Recommend an amp for P&W

GuitarDojo said:
Former P&W leader here. I used the Vox types and sometime 5153 Red for leads.
That's if you are playing the modern Lincoln Brewster/Rocking contemporary and the U2 imitation type stuff.
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Cool! Yes we have done some Brewster before and have a fair amount of songs the can use (for lack of a better term) some Marshall style tones.
 
Hi Scott. I use a Plexi 50 w that cleans up great when the guitar volume is rolled off, opens up nicely when guitar is at mid-gain, and just scream when more gain is applies. By far my go-to preset.
 
scottp said:
Lots of great suggestions here. One of the problems for me is (as an example) the Vox AC30 sounding thin. We have one available to use at church, and I would describe it as thin and bright. Even adjusting the controls it feels too thin for me. I love the feel of a 4x12. I currently use a XiTone 1x12 powered wedge along with factory cab # 147 4x12 Mar-Cb M-BB-55 Mix (OH).
This gives me the feel and tone I am after using CA3+ amp models.
But want to try a new amp for some P&W stuff. Hillsong is one example.
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I think the AC30TB in the Fractal sounds less thin than a real one partly because Cliff modified the tone stack so there's more mids in there. Also you can run the virtual Master volume at 10 whereas do that in the real thing and it will be deafening. Choice of IR is important some are brighter than others. The Tom R and L are excellent. The Beatles 4x12 is good and brighter. Use a drive in front coupled with guitar volume control and you have a huge range of expressive tones.

I also use the plexi models with volume control on guitar for great tones. Currently also using Carr for great clean tones too.
 
scottp said:
Lots of great suggestions here. One of the problems for me is (as an example) the Vox AC30 sounding thin. We have one available to use at church, and I would describe it as thin and bright. Even adjusting the controls it feels too thin for me. I love the feel of a 4x12. I currently use a XiTone 1x12 powered wedge along with factory cab # 147 4x12 Mar-Cb M-BB-55 Mix (OH).
This gives me the feel and tone I am after using CA3+ amp models.
But want to try a new amp for some P&W stuff. Hillsong is one example.
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For Hillsong type stuff, you won't want to go bigger than a 2x12. Boutique Class A or vintage Fender into a 2x12 or 1x12 defines the modern P&W guitar sound (along with healthy amounts of delays, verbs, and shimmers).

You might also try the Mr Z MZ-38, Suhr Badger 18, Jr Blues, or USA Sub Blues.

Try factory cabs 030, 119, and 079.
 
Some great info here. I plan on trying some of the amps recommended. Right now I'm using a Bassman for cleans and two different Marshalls for crunch and lead tones.
 
Wildwind said:
As a Strat player, I have never really had much success with the Class A amps.
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Strat and Tele here for P&W, mostly. One of the amps I use is the AC30 Top Boost. But the twist is that I use a 412 Greenback cab with it. It just sounds great. Perfect match for Strat or Tele.

And I agree with Cliff...it's not really so different a genre. Just use what sounds good. The other amp I use a lot of is the Friedman Brown Eye with the same cab. I've even managed the SLO a few times for really high gain stuff.
 
scottp said:
What cab do you like with the DC30? I have only the factory cabs with the XL+.
Thanks
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i've been using various own hammers, mostly alnico speakers. been using a 212 with a blue and silver in it but have been working with a 212 with a silver and a gold in it that sounds incredible...going to post some clips as soon as i can record some.
 
Normally use the AC30 but recently been dialling in the DC30. I just run it through the same IR, based on a Vox 2x12 with Blues - sounds great!
 
jlynnb1 said:
6db?! wow that's a big boost!! I stay around 3/3.5....used to do 4 but even that seemed too much, lol. whatever works, though, right?
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Right you are. It's a healthy bump and a function of where I am volume wise for rhythm. When the singers are singing, I keep my rhythm volume a little lower than you might expect to give room for them and other instruments to carry the song.
 
for Marshall type stuff more and more i've been going to the Ruckus into the DC30. I don't really like switching core tones around during the set....i'd rather add that type of gain to my normal tone, i feel it makes it easier for the sound guys
 
jlynnb1 said:
I don't really like switching core tones around during the set
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I'm the same too. I try to keep the amp and cab the same for the whole set.

The Axe Fx makes it easy too as you can easily X/Y between different gain setting, or use scene controllers to vary the amount of amp gain, or just stick to the plain ol' method of goosing it with some pedals!
 
dbun said:
I'm the same too. I try to keep the amp and cab the same for the whole set.

The Axe Fx makes it easy too as you can easily X/Y between different gain setting, or use scene controllers to vary the amount of amp gain, or just stick to the plain ol' method of goosing it with some pedals!
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exactly...there is just so many ways to get there. even with tunes that obvious heavier tones like some of the Planetshakers stuff, I'd rather get my core tone there than send something totally different. if FOH has a sweet spot for your main tone and you send something that drastically different, they might not get it dialed in right until halfway through the song...then the next song they have to get you back to point A for the next song. too much hassle for them and I don't want my parts disappearing because the tone doesn't cut like the original or something.
 
Can't remember if I ended up with the vibroverb or vibrolux as I'm not near my axe, but I ended up cranking the master on it to a healthy place and then I stuck the tape distortion in front. It's a blast to play with tons of dynamics and bounce, yet it still "sits" in its place in the mix. I'm a strat guy that loves the neck, and neck + middle positions tho, so if you're playing drier sounding bridge pups it might not be warm enough. I also finger pick quite a bit so bright amps keep me mud free. I can vouch for hollowbodies and semi's as well tho, these do sound great on this setup.

For the driving rockier Brewster stuff try small box or dirty shirley. Oh my those are fun to play... I could probably convince myself to buy the axe fx all over again if those were the only two amps in the box. SO glad I don't have to!

scottp said:
One of the problems for me is (as an example) the Vox AC30 sounding thin. We have one available to use at church, and I would describe it as thin and bright. Even adjusting the controls it feels too thin for me.
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I know exactly what you mean by this... some amps require a different approach when playing them. I think it's in the hands (and decisions) as well as gear but most folks are using "-trons" and p90's in big 'ole boxes when using ac30's for p&w. Also, they are usually doing the atmospheric lead stuff that sits on top of the rest. Amps on the thinner end of the spectrum also handle gobs and gobs of delay really well.

On top of that, I stay away from the ac30 stuff if I'm the only electric guitar in the band. If it's a dense mix, the ac30 comes out. I know this won't ring true for everyone, because I see plenty of 1 guitar bands making ac30's sound great, but just thought I'd share since our experiences have been similar.
 
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Am I the only one who thought the thread was going to be about Steve Vai's tone on his "Passion & Warfare" album when they saw "P&W" in the title? :p
 
For P&W I'd go with a PT6A. Never let me down. Great design

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Oh sorry. Wrong forum. :p
 
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