Whats the theoretical perfect setting for a wreck

[declan]

A better understanding of its optimum capabilities may be a good reference point for would be wreck owners/builders who may never hear one properly before taking the plunge to build/buy

So, leaving aside the more modern need to airbrake, and mic amps on stage, ..... what and where is the wrecks true home?

In other words design a perfect live environment around a Wreck singing into nothing more than a good cab.

what size is the venue?

how loud is the drummer?

can it get away with some guitar vol controlled cleans in the middle of a set and still keep up with the rest of the band?

what styles of music are you playing?

what compromises have you made with your own wreck to get it to suit your environment, or if you could change one thing about wreck inspired amps what would it be.

[doctord02]

This sounds like a question for Glen K. I think he's the only one here thats gigged with a real wreck and can speak for where the sweet spot is...

[declan]

awww come on .... more people other than Glen must gig their wrecks too, doesn't have to be an original, but of course Glens experiences would be very interesting to hear

[philmanatee]

1 o'clock on the volume seemed to be the sweet spot on mine. I gigged with it for over a year in small and medium clubs with various 2 12 speaker cabinets. I usually was running my guitar volume fairly low and then turning it up for leads. I used the bright switch about half the time depending on the song. Later I built my take on a trem-rocket and switched between them through the same cabinet, with the trem-rocket being for dedicated cleans. I haven't been using that setup since I built an amp based on an elgen with a six 6aq5 power section that fits my needs better. I used a 335 dot reissue most of the time with my express. Phil

[geetarpicker]

I've played many shows with my original '89 Express unattenuated AND miked up into the PA. Rooms, about 200-500 people. Power trio bands mostly, plus a singer. Drummer, slammin' animal but also miked up. Try to keep cabinet from being aimed directly at the sound man. Still, a 4x12 is very directional which actually helps to keep the volume away from the singer and the rest of the band IF you can aim it off to the side a little bit. Knobs all on 1/2, except volume and treble maybe 1:00. Bright switch on full (500pf) all the time. Marshall 4x12 with old G12M 25 watters, and a 40' cord on the guitar. In the same situation an original Liverpool I used to have was not loud enough. Oh, yes ear plugs IN though I've worn those since way before I ever got a Wreck. In the same situation having G12H speakers would probably mean attenuating a little.

I've played a number of much smaller rooms, 80-150 seat with a 1x12 usually miked up a little but not always. Usually though I'd prefer attenuating a little (4-8db) and running AND miking up a 4x12.
In small clubs if I attenuate 4-8db I can usually mike the 4x12 into a small PA (say maybe full range 2x15+horn per side 1200 watt total PA setup) to get better room coverage and better EQ range from a distance.

My '89 Express has a 6.6k primary, AND my old Celesions are quite inefficient. Both add up (or down in this case) to less volume than most clone setups I've played. When I first played a Ceriatone it had 6V6s and was louder than my original Express is with EL34s! That said, my personally built clones with Pacifics are no louder than my original Express.

No problem getting decent levels on clean tones, however most of the time the whole band gets slightly quieter on the mellower parts, and/or mellower songs. If the band plays with some dynamics it works.

Hope that helps!
GK

www.myspace.com/glenkuykendall