I have never had an amp with a presence control before. My initial impressions are that it is loud and sparkly/shimmering. I just got to finally fire it it up late tonight. Prior to this recent purchase I was considering ordering one from somebody out there and I was expecting that it would cost $1800 or more. So when this one popped up at Guitar Emporium in Louisville for even less than that, I jumped on it. I kept thinking and thinking about it and eventually they sold before I got off the fence. I had passed up a couple of Victoria 35310s that Guitar Center had online, each used and priced at about $1300. I really didn't mean to buy one of these right now but they rarely pop up used and it was about half what a new one would cost me. HOpefully, someone with more technical understanding will come onboard to further explain and/or correct my thoughts on this.or you can google something like 'tube amp output tranformer saturation' and read to your heart's content. PEople are looking for less volume on stage, and the smaller OT would lend itself better to this approach. IN today's world, one might want to go the other way. This was done-among many other things- to SRV's Vibroverbs to make them 'cleaner' and punchier. This is the reason why in the past many people would change out the smaller OT's in some FEnder amps for a larger transformer. By the time one gets a 5F6A into/close to this zone, it is much louder than the BAndmaster will be. This aspect of the 5E7 is a big part of what WEbfoot was referring to as a 'tactile playing feel'. A larger OT such as in the 5F6A Bassman will be punchier than teh 5E7/5F4/5E5-A amps becuase its saturation point is will create more power before hitting this saturation/distortion point in the OT. Seme folks.the late KEn Fisher of Trainwreck amp fame for example.feel/felt that all sections of an amp should hit that point of distortion at exactly the same time. I call it 'singing'.it is a type of distortion and should happen about the same time that the PI and the output tubes or the preamp for that matter hit the inception of distortion. When an OT satutrates, there is a compression-type of reaction.and an amp will want to sustain the notes in a certain way. But I think I read it will break up earlier then a bassman (plus the bandmaster had 12ax7s for the first preamp tubes).Īlex, I don't think I could overwhelm anyone here with a technical analysis because I dont' have the technical background to do that.īut.a smaller OT saturates earlier than does a larger OT. I was hesitant to turn up the 1955 Bandmaster as it was not mine and I did not want to blow out a speaker etc. To test it out you will need to find a big stage and stand 20' away. It will be interesting to see how you like the Ramrod or Ragin Cajun. I wish I would have stayed with smaller wattage speakers. It was too big and bassy sounding and the weight was now about 15 lbs heavier. So went the Weber routed and was suggested two ceramics and two alnicos both high wattage. After struggling with the P10Rs (I don't think I broke them in enough) I decided I needed to replace. It had a incredible tactile playing feel and was the most natural sounding amp I have played. This 5E7 had very responsive tone controls and both channels had something different to offer (even though they look the same on the schematic). What I like about it is that when I do classic rock and a dirt pedal, there are mids I can work with where as my DRRI is too scooped. Really curious to hear how it sounds and how it compares to other amps (how would you rank it?). Also have been considering a 5E7 build as I have been able to play through a real 1955 Bandmaster with 60 year old P10Rs.
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