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A Big Gap Filled in the Ceriatone Line Of Fender Amps
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Author Topic: A Big Gap Filled in the Ceriatone Line Of Fender Amps  (Read 12646 times)
AdrianJ
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« on: September 02, 2009, 06:31:56 AM »

Hi Nik,

Just wanted to say well done for adding this amp to your lineup. I suspect it may go on to become one of your best sellers!!

Couple of questions I have: would it be possible to have an effects loop put into the circuit so that I could add an external reverb device? Does the faceplate have to be purple?

Overall though, congrats and thanks for bringing yet another classic amp (in fact possibly THE classic Fender amp) into the price range of us normal people..!!
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mcinku
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« Reply #1 on: September 02, 2009, 01:26:59 PM »

Can you please stop praising this amp.  Angry
I'm trying to ignore it since Nik released it.

 Grin Grin
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« Reply #1 on: September 02, 2009, 01:26:59 PM »

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« Reply #1 on: September 02, 2009, 01:26:59 PM »

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wyatt
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« Reply #2 on: September 02, 2009, 08:36:03 PM »

There are a good half a dozen companies on the net that were you can have a custom faceplate made. Many seem to do get good marks.  I can hunt down a recommendation or to if you want.

It's a pretty straight forward Tweed design, there should be no reason why a simple interrupt FX loop can't be installed. 

The modern concept that every amp needs reverb is something I can't fathom.  In-amp reverb doesn't have practical applications on stage or in the studio.  Live, guitarists who try to use it end up sounding too wet to the audience once the natural room reverb is layered on; and studio-wise, you want to record tracks dry and mix in modulation and delay based effects to the right amount at mastering.

In places were reverb is used as a essential effect, like surf or Neil Young, it's all about having the reverb unit before the preamp. 

Tweeds Voxes and Marshalls lasted decades without reverb (actually, the advice used to be avoid a Voxes or Marshalls with reverb, because it was always found on their worst models), now everyone tried to shoe-horn it in.  My suggestion for dead rooms is always what the pros used...a little slapback delay, it's a staple for rockabilly (Scotty Moore), classic rock (jeff Beck) and country (just about everyone).
« Last Edit: June 17, 2011, 11:43:41 PM by wyatt » Logged
leodiditright
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« Reply #3 on: June 16, 2011, 10:25:42 PM »

don't tell this to Jim Campilongo...
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leodiditright
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« Reply #4 on: June 17, 2011, 10:59:40 PM »

And I'm not even speaking of Pat Metheny!  Grin
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Tone Control
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« Reply #5 on: July 17, 2011, 05:22:13 AM »

And I'm not even speaking of Pat Metheny!  Grin

I always join in with anyone expressing the sentiment that your sound is largely in your fingers, but:

Although I have nearly all Pat Metheny's albums, I don't intend to emulate his sound, I'm more a bluesy rock guy, but I did find his signature Ibanez on sale when shopping for a hollow-body, so given his constant use of it, I thought it must be good, I bought it
Since my delay pedal (which I normally have set to a few hundred ms) reverts to it's shortest setting when the power supply is interrupted, by chance it was on a slap-back when I first tried this guitar at home. Very spooky - the PM guitar and a slapback is a lot more of his sound than I would have guessed
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Dr Tone Control, Strats mostly, prefer saturated clean tones, a little OD sometimes
BM50, JTM45, 36w EF86, DZ30, Expression, + non-Ceriatones (Matchless, Victoria, Wienbrock)
Just started with pedals a little after a 10 year purist spell, but usually just delay
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