the need for a 410, outside of the HG50 or SJ Supercruncher, I think I might go for a vintage Traynor myself. I like the look of this YRM-1SC, though I think it a bit overpriced for the description of its condition.
Hawkeye, thanks. I got my eye on a Deville 4X10 III in RED. It's about the same price as that Traynor. I'm wondering about adding an equalizer pedal of some kind to control feedback. Anyone have any ideas about one of those? ---------- Jimmy Famous
In terms of one that's specifically made for feedback management? No. But I've had a lot of luck with the Danelectro Fish & Chips for my own tone & feedback control. ---------- Hawkeye Kane
Traynor/Yorkville make excellent gear. They're basically Canada's answer to Fender but because they're not Fender you don't pay the price for the name. The one listed in the previous post is over priced for condition IMO.
As I understand, Kim Wilson uses a Kinder AFB+ when using Devilles. I also believe they are not his amp of choice, given a choice, but are readily available on the road. Of course Kim could play with two cans and a string and sound great.
Have you considered the early '59 Bassman reissues? Not quite as spiffy as the LTD but certainly within the implied price range and easily tweaked. Easy to get rid of should you ever decide to upgrade. And they're tweed of course.
Having said all that, I've used my Kalamazoo Model 1 also with a guitarist using a Twin and half a Guitar Center worth of pedals. I was asked to turn down! The one I use for gigging has a Weber 8A100, which does make the amp louder than the stock CTS. It also changes the tone somewhat, being just a little smoother than the CTS but still plenty of "nasty". I just did a session with it today and it sounded great. Studio owner said, "Not everybody wants harmonica but when they do, you're my man."
If it's just getting up with the rest of the band, unless you are playing large stages and large rooms, I'd consider going with two Zoos with a Weber 8a100 and splitting them. Just don't put one next to the guitar player or he'll get tone envy. I'd also have a speaker side line out installed. Greg, does this sort of thing but I told my local amp guy what I wanted and he knew exactly what was required. Cost me $35, his minimum. Works great. For the same money as a Deville or whatever you could buy two vintage Zoos, do the mods and have a fair amount of change left over. And should you ever want/need to sell you'd never loose a dime. ---------- LSC
Hey Jimmy, I recently modified a HR Deville to help deal with a loud drummer. I'm pretty happy with how it worked out. If you're interested it should be easy to find the details with a forum search on "modified HR deville" ----------
Last Edited by on Jun 29, 2012 2:43 PM
To an extent, yes. If I start getting some feedback, I listen to it and see if it's high or low pitched. Then I peel off a bit of which ever end is feeding back. Usually I just use it with my RP90 if I'm going straight into a PA channel.
In terms of your effects chain, I can't really advise you one way or the other. I dunno what either pedal will sound like through a DeVille. Your best bet is to experiment with that yourself and see which way you think sounds better. ---------- Hawkeye Kane
Hawkeye, I also have a digitech (rp155). I tried it through the PA and could not get it to stop feeding back. At least not at a decent volumn level. So far I use it to play along to mp3's with my headphones. It is worth the $$ just for that imo. I was wondering if the patches that Richard Hunter sells fixes the feedback problem when going to the PA? ---------- Jimmy Famous
I can't personally say whether the patches would solve your problem or not. My 90 isn't a USB accessible unit, so I can't use them. But I would imagine Hunter would account for feedback risks when he programs them. Write him up and ask him. ---------- Hawkeye Kane
i got inspired and picked up a y-cable at the local radio shack. plugged in my amp and backup amp, wow. sounds great. don't know that i'll likely use it this way for gigging, as i get plenty of volume and stage space is always at a premium. but you never know.
Last Edited by on Jun 29, 2012 2:43 PM
