I need a new amp, reccomendations?
Moderator: jingle_jangle
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urizen
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ricnvolved
Has anyone actually played/heard any of the Yorkville amps specifically geared towards acoustic guitars? This certainly isn't an area I have a lot of familiarity with, but I've heard very little praise for ANY brand of amps for acoustics. The preference I keep hearing about is to simply get a good quality mic and position it at the proper angle in front of the soundhole, and then run it through a good P.A.
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ralph
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wileyibex
I have one of the 100W Yorkville amps. My impressions?
It's pretty good, although I find the controls for the F/X channel less than well thought-out: confusing and fussy, impossible to see and set in low light. The sound? It's very, very good for vocals, and is capable of generating some reasonably full, rich, and natural acoustic guitar tones, although you will need to spend some time fiddling with controls to find the tone you want. I'd term the sound with my Talyor's Fishman Prefix lender system as "shimmering." The Seagull 12-string* uses a simpler Baggs p/u system, and it is a perfect match for the Yorkville: v full, v rich, with crisp clear highs and ringing bass notes. Unlike the Traynor YCV40, the Yorkville's desired tone is available from the lowest whisper up to the point at which tone "clipping" begins....which is LOUD. Though rated at 100W, these ARE solid-state watts, and there are 2 channels, so I'd supect that the Yorkville's clean output is roughly comparable to a 30W single-channel tube amp. And that's not bad.
It's really not half-bad with the Ric 360/12, either, surprisingly enough. It's quite clean and jangly. On the other hand, it blows dead rats with the hot-rodded Tele. You don't care. There IS a mid-tone dominance to the natural sound of the amp, but judicious control of the "Middle" knob produces respectable results, and that allows the Ricky to sparkle just fine, thankyouverymuch.
As a 23 lb, 100W, mic channel-carrying, F/X-laden alternative to the Roland JC-120, I'd call it an exceptional choice for the solo musician + mic-type act (smaller-scale R McGuinn-type dates.) It's also fine for acoustic-based groups, even if they switch to an occasional electric instrument. The output is thoroughly ample for the general run of no-PA, non-miked-to-the-house-system gigs.
I'll defer to the Duck-man to explain the how's and why's of the performance, as such issues are beyond my ken. As I've told Phil, I am just a lowly guitar player. Amps? They're like elevators or airplanes to me: I can evaluate them, but I don't pretend to understand them. I'll leave that to the electrical wizards...
Cosmetically and from a standpoint of utility, the Yorkville is unbeatable. It's only 23 lbs, it's covered in a very heavy carpet-like material, and the rear of the cabinet is cut to a wedge shape, to allow the amp to tilt back with no external parts. It's ideal to transport and deploy. AND good-quality sound for under $500.00. Can you beat it?
* About that Seagull...The Seagull acoustic-electric 12-string is a guitar in which you 12-string players might well be interested. Nice tone, excellent workmanship, under $500 -- new -- with the Baggs system. I did a thing with mine, though. The neck was huuuuuuge...very, very thick, as delivered. Every time I switched from the Ric to the 'gull I felt as though I needed re-training. So I had my luthier shave and reshape the neck last week, and...Zounds! He took a full 1/4" (!!!) off the depth of the neck, "V-ed" the sides in a bit, and did a re-fin to match the cherry on the back and sides, and it's a transformation -- the perfect acoustic 12-string neck. All this for $100.00, and the playability is unsurpassed.
Sorry about the lengthy post.
It's pretty good, although I find the controls for the F/X channel less than well thought-out: confusing and fussy, impossible to see and set in low light. The sound? It's very, very good for vocals, and is capable of generating some reasonably full, rich, and natural acoustic guitar tones, although you will need to spend some time fiddling with controls to find the tone you want. I'd term the sound with my Talyor's Fishman Prefix lender system as "shimmering." The Seagull 12-string* uses a simpler Baggs p/u system, and it is a perfect match for the Yorkville: v full, v rich, with crisp clear highs and ringing bass notes. Unlike the Traynor YCV40, the Yorkville's desired tone is available from the lowest whisper up to the point at which tone "clipping" begins....which is LOUD. Though rated at 100W, these ARE solid-state watts, and there are 2 channels, so I'd supect that the Yorkville's clean output is roughly comparable to a 30W single-channel tube amp. And that's not bad.
It's really not half-bad with the Ric 360/12, either, surprisingly enough. It's quite clean and jangly. On the other hand, it blows dead rats with the hot-rodded Tele. You don't care. There IS a mid-tone dominance to the natural sound of the amp, but judicious control of the "Middle" knob produces respectable results, and that allows the Ricky to sparkle just fine, thankyouverymuch.
As a 23 lb, 100W, mic channel-carrying, F/X-laden alternative to the Roland JC-120, I'd call it an exceptional choice for the solo musician + mic-type act (smaller-scale R McGuinn-type dates.) It's also fine for acoustic-based groups, even if they switch to an occasional electric instrument. The output is thoroughly ample for the general run of no-PA, non-miked-to-the-house-system gigs.
I'll defer to the Duck-man to explain the how's and why's of the performance, as such issues are beyond my ken. As I've told Phil, I am just a lowly guitar player. Amps? They're like elevators or airplanes to me: I can evaluate them, but I don't pretend to understand them. I'll leave that to the electrical wizards...
Cosmetically and from a standpoint of utility, the Yorkville is unbeatable. It's only 23 lbs, it's covered in a very heavy carpet-like material, and the rear of the cabinet is cut to a wedge shape, to allow the amp to tilt back with no external parts. It's ideal to transport and deploy. AND good-quality sound for under $500.00. Can you beat it?
* About that Seagull...The Seagull acoustic-electric 12-string is a guitar in which you 12-string players might well be interested. Nice tone, excellent workmanship, under $500 -- new -- with the Baggs system. I did a thing with mine, though. The neck was huuuuuuge...very, very thick, as delivered. Every time I switched from the Ric to the 'gull I felt as though I needed re-training. So I had my luthier shave and reshape the neck last week, and...Zounds! He took a full 1/4" (!!!) off the depth of the neck, "V-ed" the sides in a bit, and did a re-fin to match the cherry on the back and sides, and it's a transformation -- the perfect acoustic 12-string neck. All this for $100.00, and the playability is unsurpassed.
Sorry about the lengthy post.
Paul, you need to tell us who your Seagull luthier is, for those who want a 12-string and cannot justify the price of a RIC 330/12, etc. Maybe an interest could be generated and he would carry a few guitars in stock, with the mods that you had him perform. I think I would want to try something cheaper just to see if I really wanted a 12-string before plunking down the money for RIC 12-string.
It is obvious that getting your acoustic properly amped is a bigger problem than your electric guitar. I have a similar problem with bass amps. I haven't bought another big bass amp yet since I let the Peavey folded horn setup go, and probably will not per se. My little Marshall AVT20 with the B102 speaker sounds just fine, so the real issue is just to make it louder. It has an emulated direct input that I can hook up to a Hi Fi amp and then send that signal to a bass cabinet. I have a B&K ST-202+ audiophile amp with rackmount handles that would make a very good stereo bass amp. AVT20 to footswitch to B&K ST-202+ to bass cabinets loaded with Eminence B102 speakers sounds like a winning setup to me. The AVT20 would further serve as my stage monitor. For instance, you cannot hear how a folded horn cabinet really sounds when you are standing next to it, while a person 40 feet away is getting blasted by bass.
Likewise, I think that acoustic players would do well to investigate getting a used Hi Fi stereo amp such as a B&K ST-140, ST-202, or EX-442; Hafler DH-220; Adcom 535, 545, or 555; or whatever they can dig up at a reasonable low price that sounds good in an audio setup playing full range music. This would be a very fertile area for the experimenters among you to investigate. Then get a good pickup or microphone along with a proper preamp to go between pickup/mic and the amp. A PA cabinet that sounds good when playing full range vocal and instrumental music through it would guarantee fidelity to the source. If you have a problem, it's not in the power amp or cabinet then. The most likely source of problems is in the pickup/microphone or preamp equalization. This gets to be a bit of a "bits & pieces" approach, and would be a pain to haul around, but it allows you to investigate every variable and make changes as you see fit without changing everything else. It could also serve as part of your PA system. I have no calling to amplify my Tacoma Chief, so I will probably never know.
B&K stereo amps are available on eBay at reasonable prices, and I have never heard of anybody having problems with them. For the price, they are truly incredible. The old ones came with rackmount handles that make it much easier to carry them around. They would make a great PA amp as well. In fact, Hafler left the audiophile market and now only sells to the pro sound market. I had a Hafler DH-220, and it was OK, but still not equal to a B&K amp in sound or build quality. I cannot understand why B&K amps never filled the racks of pro sound systems. They are one of the biggest amp makers in America, but seem aimed mostly toward home theater right now, where they are the industry leader of high quality domestic built amps. You want one of their old amps with the rackmount handles if you use it for guitar/PA amp duty.
I read good things about the Roland Jazz Chorus amps (see Noel's post above) over at Harmony Central. It should do for smaller gigs and home practice. What I am referring to in this post is an amp of substantial output that would serve in a large venue such as an outdoor gig where a combo amp probably just isn't going to cut it, and there probably isn't a good PA system to plug into.
Also, do not overlook the option of just hooking your combo amp or amp head directly into a good PA speaker. If your clean channel is clean enough, this just might work without further searching.
It is obvious that getting your acoustic properly amped is a bigger problem than your electric guitar. I have a similar problem with bass amps. I haven't bought another big bass amp yet since I let the Peavey folded horn setup go, and probably will not per se. My little Marshall AVT20 with the B102 speaker sounds just fine, so the real issue is just to make it louder. It has an emulated direct input that I can hook up to a Hi Fi amp and then send that signal to a bass cabinet. I have a B&K ST-202+ audiophile amp with rackmount handles that would make a very good stereo bass amp. AVT20 to footswitch to B&K ST-202+ to bass cabinets loaded with Eminence B102 speakers sounds like a winning setup to me. The AVT20 would further serve as my stage monitor. For instance, you cannot hear how a folded horn cabinet really sounds when you are standing next to it, while a person 40 feet away is getting blasted by bass.
Likewise, I think that acoustic players would do well to investigate getting a used Hi Fi stereo amp such as a B&K ST-140, ST-202, or EX-442; Hafler DH-220; Adcom 535, 545, or 555; or whatever they can dig up at a reasonable low price that sounds good in an audio setup playing full range music. This would be a very fertile area for the experimenters among you to investigate. Then get a good pickup or microphone along with a proper preamp to go between pickup/mic and the amp. A PA cabinet that sounds good when playing full range vocal and instrumental music through it would guarantee fidelity to the source. If you have a problem, it's not in the power amp or cabinet then. The most likely source of problems is in the pickup/microphone or preamp equalization. This gets to be a bit of a "bits & pieces" approach, and would be a pain to haul around, but it allows you to investigate every variable and make changes as you see fit without changing everything else. It could also serve as part of your PA system. I have no calling to amplify my Tacoma Chief, so I will probably never know.
B&K stereo amps are available on eBay at reasonable prices, and I have never heard of anybody having problems with them. For the price, they are truly incredible. The old ones came with rackmount handles that make it much easier to carry them around. They would make a great PA amp as well. In fact, Hafler left the audiophile market and now only sells to the pro sound market. I had a Hafler DH-220, and it was OK, but still not equal to a B&K amp in sound or build quality. I cannot understand why B&K amps never filled the racks of pro sound systems. They are one of the biggest amp makers in America, but seem aimed mostly toward home theater right now, where they are the industry leader of high quality domestic built amps. You want one of their old amps with the rackmount handles if you use it for guitar/PA amp duty.
I read good things about the Roland Jazz Chorus amps (see Noel's post above) over at Harmony Central. It should do for smaller gigs and home practice. What I am referring to in this post is an amp of substantial output that would serve in a large venue such as an outdoor gig where a combo amp probably just isn't going to cut it, and there probably isn't a good PA system to plug into.
Also, do not overlook the option of just hooking your combo amp or amp head directly into a good PA speaker. If your clean channel is clean enough, this just might work without further searching.
The JC-120 is bludgeoningly loud. Like an AC-30, you'll likely never have it above 3 when you're playing at home. It gigs fine. Ask Tom Petty, Marty Willson-Piper, Roger McGuinn, Peter Koppes, and Van Morrison.
120 Watts is just plain loud!
Carvin has a nice combo amp with multiple inputs (mic, acoustic gtr, bass ) wrapped in blue tolex. It's a nice multi-purpose unit.
Marshall Valvestate amps are fairly versatile, or so I gathered as I played a friend's for about an hour.
So many choices.
Acoustic guitars sound great plugged into a Fender Twin.
The trouble lies in that electric guitar amps occupy the MIDRANGE zone. Some are all midrange.
Acoustics need more breadth of frequency ...to some ears.
My bandmate recently got an Ampeg Jet II. That is a nice amp. It's an electric guitar only beast. Lots of tones. Superb feel. More responsive and lively than an AC15. A bit on the dirty side.
Cheers, Noel
120 Watts is just plain loud!
Carvin has a nice combo amp with multiple inputs (mic, acoustic gtr, bass ) wrapped in blue tolex. It's a nice multi-purpose unit.
Marshall Valvestate amps are fairly versatile, or so I gathered as I played a friend's for about an hour.
So many choices.
Acoustic guitars sound great plugged into a Fender Twin.
The trouble lies in that electric guitar amps occupy the MIDRANGE zone. Some are all midrange.
Acoustics need more breadth of frequency ...to some ears.
My bandmate recently got an Ampeg Jet II. That is a nice amp. It's an electric guitar only beast. Lots of tones. Superb feel. More responsive and lively than an AC15. A bit on the dirty side.
Cheers, Noel
You're right, Noel, the JC-120 is the loud one, but I was referring to the smaller Jazz Chorus models as well. I believe Roland makes much smaller amps in the Jazz Chorus series. One of them should do for home practice and small gigs.
Roland is probably another one of those amp brands that does not get the credit it deserves. Since an acoustic guitar needs a wider bandwidth amp with higher fidelity, I think a solid state amp would serve most people better. Just get enough power to stay out of clipping. Tube amps are for those into overdriven distorted tones. I would not pay more for a tube amp that needed frequent output tube replacements if my only concern was for clean acoustic amplification.
Does anybody have experience with the smaller Roland Jazz Chorus models?
Roland is probably another one of those amp brands that does not get the credit it deserves. Since an acoustic guitar needs a wider bandwidth amp with higher fidelity, I think a solid state amp would serve most people better. Just get enough power to stay out of clipping. Tube amps are for those into overdriven distorted tones. I would not pay more for a tube amp that needed frequent output tube replacements if my only concern was for clean acoustic amplification.
Does anybody have experience with the smaller Roland Jazz Chorus models?
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profjeff
I switch back and forth from electric to acoustic all the time when gigging, and I haven't found an amp that works GREAT for both yet. If I am playing in a place that has a good PA and a decent sound technician, I don't need an acoustic amp, just a good DI. But I usually set up my small Marshall Acoustic Soloist 50 to add a little body to the mix. It's also a great for monitoring the guitar. My main acoustic has a Fishman Blender system with a condensor mic/piezo undersaddle pickup and an onbaord mixer/preamp. It sounds great, but a really high end audiophile amp would be a waste with this system. Even the best acoustic mic/pickup/preamp systems fall way short of what an acoustic guitar really sounds like in a natural environment, and I think it would be pointless to use audiophile gear to amplify it.
I always use a tube mic preamp between my acoustic and the Marshall AS 50 (currently a little ART Tube MP). It warms up the sound of the Piezo and the boxy sounding condensor mic. Also, I can get my Rick 360/12 to sound pretty good through the Marshall Acoustic with the preamp. It fattens up the midrange just enough.
Here are some setups that I have tried with limited success to accommodate my Ricks and my acoustic guitars with a single amp:
• Marshall Acoustic Soloist; acoustic guitar in channel 1, electric in channel 2 through a Line 6 Pod v. 2 (I've also tried a Korg Pandora and a Johnson J-Station); outboard 7 band EQ in effects loop. Assessment--acoustic sounds fine, but there is a pronounced scooped midrange voicing in both channels. Electric lacks harmonic overtones and general depth. 12 string can sound OK with this setup.
• Trace Acoustic CR 40 amp; same setup as above. Assessment--5" speakers cannot handle electric guitars. Ugly speaker distortion. Acoustic guitar sounds beautiful--full, balanced, natural.
• Vox AC 15; 2 separate effects setups to an A/B/Y switch--one for electric and one for acoustic. Acoustic effects include Trace Acoustic Preamp/EQ (no longer made). Assessment--electric sounds fine, acoustic lacks high end shimmer and low end sounds a bit mushy, but it would work for a song or two if you were had support from other instruments. Not for soloing.
• Ampeg Jet II; same setup as above. Assessement--acoustic has really boxy sound from small cab. Overemphasis on mid bass. Very hard to eq. Rick 360/12 absolutely loves this amp. Warm and juicy.
• Fender Hot Rod Deluxe (Celestion V 30); same setup as above except attenuator and tube mic preamp in amp's effects loop. Assessment--surprisingly usable, but midrangy acoustic guitar sound. Again, this would work if you were not soloing. Rick 360's (6 and 12) both sound FANTASTIC through this amp.
• Randall RG 120 2 x 12" solid state 2 channel combo; same setup as above. Assessment--surprisingly good acoustic sound. Surprisingly good clean Rick sounds, but forget about the drive channel. This amp could work for a solo acoustic guitarist depending on the guitar. Heavy amp (75 lbs.). Otherwise I'd use it more.
• Fender Vibro Champ (blackface); I put a Jensen Alnico 8" reissue and a Torres Famous Champ kit in this one. Assessment--I dunno, I think my 360's like 12" speakers. Acoustic actually sounds OK, but you can't turn it up very loud.
• Marshall JCM 2000 DSL 201. The clean channel has a treble boost that activates when the volume is between 1 and 5. Acoustic guitar sounds pretty good, but don't crank it past 5. Rick 360's sound terrific in both channels, but the 6 string especially likes this amp. Also, my Dakota ROCKS through this Marshall.
Bottom line--you can't squeeze blood from a turnip. Get a little Trace Acoustic amp or one of the Marshall AS models (less than half the price of the Trace). It'll cost you an extra trip to the van when you gig, but your efforts will be rewarded. I am not a fan of the Fender acoustic amps (there seems to be some consensus in this forum), but I have never owned one, so take this for what it's worth. Listen to Pete Townshend's Live End DVD for a good demonstration of the sound of the Fender. A bit thin and unremarkable. C'mon, Pete. Also, the acoustic tone form his Fishman equipped Strat on the Live From the Royal Albert Hall DVD is pretty disgusting. Fender must have some sort of exclusive contract with him these days. It's funny, because the acoustic tones on the 34 year old Tommy LP sound great, even by today's standards!
Some Rick photos and sound clips:
http://home.attbi.com/~drjeffreyb
I always use a tube mic preamp between my acoustic and the Marshall AS 50 (currently a little ART Tube MP). It warms up the sound of the Piezo and the boxy sounding condensor mic. Also, I can get my Rick 360/12 to sound pretty good through the Marshall Acoustic with the preamp. It fattens up the midrange just enough.
Here are some setups that I have tried with limited success to accommodate my Ricks and my acoustic guitars with a single amp:
• Marshall Acoustic Soloist; acoustic guitar in channel 1, electric in channel 2 through a Line 6 Pod v. 2 (I've also tried a Korg Pandora and a Johnson J-Station); outboard 7 band EQ in effects loop. Assessment--acoustic sounds fine, but there is a pronounced scooped midrange voicing in both channels. Electric lacks harmonic overtones and general depth. 12 string can sound OK with this setup.
• Trace Acoustic CR 40 amp; same setup as above. Assessment--5" speakers cannot handle electric guitars. Ugly speaker distortion. Acoustic guitar sounds beautiful--full, balanced, natural.
• Vox AC 15; 2 separate effects setups to an A/B/Y switch--one for electric and one for acoustic. Acoustic effects include Trace Acoustic Preamp/EQ (no longer made). Assessment--electric sounds fine, acoustic lacks high end shimmer and low end sounds a bit mushy, but it would work for a song or two if you were had support from other instruments. Not for soloing.
• Ampeg Jet II; same setup as above. Assessement--acoustic has really boxy sound from small cab. Overemphasis on mid bass. Very hard to eq. Rick 360/12 absolutely loves this amp. Warm and juicy.
• Fender Hot Rod Deluxe (Celestion V 30); same setup as above except attenuator and tube mic preamp in amp's effects loop. Assessment--surprisingly usable, but midrangy acoustic guitar sound. Again, this would work if you were not soloing. Rick 360's (6 and 12) both sound FANTASTIC through this amp.
• Randall RG 120 2 x 12" solid state 2 channel combo; same setup as above. Assessment--surprisingly good acoustic sound. Surprisingly good clean Rick sounds, but forget about the drive channel. This amp could work for a solo acoustic guitarist depending on the guitar. Heavy amp (75 lbs.). Otherwise I'd use it more.
• Fender Vibro Champ (blackface); I put a Jensen Alnico 8" reissue and a Torres Famous Champ kit in this one. Assessment--I dunno, I think my 360's like 12" speakers. Acoustic actually sounds OK, but you can't turn it up very loud.
• Marshall JCM 2000 DSL 201. The clean channel has a treble boost that activates when the volume is between 1 and 5. Acoustic guitar sounds pretty good, but don't crank it past 5. Rick 360's sound terrific in both channels, but the 6 string especially likes this amp. Also, my Dakota ROCKS through this Marshall.
Bottom line--you can't squeeze blood from a turnip. Get a little Trace Acoustic amp or one of the Marshall AS models (less than half the price of the Trace). It'll cost you an extra trip to the van when you gig, but your efforts will be rewarded. I am not a fan of the Fender acoustic amps (there seems to be some consensus in this forum), but I have never owned one, so take this for what it's worth. Listen to Pete Townshend's Live End DVD for a good demonstration of the sound of the Fender. A bit thin and unremarkable. C'mon, Pete. Also, the acoustic tone form his Fishman equipped Strat on the Live From the Royal Albert Hall DVD is pretty disgusting. Fender must have some sort of exclusive contract with him these days. It's funny, because the acoustic tones on the 34 year old Tommy LP sound great, even by today's standards!
Some Rick photos and sound clips:
http://home.attbi.com/~drjeffreyb
anyone ever try a Rivera Sedona?
http://www.rivera.com/prod_sedona.htm
Looks like a viable option. Maybe when I get my guitar back Ill run to Pitt. PA to check one out.
Might be a few weeks befor my guitar is "done"
JP
http://www.rivera.com/prod_sedona.htm
Looks like a viable option. Maybe when I get my guitar back Ill run to Pitt. PA to check one out.
Might be a few weeks befor my guitar is "done"
JP
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urizen
I own a Roland JC-77. I used to gig with a borrowed one in college in small, indoor places and once outdoors for a small gathering. No problem with power! I found one a year ago and don't use it much, but I keep it because it's usefulness cannot be predicted. If you come across a need for a loud, clean, superb sounding amp, it's great. I even have a use for the distortion, which many people do not like. It's definitely SS in sound, but it lacks the sterility that many SS amps have.
A used JC77, JC90, or JC55 (never played the others) can usually be found for around $300, more or less. I got mine for around $250. A steal.
A used JC77, JC90, or JC55 (never played the others) can usually be found for around $300, more or less. I got mine for around $250. A steal.
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profjeff
I guess I'm one of those short attention span musicians who likes to have alot of cheaper toys rather than a few really good ones. One of these days I'll sell off a couple of things and buy one of these boutique beauties (Top Hats are high on my list). It seems like every time I have 2 grand to spend, there's a cool guitar with my name on it.
I also do alot of recording and since I don't play keyboards very well, I need alot of different guitar and amp sounds to add texture to my gawdawful songs:-)
By the way, I wanted to put in a plug for a retailer that I visited yesterday...Wildwood Guitars in Louisville, Colorado. The owner, Steve, (former Wind Machine guitarist) is a stand up guy who really knows how to treat customers. They have a fantastic selection of Ricks most of the time, and are the largest Gibson Historic dealer in the US. I tried a new Rick 620 with toasters through a Dr. Z amp. I also auditioned a Victoria tweed amp. Cool stuff. Great shop. Web address is http://www.wildwoodguitars.com
I also do alot of recording and since I don't play keyboards very well, I need alot of different guitar and amp sounds to add texture to my gawdawful songs:-)
By the way, I wanted to put in a plug for a retailer that I visited yesterday...Wildwood Guitars in Louisville, Colorado. The owner, Steve, (former Wind Machine guitarist) is a stand up guy who really knows how to treat customers. They have a fantastic selection of Ricks most of the time, and are the largest Gibson Historic dealer in the US. I tried a new Rick 620 with toasters through a Dr. Z amp. I also auditioned a Victoria tweed amp. Cool stuff. Great shop. Web address is http://www.wildwoodguitars.com
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ricnvolved
urizen-- I'm familiar with the Top Hat amps, but have had only a couple of occasions to listen to one. The tone was great but I'm not convinced that it justified the price tag. The choice for high-end guitar amps is larger now than it ever has been; my suspicion is that the cost on most is equalled only by the hype. One has to be extremely careful in making a decision and take the time to investigate each possibility. Talking with those who can give a truly informed opinion can go a long way in helping the buyer avoid an expensive mistake. Determine at the very beginning what you want/need. Narrow down your choices and decide if any are truly worth what you're being asked to pay. Most importantly, learn to trust your ears.
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profjeff
Good advice, Jeffery. It's easy to get desensitized into thinking that 2 or 3 grand is reasonable for a boutique amp. But most really good guitarists that I have seen in concert in the last year are playing vintage Fenders, Marshalls, and Voxes that can be had for about the same price as new Matchless amps...so you gotta wonder...