HarpBoy

I have been very interested in that particular limited edition. I have a Hot Rod Deluxe ltd ed. that has a Jensen alnico speaker, I think it sounds a lot better than the stock HRD. How does this compare to a standard DRRI? Have you played them both side by side? Any other thoughts about it? No, I haven't played them side by side to compare. In general I like Alnico speakers (all three of my amps have 'em) but I like vintage-type amps, and probably as much for tradition as anything. If I'd bought the regular DRRI, I probably would have swapped out the speaker for some sort of Weber Alnico just because. I think the differences become more obvious out at the edges of the speakers' design threshold rather than when playing normally. Besides, Alnico speakers are usually lighter than ceramics, because the magnets are typically smaller in an equivalent speaker. Ted Weber knew speakers, and WeberVST has a great FAQ on their website that Ted wrote. The first question in particular deals with the difference between ceramic and alnico magnets in speakers (found here.) My Traynor YGM-3 RI has the same speaker in it, and my '56 Magnatone had the original 8" Jensen in it until a couple of months ago when I ordered a Chicago Vintage Alnico from Weber. I put the original in a box; it was tired but still works fine. The Limited Editions are very nice looking amps (as you know), and they come with a couple of upgrades for the same price as the original models, so it was a no-brainer for me. Wish I could help more.

Thank you! Enjoying it a lot. I respectfully disagree with you on that point. The tube rectifier will influence even the clean sound, softening the attack of notes and allowing them to bloom. The effect will of course be less pronounced then if you really lay into it, but it's there and I can definitely feel it when I play. I think that sag/bloom is one of the main reasons the DRRI sounds so "sweet"; that natural compression just makes it sing. I'm comparing this to my twin reverb, and to my hot rod deluxe, both amps of course have solid-state rectifiers. The twin sounds sweet (my opinion of course), but it plays with a much (MUCH) stiffer response to pick attack then the DRRI. I've attached a video I just took this morning playing the DRRI on 3. Hopefully some of what I said comes through on the audio. It may just be more of a feel thing? I dunno, but I notice it. Sounds great! I love Fender's reverb. Interesting enough, I bought a DRRI yesterday primarily because it's got a tube rectifier; I'm a harp player and can tell a big difference between silicon and glass when I hit my mic hard. I also just love the DRRI's beautiful tone and presence. I have a Traynor YGM-3 RI, which is a hand wired beauty with a closed back, and it's pretty sweet for harp, but I missed the bark of a sagging rectifier. But it's also pretty much an equivalent of the DRRI circuitry/power-wise (el84's vs 6v6's), and to be honest, I don't think there's much difference in attack between them with guitar. Either way, the DRRI is a sweet, sweet amp. As an aside, my DRRI is a limited edition, with wine tolex, straw colored grill cloth, Jensen P12Q and amp cover. Very pretty amp. Loved your playing, BTW. Cheers.

Great amp, love the response of the rectifier tube - takes some getting used to but you can actually play into the sag. Very nice amp. Congratulations! I'm not sure what you mean by "playing into the sag", however. Nor what you mean by the "response of the rectifier tube". Unless you're really pounding on your amp (ie driving it really hard to the point that the rectifier can't provide enough juice to the power tubes), I don't believe you'll ever notice that it's a tube vs. diode. I think this is one of those areas of mythology that there is a lot of talk about on the interwebs without a lot of understanding. If you're playing your DRRI clean, you'll never experience sag because you're not overloading the rectifier. I have a low powered, vintage (1956) amp that I use primarily for my harp gigs, and it's pretty easy to overload the rectifier in that situation with a hot mic into a low powered amp, but with guitars, it's not quite as easy in my experience. All that doesn't change the fact that you have a pretty sweet little amp there..... Cheers,

Nope, the flag was a tribute to their UK orgins, the company was based in the US from the 70's IIRC, Hawthorne NJ, phased out Kelsey to start Crest Audio (amps first then mixers), then Peavey bought the remains. I was involved as Kelsey was being retured and Crest came into being. I did their repairs on the west coast. http://www.soundcitysite.com/sc_webpages/history_2.htm Hi there agedhorse. A few years ago I acquired a Pro-club 12+2. The SN is PC9100114446. I don't know much about this mixer, and was wondering what light you could shed? Cheers

Don't own either but played a bunch helping a friend look. Hey, just wanted to apologize for thinking your comment was pretty stupid. I didn't realize I was challenging a Fender expert. I'll be more careful next time. It sucks to look foolish. Cheers

Well then you might have realize I and others addressed why the necks might be different regardless of where they were CNC'd. But since you didn't read it now you look foolish. Sure. Whatever you say.

Did you bother to read the rest of the discussion we had on why those necks might be different? Sorry, I "bothered" to read as far as that post and then responded. Did I do something wrong, Dad?

Don't own either but played a bunch helping a friend look. The obvious difference to me was the necks. The MIA nearly always felt much nicer. There was the odd mexican that felt better than the odd USA but that was rare. And to me there is nothing trivial about the feel of a neck. In my opinion it's probably one of the most important things along with resonance. It's interesting that you say this because I believe, per a recent article done by a guy who'd just toured the Mexican plants, the necks for the MIMs are, in fact, made in the states and sent down. Hmmm.....