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Awesome! Enjoy! This fuzz hasn't left my board since I bought it. It's my favorite fuzz out of any I've had.

That would be nice. But unfortunately, not all circuits are good candidates for power scaling. Even within Morgan's amp line, you'll notice only some amps have power scaling. The others would not sound good with it. But the Morgan Vox clones (AC-20, Dual 20, Abbey) and the MVP series have excellent power scaling.

Fuzz and other dirt pedals can be used into a dirty amp. You just need to balance how much gain you're stacking together. In fact, many Germanium fuzz pedals will clean up extremely well and give a nice clean tone when rolling the guitar's volume back. They do need to be connected first in line, directly connected to the guitar though. Fuzz Face type pedals are good for this, and some Tone Bender types are ok (MKII). If you have a 2 channel amp with multiple inputs, like a Marshall or Vox, you can run an AB switch and use one channel for clean, and another for overdrive. You can separate your pedals and decide which ones feed into each channel.

Yes you can. The Peterson has a monitoring mode that allows for this. The Boss tuners have a separate jack labelled "bypass", which will not mute the signal when the tuner function is engaged.

A is the real amp. B is the HX Stomp.

Glad it helped out!

Agreed, it's a great amp and does so many different sounds with such a simple layout.

@@fiveightandten Indeed. I've seen you on TGP. We are fans of the MVP.

Yeah, the P12N is nice! However, it is significantly brighter than the SC75. The mic is dead set in the middle of the 2 cabinets, but the camera lens is offset a bit so it may not appear that way visually. The Scumback S75-PVC is their brighter speaker, and more in line with the top end detail of the P12N. They're all good though!

The Suhr yields a warm full sound, with a thick low end, and the high end is smooth and somewhat subdued. IMO, the EQ difference is larger than the difference in response/feel between the 2 types of power amps. Though the Class D amp in the PS170 does have a different feel than a tube power amp like the Freyette has. I like the load in the Suhr and the power amp in the Fryette. That's the best combination for my ears. But it's not a cheap or practical one! Thanks for the comment.

I'm currently using the SS power amp with the Suhr Reactive Load too, not quite satified with it, still thinking to go with the tube power amp. Your information help me confident to try a tube power amp, I'll look into the Power Station now. Thank you very much.

I just sold the amp. I plugged it in one last time and recorded this before handing it off to the new owner.

Coming down is the hardest thing.

The Gold has a smoother top end and is a bit beefier in the lows and low mids. It has a denser more compressed sound. The P12N (this is a modern Italian one) has more of an upper mid bite and is brighter with more detail in the top end. It's more edgy sounding, less compressed, and a lot more airy. I don't have experience with 10" Jensens, but I do have a 10" AlNiCo Gold in a different amp. It's a nice sounding speaker, though is a different thing than the 12". Rabbit hole indeed. But I try to buy used, which usually ensures the speaker will be broken in, and also that I can probably make most of the money back if I decide to part with it. Thanks for watching, cheers.

@@fiveightandten Much appreciated-if you ever run into 50’s Jensen 8”Gold alnico’s, snap them up and play them for me. I’m dying to find a quad for my old GA45….why you ask? Cause someone yanked them out of the original baffle and they are as rare as hens teeth. I know harmonica players like them….all few hundred that were ever made. They did put in an old Altec 417 in the GA45 but that is not the right speaker for the circuit. Tip for you…and you may know it already but a deal can be had (for a song, relatively speaking) on the same as the original Jensen P12N but under a different brand-Magnavox P-232. Make sure it is the 50’s that has the huge round alnico magnet as they put out 60’s Magnavox speakers with same designation # but completely different build from later, in the 60’s version. It’s a full, wide open speaker with a lot of clarity and bite. Very full sounding, but grinds when pushed. I’ve put in two now-one in a Reverberocket and the other in a Gibson Falcon. Strangely, they both work well in very different amps. Actually, Ive bought three now and all better than what came in each amp. I bought a 15” version cause why not? Have yet to cut a baffle. Ampeg bound! Thanks for the feedback and for posting.

There's no IR applied to anything. It's all going into the speaker cabinet. The Suhr was being used with the "unfiltered" output, re-amped by that Duncan PS170 power amp into the cabinet.

I actually had to get fairly aggressive with it. I used some clamps to hold the neck in a bowed position, using a 2x4 with some wood blocks for leverage. I started with minimal force, then gradually increased it over time as I let the guitar sit. I also applied a bit of heat in an effort to mitigate any finish cracks developing between the fingerboard and the neck/binding. The neck had to sit under bowed tension for a number of weeks before it was rectified. The clamps I used had rubber pads, and I put some microfiber cloths under them to protect the lacquer. As it puts pressure on fingerboard and the back of the neck, you have too be careful to avoid marks in the finish. Hope that helps.

@@fiveightandtenthanks - yeah that helps. i'm probably gonna have to go down that route with mine eventually although it does seem to be slowly improving on its own (someone on the rickresource forum suggested i place a block of wood between the strings and the fingerboard at the point where the neck is bowing back to put pressure in that area, whenever I put the guitar in the case - this does seem to be helping!).

Cheers, thanks for watching.

Good question! I believe when I shot this the amp was modded to have the bright cap permanently engaged. Traditional Vox volume pot value is 500K. The Morgan Abbey uses a 1M pot with a 1M resistor soldered in parallel. This yields 500K, but changes the taper of how the volume pot reacts with the bright cap. I replaced my pot with a 500K pot and the bright cap wired in permanently, like Vox does it. That said, I find the Abbey to be plenty bright, with or without the bright cap engaged. Though it depends on your guitar and what speaker you're using.

@@fiveightandtenthanks a lot! I have the jmi which is similar but without the bright engaged I have to run the bass pot really low or the treble really high to get a nice clear sound without boomy bass. Maybe is my room, or because I run the power too low

@@davide88rnNice! I have a JMI as well. The tone stack is wired slightly different in that amp, and it has an extra gain stage. They do indeed have a lot of low end on tap, which I think is down to the transformers. Don't be afraid to set the bass knob with your ears, I usually keep mine around 9:00. Running the power scaling low (or low volume in general) will sound darker than playing the amp loud. I'd run the bass low with the bright cap engaged and the treble knob to suit. Hope that helps!

@@fiveightandtenyep! Helped a lot. You do exactly as I do, I keep low bass knob to have nice mids and use the treble to shape the top end. I don’t use the bright engaged but my cut is not engaged so full presence

Ha! No argument there. As long as the camera ia good enough for you to see the colors, my work is done.

Yes, the Peterson has "sweetened" tuning presets for a number of different instruments. You can store presets for different tunings, capo positions, or different instruments. This isn't as seamless to use as just known the notes you're tuning to and using in straight chromatic mode. But some people like the sweetened tunings.

I really want a Ric bass. thats a huge wish of mine. And there was this Rickenbacker "Atlantis" model that I used to want so bad looking at Musicians friend catalogues back in the 90s.

Thanks for the comment. Yeah, that 620 is a great guitar. I did wind up selling it, but think about picking up another. They're just so expensive! The 335 is an awesome guitar, and I agree, if you get used to humbuckers (or even single coils), it's tough to make a switch.

The MVP23 comes in the 20" combo enclosure. It sounds good and is easy to gig with. You may want to go with the head if you want to use it with a larger cab. The Morgan 1x12 cab is 24" and sounds a bit more stout than the 20" combo. Though head + cab is definitely more expensive than the combo. You can put a 1/4" to 1/4" junction box in the back of the combo for putting the Captor X in line, though using a head does indeed make that easier. Tube life should be the same between them, as it's more linked to impact during transport and how hard the amp is run. The Captor X sounds good with the MVP23, but IMO the attenuator knocks it down to volumes that are only good for home use. And the power scaling on the MVP23 sounds better than the Captor's attenuation. Though it's great for recording or sending a signal to FOH live.

@@fiveightandten Thanks for the reply! I didn't know that about the cabinets. I think I lean toward the combo for portability since it doesn't have an effects loop anyway and tube rattle doesn't seem to be an issue. Do you know whether Morgan wires the speaker to the amp in combos or of it just plugs into a jack on the underside?

@@armadachamp They use the same chassis in the heads and combos. So the speaker is plugged into the speaker out jack with a 1/4" plug that's wired to the speaker. I've seen them with the speaker end soldered, and seen them with the speaker end having spade connectors. I'm not sure what the current practice is. But the combo chassis does have 1/4" speaker outs on it, same as the head. The lead is not long enough to reach the Captor X, but I use a little junction box in there to make the connections and it works well. Amp speaker out jack > Captor X > junction box > speaker lead > speaker.

@@fiveightandten Exactly what I needed to know. Thanks!

Nice! Enjoy that amp. The AC-50 is one of the best kept secrets in the vintage amp market. It's a lot of amp for the money.

Thanks for watching glad you dig it. I'll keep humbuckers in mind for next time. Usually when I post videos like this, it's to help someone out on The Gear Page forums, so I use the kind of guitar they're using.

Thanks! I honestly can't recall, but I'd guess that I had the bright cap engaged with the cut rolled back a bit and the tone knob on the guitar rolled back to 75% (which I always do). I usually keep the bass low on this amp, around 9:00. It has a lot of low end on tap which is nice, but lower settings are more quintessential Vox. Treble probably around 9:00 or 10:00, but no higher than noon.

Yes, the SC75 is very balanced. P12N has a LOT more top end in the room and more air in the sound. I really like the Scumback, but the Jensen does some great sounds as well. Thanks for watching!

SC75 is a 30W model. The S75-PVC is the 65W model, as that's the only one that would be safe in combo amps like this. In a dense mix, you don't miss low end much in the PVC and the upper mid bite sits nicely. Though the SC75 is fuller and warmer and has a fatter sound. They're both great, but I lean toward the SC75.

Cheers. The display on the Peterson is awesome. But it's slower to respond and the switching lag is noticeable. The ST-300 is instantaneous. They're both nice, but I prefer the Turbo Tuner.

@@fiveightandten yes that's what it looks like. I have the turbo tuner and love it. Thanks for the video!

Thanks for the tip. It's a nice thing to have on a Tele or similar guitar. It adds a small amount of weight, but I people love the sound and I often get compliments and questions about it at shows.

IMO, accuracy is of little importance when comparing modern pedal tuners. They're ALL extremely accurate. I've found that Intonation discrepancies due to the inherent inaccuracies of a fretted instrument, or playing technique, or fret wear easily outweigh a little (imperceptible) extra accuracy that one tuner has over another. In short, they're ALL great tuners! Pick based on features.

@@fiveightandten my point entirely. Using the tuner as a way of adjusting string pressure, bends etc to gauge accuracy when playing. Biggest feature I'd seek would be speed of response. I was talking about the accuracy of my playing rather than that of the tuner.

Thanks, glad it was helpful for you.