Peavey or Crate?

  • Thread starter Thread starter getuhgrip
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PS is on the right track, the post I left earlier, about the music store, those guys had a used blues JR for $399, probly would take $325-350....well within your buget, I'm sure you could find one somewhere close to you, if not, try Daddys junky music, I think their website is just the name, without any spaces....
good hunting:) By the way, this amp might be small, 40 watts I think, but it really has a kick ass sound, and the tone is strictly fender... but like a few other people have said, drag your axe around to a few stores, and try some of these small amps out, you never know......you may just run across sumpthin that you never thought of, like a small trace elliot, or ????
 
The Blues JR is "rated" at 15w! Obviously wattage ratings are not comparable with respect to volume, or anything else for that matter. I was very impressed with that amp. Nothing fancy - just good tone, from good old-fashioned tubes, from a company we all know and love. That price seems steep for a used one though. I can get a brand new one (but without the tweed which they stopped making - don't think it affects the sound unless its "tubetweed") for $CDN 600 which is basically $US 400.
 
It was tweed, and I think it was the next up on the chain, a little bigger than the JR. Had one 12" speaker, and all tube of course...!!:)
 
To make an across the board statement like : "Go with Marshall or Fender" is to give reckless and stupid advice.
Marshall has produced scores of bad sounding amps and Fender had produced LEGIONS and LEGIONS of amps that are just unlistenable.
To my ears the Peavy 5150 is one of the best sounding amps around and the Crate Stealth is very good for a heavy sound.
I dont recall anyone asking what kind of sound this confused lad is going for, but if its a heavy sound, than Fender is out of the question.
Its also my opinion that the "Marshall" sound is a generic sound for generic musicians. And you need like 2 stacks to project in even a tiny club... THey arent loud. I went from Marshall to Carvin to Peavy... and I will stick with this Peavy untill I get the cash for a Mesa Boogie... Which, by the way, is the only 50 watt combo amp that stands a chance of projecting in a 200 seat club.
I like to use the formula 1 Watt for each seat in the place. I dont leave home with less than 200.
 
Hey S8..

Cofused lad plays 70's and 80's rock with thick and chorused strings: Boston, Bad Company, Kiss, AC/DC, Frampton, Journey, ect. Some cleaner stuff like CCR, Beatles, CSN, blah, blah. Just saw a JCM601 for four bills. Think I'm gonna jump on it.
 
Hey Devil-Guy.....er I mean S8-8:

1. Marshall users "generic"?

2. Two stacks for a "tiny club"? If two Peavey 100 watt heads aren't "loud" in that setting, well perhaps you're volume dials have bad numbers.


Of course, Mesa's are known for their versatility and aren't generic at all (sarcasm).


As for projection, perhaps you should leave that to the soundman. Or are you using those stacks to compete with the system?

What kind of music do you play? Sledgehammer stuff?

Too evil for me.

Now, does the "anti-christ" have a sense of humor?
 
How about a Boogie?

I am one of those cheapskates who borrows his friends equipment when neccessary. I have never gotten around to buying a guitar amp, but some of the best that I have borrowed over the years have been Mesa Boogies. I have played blues, jazz, rock and roll through any number of boogie combo amps and they all sound pretty darn good. If I get around to buying an amp, I imaging I would buy a used boogie. They are god awful expensive new, but you can find them on ebay every once in a while for about $500.00

Just my two cents.

Peace,

Chukchek
 
When it comes to severely crippled low tuned shit any big giant fucking amp will do. If the guy plans to play anything requiring even the least bit of traditional tone, neither a Peavy nor a Crate will suffice.

Slackmaster 2000
 
Slack,

Be careful man. I think he's the real deal. It's actually getting a little warm in here................I'd better go trade the Marshall on a Peavey before it's too late...........damn it's hot...........boy is my wife gonna be pissed.........
 
What?

Slack, I don't know where ya get off in defaming all Peaveys.

I've owned a Studio Pro and a Backstage. They both were pretty bad. However, I've also owned a 5150 head, a RockMaster pre, and a Bravo combo. They all were excellent amps for their purpose.

I regret getting rid of the RockMaster. Excellent preamp for hard rock and metal.

Still have the Bravo. At 25W, it was a little underpowered for practicing with a two guitarist band. However, I'd run it through a mic'ed 4x12 live and our soundman would comment that it's the best tone he's ever heard live. In fact, he'd complain about the other guitarist's all tube Marshall.

I've also owned a ADA MP-1, a Digitech 2120, a Fender M-80 (so much for all Fenders being great), and still own a Mesa/Boogie, an Art SGX2000, a Pignose, and a Fender combo. Compared to all of these amps, the RockMaster, the 5150, and the Bravo were all excellent amps for their purposes.

Tone is all relative to what the guitarist is looking for. Peavey at least at one point put out some excellent stuff.


Me
 
Geez…I just finished reading Slacks rant…I’m going to have to go lie down for a while…whew…

Fender.
 
I think it IS possible to get a good sound out of a Crate or Peavey, (http://artists.mp3s.com/artist_song/1171/1171787.html lead guitar mic'd thru a Crate DSP 80) of course, it's still subjective whether you think that's a good tone or not :) and you may or may not dig EVH's sound thru his 5150 or George Lynch with his Peavey Triple XXX, or Lynyrd Skynyrd using Peavey Mace's for alot of their early stuff. All that aside, Crate and Peavey dug themselves a deep stigma hole for years by making amps that did just flat out suck. Worst amp I ever owned was a Peavey Classic 212 and one of the better ones I ever heard was also a Peavey, a classic 30, though not the best.
 
While those of you that have never owned a crate may not understand Slacks ferver, those of us who in the best years of our youth had a crate put in front of us do understand. I had a crate, it sounded so horrible I'd cry myself to sleep at night. GOD....GOOD LORD....HOW COULD AN AMP SOUND THAT BAD!?!!

Then it got to the point where I was suicidal over it, so I had to get a job, and buy another amp. I still own that amp, an ampeg. Its a vl 1002, it was designed by Lee Jackson, who I know nothing about except that he modded marshalls for hair bands or some shit. But, this amp, a half stack cost $299 for the head...and when its loud enough sounds amazing. But I dont play it much anyomore because I have lost all pleasure that could be derived from Metal, or Rock. Still, the amps clean tones sparkle, the gain melts in your mouth...$299.... Now I use a pod, but still relish my amp, as its great fun running a breakbeat into it, recording that in the daw, and mixing the original and that together. Also, synth lines really pep up through a 100 watt modded marshall.

All that and then I read the back of the amp,
By SLM electronics...and guess who makes crates, slm electronics...wich means absolutely nothing except memories from banging my head agains a adolecent briclk wall of bad tone have never left my mind.
The main thing is, cheap ass amps have crappo speakers, and all the innards, the circuitry is shit. The tubes, el cheepo, if thats whats in it...Just a whole lotta crapola.

If you want a low end amp that sounds decent try the yamaha dg 60, it eats the line 6 spider for lunch....
or one of the ampeg vl series
or one of those old yamahas from a decade ago that was designed by that soldano fellow, but sells for much less becasue its ugly and says yamaha on it.
Or...get a rivera and dont look back.....

Or, you could get one of those old musicman amps with the tube power section, but solid state pre, and stick a mesa v-twin in front...or a yamaha dg...
And tech 21, those sans amp guys have some interesting goods too...

DONT SETTLE FOR BAD TONE GRASSHOPPER!
 
5150's?

Mesa's? (especially the Triple Rectifier!!!)

Crate?

Peavey?

Alesis eq's?!?!?!?!?!?!?!?!

POD's!!!???

myohmyohmyohmyohmy.........


:eek: :confused: :eek: :confused: :eek: :confused:

Slack, will you kindly get out of my head and quit posting for me damnit!!! :)

I am just not sure how to reply to Peavey, Crate, Mesa Triple Rectifier, and POD users. The only things I could possibly answer to them would suggest that they are deaf and wouldn't know a good guitar tone if it slapped them in the face.

Time and time again, a Marshall or Fender amp is the amp that makes people explode in their pants! For fun sometime, try out a stock JMC 60. If a bit thinner sound is desired with that jangly top end, try a Fender Classic Reverb with the stock 4X10's. Want thick beyond compare? An early 70's JCM 800 with two 1960 cabs with everything at 10!!!

I have found from mixing some of the worst musicians in the world that they want over saturation in volume and preamp because they cannot pull off their right hand chops with a sound that has "tone". They scoop out mids, increase preamp gain, process, blah blah blah to make up for one thing, the fact that they don't have any control with their right hand. Thus, the megawatt, over saturated amps become the norm. These types of player CANNOT deal with a sound that has "tone" because it screws up their picking. This is fact that I can prove over and over and over again. The need for 100+ watts is so that when the player scoopes out all the mids, so that the articulation of the guitar sound is lost and buried in mush, they need all that power to get up over drummers who play way too loud with very poorly tuned drums, and bass player who have 300 watt heads that they drive to clipping all the time because they TOO don't have any control over their right hand.

This is all nothing new. I played in my first band in 1982 and all the same bad tone, lack of control in technique was as evident then as it is now. Guys who use this crap approach are the ones that are always bitching about something not being right with everything OTHER than their approach.

I get to mix the occasion big time artist in many genre's of music. Without fail, Marshall and Fender is what they are playing through. Without fail, they don't use scooped out mids and too much saturation in the preamp. They have CONTROL in their playing, and realize that the guitar is a MIDRANGE instrument. The MIDRANGE and cleaner preamp is ESSENTIAL to mixing the guitar in a rock sound! Metal, thrash, whatever, it is a GUITAR. Over saturate the preamp, you get mush. Scoop the mids, you get mush with no volume.

You guys that like the scooped out mids, over saturated preamp sound, try moving about 40 feet away from your amp while playing. Now plug in a JCM 800 with possibly a pedal distortion at a moderate setting of distortion and listen from the same spot.

Also, try all this same stuff with your ear right at the speaker!!! HEAR what a microphone is hearing!!!

One perspective is what people hear, including those soundmen that don't know what they are doing......:rolleyes:

The other perspective is what the mic is hearing.

Neither will sound worth a shit with shit gear. Both will sound great with good gear.

Without fail, almost any time you see a "named" guitar player playing some "off the shelf" model of anything, it has been modified! You don't have to believe this, but I KNOW this because I get to ask them! Mostly, if you can get them to be candid, they had their amp modified to sound like a Marshall or Fender! But an endorsement is an endorsement. The money involved is nice and the press helps sell CD's.

Slack, thank you for speaking so candidly, and with humor.

Ed
 
I saw Clapton in memphis last night, he was playing through a peavy 5150 and a POD. Ha Ha Ha:D

Oh yeah Andy Fairweather Low was playing through a crate and Nathan East was using a Zoom BFX708.
 
This is the lamest thread I've read in a long time. Crate, Peavey, Marshall, Fender, Mesa, Gibson, Bagend, whatever. It's your playing technique that matters, I'm no guitar wiz but I know that makes up a large part of the sound. One of the first amps I bought was a Traynor (fitting) and it sounded great! - At the time. Then I bought a fender twin and it sounded great to! then I bought a marshall, and then a crate, and then a peavy and then a blah blah blah blah blah...

Learning to play is progressive, knowing what sounds good is individual. It's an electric guitar for christs sakes, not a Stradivarius.

Tone freaks, the only ones who appreciate you are other tone freaks.
 
Maybe I am one of the few people in this thread with the balls to decide for myself what kind of sound I like, rather than go with safe bets and copy the tone of several proven guitarists.
Play a Les Paul through Marshall stack and you probably wont ever have to defend your sound.
One of the last shows my band played was with Buzzoven, who use the old Les paul through a Marshall stack config. The consensus was that our sound (not to mention set) was better by far than those guys (who I have always admired). Not trying to get on an ego trip, but I get compliments all of the time on my sound. Maybe not from Stephen Paul, but from Joe Musicfan and he's the guy who really matters at the end of the day.
Even if I cant impress a few bitter snob recording engineers, I can still sleep at night.

Let me, once again qualify the statements made by Mr. Ed Rei:
He thinks Peavy amps sound like shit... but he also thinks Black Sabbath sounds like shit. Lets keep these factors in mind when digesting his opinions...

Oh... and I play Charvel guitars, so bite me.
 
I'm no technically gifted guitar player, and I don't know much, but I do know tone. I haven't played a lot of gear, but I own an early eighties JCM 800 and I own a POD. I bought the POD for a reason and it continues to serve me well. It's a convenient little bugger for direct recording in the house late at night, plus there are some neat sounds you can coaxe out of it. I don't regret the purchase. But compared to the Marshall for tone? Gimme a break! That's not fair to Line 6! Not even close! This is not a matter of preference, but a simple matter of quality of Tone.
 
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