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Discussion in 'Amps and Cabs' started by Jedi, Nov 24, 2012.
I'd think the fact that most stores don't carry them should be enough...
He charges too much,presumably relying on his name, but his name is associated with guitars, guitars I personally do not care for, but that's another story. Anyway, like many have said, many better options out there for much less money, and to me, his name is not worth much...
All in kinda/polite conversation, I'll stoke this fire a bit more.... most stores don't carry PRS guitars or Carr amps either. I've been in LOTS of music stores over the years & most have Peavey, Fender, Epiphone, Ibanez, Marshall, Zoom, Digitech, etc....
I see the validity of the marketing statements in this thread, but it's really hard to say one way or another without sufficient & accurate market data.
As a personal note -- my next amp will be a PRS H, I just simply don't have the cash for it yet.
Could you name some 2 channel, hand wired amps that are better options and much less?
Definitely the case here in Oregon. I've wanted to demo a PRS amp for a while but not enough to buy it first. I realize most store stock what will sell the easiest. To demo small amp builders in my part of the world isn't happening except by chance.
Thats a good point, I should have been more specific and said most GC locations don't carry them... as much as I hate that place, it is the walmart of music, where I'd expect to find everything from the major manufacturer's.
I'm surprised, I thought PRS guitars were pretty mainstream.
So you're saying you have no idea.
Unless you have inside knowledge of prs's business plan for their amp line, you don't know if they are succeeding, failing, or if they are somewhere in between.
Point made here. Maybe the whole new amp line was a large bit of marketing & research to test waters and success was gonna be determined by selling a minimal of 750 amps. ?!?!? Who knows, I sure don't...
One man's trash is another's treasure... same goes with business plans. Fender/Line 6 would scoff at only selling 25,000 pieces... 25,000 PRS H amps, I think would be a gigantic selling point.
So, to get back to the OP -- what is the deal? Maybe they are struggling, maybe not. Honestly, I don't think I'd heard of Sewell amps before researching a PRS amp. Doug Sewell wasn't considered to be struggling, he was just a small player in the big amp world. Maybe PRS is also/still a small player in the big amp world. But, taking all into consideration what makes an amp successful? Line 6 claims that the Spider is one of the best selling amps EVER. Huge demographic/tonal palette difference between a L6 Spider & anything else in the conversation.
Great points here guys. I went out on a whym and bought a used H head with out playing one, and going off the demo videos and bits of info on the web. I have faith in PRS as a brand, and I am not dissapointed in my purchase. So, while it might be hard to do so, don't knock one until you try it.
This is the amp Nicky Moroch said he lost sleep over when he played the prototype. Looks like it's now available. http://prsguitars.com/paulsmdtcustom/
Like that! Wow! Any idea how much?
This one sounded incredible in the hands of J. Hayes at NAMM. Fat clean tone and sweet dirt, even at low volumes. The new PRS pickups sounded pretty nice also.
I have played a couple of them and thought they were very good and not really too much $$$. I really, really like the SE 50 with matching cab, and apparently so did a few of the people who heard me playing it. One guy came in from the main room when he heard me- it was pretty loud- and said he was really surprised because he had heard it before and thought it sounded ok but he was blown away that it sounded that good. A gal and her boyfriend were playing a Fender in the soundroom with me and when I got up to leave they immediately plugged into that SE50.
$999 for that head I would say is a very good deal and the 2x12 cab was exceptional with excellent low end and clarity. The cleans were good but not quite Fender TR good but the gain channel absolutely smoked when it got some volume.
I have also played the Dallas 50 combo and thought it was really good as well. Alot of clarity and dynamics.
I own a PRS Texaplex II 50 watt head and 2x12 cab. I love this amp. It definitely was not considered mainstream. When I finally received it and spent some time with it, I was really happy with the tones. The first taste I had was NAMM with one and that was only about 10 minutes. As far as success, I can see PRS as a player in the boutique amp market in the way they were in the guitar market circa 1990. The quality is there, the tone is there, but there is not the large scale distribution to get these amps into the hands of everyone. Then again, I don't know that many boutique builders that get the business end better than PRS. They have the sustainability to refine their products to what their "success level" in sales may be. Just my opinion though.
Not meaning to brag, but I own a lot of amps--I think about 35 or 40-- and can't wait to retire in the coming year so I can learn to build amps from kits, then from scratch. I live in Toronto, my wife lives in Nashville, where she is a recording artist of some distinction (two Grammy nominations). A former bandmate of hers in Nashville sold me a PRS SE50 and Claire used it on her latest album for a clean ES175 sound on a couple of tracks. I've run different guitars through this amp and am not impressed with the tonal range or the quality of overdrive it offers, but it was handy to hand and meant I didn't have to lug an amp down from Toronto, where I live. Considering I paid $500 for it, I guess I shouldn't squawk, but frankly, a Chinese built amp that retails for over a grand oughta have a whole lot more going for it than this amp has. A helluva whole lot more. My current problem is that the reverb has quit. I've pulled the back, checked the tubes and leads, continuity tested the TRS cord between foot pedal and amp, and can't find the problem. I contacted PRS and they seem to have an attitude that second hand amps mean buyer beware: they don't care. I've looked for a schematic of the amp: nada. In this forum I've seen that PRS amps haven't sold well. Could be I've nailed the problems: over-priced, unserviceable by user, nothing special in the tone department and unsupported by the manufacturer. Thoughts ? Schematics ? Buyer who'll give me $500 and pay for shipping ? If I could drive (I'm visually impaired) I'd bring one of my amps down from Toronto. Meanwhile, this big pig is taking up valuable space in the already-crowded music room. Far more than it is worthy of.
played a few - good amps but not for my tastes
My take on PRS amps...
When the original amp lineup was released, they were EVERYWHERE. GC, Sam Ash, Sweetwater, etc had loads of these strange looking $3500 amps. At the time of the release, there wasn't a ton of artists endorsing them either. Paul Reed Smith put many custom guitars in the hands of great players, allowed the hype to grow naturally, and THEN produced killer guitars for the normal gigging musician. It seemed to me, PRS rested on their guitar reputation and Doug Sewell's name (no disrespect but Sewell amps weren't really that popular).
Had PRS entered the amp market more cautiously, building fewer/more affordable amps custom designed for specific players, they would be an absolute force of nature in the amp market. People desire what they can't have, and even more so if they are accessible financially. Opening up with a Santana Signature, Warren Haynes Custom, or whatever...making straight-up Plexi or Fender clones just ain't gonna cut it for a $3500 price point. That said, I've loved many of the PRS amps that I've tried.
The problem with this thread is - it really should've been 3 separate ones, as the 3 amp lines don't have much in common except for the brand name.
- the SE line, nothing wrong with them, but unremarkable like all those other Blackstar, Egnater, Marshall you name it affordable channel switchers out there.
- the US 2 channel models - very high quality for the money, great tone if you're into modern sounds, like clean & high gain, not much middle ground, obviously.
- and then the real deal (imho), the handbuilt single channel amps.
Couldn't care less about their cosmetics ...
Granted, to really experience these amps you have to crank them until the power amp starts cooking, think Plexi or AC30, no different.
Bedroom players and highgain/preamp distortion fans look elsewhere.
Played at their sweet spot however, these amps compare favourably with anything else, vintage or boutique.
Listen to folks like Grissom, Haynes, Pierce, Knowles, even Trucks (if you can stand listening to him, I can't) - that's how these amps sound in person too, if you happen to feed them some nice notes.
My DG-30 is the best sounding, most versatile roots rock amp I've ever played, hands down. It just has the tones built in that you hear on those records, the real deal, no wonder considering who co-designed it.
Most of the others are variations of the Plexi theme, tasteful combinations of classic Marshall building blocks with a few optional little tweak switches thrown in, subtle stuff, keeping the original vibe.
Again, they don't have to fear any P-style amp, vintage or new when it comes to sound - pure, big and detailed.
Those single channel amps are incredibly well built, top class components throughout, and all kinds of little goodies that make a difference for gigging/recording players, like internal jumpering, external biasing, separate speaker outs instead of switches, backside controls placed in well thought out positions and so on.
All praise aside, the V30s they use are, well, let's say, not the only choice for these amps, the cabs themselves are fine but not cheap.
And the marketing/distribution could use a little rethinking, especially in Europe things went from pretty bad to even worse with the recent distributor change, both prices and availability.
just my experience, ymmv,