RE: [Harp-L] fender #2 inputs



Manny wrote:
"I have two large amps for playing big or outdoor venues. A '66 super
reverb and an early Bassman reissue. For years I have been using the
weaker #2 input jack, (reverb channel w/super, normal channel w/
Bassman). It allows me a lot more headroom before feedback with a bullet
mic, and a wider throw on the volume. I was curious if anyone else out
there does the same thing. Any drawbacks to this? I hear a lot of talk
about preamp tube switching to accomplish the same. I've never tried it.
Is there a better alternative and how does it affect tone?"

I play through a Fender 4X10 Reissue Blues DeVille for bigger gigs. They
have a nasty reputation for being LOUD, perhaps too loud for some
situations. I too use the #2 input, A.K.A. the "Low Gain" input. I have
changed my first gain stage preamp tube to a 12AY7. 
For me, the tone is a little cleaner than when using the 12AX7, with
less "bite" or "edge" on the notes. I like this for a few reasons: 1) It
helps roll off some of the piercing treble sounds that can occur with
harp. 2) It allows for more dynamic playing and effects. 3) It allows
for more power tube distortion to color the sound instead of coloring it
with the preamp sizzle.
However, I still use the #2 input, even with the tube swap. 
The tone that I get from this tube/input setup is slightly dark and
slightly clean. By clean, I do not mean solid state clean. What I mean
is that the amp isn't going to break up like a tweed Champ. When you
want to get on it hard, it responds willingly and with authority. I
think taking a little of the gain off the front end using the tube swap
AND using the #2 input is the way to go, personally. I have played a
friend's reissue Bassman many times, and always through the #2 input. It
won't give you that intense breakup right off the bat, but it will
afford you much more in the way of varying tones and textures in the
long run. And you control the feedback somewhat, as well.
As far as "a better alternative" I must confess that I use the
Anti-Feedback+ unit ($359) made by John Kinder, maker of the Harp King
amplifier. This unit is absolutely incredible, and does what it says it
will do. Rod Piazza uses TWO Harp King amplifiers on stage, each with
100 watts and six 10" speakers. Rick Estrin (Little Charlie and the
Nightcats) has a Harp King which he uses for Stateside gigs, and an
Anti-Feedback+ unit which he takes overseas for use with house amps at
the various venues/festivals he plays. Rick loves the AFB+. I also know
of another high-profile player who uses the AFB+, but he visits this
site frequently, so I don't want to give away any secrets! Suffice to
say, he loves his too.
HOWEVER - The info I gave you above pertains to the use of the amp
without the anti-feedback unit. I have played the amp many times using
the aforementioned setup before acquiring the anti-feedback unit and
with great results every time.

John Balding
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