Dude your killing me ! Please stop with all the really great gear and tones . I started watching you early 2023 love the tones , and since I have been watching I purchased a Two rock Bloomfield /Bartel / 2 DR Z /HW delux Gibson 59 Lab And 57 lab /CS telecaster ordering a Rift I just subscribed today ! So I will have to remodel my house to make room in 2024 , keep up the great channel !
Love your format with your comparison talking and descriptions of similarities and differences, Keep it up. The Db showing throughout the playing and comparisons is great. Helped me to choose the Classic Reverb. Thanks!
Got a Two Notes Captor X for my Studio Signature and with the -20dB setting, I was able to turn the MV up. Upon doing so, i discovered that the reverb comes alive quite a bit more! Thanks for going so much more in-depth than anyone else had ever. It really helps to understand both of these amps significantly better.
Thanks for a great video James. I’ve been wondering about the Studio Signature, you’ve answered all my questions. Great content, the right amount of ‘talking’ and analysis. Thanks again.
Fantastic! This and Rhett Shull's recent run through of all that the CRS can do are must watch vids for Two Rock pre-purchase and owners. (FYI: Taking quality of content into account, YT has accidentally removed 2-3 zeros from your subscriber numbers.)
I favour the Wonderland Overdrive V2 from Amplified Nation, but I live in a condo and hate dragging heavy gear, so the studio makes the most sense to me.
That was excellent. I've had a Studio Signature for a few years; I love it, but I've always wondered what I might be missing from the bigger iron. Not enough to worry about.
I have the Studio Sig and I’m happy with it, and I don’t feel the need for the CRS… however, I would love from Two Rock to release again the Gain Master 35, as a baby TS1… maybe with the name Studio TS ;)
Well done video. I've got a SS. Have played a CRS in a local shop, and it is fantastic. But I agree the SS gets prob 90% of the way there and in some cases matches up almost exactly. Beyond that, I'd say the tone has more to do with the player. I heard Matt Schofield in person up close and personal doing a comparison between the CRS and the Vintage Deluxe - which are voiced completely differently. What I learned was that the color of the sound was for sure different, but in either case it was still Matt Schofield, and try as I might, I just can't replicate his hands 😢.
Thanks James. Great video. I have a studio sig and was wondering about the upgrade. This answers many of my questions. For what it’s worth I don’t rate the reverb on the SS.
HI James!!! Went up to Coda 2 months ago and was in the same quandary ..I had a 2R Sig 100 Watt that I sold a few years ago ..Big mistake .. so I went up and Doug let me play with both this and the Signature.. Came away with the CRS as I felt the smaller amp sounded more compressed and just didnt sing like I wanted it to ..So back to the beginning .. Wont make that mistake again ...PS I bought for fun a VHT D Fifty which I rewired without the caps on the input Jack . It is also brilliant !!, but the 2RCRS does it for me ..
Really nice video!! thanks a lot James! great job!!! I will have the opportunity to try a TR CRS 40w head in the coming weeks, I will let you know! In any case, from what I hear in your video and for my needs…the Studio Signature seems the good choice for me…
Great comparison! In my experience the ss has an immediacy that the crs doesn't have. But... there is an intoxicating depth to the crs notes that you don't get as much of with the ss. Did you find that some of that immediacy in the ss could be brought into the crs with a pedal? Maybe a JFET based boost?
Thank you for the great comparison of two excellent amplifiers! I now have to make a purchasing decision for myself, which of the two amplifiers is best suited for the home studio? May I know from you, if you had the choice of only having one for your home, which one would you choose? Thank you very much! Best Regards from Germany.
Hey - yeah that’s right, I asked Markus who builds the khe stuff for more info so he said this: Yes, the KHE has a buffer at the guitar input. This buffer converts the guitar's high-impedance signal into a low-impedance signal, so it can drive the long cable runs to the amps and eliminate possible interference. In theory, a passive switcher design without a buffer sounds like a good idea. But in practice, it would cause all kinds of problems: The long cable runs to the amps would greatly affect the tone with passive pickups (high-end roll off due to the capacitive loading of the cables). Also, an un-buffered high-impedance signal inside such a switching box is prone to interference, crosstalk and noise (like speaker- and power lines), which would make the switcher unreliable. So I decided to add a buffer to the device. The buffer inside the KHE is a studio-quality buffer. Low noise, high input impedance, high head-room and linear frequency response with no tone-loss. The buffer is powered by 30V, so it has high-headroom without affecting the dynamics of the input signal (meaning it also works with high-output pedals (boosters) without clipping the signal). It is basically invisible ;) Hope this helps, let me know if you have any questions.
Hey! So between 1964-67 Fender made amps which had a black panel behind the control knobs. These have come to be called black face or black panel. Before that for a few years were brown face amps, before that were tweed amps and after black face were silver face. All the names have to do with the look but also essentially cover different sounds - black face amps tended to have more crystal clean, glassy sounds with a big bottom end, scooped mids and a bell like sound. They have a pretty good amount of headroom. Check out the blackface princeton reverb, deluxe reverb, vibrolux and super reverb
@@JamesOnGuitar oh, thanks a lot for the explanation!! So "face" is like panel or front. I get it. Why don't people call it "black front" or "black panel"? Haha Sounds more rational and intuitive I guess? Anyway, thanks again for the explanation, James.
@@leonardoamaral3082over the past few years, there’s been an effort to start referring to them as “black panels”. As you can imagine, the term “black face” carries a negative connotation. That said, I don’t think the term was ever meant to be a racial reference. After all, the late 60’s Fenders with silver panels are also called “silver face”. Just an unfortunate coincidence (I think).
@@reverb508 Hmm I see, I think "black panel" is way better, and I'm not even thinking on the racial context. It's way more intuitive and explicit of what the term means.
Dale Wilson Master Build but I can't remember which year it was based on and of course James has changed the PuP's as per his description in this video.
Two Rock for big sounds with amazing dynamics. Bartel is like having an amazing old school valve driven HiFi. So there is something extra special sweet and simply more analogue velvety. Both are fantastic but I personally have only ever been interested in the high powered TR's because that's what I want from them (HUGE sound and dynamics). If I want something more intimate and emotional at lower volume with top class fidelity then Bartel (specifically the StarWood). Putting the two together like Robert Pierce says is gonna sound great. But to be fair putting any two amps of your choosing together, one more gritty with one more clean is always gonna sound fantastic 🙂
