[Harp-L] amp overkill

[SONNYTONE@xxxxxxx]

>From my first amps I sold almost 20 years ago that were PA heads or stereo  
console heads in a cab with different variations of speakers, I always went for 
 Tone first, then made sure the volume was loud enough if you wanted to hear  
yourself on stage a bit as a monitor. I have used tube substitutions, not  
because I can't trick out a circuit to have less feedback, but because it gave  
the customer the power and the knowledge how to get that best sound in every  
situation. And just by mic'ing the amp, you get the purest tone amplified,  
rather than a far too loud amp on stage that is mic'd. I watched Lightning  
Hopkins as I played with him and his band in Japan direct the dynamics of the  
band, THAT is what blues is. DYNAMICS. And as soon as the harp player's amp  
starts getting to that over the top level, the rest of the band is coming up and  
over, so essentially you end up in a volume pissing match with your band. 
        I have had my own band for  10 years and was in a high energy band 
called the Delta Blues Band for another 8  years, so I know what it is like to 
be drowned out, and that comes from everyone  not being on the same page volume 
wise. I would rather have the guitar player  and bass player ( preferably 
stand up bass ) lower on stage and mic them, so  everyone is at an even keep with 
the ability to come up for a solo without the  rest being so loud you can't 
hear yourself no matter what. I went through the  over 2000 vintage 1950's amps 
to know and hear what tone was available, and what  everyone would want: An 
amp that responds to the lightest of touch, yet can be  crisp, or overdriven, 
just depending on how it is set up and the technique of  the player. Now with 
both my amps being able to by so many owners descriptions  have all the volume 
they need if they want it, it makes it more appealing for  the rest of the 
band to hear you with fat tone at a nice volume level, that they  are more 
willing to not turn up as they usually do, and take your suggestion to  have a real 
blues band.     
                I  have stated this before, in my early production days I had 
a 30 band Sabine  Feedback Eliminator that would red light the frequencies 
that were causing  feedback. I discovered yes I could get really loud, but to me 
not at the expense  of those juicy frequencies. So I just tell my 410 owners 
to keep the middle  control at TWO, this will cut back feedback by 100%, and 
use the treble and  presence, plus bridging the channels and using the bright 
control to also have  maximum projection. Of use one of the many possibly 
preamp tube setups you are  given the tubes for and experiment on your own to see 
what you like best. From  the thousands of harp players I have encountered over 
these years, 99% of them  want THAT sound, and I know what it is, can create 
it, and will always have tone  plus volume, not the other way around. 
        As I do not list my prices,  and there is a reason for it which will 
take too much time, I will let everyone  know the Cruncher is $1595 and the 
410 is $1795, both include the package of  spare rectifier and fuse ( in case 
rectifier dies on a gig, amp will go lights  out , just keep this with you, 
never have to play through the PA just because of  this common occurrence ), two 
preamp tubes to make subs for any room situation,  a patch cable so you can 
bridge the channels, and a 10 - 12 page color  illustrated manual describing all 
the tube gains, various tube setups and what  will happen sound wise with 
each, and my lifetime customer support. I would  still happily help anyone that 
has bought one of the more than a thousand amps  over this period. 
On the amps, the padded Tuki cover is extra like the other companies do,  and 
so is the shipping, sent out in our custom blown foam padded boxes with  
handles on the side, only one claim in 17 years, and not our fault, the amp was  
paid in full and customer got a new amp.
        The more I listen to the  pros, and all the years watching or with 
Sonny playing with or opening for so  many of the greats, it was not like some 
of these harp players that just have to  be louder than two guitars. It really 
does not have to be a fight if they can  understand the final outcome. 
        Please note that I now have  developed an even darker, richer tint 
followed by my patented clear coat formula  that ends up like glass. If anyone 
is still using paint on tints like Minwax,  the tweed will feel rough and not 
as protected, as brush on clears cannot get as  hard as the one we have which 
takes 4 coats with a light sand inbetween each  coat. I pay top dollar to have 
my cabs done this way, but to me and everyone who  owns one, it is worth it. 
Thank you. Sincerely, Sonny Jr.   PS. I have  a couple of live Charlie 
Musselwhite clips that must be sent to my webmaster to  put up on the site. Thanks to 
Gregg Heumann's advice, I bought a Roand Edirol  R-90 unit for recording my 
endorsers when I see them or myself for new clips.  Great machine, got it off 
Ebay for a hundred less than the $349 new price.  Thanks Gregg and to all who 
have emailed personally to wish me well. Sorry for  the length, it is a subject 
I just needed to get out of my system. I am sure  everyone has their own take 
on it. That is why I have a special line out system  that gives the closest 
speaker sound I have ever heard. I have not heard any of  the new amps yet so am 
just speaking for my own. When using the line out AND  mic'ing the main 
speaker you get a whallop in the house and monitors, and your  amp is still nice 
and cool volume wise on stage. That's a good night. Lord knows  how many "What 
did I play" nights I have had in my career. My goal is that does  not happen to 
you. Sincerely, Sonny Jr. 
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