So, I do not own an overtone just yet, but will soon enough. I play lots of church venues and was wondering if this would be a suitable amp for this genre. I currently run stereo into a fender bassman 50 and a vox ac30 cc2, but i just can't get over the awesomeness of the dumble tone. Any opinions, suggestions, warnings etc....?

I guess what my real question was is if anyone uses one on a
Church stage. I always thought these amps were more prized
In the blues genre.

I was hoping to get maybe a review from someone that uses
One at their church or for ccm music in general and tell me how
It does.

A D-style amp can be the sweetest ever for gospel music/worship!!!  That's all you really need to know, but for a major dose of keyboard diarreah keep reading

 

After obtaining my 50w HRM with the lift neg fb mod and C-lator, I realized how nice a D-style amp would be for worship.  I was using another amp, also a boutique amp, for worship, but the amp I was using was a single channel.  It has wonderful tone, and after getting my HRM, I found that I could coax similar types of singing overdrive tones by gain knob settings on the amp I was using, a Siegmund Midnight Blues running a personal tube cocktail.

I just wanted more choices for gain/tones and I did NOT want to use a stomp box to get my OD, was looking for tube harmonics.  Many gospel recordings feature guitar players using a thin, bright and nasty solid state distortion sound, to me a big "UGH."  So I was perusing ebay and happened across a Marsh fsx-50, from Marsh Amps, an OTS type using Ceriatone boards assembled in the US with MM PT and Heyboer OT, it was listed at a BIN price a few hundy less than retail from the Marsh site.  It has the OD trim on the back panel, which I consider to be essential, as well as a half power switch that straps the power tubes into triode mode.  I asked the seller about installing lift neg fb mod and he quoted me a price increase of 35 dollars.  He wired it to the ground switch on the back panel.  So, since I have more than a hundred vintage tubes in my collection and did not want any new production tubes in the amp anyway, I asked him for no surcharge in exchange for shipping the amp tubeless and adjusting the PI trimmer for a 12ax7 having balanced sections.  So he did. 

That amp sits in the sanctuary now, with no c-lator, it goes into the sound board via a Weber MASS custom built for me with a balanced line out.  The MASS is being used as a glorified direct box, attenuation dial backed all the way off for little to no attenuation.  So no micing ever, and I control my tone going into the mixing board as well as how hot the signal is from the full tone stack that controls the line out.  Again, I used a tube cocktail from my collection for this amp, and it goes through a pair 2/12 closed back cabs in parallell running vintage HIFI speakers,  JBL/Ampex 12's and Pioneer pw-302a each cab 32 ohms, so I use the 16 ohm setting on the amp output.  With the four 12 inch cones pushing a decent amount of air, I can be heard better from the speakers themselves at distance with less stage volume, an important consideration for the other musicians and choir, and also a little less help needed from the sound board.  The cabs are pretty neutral in sound, not as bright as many guitar speakers can be.  I use a TC Elecrtronic Nova System as my f/x box running in the amp f/x loop, 4 cable hookup method, it works great without any added buffer units.  The tremolo does not sound good by itself, but works acceptably in the overall mix, FWIW.  Reverb and delay are nice. 

Finally, if you want a smooth sounding overdrive that swells in the attack or sustain like a Hammond B3 rig does, sings into blooming harmonics at usable stage volumes, two incredibly helpful links in your personal tone chain are a potless volume pedal or talented fingers on your git's volume knobs, and a decent pair of HEMP CONE speakers.  I use a Hilton Electronics volume pedal, active and top shelf quality, I got my pair of custom hemp cone speakers from a custom reconer on eBay, he guarantees that you will like his stuff.  No big manufacturor ever does that.  Search "speaker 12 hemp" on the 'bay to see what is currently offered.  Hemp cones smooth out the highs well for distorted channel settings, allowing a bit more gain in OD trim or front panel gain knob with less grit and more harmonics in the tone.  I use the hemp cone 2/12 filled oval back opening "Luke" cab from Seismic Audio with my HRM for non-church playing out, and have gotten tone compliments everywhere I have played.  The custom hemp speakers in that cab started life as 1949 vintage Altec 600b alnico units.  They cost me less than TT or Eminence units.

hope this helps...

@ the OP:

Your question about desiring to run most of your effects in front of the amp while putting the time based ones in the loop is interesting.  What I think would benefit you significantly is to carefully read, more than once, the manual for your model of amp and especially the manual for the c-lator.  Because I use a multi-effects processor, all of my effects go through the loop.  I don't use a C-lator on my church rig only because the type of effects processor I am running does not put out as strong of a signal as many of the 9v powered effects do.  My volume pedal is the only thing that runs in front of the amp.  It's active, and features an optical circuit instead of a potentiometer to vary the volume, and I want the varying signal strength to go to the first gain stage in the preamp.  I can't see any reason to run effects in front of the amp.   Whether you decide to use effects or not, the c-lator is pretty nice to have as part of the amp.  Worth every penny and then some.