Dating a fender champ amp

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However, the voicing Fender had selected for the drive was very poor indeed.The frequency range was, according to Fender, shifted in relation to the clean mode, and tailored for screaming leads.You wondered why they didn’t just leave the frequencies in their natural state.The speaker in a guitar amp filters the overdrive frequencies anyway – why try to mess with them further when the system had been proven to work perfectly well without?But with all that said, the Champ 12’s basic clean sound was good enough to justify the asking price, provided the discounters had been to work on it.ON STAGE In the realm of live gigs, I christened my ’88 Champ 12 at a pub called the Sydenham, in Small Heath, Birmingham (demolished about two decades ago, and on the land now occupied by The Birmingham Hotel, roughly opposite the entrance to Small Heath railway station).It did sound ragged, and because the speaker wouldn’t quite let me turn the volume up full I couldn’t get the compression I wanted.But funnily enough, the reaction was very positive, and I loved the idea of having such a compact setup.

The Champ 12’s ‘verb was, in comparison, much cheaper sounding and more ‘tunnelled’, if that makes sense.The ME-5’s EQ could be used to add bass rumble and take away some of the almost inevitable middliness you get with physically tiny amps.I used the same setup for practice too, and really enjoyed it.The Sydenham had a reputation for difficult-to-please audiences, but the room wasn’t that big, and given the Champ’s significant volume I thought it would be a safer bet than my massively loud Fender The Twin.The plan was to use a Rickenbacker 330 guitar, through the Champ’s clean channel, and just bang everything up full so the amp could create a natural drive. It was just me, accompanying my own vocals on guitar.

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