two rock review (custom, opal, and onyx content)

Discussion in 'Amps and Cabs' started by zoooombiex, Mar 30, 2005.

  1. Dave_C

    Dave_C Member

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    Was meant to be! :dude

    All this talk about trying to get great cleans out of a D-style amp, but with no mention of the only D-style amp out there capable of providing full control over cleans to actually achieve that objective.

    :RoCkIn
     
  2. Tom Gross

    Tom Gross Silver Supporting Member

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    You must mean great FENDER-style cleans, cause there are some incredible cleans coming out of Dumble-styled amps, just not that kind of clean.
    I do agree with you about the issue, though.
     
  3. tybone

    tybone Member

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    With amps of this type, so much depends on the player and their choice of instrument. With some of these amps, every guitar sound similar....like you are running the guitar through a processor that ignores certain aspects of you (your playing style) and your instrument. With some aaaallllllll the stuff comes through and you have to make the amp work to get the tone you like.

    That is why I picked the Opal. It is like a F1 car. You have to know what you are doing to drive it but when you get it right it is boo coo sweet. Like most, I do find the cleans are slightly wanting but the best fix for that is to have the rear master at 12:00 o'clock. The Opal does like to be played loudish. The internal tone stack (which I adjust seasonally) is also very likable. I have a warmer tone with more grit with the stack in and an open singing tone with lead bypass turned on. I find it to be the "better" of both worlds.

    LB
     
  4. zoooombiex

    zoooombiex Member

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    sorry - i meant that i was using the speaker out that was 1/2 the impedance of the one i used when all four tubes were in to compensate.

    so would it be more accurate to say that pulling two tubes doubles the impedance the amp puts out, and so you can compensate by using the speaker out that is 1/2 the impedance of what would otherwise be appropriate for the cab?
     
  5. zoooombiex

    zoooombiex Member

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    wow - i had forgotten about this thread from almost two years ago until someone bumped it up. funny - i sold both amps ... and now i want both back :)

    i did, however, get an onyx in the meanwhile. it didn't quite solve the dilemma, as the onyx has some of the tone switches hardwired in (bright/deep on the cleans). if these were push-pull pots it might do the trick perfectly.

    but it's funny reading this after a while, as my tastes changed and i learned to dial the amps in more closely. the cleans got closer in preference, though the custom may have still edged out the opal. the drives also got closer in preference, probably a toss-up.

    also, there is more comparison of the models at: https://www.thegearpage.net/board/index.php?posts/1825520&postcount=18
     
  6. Dave_C

    Dave_C Member

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    Well, you're kinda' missing the point too. The TDS allows you to tailor the clean channel for just about any clean tone under the sun (Fender, Marshall, Vox, Dumble, etc), without affecting the gain channel. It has its own set of Bright, Deep and Jazz/Rock switches, in addition to its own 3-band EQ. It's almost like having two separate Dumble ODS heads side-by-side (one for clean, one for gain) and a third amp for crunch tones! It's the only Dumble-style amp around that lets you do that.
     
  7. 8nthatK

    8nthatK Supporting Member

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    So...the TDS has a seperate clean channel, a crunch channel (without that low mid hump?) and then another channel that does smooth hairless high gain leads? Is this correct? Or is the crunch channel and the Dumble style channel linked, and if you have a good crunchy rock sound you loose the ultra smooth lead sound?
    I always thought someone should build that...any sound clips?



     
  8. zoooombiex

    zoooombiex Member

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    http://www.fuchsaudiotechnology.com/html/triple_drive_supreme.html

    the clean channel is separate, but the crunch and lead channels have shared tone controls
     
  9. 8nthatK

    8nthatK Supporting Member

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  10. Dave_C

    Dave_C Member

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    What you describe is exactly true. The crunch channel (Ch B) and the gain channel (Ch C) do share EQ and voicing switches, but the crunch channel is voiced differently. It doesn't have the mid emphasis of the classic ODS gain channel, so it really crunches nicely with chords, while the gain channel is the classic smooth, totally hairless, Dumble style overdrive...from slight breakup to searing saturated mayhem, depending on how you set the gain knobs and boosts. I have never heard a recording of the crunch channel. The mod is so new I don't think anyone has made one yet. I've been wanting to do that myself, but don't have a worthy recording setup and worry about doing more harm than good in regards to accurately portraying the amp.

    In any case, another thing the Fuchs TDS offers that I do not believe other D-style makers offer is RJM Amp Gizmo compatibility. That allows you to turn the thing into a MIDI-controlled tone monster! I did just that. It allows you to totally reconfigure the amp, instantly, with one footswitch stomp. So, in one stomp, I can switch between tones that would normally require 2-4 stomps.

    I don't yet have a pic of the whole rig (with MIDI footcontroller, etc), but here's the amp with stock footswitch...allowing control of all the boosts and all the channels.

    [​IMG]
     
  11. Dave_C

    Dave_C Member

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    Wrong. The Crunch channel has its own master volume and is voiced quite differently than the lead channel. Nothing in the Two-Rock line offers anything like that option. So, with the boosts off, I set Channel C for a nice, lower gain SRV-style lead tone. Then, when switching to Channel B, the change in voicing (with the same EQ knob settings as Ch C) gives me a crunch rhythm tone that is perfect for blues and/or classic rock. Also, the Ch B master lets me knock down the volume for rhythm duties. For high gain leads, I switch to Channel C and engage the Gain Boost, which pumps it all up to EJ/Ford territory. Adding Mid Boost pushes it totally over the top.

    So, with the TDS, you get TWO extra footswitchable channels over any current Two-Rock model.
     
  12. 8nthatK

    8nthatK Supporting Member

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    Oh, that is cool...
    If you get a little time do me a quick recording? It doesn't have to be anything fancy at all. I would like to hear the clean, then just a couple simple power chords in crunch mode, and then any simple leads would suffice in the smooth channel, without changing any settings, in real time would be great!. Even average sound quality would give me what I would like to hear. I would be very much obliged!

     
  13. zoooombiex

    zoooombiex Member

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    i think he just meant that the crunchy and lead channels share tone controls, which is similar to many two rock platforms if you are not running the clean channel truly "clean". IMO what makes the TDS so special is having the dedicated clean channel.
     
  14. 8nthatK

    8nthatK Supporting Member

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    That's correct. That's what I meant.
    I never had a problem with the 2-Rocks cleans to be honest, in fact that is what I didn't like about the Fuchs, I didn't dig the cleans on the Fuchs at all. I understand they have gotten a lot better though...the 2-Rocks cleans sounded pretty dang good on stage
    My issue was the lead sounds verses rhythm...I really dug the ultra smooth lead tones, but the the rhythm never sounded good for the rock stuff with the leads set for the smooth stuff if you follow me. I wanted both :eek:




     
  15. Dave_C

    Dave_C Member

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    I will try to do that. I actually have mine programmed for four basic tones.

    1.) Clean Rhythm (Ch A)
    2.) Crunch Rhythm (Ch B, no boosts on, same output level as Ch A)
    3.) Low Gain Lead (Ch C, no boosts on, lead output level)
    4.) High Gain Lead (Ch C, gain boost ON, lead output level)

    Then, with the Roland GFX-50 MIDI footcontroller and Amp Gizmo, I have four rhythm/lead transitions programmed into the A/B toggle switch. I usually just pick one rhythm/lead combo for each tune and then just whack the A/B toggle footswitch throughout the tune for solos. I also sometimes transition between these "presets" to jump between clean/dirty rhythm or low_gain/high_gain lead.

    1.) clean rhythm <-> low gain lead
    2.) clean rhythm <-> high gain lead
    3.) crunch rhythm <-> low gain lead
    4.) crunch rhythm <-> high gain lead

    There IS a 5th tone I have programmed in which I only use sparingly and usually only with a thinner sounding bridge single coil. It's Ch C with both gain and mid boost.

    It's the first amp rig that has allowed me to completely dump all OD pedals, not that that's a good or bad thing (I love my pedals too), but the amp is so damn versatile, I just don't need them.

    Point is, it's only the D-style amp I'm aware of that gives you all of this flexibility. In my band, we do everything from Robben Ford to whacked out Hendrix BOG to Black Crowes to .38 Special to SRV to Bonnie Raitt and this amp does them all amazingly well.
     
  16. Dave_C

    Dave_C Member

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    Oh, OK, that's true. So, yeah, it's that independent clean channel that many people find indispensible, although I've heard lots of people who really know how to operate the classic configuration and kick ass too!
     
  17. Dave_C

    Dave_C Member

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    Gotcha'. That's exactly why I could never bring myself to buy a D-style until the TDS came out...with the crunch mod. But, both companies have drastically improved their models over the last 3-5 years!
     
  18. 8nthatK

    8nthatK Supporting Member

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    It sounds very cool, and I certainly appreciate any clips if you can do them. I have something that gets me almost right there, also midi switched, (what a tap dance saver, huh?!) but the lead tone, the hairless thing, lacks the low mids of the Dumble style amps, which would be cool to have.
    It doesn't seem like it would be a big deal to make a Dumble style overdrive to sound more crunch friendly, that could almost be done just by bringing the bypass caps value down, but to do that, get a good crunch AND the super smooth leads very much intrigues me! It sounds like Andy figured that out? That would be most cool.
    Thanks.
     
  19. thebluesman666

    thebluesman666 Member

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    Hey Guys trying to bring this post back ...

    I've just got a TR Onyx Signature this weekend ... and after i compared it with my Studio Pro 50 it's day and night !

    i would like to know if i'm the only one who think something went wrong with two rock and the idea to lower the price of the model to be more accesible to people ... ? i'm believe the amp don't even compare to the older models.

    Anyway i would like to have you knowledge of tests and use of the older models.

    What tubes sounded better, what cab and speakers etc.

    Cheers, hope to get response from you guys !
     
  20. flcmcya

    flcmcya Silver Supporting Member

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    Back from the dead! ... on halloween no less.

    I have an Opal and ended up liking the matching cabs with the TR speakers as good as anything.......... my buddy had an Onyx and I remember it reminding me of a Marshall vibe.

    Enjoy!
     
    Last edited: Nov 1, 2016

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