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Ź wC10N Amp: Fender Vibratone / Leslie 16 guitar: N/A Effects: None Genre: Blues, Rock Comments: (4 Ohm model) This is the best I have ever heard a 10" Leslie 16 sound. First off, most of the time the speakers have been replaced with an 8 ohm speaker which is not the spec. 4 ohm is the factory spec. I have seen the original 10 replaced with a 12 to get "more" sound, but with this direct bolt in, there is no need for cutting or destroying the original baffle. The sound projection and tone are quite impressive. As a retired Fender tech, I highly recommend this setup. Thank you Mr. Weber ! Doug Miers Amp: Fender Vibrolux reworked by Dan Torres Guitar: Late 50's Telecaster, Gibson ES-335 w/pups hand wound by Tom Holmes Effects: Teese Wah, Clone-clone chorus Genre: Blues, Rock, Jazz Comments: The Weber speakers replaced the Naylor speakers that I had been using. To me, the best way to describe the C10Ns to tell you that they remind me of a good gospel choir. Balanced but very present mids and highs with alot of chest. I hear alot of tonal colors that I never heard with the Naylors. The speakers have a nicely detailed mid range and the highs are never brittle. These speakers respond to the differences between the 2 guitars I use most often, but "stay within themselves" which means I don't have to change settings on the amp when I switch guitars. I hear the difference in the woods and I can change the response by changing my touch -much more than before. The guitars now have their own voices without losing the voice of the amp, something the Naylors didn't allow. I'm very pleased and would buy them again without hesitation. Eric Amp: SF Super Reverb, BF'ed, new filters, MV removed by Uncle Spot. Guitar: Fenders. Tele w/HD Super 90, wired Esquire-style, Stock '84 Squire Strat Effects: None Genre: Blues, Rock, Country, Surf Comments: I bought this Super with two of four Alnico CTS speakers buzzing badly. Initially, I replaced them with Jensen RI C10R's, but they were way too harsh and ice-picky for my taste (especially at higher volumes). Then I got these to replace the Jensens. Wow!! They are really loud, and they balance out the sound quite a bit. The huge magnets on these C10N's are almost obscene! In fact, they made the Jensens look downright silly in comparison. Bottom line, these speakers did exactly what I wanted. The super now has a great balance of highs AND lows, and as much PUNCH as you want. Did I mention that these speakers are very loud? Four of these would probably be too loud and bassy in a super, but if you're am p is too bright, try one or two of these babies! These speakers never sounded too harsh in any setting! They seem to say, "Bring it ON!!!" when you reach for the volume knob! worth every penny!!! But, I do have a couple negatives (sorry Ted): 1) I really wish that the terminals were the type found on CTS speakers, with two at 90 degrees. 2) The Weber Ferromax sticker is kinda funky. It is reminiscent of the Fender "blue la bel", but it looks cheaper, somehow. HOWEVER, those are just two VERY minor details. It just means Weber puts more effort into making fantastic speakers, rather than cool stickers. Still, it seems like speakers this good deserve a better sticker. wC10R Amp: Fender Pro Jr. w/Deluxe RVB OT, no -fb, .68 & 25uF cath bypass caps, .001uF coupling cap Guitar: (2) Strats, ASAT, PRS. Strats have Texas Specials Effects: Flange, Echo, wha wha (all overdrive comes from amp) Genre: Blues, Rock, Jazz Comments: This is the ideal speaker for this amp...with the Strat especially, the mid position between middle and treble pickup has the sweetest grind you can imagine when volume on the amp is up (5-7) and the volume on the guitar is backed off. But when the guitar is cranked it just sings, with more definition than the Celestion I had in there. Very smooth response without favoring any particular frequency through the entire range of the guitar with more character than any others I've tried in there probably due to the sizzling, not too bright or brittle high end, not overbearing midrange and solid not boomy or mushy low end. This include the stock speaker (Eminence? ceramic, which is a decent speaker), a stock Ceramic 10 from a SF Princeton Rvb, a stock Ceramic 10 from 50 watt Music Man Combo, an old Ceramic 10 from a BF Super Rvb, and the 50 watt Celestion I mentioned before (G10S). Sounding better than the Celestion to me is particularly impressive, because I've always found Celestion Speakers able to fill almost any need I've had in the past for a guitar speaker. I'll put in an order today for a C12R to replace the Vintage 30 in my modded Princeton... Akbar Anwari John Templeton J. Bardsley Mike Milligan Joe P. wP10P
Blue Pup Amp: Laney LC-15R with NOS JAN Phillips 6BQ5 power tubes, NOS JAN GE 5751 preamp tubes Guitar: 2000 Am Std Fat Telecaster, 2000 Warmoth rosewood Telecaster, 2000 Rickenbacker 360 V12/64 Effects: POD 2.0, Danelectro DanEcho, Ibanez TS-9 TubeScreamer Genre: Rock, Country Comments: This speaker is definitely as advertised! The Blue Pup is bright without being harsh, warm and yields a sweet, singing, chimey sustain. Don't drive it too hard though - it responds best to slight/moderate overdrive and a gentle attack. This is NOT a speaker for heavy grunge/metal; rather, I'd recommend it for players looking for a warm, articulate and subtle tone, and PARTICULARLY to fingerpickers. Scott Swartz Amp: Various custom built heads including 2x6V6, 2xEL-84, 2x6L6 Guitar: 62 RI Strat, Guild Bluesbird Effects: None Genre: Blues, Rock, Country Comments: I used these speakers in a custom 4x10 open back pine speaker cab that is slightly larger than a Bassman, and powered it with several different heads. Overall, the other user comments and Weber description is fairly accurate, with the speaker having good bass, chimey treble and nice crunch when turned up. I did notice that the frequency response of the P10P works best in conjunction with relatively flat tone control designs like typical Marshall or 5F6A Bassman. The combination of these speakers with an amp that has Fender Blackface tone controls was too bright and nasal, due to the huge midrange dip of the BF tone control. I guess this shouldn't be too surprising, since the speaker is designed to sound British, but I think they might be a little bright in a Super Reverb for instance, unless the tone stack was modified. I should note that I use vintage style pickups, i.e. not overwound, which also effects the total sound. These are very efficient speakers and with the 4x10 cab, an amp with PP EL84 or 6V6s putting out 10-15 watts is VERY LOUD, certainly enough to compete with a loud drummer. With the right amp driving them, they will certainly give you the British sound. Joe Pampel Amp: 5E3 Deluxe Guitar: SG, Strat, Tele Effects: None Genre: Rock, Blues, C&W, Jazz Comments: Great warm, clean sound. Bright and clear with good bottom end. Amazing overdrive, brings out thick, rich harmonics from the amp. My recommendation for anyone who wants British crunch and chime in a 10". Randy Countryman wC10S
Silver Ten J. Bardsley P10R Amp: 1963 Brownface Princeton Guitar: Stratocaster, vintage style w/Lindy Fralins Effects: Occasional delay pedal Genre: Blues, Rock Comments: I tried 3 different 10" speakers, a Weber C10Q, a Jensen Reissue C10Q and a Weber P10R. All speakers tested at volume settings on 4, 7 and 10. Tone was set at 10 throughout. My idea of good-sounding electric guitars? Marty Stuart, Steve Cropper, Buddy Guy, early BB King, you get the picture. Here are my impressions. Jensen reissue sounds very nice both clean and cranked much fuller and louder than the original CTS. A very good speaker, it looks right and itÕs a bargain too. Weber C10Q sounds big and clean on 4, gains character at 7 and holds on pretty good up to 10. This thing will yield the big Fender clean thing very, very well. More bass than the Jensen. Made me want to play Buck Owens tunes all night (this is a good thing). Brought out the best in my ampÕs tremolo circuit. Loves my Telecaster. Weber P10R not as loud as the Weber C10Q, but about the same as the Jensen. This speaker moves into distortion gradually as the volume is increased above 3 or 4. Very nice saxophone-like edge as you take it up to 7, and sings away at volumes above 8! Yes, I love the distortion. This was the winner in the lead guitar category, it makes this little Princeton way fun to play. With the Strat, I heard something in the neighborhood of Freddie King and early Billy Gibbons (nice neighborhood). Overall: ItÕs between the two Webers. The P10R probably would not hang with a band as well as the C10Q - it doesnÕt offer the same sharp, cutting overtones. The P10R is for my style a superior lead guitar speaker - it compresses and distorts in a very reliable and FUN way. The P10R also had a sweetness to it that I crave. I wish one speaker had the clean performance of the C10Q and the cranked performance of the P10R. Push comes to shove, I kept the P10R in the amp (but am keeping the C10Q near at hand). Steve Shearin Amp: 72 Fender Princeton. Deluxe RI OP transformer, all NOS tubes, new 3/4" plywood speaker baffle Guitar: Gibson Les Paul Goldtop '57 RI, AM.STD.Telecaster, Strat Plus Dlx. Stock '57 Classic's on LP, Duncan Alnico Pro II on Tele, Fender Texas Specials on Strat Effects: Fender '63 Reverb RI Genre: Blues, Rock Comments: I replaced the stock speaker with a Celestion Vintage 10, which made a world of difference. I was pretty happy with the V10, great bass, smooth highs, and over-all good tone. I had heard some good things about these Weber VST speakers, and was curious to hear what I was missing. It didn't take long for me to find out after installing the P10R. I noticed the Weber was louder at the same volume settings, the P10R is brighter and more articulate than the Celestion V10. I love the way the Weber compresses and breaks-up when pushed, one of the best I've ever heard! I'm now a convert to the Weber VST sound! Michael Moody Amp: Clark Tyger (Tweed Bandmaster) Guitar: Les Pauls, ES335, Strat, Tele Effects: Vox Wah pedal Genre: Blues, Rock, Country Comments: I bought the Clark Tweed 3x10 Bandmaster replica with Weber P10R's as standard speakers. I have a real 1957 Fender Tweed Bandmaster with Jensen P10R's. I am not going to get into a bunch of adjectives to describe these speakers. Let's just say the Clark amp sounds almost exactly like my original Bandmaster and I believe the Weber speakers have a great deal to do with it. I did a side by side comparison with the original Jensens and the Webers and they sound very much alike. The Jensens had a little more vibe but I think time will give the Webers some vibe of their own. I am a vintage head and I usually don't like new speakers. I really like these speakers! They were a little tight when I first played them but they loosened up very quickly. The Clark amp and the Weber speakers are a great combination and both are the closest to the real thing hands down. Jean-Michel Gras Joel Hatcher Nick K. Andy Ruhl Evan Aurand Ken Kantor J. Bardsley P10N Amp: Brown Princeton, 5F6-A circuit, "home-brew" Guitar: Enter Guitar Tele w/EMG's, Guild Nightbird, "metalhead" Strat Effects: Tubescreamer Genre: Blues, Rock, Surf Comments: The classic clean American style speaker. Overall tonality is like the classic Jensen N: Clear, round highs, with a mid dip that goes great with reverb. Notes seem to jump out of the amp when you pick. A little darker than the C10R. Plenty of tight bass, but less low mid "gut punch" than the Blue Dog. A set of these in a Super Reverb would be absolutely killer. John Stokes P10QR Amp: Allen 80watt TONESavor Guitar: Strat Ultra (Van Zandt Blues), RI Tele (HD '54), Les Paul Classic (SD Seth Lovers) Effects: Klon Centaur, Teese RMC-1, RI Uni-Vibe, ZVex Fuzz Probe Genre: Blues, Rock, Jazz Comments: I have these running with 2 P12N's, and this combination is KILLER. The N's take care of the deep lows, and the Q's dish out plenty of highs and upper midrange. I built my Allen from a kit and first tried the Q's alone (with 1Ś2 power), and did not like it. Just not my cup of tea; very trebly, small, shrill, though still warm. Not what I was used to from my big 12N's, anyhow. Then I tried the 12's alone, and found it a bit too soft; nice & deep, rich lows as usual, but my new amp is obviously voiced differently than my previous ones. I was a bit worried because I spent all that money, time waiting for, and building this thing and I wasn't blown away like I had hoped I would be. But just like Goldilocks, I plugged both the 2 10's and 2 12's in, and it was just right! I had hoped for the best of both a 4x10 and 2x12 configuration, and that's what I got. These speakers blend VERY well, I might add. Whereas the 12N's lack in highs and cutting power, the 10Q's shine, and the N's pick up what the Q's leave off in bass. This is also the first time I've played an 80-watter, and I am very much blown away by the savage power of this set up. My tone is now right in the pocket of where I want it to be; loads of bass and punch, but with clarity and 'sparkle' that allow the amp to scream when pushed, and the Alnico makes for fluidity and warmth. Brian Metelits Amp: '68 Super Reverb, BF'd, all new caps. Replaced 4-10" speakers with 1-12" and 2-10" speakers Guitar: Swamp ash Tele; '57 reissue Strat. Tele: Harmonic Designs V+; Strat: Harmonic Designs '54 Special Effects: Tube Screamer, chorus, echo Genre: Blues, Rock, Jazz, Country Comments: I've been dissatisfied with the clean tone of my Super Reverb since I bought it 2 years ago. Though a '68 Super Reverb, the speakers were 1971 CTS alnico's. I bought it from a guy who played with Frankie Valie. Recently I had the caps replaced. The new caps made it a little better but still not what I remember a nice Fender should sound like clean. Well, I got this notion to try a custom speaker configuration. I already had a WeberVST P12N (4-ohm) so I ordered two P10Q's and built a baffle board for 1-12" and 2-10" speakers. Today (exactly 2 weeks from the day I placed my credit card order) I received the P10Q's. I installed them in the top positions and left the 12" in the bottom. I turned on the amp and got out my Tele. !!!! What an incredible sound!!! Soft or loud, clean or gritty this amp sounds heavenly now. The P10Q's give me crystal clear note definition and full, punchy lows. Every note from -low to high - rings true with clear, round sound. And that's what I want from my amp.....clear, sustained, full sound. I use my Tubescreamer to add a little grit at rhythm volumes. Even the reverb sounds better. This is how a Fender amp should sound. I am extremely pleased with the sound of these WeberVST speakers. If you're on that quest for the holy grail of tone, you will eventually find it, and when you do WeberVST speakers will be in your amp. Andy Ramm Amp: Blackface Vibrolux Reverb w/minor tweaks to tone stack and reverb Guitar: Reissue Fender Strat with Van Zandt Pickups, Warmouth Strat w/Gibson P94s, '59 Gibson ES225 Effects: None Genre: Blues Comments: The first thing I observed when opening the boxes containing my Weber P10QRs (P10Q with an R smooth cone) was the extraordinary fit, finish and cosmetic quality of the product. My first auditory impression of the speakers were that they were louder than the Jensen P10RJs I took out. I don't think it should be surprising that a brand new speaker should have more volume than one made in 1963, but after playing a minute or two, it became apparent that it wasn't just volume, but the P10QRs had greater richness and definition than the RJs - all without sounding the least bit hifi-ish. Overall, the tone was very sweet with distinct emphasis on the upper mids. Normally I like more high-end rolloff than these speakers have, but the P10QRs obviously comb out the really brittle stuff, leaving you with a speaker that cuts through nicely without ever losing smoothness or sweetness - very juicy sounding. It was quite frankly the best tone I had ever heard and I can't wait to play them louder to hear more breakup in the cone. Next was the most surprising aspect of these speakers. My strat's neck pickup has always sounded a little muted to me, so I've really avoided using it during solos since it doesn't cut through. These speakers made the neck pickup sound phenomenal, really sweet with lots of dynamics and presence. But you'd expect that the middle and bridge pickups would then sound to brittle. Just the opposite was true. The middle pickup has never sounded better, and the bridge pickup had good punch and tone without any harshness. I haven't got a clue how they do it, I can only speculate that the combination of the Alnico magnetic compression with some really well thought-out combing characteristics conspire to allow this to happen. I also wasn't sure what kind of bottom end these speakers would have. Given that they're smooth cones, I expected to sacrifice low-end drive. The bottom on these things flat out kicked ass. Quite frankly, I think that these are the best speakers I've ever played through. What would I improve? Well, I think these could sound a little looser, but they've only been played about 10 minutes at less than club-level volumes. I have a feeling they'll be perfect once broken in. Thanks for some killer speakers, Ted! wP10Q Amp: Custom Bandmaster Reverb 4x10 combo (Mojotone Super Reverb Cabinet) Blackfaced by Ron Veil @ www.unclespot.com Guitar: 2 x 1983 '62 reissue Strats from the Fullerton Ca. factory. Bill Lawrence L250 Blade pickups. Effects: Ibanez super Tube STL Genre: Blues, Country Comments: These speakers are the best thing going. Very complex and elegant in sound. Beautiful and sweet highs. Dynamic upper midrange and both low and high volumes. Excellent lower midrange honk and bark. Tight focused bottom end no flab included thank you very much. Overall this is a speaker that allows for a wide range of tonal possibilities from clean picking and strumming to ballsy overdriven lead and rhythm playing. The most sound investment in a ten inch speaker. The P10Q win hands down and ears open!!!!! Paul Freedman Amp: "Custom" Vibrolux Reverb. NOS and current manufacture tubes to replace stock in preamp section Guitar: Gibson ES 165 Effects: Budda Phatman Genre: Jazz Comments: I replaced the two stock blue Eminence 10Õs of my Õ99 "Custom" Vibrolux Reverb with two WeberVST P10QÕs. The search for the right pair of speakers was as exhaustive as I could make it, short of buying all the different types and trying them all (unfortunately, not an option). My dealings with WeberVST, including Ted himself, were always informative and pleasant. In trying to figure out the best replacements, there is such a wide variety of them that one has no choice but to become at least a little educated on the subject. The WeberVST website, many times, proved a valuable resource. Between the information pages and the bulletin boards, I was able to get just about all of my questions answered. I was pretty specific about what I wanted, which was a speaker that would have a relatively early breakup (but later than the stock blue speaker), and, most definitely, a speaker with better, tighter low-end, a rather tricky balance. Once, I got the speakers, hereÕs what I heard: First, most people who review Webers comment about the increase in volume. My amp is now pretty dang loud at 1.5. By 3, itÕs going ballistic. People also comment about the clarity of string definition. ThatÕs there as well. The low-end is considerably better; far more under control. In one review, someone said that some speakers sound as if they had a layer of velvet covering them. That was definitely true of the stock speakers. With the new Webers, that effect disappeared completely. The sound is now very "present" - right there. All these factors together produce an effect thatÕs somehow greater than the sum of its parts. There is a certain - ahem - "Je ne sais quoi" about the sound. With the amp just starting to clip, the sound is focused, yet with a smooth powerful growl. Much of my reaction to the upgrade was simple and pleasant surprise: "Wow, I can do this, and now I can hear that." I am still experimenting with the amp because the new speakers changed and expanded how I use the treble and bass settings. Even with the bottom end more filled out, the notes were still turning to mush from the low A on down. By E and F, they were downright muddy, and just about lost. This was the only disappointment, but I donÕt blame the speakers, since IÕm confident that they could handle my guitarÕs low end given the right set up. Experimenting with the output transformer, I believe, is in order here. ItÕs the next step, anyway. Since the amp was now pretty loud, I put a NOS JAN Phillips 12AU7 in the phase inverter position (comes stock with a Sovtek 12AX7WA). It automatically brought the volume way down, and made the knob far more useable. It also helped to clarify the bass. The speakers are so dynamic that I actually welcomed the slight "evening out" effect of the lower gain tube. Using that tube in the same position with the stock speakers, the amp broke up earlier, and some of the definition was lost. With the Webers, the breakup now came later, and the definition still had that immediate presence and clarity. I think somewhere I learned a rule about tone settings that goes something like this: "Thou shalt not dime the bass." This had never occurred to me as a possibility, but, I remembered that cranking the treble allowed the "darkly twangy thud" of my flatwounds to come through. This really only applied to the bottom four strings, and the cranked treble made the B and high E strings shrill. To try to keep the definition of the low-end, and to rescue the high - in a moment of desperation - I dimed the bass. And do you know what? It was not that bad. Maxing the bass, with the treble around 7 or 8, was a useable setting. The old speakers could never have handled such a "brazen" move. For now, I keep both around 8, which produces an overall sound that is very full, very lively, and has just enough snarl. Phil Loarie Amp: 1965 Fender Super Reverb Guitar: '92 Les Paul Studio (ebony fretboard), '96 Fender American Standard Strat (maple fretboard) Effects: Only what the amp has: a bit of reverb at 2.7 and the occasional tremolo. Genre: Blues, Rock, Jazz, Surf Comments: I have had my WeberVST P10Qs since March '99 and have had some time now to break them in and listen to them in many different places, times of day, moods and moon phases...he he he. First of all these speakers sound great from 1 through 7 on my amp. I haven't taken it above 7. I don't want anything else in there now. They have a nice chime on the top with a clean and vibrant bottom end. I like these better with my Strat but that's cause I play the Strat more. These P10Qs have got guts, you can play at 2 and still have punch. These are everything I wanted from an AlNiCo 10 inch and more. Lew Collins Amp: '66 Super Reverb and '95 Victoria Bassman. Mods are two or three Orange Drop caps, and that's it! Guitar: Strat and Tele Effects: None Genre: Blues, Rock, Jazz Comments: I've tried lots and lots of speakers. I love vintage Jensens - that's what I grew up with. The Weber P10Q and P10R are the two best NEW 10" speakers I've ever heard - I really mean that. The P10Q has bright, clean, smooth highs; solid, clean mids for rhythm, but enough midrange bark for the bridge pickup to sing; and clean solid bass - just about perfect! The P10R is not quite as bright but is smoother, sweeter and more easily overdriven; mids are more pronounced and more easily saturated; bass is solid but not as tight & clean as the P10Q. To me, the P10Q would be the choice for someone who favors a round, clean, bluesy Super Reverb tone - a natural for sophisticated chords and R&B accompaniment, and singing, stinging B.B. King style leads. The P10R would be the ticket for a fairly clean but more easily overdriven sound for "British Blues" and tweed fifties tones - these P10R's are clean at low volumes but scream like Clapton with Cream when cranked! They both sound superb but are voiced differently. If you're putting these in a Fender Super Reverb or a tweed Bassman, you'll need to ask Ted to machine the basket to fit around your power tranny. I forgot, and had to leave two of the Mojo MP10R speakers in place in each of my amps. By themselves, the Mojos are to bassy and midrange heavy and not bright enough for me. But combined with the Weber P10Q or P10R speakers, the combination makes for a huge sound that I like alot in both my amps. I'm ordering another pair of Weber's with the basket cutout because I think I will ultimately prefer the more refined tone of four Webers, but in the interim, the Weber and Mojo mix is very satisfying. The Weber P10Q and P10R are highly recommended: A+ Alan Howe Amp: King Bassman w/5751 in first pre; '66 Super Reverb Guitar: Various Strats with Fralins and VanZandts; a custom KBR-made Strat with 2 Gibson P94's Effects: Klon Centaur Genre: Blues Comments: I first used two Weber P10Q's to replace 2 of the original Jensens in the Super Reverb. I always thought the Super could use a bit more bottom punch. This hybrid Weber/Jensen configuration has far exceeded any expectations. Focused bottom and singing highs with improved pick dynamics were immediately realized. For my ears, the Super never sounded better. The King Bassman (#006) was recently purchased used from Kenny Blue Ray and came with 4-P10Q's. This amp coupled with the P94 equipped Strat cops some of the most wicked T-bone tones imaginable. The P10Q's tame some of the over-the-top output from the P94's. This is my favorite amp-guitar-speaker combination...period. Bob Clear
Tom Knezevich Tom Loizeaux Kenny Blue Ray Brad Emmons Andrew Mirisch C10TX
Texas 10
The first thing I noticed was how damn loud the amp became. Seemed like it went from a 15 watt amp to a 40 watt amp. The tone was without question P10R, tweed sound. Very thick deep sounding. The speaker was so strong, the tube holders were vibrating like crazy along with everything else in my living room. I would have loved to have had a separate cabinet to try it in so I wouldn't have had to deal with the annoying buzz of the tube holders. The combination of the thicker sounding EL84 amp with more mids (as compared to a sweeter, less mid sound of a 6V6 DR), a Strat with Texas Specials, and that 'R' thick tone made it a bit too dark. It was much improved when I used my Am. Std. with the brighter pickups. It sounded like the Am. Std. had humbuckers, that sounded like Strat pickups, being played through a cranked Marshall. Woman tone without even trying. The sound was pretty amazing. The distortion of the amp came through very smooth and clear. It made me realize how raggedy the little Emminence speaker really gets with the Pro Jr. cranked. The speaker took the Pro Jr. out of the practice amp category. Even with the volume low, the amp screamed. I might prefer the Chicago Series for a Pro Jr type amp, but I believe the Texas Series would be great for blues in a Deluxe Reverb/Super Reverb type of amp. I really think the Texas 10 will be great for a master volume amp like the 100 watt JMP Marshall I have. I believe it will take that preamp distortion and beef it up so it is nice and thick. My plan is to try the Texas 10 with the Marshall when I get the amp in playing shape. I bet a nice 2x10 or 2x12 Texas 10 or 12 with a MV Marshall head would be a killer combination. I think a pair of Texas 12's in a Twin Reverb would give you a real nasty, monster sounding amp. A loud, tweed tone with some nice breakup. One other very noticeable thing. Just like when I put a pair of WeberVST C12N's in my Twin Reverb, the sustain increased dramatically. The Texas 10 sings forever. Notes just don't seem to die. It is like an immediate improvement to the guitar. I don't know how he does it, but none of the stock Fender speakers or Emminence speakers I've replaced with WeberVST's come close to holding a note so long. I swapped the Emminence speaker back into the Pro Jr and it sounded much brighter and almost wimpy. I thought this amp had all kinds of balls in it's original state, but it can offer much more with a great speaker. wC10CA
California 10 Amp: 68 Princeton Reverb w/NOS RCA Blackplates. Guitar: Gibson Les Paul, Guild X170, Fender Telecaster, MIM Fender Strat. Gibson 57 classic, Stock Guild, All Fenders have John Suhr Pickups Effects: None Genre: Blues Comments: I liked my Princeton but the Oxford speaker was weak and farty. When the C10CA (paper cone) went in the amp was much louder, but lost a lot of its richness. About 5 hours at medium volume levels was what it needed to break in. After that there was a major tone difference. The amp sound huge, rich harmonically and quite full. Top end is smooth, I usually play with treble on 10 (even with the Tele). Midrange somewhat scooped, but I think that adds apparent clarity. Bass is fantastic. This 12-watt 1x10" amp now sounds like a 30-watt 2-12". After some original nervousness about filling rooms (mostly medium size clubs with 60-150 people), I do not hesitate to gig with it. Even with a fairly loud drummer and a harp player using a 40-watt 4x10" Concert, I get to be right at that place where my picking attack can get me over the edge to the "drive zone". With humbuckers I set volume at 4-5, single-coils 5-7. Presently I would consider my tone perfect. Jeff Morris Amp: Truck Angela. This a custom made 4x6V6GT Truck head Guitar: Reverend Slingshot, Gretsch 6120, Heritage H575, Fender RI '57 Strat, Bastard Tele Effects: Outboard Fender RI Reverb with 6K6GT,7025 and 12AT7, Klon Centaur, Boss VB2 Vibrato Genre: Blues, Rock, Jazz, Surf Comments: Big bottom, stay very clean even at high volumes, nice and chimey with single coils, beefy and able to handle the extended range of a jazz guitar also. I'm using them in an open/closed back Jenkins cabinet and they sound great for what I'm after - little speaker breakup, full bass, chimey highs. Chris Gallagher Amp: SF Princeton Rvb with NOS 7025's in the preamp, Syl JAN 12AX7WA driver. GE NOS nude-base JAN 6V6's, Sovtek big bottle 5U4. Guitar: Maple board Mexican Tele w/allparts bridge and tuners, Texas specials and treb pass on 5K pots. Effects: None Genre: Blues Comments: The C10CA slid into the box with no sweat. The amp is still a one hander! It feels like I got a secret weapon. This 'thing' is BIG and LOUD!! No kidding. The PR maintains the Fenderish articulation and feel I cannot compromise on. If you don't like your tubes or your guitar forget about it. If you think good tubes don't make a difference, forget about it. Loudness is not the 'big' quality of these fine speakers, nor do they emulate another species. They stand on there own! Chris Gallagher Ron (Uncle Spot) Veil Bob Arbogast Amp: 65 and '70 Fender Princeton Amps Guitar: Guild Starfire IV, Fender Telecaster, DeArmond M77T and X155 Effects: Fulltone Full-Drive 2 Genre: Blues, Rock Comments: I like these speakers. They are punchy and loud with a clear, articulate voice. They do have a bit of a midrange peak compared to a RI Jensen C10R (which is also a good choice for a Princeton Amp). Rennie Selkirk Amp: 64 Tremolux head installed into custom 2-10 combo cabinet Guitar: Telecaster '52 reissue; Gibson L-4CES Effects: Fender reissue Reverb Genre: Blues, Rock, Jazz, Country Comments: (The following is a happy-ending report.) I purchased a pair of these in 1999 to install in an open-back cab I had custom built for the Tremolux head; I felt the Oxfords from the original 2-10 Tremolux closed-back cab were short on slice, particularly for the humbucker guitar. The C10Q's certainly had the slice I was looking for and a gratifyingly precise bottom-end, but they also had an annoying metallic "plink" that was evident in playing either the Tele or the Gibson. Not unlike the icy edge I hear coming from a JBL D130. I don't know what the proper technical term for this sound is (sizzle?), but it definitely sounds disconnected from the rest of the guitar's sound. Very evident playing single-note runs on the two high strings down the neck. I suppose the audibility of thes e overtones may depend on the rolloff in an individual's hearing. For me it was loud enough to significantly detract from the perceived "muiscality" of the C10Q's. I tried all sorts of capacitor-swapping monkey business inside the Tremolux to change the amp's voicing to de-emphasize the top end to no avail. (Just as well I suppose.) At that point I set the C10Q's aside and wound up giving the "Combolux" job to a pai r of THD Longhorns for the last 18 months. Compared to the clarity of the C10Q's, these are relatively mushy speakers, but with enough high-end detail to be minimally adequate for the fussy humbucker guitar. (I also have tried a pair of Fender's Blue Fram e AlNiCos in the Combolux. These sound wonderfully grungy with the Tele, very similar to the "Custom" Vibrolux Reverb reissue, but they predictably turn the humbuckers to absolute mud past 3.) But I never was particularly happy with the Longhorns and recently I resolved to try fiddling with the C10Qs again. Not surprisingly the "sizzle" hadn't disappeared while they were sitting around unused for 18 months. But this time around I had my thinkin g cap on and remembered that I had a TC parametric also sitting around unused. So why not bring them together? What I did is to route the guitar signal through the parametric's high-f channel, cranking the band center dial all the way to 10kHz, dialing th e bandwidth down to the 0.1 octave minimum and dropping the gain down 16dB. With the rolled off guitar signal, the icy edge essentially disappeared and I could finally listen with pleasure to the truly frightening elastic slice this once-mild mannered amp has now acquired. The speakers are certainly "steely" as I think one user h ad commented, but in a musically-satisfying way. And I am pleased to report that the speakers give the Telecaster single-note tones a body and depth I hadn't expected from a ceramic-magnet speaker. So, with this 'roll-off solution', I'm very satisfied with this speaker choice. I was even thinking of taking the amp out back, turning it up to 10, and cutting some clean swathes through the tall grass on the hill behind the house. ;-) Jose Arroyo Amp: 68' Vibrolux Reverb Guitar: Tremolo circuit changed to bias modulation type. Effects: Fender Strats w/EMG-SA's and EMG-89 in the neck position. Tele with EMG-RT in the lead. Vox wah w/ True-bypass, Fulltone Fulldrive, Sansamp GT-2, Boss DM-2, CE-2 Genre: Blues, Rock, Punk Comments: I tired a lot of different speakers and never thought to try two C10Qs in my Vibrolux Reverb. I had a C10Q in my Princeton Reverb and the C10Q was not very good. The bass was nice and tight, but the highs were ice-picky and thin. I broke it in and still was not happy. In my 68' Vibrolux Reverb, I tried the C10Q with a C10N and found the sound too "woofy" and boomy. Next, I tried the C10Q and a P10Q. I was not happy. I could hear the P10Q breaking down and the C10Q still struggling. Finally, I bite the bullet and tried another C10Q with the broken in one I've had for over a year. Why did I fight it? The C10Q are the perfect balance in a 2X10 configuration. The highs still sizzle with harshness, but the lows and mids of two C10Q's are fantastic! Turn the treble down and the bass up and you get a nice smooth tone with chimmy highs and solid bottom end. Turn the volume up and the amp gets a nice even grit to it that works great for crunchy rhythm. Throw an OD pedal and turn on the humbucker and this speaker will break down and give you a nice full overdrive tone. It's not as good as my Weber P10R in my Princeton Reverb, but provides a good balance between solid rhythm and lead tone. The amp is really loud at about "6" and sounds nice and creamy making this the perfect medium-sized club amp (instead of the small-sized club amp role this amp was relegated to before). Andy Buschmann Amp: Smicz PORTABLuEs 110, 5 watts with a single 6v6 Guitar: Carvin maple two pickup DC 125 1986, Carvin M22SD and M22V Effects: None Genre: Blues, Rock Comments: My amp came with the Jensen C10Q speaker. I wanted a rounder, fuller sound, more bass etc. This speaker supplies it. There is a big increase in volume also. The tone controls seem to work better now that there are more frequencies coming through. The amp also seems cleaner. We are only dealing with five watts RMS here so overdriving the speaker may not be a consideration. The ghost note thing is new to me. There are so many speaker models and pa- rameters that I could not make a really intelligent decision but the un-doped version is fine. This speaker helps my amp reach its full potential. There is a large difference in performance over the Jensen. I suggest that anyone considering a PORTABLuEs upgrade to the Weber. Margaret Wilson Amp: Late 70s Princeton Reverb. Pull-boost removed, pot does -fb; Boost footswitch jack bypasses tone stack Guitar: US Fat Telecaster Effects: Sometimes Boss Blues Driver, Uni-Vibe stereo chorus Genre: Blues, Jazz Comments: This speaker did wonders for this amp. Very smooth and sweet sounding with plenty of bass, not boomy or too trebly. Very well-rounded sound, perfect for jazz. I usually play using just the neck humbucker, so the bass flubs out when I push it much beyond 2. (It is definitely the amp, though, not the speaker. I've played my Blues Jr through this speaker and can boost both bass and midrange to 12 with no flubbiness.) But there's plenty of tight bass, even if I leave it on 2! (Eventually I'll mod the SFPR to tighten up the bass more.) I have a P12NQ in my Blues Jr, and although the SFPR sounds great through this speaker too, I actually prefer the C10Q (in the PR). I usually play clean, and the ceramic magnet is more articulate than the alnico. I have trouble putting my guitar down now that I have my C10Q!! Michael Moody Amp: Vibrolux Reverb Guitar: Strat, Tele, Les Paul, ES 335 Effects: None Genre: Blues, Rock, Country Comments: I believe the Weber C10Q is one of the finest 10" speakers available. It is now my first choice in blackface amps with 10" speakers. The C10Q's are very transparent with fuller mids than a stock Jensen C10Q. The mids in this speaker really wake up the vocal characteristic missing from the more mid- scooped tone of a blackface amp. My Vibrolux Reverb has become more chunky thick yet is retains most of the blackface character, sparkle and chime. The bottom is amazing! The C10Q will come close to many 12" speakers in bottom end. The feel and response of the C10Q is fantastic. Very quick but not stiff feeling at all. They are very strong yet warm. They are REAL loud!!!!!! I did have to re-tube my amp to get the voice to sound right with these speakers. The C10Q is great in blackface amps with 10" speakers and they sounded great with other amps too. They really cut through a live mix great with plenty of detail. The C10Q has a really nice texture. Just enough crunch and bite to get through but smooth enough to stay under control. Really nice dynamics for a 10" speaker. Bill Dennis Amp: '64 Princeton Guitar: Hamer Daytona (strat), mutt Tele, Duncan AlNiCo Pro 2's, Duncan hot tele bridge, vintage neck Tele Effects: none Genre: Blues, Rock, Country Comments: When I bought this amp it had a JBL in it which actually had a pretty nice clean tone at moderate volume, but got shrill and farty simultaneously when pushed. I took Ted's recommendation on the C10Q and I'm glad I did. It's quite efficient and has increased the amp's clean headroom. Better yet it breaks up smoothly without harshness and the bottom end stays together (at least until the amp starts losing its grip on the bottom). Well balanced from lows to highs, punchy and loud. This speaker sounds bigger than a 10". It was well worth the money and effort to change out a mediocre speaker for this lovely sounding piece. Oh yeah - it gives great ring with the Tele, very nice bite on the strat neck pickup too. Michael Taylor John Borneimer Mark T. Van Ditta wC10P
Blue Pup Amp: Tweed Super (5E4-A) homebrew, RCA BB 6V6 tubes Guitar: 86 PRS Standard, 95 LP Special RE, 79 Schecter Strat w/Duncan Custom HB Effects: Fulldrive 2, Micro-vibe, Crybaby, Boss CE-1, Fender Reverb Genre: Blues, Rock, Country Comments: I Play In an all original band in Detriot. Textures ranging from Black Crows to Tom Petty To AC/DC. I made this amp from parts From Dixie Sound Works. I Love the up-front sound that tweed circuits have. I built this amp for gigs In smaller rooms.The C10P Blue Pups sound execellent for the in-your-face rock sound that my band plays. These speakers have great punchy attack when pushed to rock grind mode. They also clean up great with the guitar volume backed off. What more can I say?. These speakers are awesome! wC10GB
Thames 10 Matt D Robert Bozic Amp: Early 70's Fender Vibrolux Reverb, Blackface modification Guitar: G&L 'George Fullerton' Strat, Grubis‡ 'Merlin, G&L vintage strat, Joe Barden Two tone HB Effects: Teese RMC3 wah, TS9/808 Tube Screamer, Danelectro Dan Echo Genre: Blues Comments: I emailed Ted about some speakers for my Vibrolux Reverb, he suggested some C10NQ's. First thing I noticed was they were louder than the Celestion G10-50's they replaced. For the first few weeks they sounded stiff and then they started to loosen up and sound a lot better. I was told they'll continue to sound better. With the G&L strat and the Vibrolux on 7 the amp has that classic Fender overdrive sound where it's breaking up but you can still hear every string sparkle (Bass on about 2.5) I use a Sovtek GZ34 rectifier which gives good headroom and these speakers break up at the right time complimenting the amp. With the Grubisa 'Merlin'the amp breaks up earlier (the Merlin is a custom made guitar which has a similar design concept to the Robben Ford model guitar). With the Barden's tapped and a light touch the amp sounds clean and detailed, but with the full HB mode the amp screams with beautiful tone. Very very smooth sustain with a big bottom end and great articulate highs. They have that aggressiveness which Ted talks about in his speaker description. A very dynamic speaker! With the amp on break up and the Tube screamer/wah wah on I'm in Fender overdrive heaven. If you are a fan of Robben Ford's tone and own a Fender Blackface/Silverface amp such as the Vibrolux, Super Reverb, Twin etc... you'll love these speakers! (I also recommend the Barden pickups to get his sound). Overall I am very pleased with these speakers and will continue to buy Weber speakers for all the amps I buy in the future! Brian Metelits (Bluescaster on the TDP) Amp: Deluxe Reverb ('65 Reissue). Replaced 6V6s with 6L6's Guitar: Telecaster - 52 RI. Stock neck pickup, Lindy Fralin bridge pickup Effects: None Genre: Blues Comments: I have been using the Deluxe Reverb in the standard 1x12 combination with a WeberVST C12N speaker. The amp sounded tremendous. But I just wanted to experiment to see if the Deluxe Reverb could be made to sound more like a Vibrolux Reverb. I posted many questions and talked with Ted and T.A. about speaker choices that would produce similar lows to the C12N while adding more highs and upper mids for more of an Albert King tone. T.A. and a couple folks on the speaker bulletin board recommended a pair of C10NQ speakers. Well, let me tell you, that recommendation was right on the money! With 6L6's and a pair of WeberVST C10NQ's this amp kicks. The lows are clear, full and strong. The mids and highs are just as full and strong. The amp is more versatile now; backing off my guitar volume I can play clean and mellow jazz. Turning up the guitar volume, the tone gets very bluesy - full, toneful, soulful notes leap from even the 1st string (a 10 E). I'm not kidding, my tone is so full, you would think I've got humbuckers in this Tele. Yet, all the hi-end definition is there. The C10NQ is a clear winner. I'm very pleased with this pair of speakers. Anyone who plays blues or jazz with a small amp and would like to make the amp a little stronger for medium sized clubs should try the C10NQ. And the service from WeberVST was beyond expectation. In fact, my last three orders have all made it to me in less than 2 weeks. Bravo, WeberVST! Margaret Wilson Amp: 70's Princeton Reverb. Pull-boost removed, pot does -fb; Boost footswitch jack bypasses tone stack Guitar: Fender US Fat Telecaster Effects: Boss Blues Driver, Uni-Vibe Stereo Chorus Genre: Blues, Jazz Comments: I've been pretty pleased with the speaker and really love the tone, but I found myself wanting more bottom end and a smoother high end for jazz. So I ordered a C10NQ. This is definitely the speaker for this amp and my playing style! I can now boost the bass knob as high as I like, but to be honest, the C10NQ has plenty of bass at 2.5, so I just leave it there. The high end is very slightly attenuated compared to the C10Q, resulting in a smoother, thicker tone. I'ved boosted the treble knob from 3 (with the C10Q) to 4 (with the C10NQ), and it's sweet and smooth but gets aggressive with a heavier attack. Overall, I'd say the C10NQ has a thicker sound than the very crisp C10Q, but it's still very articulate with that great Q tone and a huge bottom end. Fantastic speaker! wP10RT Lew Collins Amp: Harvard Cabinet/Princeton Chassis. Tweaked to Perfection by Bruce at Mission Amps Guitar: '54 Tele, '63 Strat, Ernie Ball Axis. Lindy Fralin custom humbuckers on the Axis Effects: None Genre: Blues, Rock, Jazz My Princeton/Harvard needed a great 4 ohm speaker. Kendrick made me nice blackframe 10 but I wanted something with a little more highs and a more open mid range voice than the P10R and a little less edgey and smoother in tone than the P10Q. The P10RT is perfect! It's louder and brighter than the P10R, but still responds to my touch like a P10R so I can shape the tone with my fingers and picking attack. It's a little cleaner and not quite so dark and middy as the P10R but sweeter than the P10Q. I can't imagine a more perfect speaker for this amp than the P10RT...to me, it sounds closer to the tone of my old 50's Jensen P10R's than the regular Weber P10R. Fabulous clean and singing overdriven tones...I love it! wP10NT Doug R. Amp: 73 Deluxe Reverb. Modded to 2-10 Baltic Birch Baffle, Running N.O.S. Brimar Grey Glass 6V6GT's Guitar: Levinger Blade Tele (for the review) Effects: For the Review, None besides the stock on-board switchable pre-amp Genre: Blues, Rock, Country Comments: Installed these in my '73 2-10 DR. I had Weber C10NT's in it previously. I really like C10NT's, but feel they're better used in a more powerful 6L6 type amp. Or in the bottom of a Super. The P10NT's have a character that is very refined and articulate at lower levels. Made my Tele almost sound as if it had Barden's in it. You really have to play cleanly or it shows. A GOOD thing, as the clarity is shimmering and very beautiful. The bass doesn't overpower the sound. Very expressive and soulful sounding. What's very cool, though, is the interplay between the P10NT's and the 6V6's as you slowly turn up. The sound of the alnico's midrange starts becoming more pronounced as the grind of the 6V6's start kicking in. I LOVE the combination. I call it 'tweedy overdrive' sounding. This effect became much more pronounced when switching in the on-board pre-amp, which voices the SC's much more like HB's. Then things really get good. Not metal sounding, just very overdriven, made the midrange punch come thru even more. The tonal palette is simply astounding from no-pre-amp-turned-down-clean-&-sweet-clear-Tele, to pre-amp-kicked-in-amp-turned-up-6V6-alnico-grind-beast. All with no effects. You gotta turn down the bass as volume goes up, but that's just alnico, isn't it? I've had or still have all Weber C12N's, C10Q's, C10NT's, C12S, C12CA's, P12R, and I'd swear this one is just about my personal favorite for the range of tone it contributes. I now get the perfect balance of glassy clean all the way to butt-rockin' Fender overdrive out of my DR. ... 'Nuff said. This one's done. wC10CH Laurence Impastato Amp: SF Princeton w/PI Tweak (yeah, 'that' one) Guitar: G&L Legacy and ASAT Classic, LP Standard, Heritage 535 Harmonic Design in both G&L's, Stock in the Gibson and Heritage Effects: Limited. Genre: Blues, Rock, Jazz Comments: I've determined by trial and error that I don't like 'Q' speakers with ceramic magnets. I think it's the super high end sizzle that puts me off, and this speaker has that in spades. It's very good producing clean tones at lower to moderate volumes, but at high volumes it has a harshish top that's just annoying (to me). I've played my other amps through the speaker (TV Deluxe, SFDR, blonde Bassman, BFP, 5F6A copy) and I get the same high end sizzle. Oh well, I wanted to try something different and I did. I'm still using the speaker in the amp (it's well broken in, it's be in there a good six months) so I can't complain too much. wC10V Ian McMillan Amp: Fender Princeton Reverb Guitar: 1994 Hamer T-51 Effects: Klon Centaur Genre: Blues, Rock, Country Comments: speaker got lost in the crowd. I bought mine several months ago and must tell you...I absolutely love this speaker!!! This speaker is a similar to the Blue Pup, with the exception that it uses a 1-3/4" voice coil (like the C12B, "Blue Dog") and larger magnets. The ceramic version, the C10V (a Weber original) uses the 40oz ceramic magnet. This speaker is rated at 50 watts. I tried several speakers in this amp (including the original Fender Oxford) before settling on this one. The last one I tried before this one was a Weber P10Q. It was a great speaker, but I still wasn't satisfied...I am now!!! I now think (as many others do) blackface/silverface Fenders sound better with ceramic speakers. I believe this speaker was described to me as, "fairly loud, articulate, agressive and dynamic, with a punchy mid-range and clear highs". I think this describes it fairly well but leaves out how strong, yet tight, the bass response is and how versatile this speaker is. I can get British crunch and Fender punch. All the sounds I hear in my head I can get with this Hamer T-51, Princeton Reverb, Klon Centaur and Weber C10V combination. I like this speaker so much I have a pair in a Mesa Boogie 2-10, faux alligator-skin, open back cabinet that I drive with the Princeton Reverb for larger venues. So, if you have a Fender Princeton Reverb or Vibrolux, I highly recommend you consider this speaker for your amplifier. Cheers to all, Ian McMillan wC10RS Jim Seavall Amp: 1958 Gibson Gibsonette, Hammond 125ESE 15 watt output tranny, multiple outputs/ohm settings Guitar: '68 Gibson Les Paul Custom, Scumbag Indonesian Stratocaster (custom built from parts on recommendations of other guitar gurus). LP has 57 Classic Plus, Scumbag has Bill Lawrence L290 Vintage Noiseless Pickups, Torres Super Midrange Tone Control Ki t Effects: Ibanez TS-808 Tubescreamer, Crybaby Wah Genre: Blues, Rock Comments: dual 6V6, single ended tube amp, 12AX7 preamp, 5Y3 rectifier tube) from the 50's. The original Jensen alnico V1310 10" was way too wimpy, no bottom end to speak of, and low output. I contacted Ted with my thoughts about a speaker that would handle up to 15 watts performance (limit of the output transformer), but that would breakup early, but not compress and have a wavy sound like the Jensen. After two or three emails Ted suggested the C10RS smooth cone Signature Series. What a great suggestion. I'd found an old Celestion 10" on eBay that was reconed by WeberVST in 2000 for the previous owner. That speaker kicked serious butt! Great bottom end, strong mids, and very clean, articulate highs. I wanted a duplicate. I contacted Ted with the previous owner's info, and Ted said that he remembered this particular speaker since it had some unique markings on it. After digging into his memory, or his records, I don't know which (and with the great results of his recommendation, I don't really care!), he came up with the C10RS. Well, he hit a home run! An almost exact duplicate! The bass response is incredible, the mids were right on, the treble just slightly less than the Celestion. I had Dr. Decibel at Celestion date my speaker, and it came out of an old 60's Marshall 8x10 cabinet. Good friggin' luck ever finding another one of those! Except for WeberVST, that is. At low volumes this thing is totally clean, chimey, and very smooth. At 5 (remember this is a low watt, but now higher gain amplifier after the mods I made) it starts to crunch nicely. At 7 it's just on the edge of nirvana, and at 8 it is nirvana. The speaker handles everything the Gibsonette can spit out, and handles it well. Never a dip in volume, not a frequency out of place. This speaker is just the S%*T! If you want to take your old amp to new sonic levels, get this speaker. It never gets tubby, even when pushed, it stays solid. My personal favorite.
P10RS Tom Vidal Amp: 1960 Gibson Explorer GA-18 tweed. Recapped, retensioned and reconditioned by Harry Kolbe Soundsmith, NYC Guitar: Gibson SG Classic w/P90's, Gibson Les Paul DC-XPL, Ibanez Talman Effects: Voodoo Labs Sparkle Drive, Arion SAD-1 Analog Delay, Boss CE-2 Chorus Genre: Rock Comments: damage. I guess it's not fair to assess a speaker than was damaged but I was not digging the tone. It sounded if everything was being pushed through the mid-band (like a foghorn). The highs were harsh and the bass was flabby. Rather than recone, I wanted to try something different. Enter the Weber VST P10RS: The difference was extraordinary, like taking cotton out of your ears. The highs are so glassy and shimmering you'd swear it was Class A. It's notably brighter than the Jensen, but never gets shrill or harsh. (Mr Weber also suggested the P10SS for a 'bright' tone, but now I'm thinking it may have been too bright). The mids still have a nice vintage bark, but it is warmer and cruchier than the Jensen. The bottom end holds up well, round and plump. Some reviewers mention a volume boost, but I detected a slight loss of volume (maybe due to earlier breakup and compression). Overall, the best $50.00 investment I could have made. Just a quick word about the Weber company. They return EVERY email within 24 hours. Ted even called me at home on a Sunday afternoon to ask me what kind of terminal lugs I wanted! Gibson, Fender are you listening?? Excellent service and a great product! |
wP10RS--
10", 1" VC, 25 Watts, Straight Cone, AlNiCo