SEBAGO SSS CLIPS OF PROTOTYPE

[groovtubin]

http://guitargear.org/2012/04/07/gear-r ... prototype/

[wjdunham]

http://guitargear.org/2012/04/07/gear-r ... prototype/

No comments? I have my flame retardent underwear on today

One thing on the amp that was used for the clips - it has a short tank (3-spring medium decay). I was quite surprised how well it sounded with that tank, but the long tank sounds even better, a bit more range and depth.
The .05/2.2M feedback loop does wonders for smoothing out the drive, I use it on any amps I build with reverb these days. Tune the 2.2M to your taste, I've found anything from 820K to 10M to be useful depending on the tank.

Bill

[groovtubin]

http://guitargear.org/2012/04/07/gear-r ... prototype/

No comments? I have my flame retardent underwear on today

One thing on the amp that was used for the clips - it has a short tank (3-spring medium decay). I was quite surprised how well it sounded with that tank, but the long tank sounds even better, a bit more range and depth.
The .05/2.2M feedback loop does wonders for smoothing out the drive, I use it on any amps I build with reverb these days. Tune the 2.2M to your taste, I've found anything from 820K to 10M to be useful depending on the tank.

Bill

Bill! Was wondering why you havent already posted them here! Try to be neutral, i buildem as well, and it does sound great!! , altho i`m quite fond of the way EJ`s SSS sounds at the youtube demo of his amps! Love ta know what HAD did to that one to make it do that!

blessings!!, jim@Omegaamps.com

[stelligan]

Nothing personal to anyone that builds or is enamored with Dumble's or anyone's version of this amplifier. "It's just alright for me"............

I know there is much interest and angst about the details of it and all, but - for me, it's sonic signature has little appeal. The few high profile players that have used it - another story. It is my belief that those players could get most of that from a myriad of amps. And likely the amp was voiced to suit anyway - although that tone filtering is probably very versatile. Give me an ODS type amp any day of the week. Is it a great amplifier for some? No doubt. For me? I'd take a blackface Twin or Super......

Flame retardant gear adorned.... Be gentle, Jimbo!

[wjdunham]

http://guitargear.org/2012/04/07/gear-r ... prototype/

No comments? I have my flame retardent underwear on today

One thing on the amp that was used for the clips - it has a short tank (3-spring medium decay). I was quite surprised how well it sounded with that tank, but the long tank sounds even better, a bit more range and depth.
The .05/2.2M feedback loop does wonders for smoothing out the drive, I use it on any amps I build with reverb these days. Tune the 2.2M to your taste, I've found anything from 820K to 10M to be useful depending on the tank.

Bill

Bill! Was wondering why you havent already posted them here! Try to be neutral, i buildem as well, and it does sound great!! , altho i`m quite fond of the way EJ`s SSS sounds at the youtube demo of his amps! Love ta know what HAD did to that one to make it do that!

blessings!!, jim@Omegaamps.com

Thanks Jim! I was really trying to be respectful of the forum rules and not come across as "advertising" anything.

I can never tell with Eric's tone how much is the amp (A LOT I'm sure) and how much is all the effects he has going on. Does he ever just go straight into the amp, or does he always have some pedal giving him a bit more gain and possibly some overdrive? One thing I've found about the #002 is that it's very sensitive to amount of gain going on, and HAD did lots of things to tweak it in various place with the feedback loops. The FET input with an external gain control on these things really gives them a very wide range of tones, much more so than the equivalent circuit on and ODS clean channel for example.
There are a lot more clips of Mayer where he's got just the amp and no pedals.

Bill

[LeftyStrat]

No comments? I have my flame retardent underwear on today

One thing on the amp that was used for the clips - it has a short tank (3-spring medium decay). I was quite surprised how well it sounded with that tank, but the long tank sounds even better, a bit more range and depth.
The .05/2.2M feedback loop does wonders for smoothing out the drive, I use it on any amps I build with reverb these days. Tune the 2.2M to your taste, I've found anything from 820K to 10M to be useful depending on the tank.

Bill

It sounds awesome Bill. Thanks for the tip on the reverb.

[groovtubin]

Nothing personal to anyone that builds or is enamored with Dumble's or anyone's version of this amplifier. "It's just alright for me"............

I know there is much interest and angst about the details of it and all, but - for me, it's sonic signature has little appeal. The few high profile players that have used it - another story. It is my belief that those players could get most of that from a myriad of amps. And likely the amp was voiced to suit anyway - although that tone filtering is probably very versatile. Give me an ODS type amp any day of the week. Is it a great amplifier for some? No doubt. For me? I'd take a blackface Twin or Super......

Flame retardant gear adorned.... Be gentle, Jimbo!

I have absolutely NO reason to do that, wish you were in my neck o woods to hear my HRM!!

[groovtubin]

No comments? I have my flame retardent underwear on today

One thing on the amp that was used for the clips - it has a short tank (3-spring medium decay). I was quite surprised how well it sounded with that tank, but the long tank sounds even better, a bit more range and depth.
The .05/2.2M feedback loop does wonders for smoothing out the drive, I use it on any amps I build with reverb these days. Tune the 2.2M to your taste, I've found anything from 820K to 10M to be useful depending on the tank.

Bill

Bill! Was wondering why you havent already posted them here! Try to be neutral, i buildem as well, and it does sound great!! , altho i`m quite fond of the way EJ`s SSS sounds at the youtube demo of his amps! Love ta know what HAD did to that one to make it do that!

blessings!!, jim@Omegaamps.com

Thanks Jim! I was really trying to be respectful of the forum rules and not come across as "advertising" anything.

I can never tell with Eric's tone how much is the amp (A LOT I'm sure) and how much is all the effects he has going on. Does he ever just go straight into the amp, or does he always have some pedal giving him a bit more gain and possibly some overdrive? One thing I've found about the #002 is that it's very sensitive to amount of gain going on, and HAD did lots of things to tweak it in various place with the feedback loops. The FET input with an external gain control on these things really gives them a very wide range of tones, much more so than the equivalent circuit on and ODS clean channel for example.
There are a lot more clips of Mayer where he's got just the amp and no pedals.

Bill

Bill, it`s that GREAT attitude, that leads me to believe, SOME people deserve better things,

respectfully back at ya!

jim

[wjdunham]

Nothing personal to anyone that builds or is enamored with Dumble's or anyone's version of this amplifier. "It's just alright for me"............

I know there is much interest and angst about the details of it and all, but - for me, it's sonic signature has little appeal. The few high profile players that have used it - another story. It is my belief that those players could get most of that from a myriad of amps. And likely the amp was voiced to suit anyway - although that tone filtering is probably very versatile. Give me an ODS type amp any day of the week. Is it a great amplifier for some? No doubt. For me? I'd take a blackface Twin or Super......

Flame retardant gear adorned.... Be gentle, Jimbo!

I hear ya, these are definitely not for everyone. For me at least though, the appeal of the circuit is that it sounds like I always wanted my Twin or Super to sound at almost any volume level, not just cranked to the gills.
YMMV or course.
Bill

[LeftyStrat]

I hear ya, these are definitely not for everyone. For me at least though, the appeal of the circuit is that it sounds like I always wanted my Twin or Super to sound at almost any volume level, not just cranked to the gills.
YMMV or course.
Bill

You've just described my holy grail.

[Structo]

Yeah, the whole SSS thing kind of is meh, to me.

The ODS amp is much more versatile for me.

The days of playing stadium stacks is kind of over.

I always wanted a full Marshall stack.

I always wanted to win the lottery as well.

I'm glad some of you guys are into it, that's great to be excited again
about an amp.

I believe in sharing as well.

To me the SSS fills an even smaller niche than the ODS amp so enjoy it while you can.

[kevster]

Yeah, the whole SSS thing kind of is meh, to me.

The ODS amp is much more versatile for me.

The days of playing stadium stacks is kind of over.

I always wanted a full Marshall stack.

I always wanted to win the lottery as well.

I'm glad some of you guys are into it, that's great to be excited again
about an amp.

I believe in sharing as well.

To me the SSS fills an even smaller niche than the ODS amp so enjoy it while you can.

I just joined the ODS clone club in the last year...

Looking at all the options, I felt the ODS clone was the best choice. If I had a multi-amp situation, the SSS would be a great foundation amp. Since I can only have one amp, I'm content with the ODS clone.

[Max]

I can never tell with Eric's tone how much is the amp (A LOT I'm sure) and how much is all the effects he has going on. Does he ever just go straight into the amp, or does he always have some pedal giving him a bit more gain and possibly some overdrive?

Bill, taking into account what Larry Carlton once told about his SSS it’s IMO rather probable that the tone of Larry Carlton's SSS that he used for the "Renegade Gentleman" ( http://www.amazon.com/Renegade-Gentlema ... B0000001T0 ) tracks recorded in Nashville (April 1993) isn’t that far away from the tone of EJ’s SSS. And AFAIR these tracks recorded in Nashville with Larry Carlton's SSS aren’t loaded with effects. So IMO these Nashville tracks are a fine example for the tone of one of the later SSS's. And because AFAIR he used his ODS for the tracks recorded in Hollywood (March 1991), IMO "Renegade Gentleman" offers an opportunity to compare the sound of a SSS and an ODS both played by the same musician and in the same musical context.

The tracks recorded in Nashville are: Crazy Mama, Cold Day In Hell, Amen A. C., Never Say Naw, Nothin' Comes, I Gotta Right.

Here’s what Larry Carlton told about his SSS:

"TCC:
It seems like your guitars and amps on that album ("Renegade Gentleman") have more of a raw sound. Where you using the Dumble at all? ..... It seems so much more unrefined. The Dumble gets that sweet glow to it. This is like all hell breaks loose.

LC:
I had Dumble make me an amplifier for the second half of the Album. I explained to Dumble what I was looking for in terms of energy and punch with my Strat. He said you want a Steel String Singer. He brought Eric's over for me to play through before he was going to ship it to Eric (Johnson) in Texas. As soon as I played through it, I said that's it, I need that. That's what I used on a lot of the cuts we did down in Nashville."

20th Century Guitar, November / December 1994, page 88

Source of this quote : http://web.archive.org/web/200802091812 ... ble-e.html

One thing I've found about the #002 is that it's very sensitive to amount of gain going on, and HAD did lots of things to tweak it in various place with the feedback loops. The FET input with an external gain control on these things really gives them a very wide range of tones, much more so than the equivalent circuit on and ODS clean channel for example.
There are a lot more clips of Mayer where he's got just the amp and no pedals.

Just to avoid misunderstandings: SSS #002, now used by John Mayer, doesn't have an external gain control for the FET circuit (see the attached picture). The first SSS with this external gain control for the FET circuit is Henry Kaiser's #004.

Cheers,

Max

[wjdunham]

Bill, taking into account what Larry Carlton once told about his SSS it’s IMO rather probable that the tone of Larry Carlton's SSS that he used for the "Renegade Gentleman" ( http://www.amazon.com/Renegade-Gentlema ... B0000001T0 ) tracks recorded in Nashville (April 1993) isn’t that far away from the tone of EJ’s SSS. And AFAIR these tracks recorded in Nashville with Larry Carlton's SSS aren’t loaded with effects. So IMO these Nashville tracks are a fine example for the tone of one of the later SSS's. And because AFAIR he used his ODS for the tracks recorded in Hollywood (March 1991), IMO "Renegade Gentleman" offers an opportunity to compare the sound of a SSS and an ODS both played by the same musician and in the same musical context.

The tracks recorded in Nashville are: Crazy Mama, Cold Day In Hell, Amen A. C., Never Say Naw, Nothin' Comes, I Gotta Right.

Here’s what Larry Carlton told about his SSS:

"TCC:
It seems like your guitars and amps on that album ("Renegade Gentleman") have more of a raw sound. Where you using the Dumble at all? ..... It seems so much more unrefined. The Dumble gets that sweet glow to it. This is like all hell breaks loose.

LC:
I had Dumble make me an amplifier for the second half of the Album. I explained to Dumble what I was looking for in terms of energy and punch with my Strat. He said you want a Steel String Singer. He brought Eric's over for me to play through before he was going to ship it to Eric (Johnson) in Texas. As soon as I played through it, I said that's it, I need that. That's what I used on a lot of the cuts we did down in Nashville."

20th Century Guitar, November / December 1994, page 88

Source of this quote : http://web.archive.org/web/200802091812 ... ble-e.html

One thing I've found about the #002 is that it's very sensitive to amount of gain going on, and HAD did lots of things to tweak it in various place with the feedback loops. The FET input with an external gain control on these things really gives them a very wide range of tones, much more so than the equivalent circuit on and ODS clean channel for example.
There are a lot more clips of Mayer where he's got just the amp and no pedals.

Just to avoid misunderstandings: SSS #002, now used by John Mayer, doesn't have an external gain control for the FET circuit (see the attached picture). The first SSS with this external gain control for the FET circuit is Henry Kaiser's #004.

Cheers,

Max

Thanks Max, I'll give those clips a listen. I've not listened to that album previously, will be interesting to hear how the amp responds to his playing vs. EJ's.

On the FET gain, you're correct, the original does not have an external control. I would recommend putting it on the front though, as there is a wide range of settings that work well with this circuit.
Bill

[10thTx]

This is always a personal preference/taste thing for each of us.

I am a big fan of Larry Carlton's tone & was before I knew anything about Dumble amps (even though I had been hearing them). I have almost all his CD's and all of the FourPlay CD's that he was on.

Renegade Gentleman had my least favorite tone (of all the CD's I have of his) even though his playing was incredible. I thought the tone was somewhat harsh even though his talent was/is remarkable. I was aware that he used a Dumble on part of the CD. I think maybe he had a Mesa Boogie for the other portion but I am not sure? It didn't sound like his Deluxe to me? But I could not pick out any songs on Renegade Gentleman that had an "oh wow" tone for me. Lots of "oh wow" playing though.

I strongly prefer his FourPlay Dumble tone where his playing is featured on a song. Sweeter harmonics, blooming and cleaner sustain to my ears.

Again, just a personal preference and opinion thing.

With respect, 10thtx