Conference napalm::guitar

    DWI,
    
    I can only help a little......one of the bands that plays in the same
    "small" clubs as "my" band, has a guitarist that uses the 22 caliber
    version.  He doesn't mic it and I was impressed that he was getting
    that much sound out of a 22 watt.  However, it was maxed out and it was
    just barely loud enough.  If you're gonna need more sometimes, the 50
    caliber is the jewel...IMHO. P.S....if you're gonna mic it thru a PA
    system, it may work for ya.
    
    FWIW,
    
    Steve

    There are other Boogie notes in here too with comments on the 22.
    
    Mike

    Uhhh, not to come off as "I got something just as good as a boogie",
    but, you might want to investigate "sundown" amps.  My understanding is
    that they were designed by and ex-mesa person, and they're considerably
    cheaper.  I picked up a 100W unit that's loud enough to curdle
    gasoline, and has a sound that's remarkably similar to a MKIII.  I
    picked it up used at Hamel Music In Chelmsford for $500.00, with a EV
    speaker, and they had brand new 50W units with a Celestron for the same
    price.

    Want just a gut feel opinion ??
    
    22 watts will not cut it.
    
    Matter of fact, for me, 50 watts is still iffy for the performance
    I like out of amps.  100 watters is the least I'll go through, even
    thou everything is miked.  (head room...)
    
    In my expereinces over the last 10 to 15 years of being miced through a
    p/a... the 50 watters seem to me, to have a grainy touch to them.  The
    same amp in the 100 watt version, to my ears, is much smoother, and out
    performs the 50 watter by a wide margin.
    
    Some may have other opinions, so take this for what it's worth...  as
    this is just my opinion.

    re [.4] - I know exactly whatcha mean - I once owned a marshall 50,
    and, to me, it was always kinda like driving a Harley Sportster - 
    had the name, but it was never the real thing.

re: .5

   Oooh - Careful!  I know of at least one person in this notesfile who
   rides a Sportster who might not appreciate that analogy!  :-)

   -- Sam (with an HD Lowrider and, as of this afternoon, 105 watts in 
   stereo  :-))

	A Studio 22 won't cut it,however the owners manual says you can use the
amp as a preamp,by substituting the speaker with a 8 ohm resistive load of 
? watts  and use the Preamp output into a power amp to drive a speaker cab.
	I tried this with 2 12's and a power amp was impressed.... 
So you may find it loud enough for practice,but it won't carry enough in a room.
	Nice little amp and light too.... 
	50 watt tube amp's always seem to get lost,100 watt tube amps always 
seem to be enough for most job's. 

    I remember liking the 25 watt sound of the 25/50 W marshall
    Jubilee better than the 50, it sounded dirtier, muddier.
    The 50 was OK, but sometimes you have a sound you like,
    produced by a less-than-powerful machine, and because you like
    that sound wanna just make it louder. FWIW

    Nobody ever said Marshalls' were loud...  ;^)
                    
    Mine wasn't unless it was running full blast...Even then is was
    real MID range-y...Lot's of punch, but no slice...
    
    jc (Who sez goes metaltronix if you want LOUD!)

    Obviously you haven't heard the JCM800 series amps!  
    
    :^)
    
    cheers/mike_who_hasn't_even_had_his_Marshall_past_"2"_yet!
    

    It was a JCM800, and still is. 
    
    ;^)

    2205 in fact...
    
    To me, LOUD is when women and children run for cover...
    
    ;^)        

    
    A 50wt Marshall not loud enuff?  What are you guys trying to do,
    compete with jet aircraft?
   
    I used to jam with a friend who had a 50wt Marshall combo.  I had my
    Twin WFO and I couldn't say that the Twin was that much louder than the
    Marshall.  Of course, his Marshall was also WFO, but that's how he
    always played it.
    
   
    Seriously, if your stage volume is that loud, put a mike in front of
    it and let the PA provide volume.  If your guitar stage volume is too
    loud, the sound guy will do nasty things to you.
    
    JMHO, of course.
    
    
    Kevin

    ...AND YOU DON'T THINK THE 2205 IS LOUD???
    
    Man, you better make an appointment at the Pete Townsend Clinic for
    the Hearing Impaired!!
    
    :^)
    
    cheers/mike

    
    
    Since this is a .22 note..
    
    I'd have to agree that the .22 won't cut it for most band gigs.  It
    might be OK miked, though.
    
    No matter how loud an amp might sound in a music store, you really need a
    drummer banging away next to you to see how loud the amp really is.
    
    8-)
    
    Kevin
    
    

    re: the loudness issue
    
    Actually, doubling the output wattage of an amp only results in
    about a 3 db increase in sound pressure level.  Therefore, the
    difference in loudness between a 50 and 100 watt amp is negligable.
    With higher power, you do get more 'clean headroom', i.e.- higher
    volume before onset of distortion.
    
    Anyone who thinks a 50 watt marshall isn't loud enough has obviously
    damaged their hearing...
    
    Steve

    The answer to your question may have alot to do with what you play and
    who you play it with.  I've seen jazz and blues players do fine with 20
    watts -- but they weren't playing in a dance club and the drummer was
    either not present or restrained (by the size of the club and style of
    music both).  I saw a guy at Fat Tuesday's a couple of weeks back who
    blew the place away with a Howard Morgan Fusion into a little 20 watt
    amp he carried in in the same hand as his bar stool (he had the guitar
    in the other hand).
    
    If its a metal group and the drummer is deaf already, a wall of
    Marshall's may be your only hope (if ther is any hope left ;->).
    
    - Evan

    Howard Morgan Fusion ??
    
    I think you mean a Gibson Howard Roberts Fusion !! The Howard Roberts
    Fusion is a hollow body with the same body shape as a Les Paul.
    Just a nit-picker
    
    As far as amps go, I have been using 100 watt Twin reverbs, but I
    must admit the 50 watt Marshalls and 50 watt Mesa Boogies I have heard
    have all been plenty loud enough. 
    
    I would shoot for the .50 Caliber (50 watt Mesa). Dan (?) Hicks of 
    Guitar Player claims the .50 caliber has the best lead tone he has
    heard in any amp. 
    
    Mark Jacques
    

One possible application for the .22 Calibre, which I've done before with 
mine.

Although the people are right in that the .22 is not loud enough, that is not 
necessarily because of the low wattage. Its only becuase of the speaker 
limitations. I unplugged the speaker of the Mesa and ran my .22 directly into 
a 4x12 cab, and had no problems being heard above the band!

Alan S.

     you guys have got to be kidding.....I used to play with a guitarist
    who had a marshall  50 watt...w/4-12 cab and it would slice your
    head off.....and even badder- another friend with sadistic tendencies
    who picked up a 50 watter with a rather large 8x10"marshall cabinet
    for approx $500 (a steal I think..) that was absolutely cruelly
    L-O-U-D!!!!!!!! It almost made you sick!!!!!Great tone though!!!!
     That's what drove me to the monster bass rigs I love so much!!!
    -Bill
     

    
    
    re: .19
    
    	The .22 is plenty usually loud enough with a 4x12, but the sound is,
    IMHO, far too distorted. It's a good tone, but not too versatile.
    
    -Tom 
    

    For *clean* playing at high volumes, you need a 100 watt tube head or a
    200 watt solid-state head.
    
    If only a distorted sound is needed, 50/100 watts will do.
    
    Danny W.

    I've been using a 45 watt Peavy combo on stage and I have to crank it
    (which kills the clean tone when I want it), AND I have to mic it to
    get any kind of balance with Coop's setup.  I took the plunge today and
    ordered a 100 watt tube head (Kitty Hawk).  The only way I could see a
    22 caliber Mesa working would be in a band playing at LOW volumes. 
    Like I said earlier, one of our local competitors has an axe player
    using one, and it's marginal at best.
    
    Steve

<<    you guys have got to be kidding.....I used to play with a guitarist
<<    who had a marshall  50 watt...w/4-12 cab and it would slice your
<<    head off.....
    
    This is the single biggest problem I've found with marshalls,
    and bigger amps in general.
    
    The Marshall 50watt heads through a 4x12 cab are anything but quiet...
    They'll kill ardvarks..
    
    But, from my expereinces, unless you have the amp modified, thats
    all you get....  No deviation..  Straight out, floss the cat!
    
    Btw.. The issue in the base note really isn't related to Marshalls at
    all.  It's more of the smaller, portable combos that you have the
    problem with anyhting around 50 watts.  With the cab design lending
    to open back, with one speaker sometimes two...  the diff between
    a 100wat combo and a 50wat combo are night and day.
    
    << Thats what drove me to the monster bass rigs I love so
    << much
    
    Of course, you have to be in the mind set to let go of the 'monster
    rig' auroa, and for me, that trip ended about 7 years ago.
    
    With the way things are generally set up for the club bands today,  a
    marshall setup in the flavor that this note lends is more trouble 
    (IMHO) to the sound than it is a compliment.  as far as monster
    rigs, what you tend to have is volume wars instead of a smooth mix...
    
    Realize that most clubs and club patrons don't want to walk out of
    a room with a splitting headache.  There are still those clubs where
    Rock Roolz and the louder the better, but we've found those to
    become more of a novelty than the norm.  If you want to float,
    you gotta adjust.
    
    /ray

    RE: .24
    
    I guess, then, that you're not at all familiar with the new Marshalls
    with the separate gain channel.
    
    When we practice, I have the slave volume on 10, with the Master on
    "1"!  You get a perfect sound at LOW volume.  Heck, you can even hear
    Sam's pee-wee Peavey over my amp.  :^)
    
    Yes, I realize that the older Marshalls sounded good on "11", but with
    the new ones, you can get that sound at low volume.
    
    FWIW/mike

    <<RE: .24
<<    
<<    I guess, then, that you're not at all familiar with the new Marshalls
<<    with the separate gain channel.
    
    Matta-o-fact, I am aware, but the note I responded to didn't 'seem'
    like the analogy was being drawn to the newer styles with channel
    switching, rather the older styles that can be used for elephant
    hunting.
    
    I'm not RAGGING on anything to do with Marshalls specifically, the point
    is the big rigs are not what I consider necessary equipment. 
    
    personnaly, I'd rather let the sound man have the control..
    

    I agree with Ray.  I like using smaller amps and/or keeping the stage
    volume low, and having everything miked through the PA.  The majority
    of the bands in this area (Co. Springs) are doing that now and it
    sounds great.  I think the days of having a Marshall stack cranked out
    behind you in a club are pretty much over.  Marshalls sound great, but
    there's no need for a player to generate their own volume on stage.
                                                  
    I can tell you for a fact that if there's someone up there with a big
    amp cranked out that the sound person will *hate* them!  Makes their
    job a million times harder.  If you have someone decent running sound,
    let them do their job and keep a little of your hearing. 
    
    Personally I think that a Boogie .22 would be powerful enough to run
    miked for playing clubs.  If you don't run it through the PA, it's
    probably not.  I know a guy that's running a little Yamaha 1x12 combo
    for clubs all the time.  I'm quite sure it's not even close to 50
    watts, more likely 20-40. 
    
    Greg

    RE: -1
    
    I somewhat disagree.  While I do not condone that guitarists should
    have unreasonable stage volumes, esp. ones that throw off the house mix
    through the mains, I feel that a whisper quiet amp volume is not the
    way to go either.  There is a fine middle ground IMO.
    
    I think that an amp needs to breath a bit to sound good...if they
    don't, the amp really isn't *working*, and suffers tonally IMHO.  This
    is obvious on, say, a New Marshall or a Laney...they sound really thin
    & siblant on low volumes...the fullness doesn't kick in til the volume
    is up a bit.  It a Fletcher-Munson thing.
    
    I think that a band should side-fill the stage area with their amps, so
    they can turn them up a bit for tone, and not fight with the mains (I
    mean, Marshalls are directional as you can get).  This is also good for
    monitoring purposes (the other band members DO have to hear ya!). 
    Another way is to turn the speakers toward the back wall...that way you
    can crank up, still hear through indirect sound, and not compete with
    the mains.  When you turn down the master volume, you become tougher 
    for the other band members to hear, and you don't provide a good signal
    source for the sound dude.
    
    JMHO...
    Buck

<<    I feel that a whisper quiet amp volume is not the
<<    way to go either.  There is a fine middle ground IMO.
    
    'Whisper quite' will barley out shout the lightest drummer....
    I don't think thats what anyone is implicating, but,,,, never know.
    
    
<<    I think that an amp needs to breath a bit to sound good...if they
<<    don't, the amp really isn't *working*, and suffers tonally IMHO. 
    
    
    Yes !! it certainly does...  There's a 'crack' point between the
    'not working' and breathing stage, and it's ofcourse different
    on every amp.. What I find peculair is the sensitivity of
    that threshold...  On some amps, a touch, and it's too loud, 
    reverse touch, it's  not loud enough... I hate when that happens...
    
    I find it surprising that a 22 watt amp would suffice stage
    volume wise over drums, bass, rythm...  but if that works, then
    it works......  Greg seems to be in the same line of thought that
    says let the sound man take care of things....  I couldn't agree
    more.  Especially if he's good...
    
    A set up that works well for us is all the amps are firing cross stage,
    for the most part, the stage volume doesn't interfere with the house
    mix...  Turning them back may work for some,,, but I don't think it
    would work for me.. I have to get a good idea of how the sound is
    before I go too far in the sound check, then, I'm always hearing
    everything, and for me, it's all just gotta be there, or skeptisim
    takes over..
    
    You gotta go with what works for the dynamics of the bands stage
    environment..  And that can be anything really...  Sometimes the big
    stuff just gets in the way as extra luggage..  I used to have an Ampeg
    V4 with two four 12 cabs..   That thing would loosen teeth...  it was
    just too much for the stage... So I opted for a 100w 2 channel yamaha,
    and thats done the trick for me for about 10 years now.

    I agree with the two previous replies.  You have to play loud enough
    for the amp to move the air.
    
    Not only does the amp sound better, but you bring out the beauty
    of your instrument that sonic vibrations cause...the strings
    resonating, the springs on the wang bar, and just the vibration
    of the wood cause not-so-subtle sounds that are imperative!
    
    The only trouble is defining the "groove" that you play in, and
    keeping it consistent.
    
    jc
    
    BTW - It's easy for me.  I win ALL volume wars.  If the other guy
    wants to be heard, he "plays ball"  ;^)
                                                                     

    RE .24
    Gee Whiz buddy I'm sorry that the enjoyment I get from playing
    and selecting my equipment isn't up to your expectations......
    BUT if I expected to be making a living playing R+R (yuk-yuk)
    I would still be home recording and practicing and not working
    for DIGITAL if I was pursuing a professional music career!!!!!!
    Lighten up!!! It's only worth doing if you're going to enjoy it.
    Maybe you won't let me read any K.H.notes or Rackmount notes.
    (maybe that would bring all us neanderthal old tech musicians
    down a notch) 
    
    
    
    
    
    
    
    SHEESH!!!-snobby noters rip heads off better than MARSHALLS ANYDAY!!!!
    
    

    re: Buck
    
    I suppose it depends on what sound you're looking for from your amp and
    what sort of monitoring techniques you use.  If the amp won't cut it
    for monitoring your guitar when you have it cranked out, then have the
    sound man fold some signal back through the monitors.
    
    I do definately agree about the "breathing" range.  It has to be up to
    that to get a good sound, but like Ray says, it isn't required that the
    amp have  it's master volume set at 10 to do it (except on Laneys, from
    what people say).
    
    It depends on where you're getting your sound from, from the amp or
    from effects and such.  If you depend on the distortion from a
    Marshall, then you have to have it cranked and deal with the volume
    some other way (like cab to the wall, Power Soak, or whatever), or use
    a smaller amp.  This is where I think something like a M/B .22 is an
    advantage.  You can crank the thing wide open and still keep a more
    reasonable stage volume.  
    
    Greg

    RE: .31
    
    You talkin' about me ??
     
    $ set mode/flame=mild_flicker
        
    Hey, wait a sec...  I'm not bein' snobby !
    
    I'm agreein' with everybody else for a change.  I also pointed out
    that  sonic vibrations make your guitar sing.  Just an observation.
    
    I also said (jokingly - notice the smiley-face) that I win volume
    wars...Which is a blatant jab at someone (like yourself, obviously)
    who doesn't have a sense of humor.  Cool off dude.  I'm funnin'
    with ya. Anyway, who said it was bad to be proud of your rig (be
    it a kent/silvertone or a gibson/boogie) ??
    
    My $20/year gig doesn't pay my bills either.  Sheesh, even Neil
    Young is a better guit player than me...
    
    Besides, everybody knows Metaltronix peels paint like stripex !!!  
    (Oh jeez, there he goes again ;^) ;^)
    
                                  ^^^^^^^
    			  Note the smilies again
                          
                                                 
    jc (No offense meant)

    Ummmm... Disregard that...
    
    ;^)

    Gawd, I must be touchie today or something.
    
    <insert very-red-face-here>
                              
    jc

    re: Coop
    
    >BTW - It's easy for me.  I win ALL volume wars.  If the other guy
    >wants to be heard, he "plays ball"  ;^)
    
    Yeah, Yeah, I see the smileys...  
    
    I've also heard that your stage volume can compromise the structural
    integrety of most modern buildings.  Makes it tough to get a good
    mix (and to have any semblence of hearing remaining afterward...)
    
    Greg  8^)

          <<< Note 1631.36 by CSC32::G_HOUSE "I got 'happy feet'!" >>>

    >re: Coop
    
    >I've also heard that your stage volume can compromise the structural
    >integrety of most modern buildings.  Makes it tough to get a good
    >mix (and to have any semblence of hearing remaining afterward...)
    
    >Greg  8^)
    
    
    Honest, Jeff...I DIDN"T tell him!  Hmmm, how'd he know?
    
    Steve  8*)

    My, my, talking equipment is akin to 'discussing' religion - everyone's
    ready for a holy war!  Just as an aside - I saw Roy Buchanan at
    Carnagie Hall way back when, and he had this little dinky fender
    sitting up on a metal stool with a mike in front of it & he sounded
    absolutely great.  On the other hand, I saw Hendrix at the filmore,
    standing in front of three or four 100W marshall stacks & he didn't
    sound too shabby either.  Personally, _I'D_ rather PLAY through the
    marshalls, but the little boxes are a hell of a lot nicer when you
    don't have a team or roadies to move them for you!

    If it's too loud, your too old.
    
    Hmmm, who said that ?
    
    Seriously, I don't play *that* loud...Haven't gone past 3 yet !
    
    ;^)

<<          <<< Note 1631.31 by HAMER::KRON "BILL-THE-WONDER-MUTANT" >>>
<<                         -< WELL EXCU-U-U-SE ME!!!!!! >-
<<
<<    RE .24
<<    Gee Whiz buddy I'm sorry that the enjoyment I get from playing
<<    and selecting my equipment isn't up to your expectations......
<<    BUT if I expected to be making a living playing R+R (yuk-yuk)
<<    I would still be home recording and practicing and not working
<<    for DIGITAL if I was pursuing a professional music career!!!!!!
<<    Lighten up!!! It's only worth doing if you're going to enjoy it.
<<    Maybe you won't let me read any K.H.notes or Rackmount notes.
<<    (maybe that would bring all us neanderthal old tech musicians
<<    down a notch) 
    
    
	Wow!! and he tells me to lighten up!!    
    
    One of the reocurring problems with electronic communication is many
    people read whats written, taking it verbatum, and missing the
    more subtle message...
    	
    Dear Mr. Bill...
    
    My expectations have nothing to do with yours.  Sorry if my opinion
    rattles your cage,,,  No need to get defensive.  This is just my
    opinon, and oddly enough, shared by more than one other...
    
    But really, What can I say....  After 15 years of playing in clubs,
    maybe I've developed a few opinions about things......  Then again,
    maybe it's been more of a learning experience....  
    
    Basically, what one does at home to crank out is one thing, what
    one must do to swim with the sharks is something all-together
    different.
    
    What we was talking 'bout, was amps, wattage vs. volume, related to
    working in clubs....  my point was simple, I think you misread, or
    misunderstood...
    

    Oh alright...alright!!!!!!!!!
    I admit it ....I'm a released mental patient and
    have a tendency to kick in the AFTERBURNER with 
    little or no provocation.......I don't ever
    really get insulted by anything in these notes
    conferences but I love to take the opposite 
    side of everything....(devil's advocate?) don't
    mind me I really mean no offense!!!!!! Just ask
    GLOWS::Coccoli.....HMMM meybe you'd better not!!
    
    
    
    sorry for the confusion.....
    
    
    
    don't mean to cause trouble....
    
    
    
    
    but I'm just having fun
    (twisted as it may seem!!!!)
    
    
    not really in need of mellowing out;
    -Bill

    OOPS!!!!!
    I blew it again and forgot my "smiley face"!!!!
    


     8*) 8*) 8*) 8*)

    re:41
    
    Well Bill, if the moderators can stand us, will just have
    to work these differences out with out killing ourselves....
    
    BTW... What hospitial/floor were you in,,, maybe we were QUIET room
    buddies before I escaped,,,  mo-hoh-hoh-mwa-ha-ha....
    
    
    

>        conferences but I love to take the opposite 
>        side of everything....(devil's advocate?) don't
     
    Agagagagaga, don't well all...
    
    Check out PEAR::SOAPBOX.  Thats a nutty conference !
    
    ;^)
    
    Mash KP7 or SELECT to add it to your notebook...
                                      
    jc ;^)

   If a guitar players volume is an integral part of the sound there are a few
other tricks of the trade to prevent the sound from destroying the house mix.
One is putting up a piece of clear plexi-glass in front of the speaker cabinet
to prevent the direct sound from reaching the house. The other is simply hang 
a heavy blanket over the cabinets.  The first looks alot better thats for sure.

						Tom Boilard 

    I think we should all invest a few bucks and buy a Sound Pressure 
    meter. All this talk about watts, and number of speakers is really
    like comparing apples, oranges, mangos, etc. 
    
    LOUDNESS can only be measured in terms of sound pressure level (SPL)
    in Decibals. All the unique attributes of a given rig contribute to
    determining what the final sound pressure level will be. These include
    the amps power rating (in watts), the number and type of speakers used,
    the instrument plugged into it, and the room it's set up in. The larger
    the room, the lower the SPL will be. Another thing that affects
    measured SPL is the distance between the speakers and the SPL meter.
    
    I have an acoustic guitar pickup that has a very low output. When I
    plug it into my 100w Twin reverb, I literally have to crank the Twin
    up to 8-10 to get it to play loud. If I play an electric through the
    same amp, I can't set the amp above 3 without blowing out a wall.
    
    Mark
    

    All this high-volume talk is gettin' me excited !!
                                  
    jc (Giving "Cuttin' Heads" a new meaning... :)
    

    Well, this topic touches a sensitive point with me, as I used to be a
    sound man and have exerienced the problem of the guitar amps blowin
    away the front mix.  Several GOOD points have been made here, ie;
    
    1. Stage mix is IMPORTANT, the group NEEDS to hear a balanced sound to
    make the tune come out right.
    
    2. Turning the amp twards the back wall, or cross firing the stage is
    on of the "Prefered" tricks in the sound re-enforcment business, it
    accomplishses #1 above, and allows the sound man room to mix, ie. solo
    lead presence, balance with the vocals, etc.
    
    Just as an aside, I used to mix that band MATCH here in Boston, runnin'
    the 128 circuit, and the lead player used an old BOGAN P.A. amp driving
    a 2-12 bottom.  Sounded bitchen'.  Then again, he musta had $2000.00
    bucks tied up in his pedal board too.
    
    GONZO(Normally_read_only)

    I've been looking for a practice amp  with a sound similar to the Mk
    IV, but light enough for me to carry so I got a Studio .22.
    
    I'd tried one six or seven years ago; although I liked the sound, I
    didn't like the difficulty of balancing the distortion against the
    clean sound, so I passed it by. The current version has added a Lead
    Master control, which makes the balancing act easier.  I got it with
    the optional graphic EQ, but I think I'd have been happy enough without
    it, since I've found  settings that provide a good tonal balance
    between the channels with the EQ off.
    
    I've used it for just a few sessions so far, but I'm very pleased with
    the amp. It looks nice, is very well built and everything seems to work
    properly. It sounds great for lead or rhythm, and gets a decent jazz
    sound with the L-5S I've been using it with. After  adjusting it for
    the kind of basic sound I like, I found a sheet of sample settings
    inside the literature packet--my settings exactly matched Boogie's
    "Smooth, warm jazz sound" example.  I haven't tried it with an archtop
    yet, but with its tight, controlled bass, I think it would work really
    well. It certainly doesn't have the full bottom of my Polytone
    MiniBrute IV, so I don't think it would be my first choice for a solo
    gig, but at small club volume with a quiet quartet it holds up nicely.  
    Despite its low power rating, it can rip your head off, but it's
    obviously not clean at high volumes. The reverb is okay, but doesn't
    quite have the beautiful glow of the Boogie Mk IV's. 
    
    My complaints : the footswitch, while rugged enough, looks like a
    U-Do-It special, an unpainted cast Bud box with a Brady label on top;
    there is a short "hangover" after switching from lead to rhythm;  and
    the output tubes are EL-84's, so I have yet another type of tube to
    stock. 6L6's would have made it easier.
    
    
    Danny W.
    

    My dealer said that Boogie is coming out with a Studio .22 with two
    separate channels. I'm really interested, since I love the sound of
    mine, but still have to do the channel balancing act more than I like.
    I'm going to see if Mesa has any literature on it (the dealer expects
    the amp next month).
    
    They've also announced the "Maverick", which uses 4 EL84s class A, and
    has two rows of controls, so I assume it's two channel. It's in the
    small box with a single 12".
    
    The output section sure sounds like an AC-30 to me. It's about a grand.
    
    Danny W.