What are you playing through?

John Bechtel · Post by **John Bechtel** » 2 May 2004 10:20 pm

I play a '49-'50 Fender T-8 Custom through a '65 Reissue Fender Twin-Reverb Custom™ 15, using an Ibanez AD-9 Analog Delay and Amp. Reverb. Best sound I've ever had for my liking!

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“Big John” Bechtel
Franklin PSG D–10 (9 &

Fender ’49–’50 T–8 Custom
Fender ’65 Reissue Twin-Reverb Custom™ 15
click here

CrowBear Schmitt · Post by **CrowBear Schmitt** » 2 May 2004 11:15 pm

i use a Fender SF Twin w: JBL K120s and/or a PV Nash1000 - Lexicon MPX1 - Korg DTR1
Gibson EH150/EH100/Zum D10/SB Professional D10/Telecaster MIJ JD model/Strat Plus

David L. Donald · Post by **David L. Donald** » 3 May 2004 1:08 am

Supro 6 into vintage DeArmond pedal into 50's Champ

Sho-Bud Pro-II into Hilton, into Peavey TransFex Pro 212s ;
Stereo 90w x 2, into 2-12" Sheffields
It has a built in Profex unit, with midi patch change pedal.

Studio direct : into Fishman DI, Aphex 1100 Thermionics tube preamp,
and Line 6 plug-ins in Protools.
Or
Tube Fex into Protools.
Or
Or Avalon U-5 DI into PT.

I will be adding a Brad Sarnu "Black Box".
Plenty of different sounds; live and studio.[This message was edited by David L. Donald on 03 May 2004 at 02:14 AM.]

Dana Duplan · Post by **Dana Duplan** » 3 May 2004 4:42 am

Strictly tube amps for me. My favorite is my Standel 25L15 reissue, but I also use a BF Fender Vibrolux Reverb, a BF Fender Twin, and a Fender Pro Jr...Occasionally I'll break out my '39 National New Yorker, with matching amp! Quite honestly, the Pro Jr. sees the most action--my main gig is with a Jug Band, and since my lap steel is the only "electric" instrument, the smaller amp works well at lower stage volumes--plus we carry more gear for 3 guys than you've ever seen...so the portability is great!
D

Tim Whitlock · Post by **Tim Whitlock** » 3 May 2004 4:48 am

For my "no peddlers" stuff, I like to use my Magnatone Varsity Deluxe (8 watts) for recording. Gives a sweet warm tube amp sound. For small combo work I use my blackface Princeton, which has been modified to emulate the old Tweed Deluxe sound. With a full band I use the Twin Re-issue with a D130-F.

Denny Turner · Post by **Denny Turner** » 3 May 2004 6:20 am

Please bear with a bit of simpler info mixed in here for newer Fellow Pickers; For what my 2 cents might be worth :

In my 46 years search for "R" chord ...my rig evolved into what I've been using for about 5 years now, ...which can be modified to suit most anyone's rigs: For my purely electric Steels and Spanish Guitars, I mix them through a small good quality mixer (or stomp on/off switch bank) and run that line-out into a small 15-25 watt amp that I particularly like at any given time, like a Marshall or Park CD25R, or newer Vox Cambridge, all of which have line out, sound good and have good utility features. I use that amp as my processor and personal monitor located comfortably close to my ears, so I can generate a comfortable volume level for me that I am fully aware of (and not unknowingly giving someone in the front row a my-brain headache). That processor / monitor amp's line-out feeds a Zoom effects box that provides stereo effects output, ...with one line going to my main amp on my side of the stage ...located far enough away to be comfortable at whatever volume level the venue calls for but in a position where I am fully aware of it's volume level too,... which can be anything from a low-to-medium wattage Lafayette / Lafayette-Univox, or Musicman 2x10 (w/ Bass JBLs), 50 watt Bassman, or a bigger 100watt Torres-tricked Bassman or Vibrosonic Reverb w/D130F-JBL ....and an optional Boyer cube / JBL (Bass) K140 extension cab stacked underneath as a riser / stand woofer. The other zoom stereo line goes to the other side of the stage where I usually place a Danelectro Nifty 50 or other small 15-25 watt amp as a satellite, at a head-level spot usually on top of someone else's amp over there. The reinforcement volume of that satellite is set by Players on that side of the stage (so if the balance is off over there ...which they can hear and I can only guess at..., they can turn me up, OR DOWN rather than turning themselves up or throwing a wet napkin at me!). If in the excitement of the music, someone on that side of the stage gets carried away with their volume, then I turn the feed to that satellite down ...which gets their attention to reset their side's balance (as I give them back my line-feed). Such balancing also works the same for Players on the other side of the stage that use satellites on my side too. My satellite also provides half of a wide subtle stereo field which is really nice for stereo effects, while my main power-providing amp on my side provides the other half of the wide stereo field; And it also allows me to play at a lower and much more comfortable volume level for everyone on my side of the stage with confidence that the volume level is ample and the other side of the stage is balanced (and is kinder to the front rows of smaller venues). One thing to keep in mind is that the total wattage of several amps is generally the same sound level / pressure ...actually slightly better... as an equal wattage of a single amp; So for instance, 2 or 3 smaller amps providing a combined 100 watts (preferably into a 15" speaker at the main power-providing amp for bottom-end), has generally the same sound pressure as a single 100 watt amp; But the multiple amps provide much better stage volumes (L-R), presence, sound field stacking, coupling, disbursion, stereo field, etc. This arrangement has worked well both in pre-set PA set-ups and with mic'ed / sound man set-ups as well. Personally, I think many Players would do well with a small saletllite amp on the other side of the stage; It really works well ...even if a band has a good sound crew and a good total-instrument monitor system they mix; Because if the satellites are small and not mic'ed, then stage balance can be better trimmed by the Players for their on-stage ears, in real time, ...without all the hand signal distractions / gyrations to the sound man, ...and without interfering with the monitor nor the out-front mixes.

I also personally like the spacial dimension and sustain afforded to Steel by a bit of reverb and a kiss of subtle echo; But that doesn't seem to be a majority opinion among Steelers.

Aloha (means what the heck, I'm just an old cowboy hippie that don't even know if I'm coming or going)

,
DT~
[This message was edited by Denny Turner on 03 May 2004 at 07:53 AM.]

Brian Beebe · Post by **Brian Beebe** » 3 May 2004 8:31 pm

I'm surprised no one has mentioned a Webb. I use a Webb 6-14 with a Black Widow 15" speaker which gives a less brittle tone than the stock JBL and makes the amp lighter too boot.

Mike Fried · Post by **Mike Fried** » 4 May 2004 9:50 pm

Around the house/studio I play my lap steels through a Matchless 1-12" Chieftain that I customized when I worked there in the mid-90's. It's been retubed for less phase inverter distortion (12AY7 in 2nd gain stage) and less power output (5U4 rectifier). For a really old-timey sound I use a rebuilt Rickenbacker Electro M8E.
For more power I use a Fender Dual Professional or SF Twin Reverb with JBL D120's.
For pedal steel with Gary Allan I use a Pod Pro direct, otherwise an older Webb or PV Session 400 Limited.