C12R
Ken
Amp: Crate VC508 tube 5 watt with 8" speaker
Guitar: Tele with VanZandts
Effects: None
Genre: Blues, Rock
Comment: Weber's C12R in use with Crate's VC508 5 watt amp 8 inch speaker. I
just disconnected the 8 inch speaker and ran the wire out to connect to the
1x12 speaker cab straight to the C12R speaker. And brothers I've seen the light!!
The 5 watt Crate had no problem at all pushing the C12R. In fact, with this
speaker I've backed off all the amp settings to half, and now I have plenty
of volume and tone to play with at my liking. I can play very clean to overdrive
just from the guitar's pickup volume easily. Even my tone settings on the guitar
I have backed off. Man, I have beautiful sounding bass... bass... bass... all
I want at the touch of my tone settings. The beauty is I'm in charge of how
much bass I want not the speaker. Conclusion the C12R is loud, very full sound
without the overkill in bass. The highs and lows are very clear, with clean
tone clarity and all the crunch just waiting to kick in at the touch of the
guitar's volume. The C12R speaker is an all around winner that lets you be in
charge of the tone you want to bring out of 'er.
Bill Fuentes
Amp: '64 Deluxe Reverb
Guitar: '54 Custop Shop Strat w/Texas Specials
Effects: TS-808
Genre: Blues, Country, Rock
Comments: I ordered this speaker after seeing other glowing reviews about it
and it's ability to handle more than it's rated power load. I replaced the stock
Oxford with this speaker. The bass response improved, as did the overall tonal
spectrum of the amp. I run the amp at about 5-6 so it doesn't really get that
dirty. The bass does get muddy when cranked, but it's the amp not the speaker
(I think). The combo does have a beautiful chime with the Strat. The amp is
now a piece of art and one heck of a player and conversation piece.
Andy Ruhl
Amp: 64 Deluxe Reverb
Guitar: Ash Am Std Strat, G&L ASAT
Effects: None
Genre: Blues, Rock
Comments: It's amazing how different 2 speakers can sound with the same cone!
I put the C12R in the Deluxe Reverb after having the P12R in there a while.
The differnce is striking. The C12R has more bass, efficiency, and headroom.
This is actually more of what I would consider a "blackface" sound than the
P12R. The P12R really compresses and distorts, the C12R is less forgiving (less
compression) and has more bass and overall more balanced tone. It still crunches
very well at high volume, but not quite in the same league as the P12R. Here's
the bottom line: If the Deluxe Reverb is your only amp and you have to decide
between these two speakers, get the C12R. It does clean better and still gets
nice drive. If you use the Deluxe Reverb as your drive amp, then the P12R is
better by far. Just for fun, I stuck an original C12R in my amp to compare.
The old Jensen has an oreo cookie sized magnet compared to the Weber. It isn't
even close. The Weber has it all over the Jensen. The Jensen breaks up a lot
sooner. I was very afraid to blow the Jensen though. Once again, the Weber VST
speaker withstood my merciless pounding in an amp that puts out more power than
the speaker is rated for. Good job on this one. This is a killer speaker!
Mike Milligan
Amp: 72 Deluxe Reverb
Guitar: '60 Strat
Effects: TS-808
Genre: Blues
Comments: Very clear and clean. Tight highs. More low end than original. Bright.
Much nicer when I turned off reverb. Lots of bite and crunch when I turned up
the amp to 5. With TS-808 very warm and overdriven. Increased mid punch with
amp cranked.
wC12Q
Mark Webber
Amp: Mission Soulkicker. 5E3 Tweed Deluxe w/bright/boost switch
Guitar: Fender Strat, Cort JTriggs, Robin Ranger. Strat has VanZandts, Cort
has DiMarzio H. from Hell(2)
Effects: Alesis Headrush, Boss ChorusII, 70's Big Muff
Genre: Blues, Rock, Jazz, Country, Surf
Comments: I had my Tweed Deluxe based custom built by Bruce Collins and had
the luxury of trying every brand/type speaker in his shop. For me it was an
easy choice. I liked the Weber C12Q because it made this amp sound very clean
and bright at lower volumes and then when driven hard it has a unique, almost
humanlike voice to it. This speaker does not fart out at high volumes at all.
I've had this amp for a year now and even though Bruce does not let a custom
built amp out of his shop before seasoning the speaker(s), I find I like the
tone of this speaker more and more. It's simply an excellent choice in a twenty
watt amp!
Joe Pampel
Amp: 15 Watt "AC30-inspired" custom amp.
Guitar: Gibson SG
Effects: none
Genre: Various, mostly dirty/overdriven tones.
Comments: Chimey, crunchy, rich. Kinda brit, but still kept the 'American' flavor.
Adapted well to this amplifier. A sign of a very good speaker, in my opinion.
Joe Pampel
Amp: 5E3 Deluxe
Guitar: RI Tele, AmStd Strat, Gibson SG
Effects: none
Genre: Various
Comments: Playing Clean --> Bright overall, nice clear sound. Dynamic, punchy.
Seems quite efficient. Great for C&W tones, probably Jazz, too. Likes the
neck PU on the Strat the best. Nice low end. Highs are not ringy like some speakers.
Wonderfully clear.
Playing Dirty/Overdriven --> Still punchy and dynamic. Really cuts, cunchy
like an old Jensen. Growls, good lows, rich, complex, warm.
Tom @ HIWATT Amps
Amp: HIWATT 'Pup', 2-EL84s in Class A
Guitar: LP Jr. w/Duncan Soapbars, '64 Mustang w/Red Rhodes Velvet Hammers
Effects: none
Genre: Blues, Rock
Comments: Sounded at once like a Jensen. I think the big magnet (30oz) lends
a larger presence to the speaker than you would normally get with a C12Q. More
bass, crisper. Would recommend this speaker to anyone looking for a Jensen replacement.
P12NQ
Margaret Wilson
Amp: Blues Junior (others include Fender Deluxe 90, Electar Tube 10 and AR Acoustic
Pro-Verb). 12AX7 phase inverter replaced with GE 5751
Guitar: Fender US Fat Telecaster, Breedlove classical cutaway w/ Fishman Blender
Effects: Boss BD-2, AC-2, NS-2, TU-2, Uni-Vibe Stereo Chorus
Genre: Blues, Jazz, Classical
Comments: I needed more headroom (for jazz) in my Blues Jr, so I replaced the
PI with a 5751, and that helped a lot. But the bass was still somewhat flabby
and fuzzy (12th fret and up) on the low E string. I'd heard that the P12N was
too dark for this already dark amp, so I thought about the P12Q or C12Q. Ted
recommended the P12NQ or C12NQ hybrid for the Q sound with more low end. WOWWWWWWW!!!
The speaker's not even broken in yet, and it sounds wonderful. I've been able
to increase the bass a notch without losing any definition or clarity, and I
get breakup with the volume at 8 rather than 4. (Smooth thickening up to 8.)
I now play with volume on 5, master on 3, and I get this wonderful smooth thick
clean with tight bass, chimey (not harsh) highs, and full mids. With the stock
PI and speaker, I played with volume on 2.5, master on 10, and I got flabby,
muddy bass with no headroom. I think the P12QN is the perfect speaker for this
amp if you want to play jazz. The P12NQ corrected the amp's shortcomings without
changing the tone behond recognition. Great speaker!!!
wP12N
Mase Henry
Amp: '64 Vibrolux, Marshall JCM900
Guitar: Les Paul, Strat Ultra, Gretsch Tennessee Rose, Reissue Tele. LP has
Seth Lover PU's, Strat has SD Custom S-C's.
Effects: Occasional Uni-Vibe
Genre: Blues, Jazz
Comments: Terrific speakers. I got them to complement my newly purchased '64
Vibrolux. After a bit of a complication, I can tell you that your speakers are
every bit as important as wood, strings and pickups. These things brought this
amp alive (for lack of a better term). They're in a Marhsall 4x12 cab that I
modified with yellow pine baffles and back (from a bookshelf my grandfather
made before I was born). It's vented in front, and open one fifth at the top).
I tried the amp out through a '69 Marshall 8x10 cab, and I was sold in under
a minute. The clipping was so sweet. Brown and detailed, I had never heard such
a vintage sound. I was worried that the 10 inch speakers might be responsible
for the tone, and wasn't sure about getting two 12's for this amp. They added
bass (alot) and smoothness. They're not boomy, just deep. Very rich, still articulate,
but the one thing they don't do is modern. My Marshall is a mediocre amp, but
it does modern much better than the Vibrolux (obviously), and it sounds vintage
through these (although it pales in comparison to the Fender). There is no harshness
attainable with these speakers; the treble pickups I would never consider using
with the Celestion G12T-75's (stock on many Marshalls) become entirely usable
and open up new possibilities. The alnico seems to make the cone travel more,
and this adds life to the sound, makes it more organic. Adjectives: bouncy,
deep, rich, thumpy. I plan to counter the softness by adding C12S's in my cab
soon. They're also going to be put in a solid pine combo with the Vibrolux for
more practical transport. The vintage of vintage, I'd say. Incredible for blues
and any clean tone. It's "turn-heads" tone to say the least. Get 'em.
Andrew Alperin
Amp: Not listed
Guitar: Not Listed
Effects: Too many to list
Genre: Blues, Rock, Jazz, Country
Comments: I bought these about a year ago and have grown to love them more everyday.
Whatever amp I use them with just CHIMES!!! when clean it gives a great clarity
that all other speakers I've tried just lacked. when clean-driven they really
get a great a great growl to them. NOW... when i light up the dirty channel
the sound is thick and creamy but not muddy (it was before and I tried v30's
and greenbacks etc...). the sustain is beautiful and they feedback great. (its
much more musical than noisy) I've tried every amp i own through them (from
a 60's princeton to fender tonemaster to soldano astroverb and they all sound
KILLER!!) I'll be trying other models soon.
Dave Johansen
Amp: '59 Tweed Twin Repro w/Tungsol 5881's and NOS 12AX7's
Guitar: Strat w/ash body and maple neck, Nocaster VZ's and Fralins
Effects: None
Genre: Blues, Rock, Jazz, Country
Comments: Down low:
smoooooth..
articulate..
woody.. almost acoustic-like
Cranked:
Organ damaging power (SERIOUS chest thump)
STILL articulate, but able to really scream
That grinding overblown sax sound.. Phew!!
Let's just say that I just ordered 10 C/P10Qs
and 6 C/P12Ns to replace all my other speakers..
More on those when I get 'em..
Scott Swartz
Amp: Homebrew P-P EL-84 (6BQ5) with Fender style preamp (15 watts)
Guitar: Various
Effects: None
Genre: Blues, Rock
Comments: This speaker has a smooth frequency response with tight bass in an
open back cabinet and smooth highs. If you have overwound pickups, you'll probably
wish for more treble. The cone breakup rises smoothly and adds nice character
to the amplifier distortion. I am very satisfied with the speaker. The cone
breakup is the most musical I've heard.
Bill Johnson
Amp: SF Princeton Reverb, recapped, BF'd
Guitar: 64 Strat, Guild CE 100
Effects: None
Genre: Blues
Comments: I love this speaker! I'm a "go play guy". I hate fussing with gear.
The speaker that was in my amp was damaged and I needed a replacement. I bought
the Weber P12N on the suggestion of a friend. I can't believe how good it sounds!
Now I'm going to replace all the speakers in my other amps with Webers. The
best I've heard!
Brian Metelits
Amp: Carvin Vintage 33, '68 Super Reverb (BF'd, NOS tubes, recapped, rebiased),
'65 Deluxe Reverb Reissue
Guitar: Warmoth Tele w/Rio Grande Muy Grande in neck and Lindy Fralin in bridge,
'57 RI Strat
Effects: TS-10 Tubescreamer (brown mod)
Genre: Blues, Rock, Jazz, Country
Comments: I bought the P12N to replace the stock Carvin speaker. I wanted to
improve the voicing of the Carvin Vintage 33 which I had re-tubed with Tesla
EL84s and Ei12AX7's. The P12N was less efficient than the stock Carvin. With
the Carvin the clean channel did not distort until the volume was way up. With
the P12N the sound broke-up with volume at half. The P12N brought out bass and
lower mid-range while giving up highs. The amp sounded smaller and less refined
with the P12N. On the other hand, the Super Reverb sounded very nice through
the P12N which was almost as full as the 4x10" CTS alnico's. The tone was just
a tad smoother than with the 10"s...more like Vince Gill. With the Deluxe Reverb
it was a similar story to the Carvin: Too much low end and no highs. I thinkg
the P12N needs an amp with a bright switch. I like the glass-like highs used
in surf and late '60's to mid '70's soul (e.g., "Me and Mrs. Jones"). I learned
something worth noting: WeberVST speakers should mate with your guitar and amp.
That's more than I had come to expect. I now believe that the speakers can make
a huge difference in our ability to make the sound we are looking for. Unfortunately,
the P12N was not the right model for my application. However, I would strongly
consider another WeberVST speaker in the future.
Tom Knezevich
Amp: 66 Pro Reverb
Guitar: 68 Gretsch Viking, 68 Gretsch Country Club
Effects: Maestro ((( Echo Plex )))
Genre: Jazz, Country, Surf
Comments: The P12N's gave me great bottom end and smooth highs. Two words come
to mind 'Warm' and 'Fat'. They sound great at all volumes (alnicos!). These
speakers replaced the stock Oxfords which sound 'bland' in comparison.
Michael Moody
Amp: Fender Deluxe Reverb
Guitar: Les Pauls, ES335, Strat, Tele
Effects: Vox Wah Pedal
Genre: Blues, Rock, Country
Comments: I bought the P12N for my Deluxe Reverb which has a Jensen original
cone C12N. I wanted the same type of a tone with a little more punch and volume.
I really like the sound of the original speaker but I just beat it with my amp
cranked all the time. So I decided to find a replacement to savor the old relic.
The P12N, I am sorry to say, didn't do it for me. It was much darker and not
as loud as my C12N. I do have to say it sounded good through the bottom end
and had a nice overall sound but it didn't give me the openess and clarity I
was looking for. I gave the speaker a couple of weeks to break in but it didn't
chage much in transparency. It did loosen up and it felt pretty nice. Overall
the speaker is a very good one. I think I just picked the wrong model. I have
some other Weber speakers in two of my amps and they sound better than any new
speakers I have tried.
Tim S.
Amp: 66 BF Pro Reverb (recapped, NOS tubes)
Guitar: 77 Hardtail Strat
Effects: Danelectro Cool Cat
Genre: Blues, Rock, Jazz
Comments: After replacing the caps and tubes, this amp sounded great with the
exception of the Utah speakers [which weren't stock anyway]. After putting the
P12N's in, the difference was immediate. The highs shimmer, making chords on
the strat ring. The bottom edge is tighter, great for plucking the low strings.
In general, these are articulate and allow this classic amp to sounds it's best.
Another satisfied customer!
Ted Smith
Amp: '62 Deluxe
Guitar: Swamp Ash Tele, 65 Jazzmaster
Effects: Fender Tube Reverb
Genre: Blues, Rock, Jazz
Comments: Before I got this speaker, I was very envious of the sound of a friends
59 tweed Twin. I still want the Twin, but with this speaker I got a big chunk
of that tweed sound. In fact, more than I thought a speaker could provide. The
lows are big and round, the mids thick and sustainey, and the highs are musical-
not shrill or harsh. I'm using pretty bright pickups - the P12N fattened things
up a bit but retained clarity. The P12N might be a little dark sounding with
higher output pickups, however, keep in mind that the brown tolex Fender amps
tend to have much less treble on tap than blackface amps (no presence control
either). By the way, the speaker I took out of the amp was a Vox silver AlNiCo
which I like a lot. For now, it is staying in the box while the WeberVST P12N
is in the amp for good!
Pete Cage
Amp: Late Tweed Tremolux (5G9)
Guitar: LP '59 Historic, PRS
Effects: None
Genre: Blues, Rock
Comments: I bought the VST P12N to replace a '62 P12N that was in the Tremolux.
The old one was getting fuzzy due to cone and spider deterioration. I also was
tired of worrying about frying a valuable relic. The VST P12N was like putting
one in a time machine. Exactly the same as the old one, minus all the rattiness
of age. The lows are strong without becoming loose and flabby. Distortion barks
nicely as you crank it up without a trace of harshness. Really nice, punchy
dynamics in the clean-to-edgey range. I will buy VST speakers again.
David Freedman
Amp: Custom '66 BF Bandmaster Rvb. w/Torres chan. switching, Svet 6L6s
Guitar: '62 US Strat RI, PRS EG Bolt w/SD single coils
Effects: TS-9, Vox Wah
Genre: Various
Comments: I've been using this 4 Ohm P12N for about a month now. I like the
speaker quite a bit. It is very fat, round, smooth. Volume wise, I thought this
speaker would be a bit louder than it is. Perhaps it's a little more than 4
Ohms, but it is certainly an improvement over the 8 Ohm Utah that was in there
before. I think the best quality of this speaker is its refusal to 'flop out'
when I really crank up the bass. It maintains its composure very well under
all playing conditions. I'm certain I will be using more VST's in the future.
Joe Pampel
Amp: Deluxe Reverb, Tweed Super into Deluxe Rvb cabinet.
Guitar: SG, Strat, Tele
Effects: None
Genre: Blues, Rock, Jazz, C&W
Comments: The P12N is a tight fit in the DR cabinet. OT fits into basket slot.
Thicker sounding than the P12Q, with more lows. Warm, mellow clean sound that
lends itself well to Blues and Jazz as well as Rock. Especially well suited
to tweed amps with presence controls when brighter tones are needed. Good tonal
balance, very deep low end. Overdrive brings out a 'barking' midrange that is
very rich with a good bite to it, but it never gets harsh. A great choice for
2x12 combo amps. The P12N loves reverb. A solid choice for Deluxe Reverb duty,
but be careful to make sure you have clearance between the output transformer
and the speaker basket. Chassis must be set back as far as possible.
Ron Ott
Amp: Kendrick 2212 (40 watt Tweed Twin) w/NOS GE pre's and Tung Sol 5881s
Guitar: Fender Custom Shop Strat
Effects: None
Genre: Blues
Comments: Warm, tonally rich and well balanced. They sound like I thought an
old Jensen ought to sound -- warm, smooth, and well behaved without excessive
brightness. They are slightly less efficient than the original Kendricks, but
the 2212 has plenty of reserve power.
I also tried it in a Kendrick 2112. It has more power than the P12N can handle,
and the 2112 can produce some great tone at higher volumes. So, I replaced the
original Kendrick Black Frame with the new "redesigned" version (distinguished
by a 3-inch diameter dust cover) that is sonically VERY different. The original
design is pretty bright, while the redesign sounds very warm - not unlike the
WeberVST P12N's. The redesigned Kendrick breaks up very smoothly and, frankly,
I liked it better in this particular amp.
Kenny Blue Ray
Amp: '71 Pro Rvb BF'ed, Philips 6L6s, Mojo Tweed Output Trans.
Guitar: Several Strats w/P90s, VZs, Duncans
Effects: None
Genre: Blues
Comments: I've never heard a 2x12 sound so good. Had the Pro fully cranked,
no problem. Sounds like a Twin with much better tone. I can't wait to record
with these next week.
P12NT
Terry Terrance
Amp: Fender Blues Junior
Guitar: 52 RI Telecaster w/Joe Bardens
Effects: None
Genre: Blues
Comments: Perfect match for the pickups. Rings out almost angelically when running
clean. Exceptionally well defined picking dynamics...I couldn't believe how
crisp it handled the spank of an Albert King type finger-picked riff. I primarily
play 50's and 60's blues and the P12NT in the Blues Junior is the tone I've
been looking for in a reasonably priced package. SRV wannabes may want to consider
a speaker that breaks up a little quicker and has more bass.
P12Q
Andrea Bagnasco
Amp: Deluxe Reverb Reissue. Retubed with NOS Telefunkens and Westinghouse 6V6's
Guitar: Telecaster w/Joe Bardens
Effects: None
Genre: Blues, Jazz, Country
Comments: Tri-dimensional. Very transparent, if compared to stock Eminence.
Mids snap with a sweet honk and bass comes out round and smooth, yet very defined.
Not the least bit brittle. Highs a little sterile, but it's just a matter of
breaking in. I love this speaker, swapping to the Weber was like wearing glasses
(I'm short-sighted): you really get to hear things you haven't heard before
from your amp. The guitar FEELS different, too!
Fred Gillespie
Amp: BF Bandmaster w/post PI-MV, modded tone stack
Guitar: Gibson ES-345, Gibson ES-335 w/SD AlNiCo II Pro, JB bridge
Effects: None
Genre: Blues, Rock
Comments: This was my second venture into Weber speakers. The P12Q sounded great
right out of the box, as opposed to the break-in required by the C12S I had
ordered previously. The P12Q is really more what I like, clear, bright, open
and balanced, with a nice breakup. It sounds wonderful in a 2-12 open back cabinet
paired with the C12S. Sounds great with Gibsons ! Sort of like a low-powered,
"idealized" JBL/Greenback kind of vibe. What a wonderful, sweet, clear yet complex
tone ! If you can't make up your mind about whether or not to go British or
American, try a P12Q with a C12S in a 2-12 cabinet, and sit back and enjoy the
ride ! Spend the extra ten bucks for the Alnico magnet, the P12Q is a bargain.
This particular combination just flat-out ROARS with my ES-345 and Bandmaster
head ! What a gas ! Say goodbye to my V30's and JBL's ! Yeeeaaaahoooo !!!
Joe Pampel
Amp: BF Bassman head and tweed Super into 2x12 Bandmaster cabinet w/back
open.
Guitar: SG, Strat, Tele
Effects: None
Genre: Blues, Rock
Comments: Classic American clean tone, good lows, clear highs, good balance.
Overdrive is crunchy and dynamic, very detailed. The warmth and clarity make
it a natural for clean country Tele tones and the bite and grit on overdrive
are a natural for Rock and Blues.
John Templeton
Amp: Deluxe Reverb (Stock)
Guitar: Strat w/Duncan Vintage Pickups
Effects: None
Genre: Blues
Comments: This speaker is great! I was surprised at how versatile it is. You
can get a real clean, crisp sound or a very mellow and smooth sound by rolling
off the tone on the guitar. When I need to rock it, it's a real kick in the
pants when I roll the volume on up. But, it never gets harsh or gritty. The
speaker has quality written all over it. I really thought the info kit, the
stickers, and automatic warranty registration showed a real concern for the
customer's satisfaction.
wP12B
Blue Dog
Larry R. Fail
Amp: Peavey Classic 50 212
Guitar: Fender Strat Texas,Fender tele, Yamaha AES1500w/bigsby tremolo, Telecaster
has Custom Shop Noiseless
Effects: Line 6 DL-4,DM-4,MM-4 , Boss PN2 tremolo/pan
Genre: Blues, Country
Comments: Peavey Classic 50 212 95 model. Amp sounded good, but I wanted to
get more from this unit. Had read lots of articles on how good it sounded with
JJ tubes. Pulled up his web page (eurotubes.com) and found that his good sound
not only came from JJ tubes, but he also used Weber Speakers in several of his
personal amps. Pulled up Weber's web sight and here we go. Found this to be
one of the most educational web sights I have ever visited. If you had a question
they had an answer. Very friendly on the phone, and I did get the chance to
talk to Ted on question I wasn't sure about. After lots of consideration I chose
P12B speakers to use. I built a new cabinet using Rosewood and Fiddleback Maple.
Used 7/8 solid Mahogany baffle board. Once completed all the effort was well
worth the trouble. The amp from the first cord sounded completly different.
This thing had depth that would take your breath. Bottom end is so smooth, with
the chime and ring you only here from custom shop amps. Its not too trebly or
bright. It will bend to your playing style very easy. After about 6 hours of
playing time the speakers setteled in to a rich smooth,or creamy warm brown
sound. I play Christian Contemp, Praise and Worship and Southern Gospel with
a touch of Blues added in. Volumes are low to on up there. If you want this
amp to growl load it up, the P12B's can handle it with ease. The attack is super
sensitive. Had to alter playing style or this amp now would tell on you. Put
a mike in the back of the amp and one in the front and it records unreal. If
you got needs for new speakers, Weber will have what you need. Take time to
research all the different types of speakers Weber sells and they will have
one for you. I am sold.
Mark LaJoie
Amp:TopHat VibraTrem 20 1x12 combo w/polyester caps, teflon sheathed pure silver
wire
Guitar: '85 Guild Nightbird, '93 Tom Anderson Classic
Effects: Fender Reverb Tank
Genre: Blues, Rock, Jazz, Surf
Comments: After a brief 'break-in' period, this speaker showed it's glory. Made
me realize the RI Celestion Greenback was murky, blurred, and had *ice-pick*
high end when pushed hard. All that disappeared with the Weber P12B! The P12B
is *completely musical*, no matter HOW you dial it in! Even pushing the high's
off the cliff sound musical. Everything is gorgeous for tones. A truely full-bodied
AlNiCo magnet sound. Girth with Majesty. Soulful. Handles cracklin on-the-edge,
to violin sustain, in the *best* of ways. Where the RI Greenback was stiff and
hard-sounding, the Weber P12B has this *Very Cool* slight 'bounce' to it's character,
which is eminently more danceable. Vintage chime. This Tophat has about 50%
open back, so room placement impacts overall performance. The P12B delivers,
no matter what. You got a EL84 powered amp? Don't leave home without one of
these Weber P12B's!
Brian Thorne
Amp: DIY AC-30TB Clone
Guitar: LP
Effects: Occasionally Dallas Rangemaster, FF
Genre: Blues, Rock
Comments: These speakers were definetly worth the wait. At loud volumes they
sound relatively tight on the low end, with a hard mid punch. Well balanced
and great for english R&R. They come across as very clear and defined even when
the amp is driven to the max. These speakers sustain forever.
Jay Filippone
Amp: Vox AC15 Reissue w/EI (Yugo) preamp tubes
Guitar: Gretsch Country Gentleman Classic II w/Filtertron RI AlNiCo's
Effects: Reverb
Genre: Rock
Comments: I am a purist and only considered upgrading the amp speaker with the
Celestion G12 Blue Speaker. The P12B Blue Dog captures all of the sweet, bell-tone
characteristics at one half the price (!). I am very impressed...BRAVO!!
Name: Rickey Ray
Amp: Vox AC-15 RI
Guitar: Fernades Tele, Fender Esquire w/SD Broadcaster, Ric 12-V64, Gibson ES-335
w/SD Seth Lovers, Harmony H-77
Effects: Assortment of Boss, Ibanez, EH, Vox Wah, Fender Vibratone, Dan Echo
Genre: Blues, Rock, Jazz, Country
Comments: This P12B made my VOX-AC15 RI come alive! Let's see now, enhanced
low-end response, WAY enhanced high end response (chimey, bright, jangley, etc.
pretty much sums it up). It really brings out the character of what a VOX should
sound like IMO. Thanks for making such a well designed and affordable product.
Akbar Anwari
Amp: Homebrew 5F6-A, Princeton Reverb, 6G2 Princeton
Guitar: Guild Nightbird, Tele, Single Humbucker Strat
Effects: TS-5
Genre: Blues, Rock, Surf
Comments: This speaker replaced an AlNiCo Oxford in the 5F6-A homebrew 1x12.
The speaker has a very solid bottom end to it, almost like having a closed back
in a combo. The low end was focused, never flubby, even with some rather severe
dives with Kahler. It doesn't seem to have any problem handling the full 45-50
watts of the 5F6-A. The speaker sounds nice and warm clean, but it loves output
tube distortion, even if the speaker itself isn't distorting (with the Princetons).
Just for a kick, I tried it in parallel with a JBL and it almost sounds 'stereo'
adding alot of depth to the rather HIFI JBL. Someone with a Pro-Reverb should
really try this combination!
Greg Gagliano
Amp: 50 watt Harry Joyce 1x12 Combo
Guitar: G&L Legacy w/Duncan Vintage series (factory stock)
Effects: none
Genre: Various
Comments: Does the 'British thing' to a tee! Very impressive. It pushes the
mids a bit more than a P12N or the P12S Silver Bell. However, with an open back
cabinet, the sound it produced was very diffused and not well defined. It loves
closed backs, though. Very efficient.
P12S
Silver Bell
Pete Cage
Amp: AB763 Deluxe circuit w/deluxe-sized cabinet for 1x12" speaker
Guitar: Les Paul, Strat
Effects: None
Genre: Blues, Rock
Comments: I started with a Weber P12N in this cabinet (it's a favorite speaker)
but I found that it had too much low end, and was especially boomy on the low
E string. Then I tried a P12Q, which sounded great but the cone broke up a little
too soon to get a good Fender-ish clean tone in this application. The P12S fit
the bill perfectly. It seems to have more bottom than the Q, but retains all
of the sweetness in the high end, and does a great job of hanging tough when
the 6V6s start to really work hard. With the Strat it was really balanced across
the audio spectrum, especially when playing clean and jangly. The LP pushed
the amp into distortion more quickly, and the S took it all without getting
flappy. Flat out, it just screamed, with no ghost notes or other cone weirdness.
This thing really sounds great; I'd describe it as a P12N with less bottom end.
Weber's got another gem!
Brad Shermock
Amp: Homebrew 15 watt, 2-EL84s
Guitar: Hamer Daytona Strat
Effects: Tube Screamer
Genre: Blues, Rock, Jazz
Comments: I wanted a British-inspired speaker for an amp that would be played
cranked all the time. The P12S has a throatiness, complexity and detail to the
sound that my EV Black Shadow couldn't get, with punchy lows and a sweet high
end. I am also very pleased with the incredible volume level in an open-back
cabinet. Way cool. I won't make an amp without VST speakers now, period.
Greg Gagliano
Amp: 50 watt Harry Joyce 1x12 combo
Guitar: G&L Legacy w/Duncan Vintage series (factory stock)
Effects: None
Genre: Various
Comments: Sounds a little tight, presumably because it is new, however the tone
is there. With a closed back, the lows drop off sharply and the volume goes
down. It didn't like a closed back cabinet, in my opinion. Overall, it was very
efficient, smooth, and warm. I would consider the Silver Bell for an open back
Fender without hesitation.
wC12N
Jack Hudock
Amp: 65 Deluxe Reverb Reissue
Guitar: Gibson ES 446-S The stock pickups are Gibson '57 Classic Humbuckers
Effects: When I feel like playing around, I use the effects emulations in my
Line 6 POD, v 2.0
Genre: Blues, Rock, Country
Comments: (30 watt model) First of all, please note that I've only changed the
speaker in this amp. The tubes are the ones supplied by Fender. That said, the
Weber C12N sounds great in my Deluxe Reverb Reissue. It noticeably tightened
the lower end and took the piercing edge out of the high end. Made the little
beast sound like the blackface amps I remember from the days of my youth. After
changing the speaker, it took a few days of playing with the tone controls to
get the sound I wanted. I had it sounding as close as I could to my memory of
the classic "Fender clean" before I changed the speaker. Once the Weber was
in, the amp sounded very different. Both before and after the conversion, I've
run both of the guitar's pickup volume controls at 10. To get back to the sound
I prefer, I wound up boosting the amp's bass knob to about "7" (I'd been running
the bass with the stock Emminence speaker at about 4. Beyond that it was too
"woofy"). I now run the amp's treble knob at about "3" (I had been running the
treble at about 2, with the guitar's tone controls rolled all the way off.)
So, with the Weber in I run the guitar's tone controls rolled on at least half
way, and still the sound is clean and unbroken at practice volumes. I think
these post-conversion EQ settings would change if I were playing at performance
volumes, and I think I could use all the range of both the amp's and the guitar's
tone controls with out undesired rough edges at the extremes. But until I'm
back on someone's stage, we'll never know. With the new settings I've described,
if I crank the amp the paneling in the bedroom rattles so much I can't really
say it's a fair test of the speaker or the amp. This is a knock on the paneling,
not the speaker, guys. I'd like to put in a good word for Mr. Weber's advice
here as well. I had planned to buy an Alnico Weber, having read about them being
favorably compared to the Celestion Blue in Guitar Player magazine. Ted Weber
advised against Alnico, and recommended the C12N for the '65 Deluxe Reverb Reissue
because of the amp's excessively "bright" voice. He was dead on correct, at
least to my taste. This speaker is a good product at a fair price. I'm not done
fiddling with the new speaker yet. In the next few weeks, I'll be experimenting
to see what effect it has on the sound of the amp models in the POD. My guess
is that any change can be dealt with by minor tweaks to the amp's tone controls.
When the speaker "breaks in," which may be a while since I use my gear pretty
gently, I may have to do some more tweaking. But hey, that's what hobbies are
for. This was a fun modification because it worked well, with no harm to the
amp either.
Skip Helms
Amp: 66 Deluxe
Guitar: Les Paul, Strat w/Rio Grandes, Tele, Les Paul Special
Effects: Reverb Tank
Genre: Blues, Rock
Comments: I really like this speaker in this application with the Gibson-style
guitars, particularly with the P-90's on the Special. The breakup starts around
6 so I have some headroom when needed but can push it past that. I had tried
a P12N but felt it had too much bottom for this amp. A P12R sounds good too
but overall the ceramic magnet sounded best in this application.
Chuck Minahan
Amp: '73 Twin Reverb w/push-pull disabled, amp is partially BF'ed.
Guitar: 96 Am Std, 83 Japanese Squire Strat, 95 Epi LP Standard.
Effects: Boss BD-2, SD-1, ProCo Turbo RAT, EH Small Stone.
Genre: Blues, Rock
Comments: The amp is a 100 watt '73 Twin Reverb that was completely redone with
caps, resistors, tubes, and new speakers about 6 months before I bought it.
The push/pull circuit was removed from it but it retains the master volume circuit.
The speakers were new (1996) but mismatched. They were both Eminence; one was
a British style 80 watt 12BR30 and the other was a standard, vintage American
vintage style speaker. The amp sounded quite good and is dead quiet, loud as
hell and clean as it gets. I've had many comments on how good it sounded. I
installed the WeverVST C12N's, hit one chord, and couldn't believe the difference.
I am not a fan of a real harsh treble/bright sound, so I usually leave the treble
rolled back quite a bit on my amps and the guitars. I always felt kind of cheated
since the trebles I've heard from the stock Fender speakers on my silverface
amps and with the Eminence speakers was always so harsh that I couldn't get
satisfactory treble levels. Whole different ballgame with the Webers. I can
now crank the treble on the amp and guitars up and I get full, fat, warm highs.
One of the biggest things I noticed was also that the "boominess" of the bass
was also gone. The speakers are incredibly responsive and produce an even volume
level at all frequencies. I have 3 amps with 12" speakers in them and they all
have a this "boominess". I also have a Super Reverb (4x10") that has a much
tighter bass. The Weber C12N's is closer to the Super Reverb in the bass sound.
Much, much tighter than the other 12" speakers I've heard and the tone is very
smooth. I now realize that the old speakers were controlling my EQ selection.
Now, I can set the EQ to many variations and the speakers seem to provide a
natural compression, leveling out the volume so that no particular frequency
is annoyingly dominant. This makes playing easier since I don't have to worry
about pick attack depending on whether I am playing a high note or a low note.
I used to have to pick harder on the highs to compensate for the rolled off
treble and easier on lows to prevent the "boomy" bass notes. No more of that
crap. The speakers are so responsive, my Strat seems like a different guitar
altogther. It sustains forever with these speakers. It is like a note just won't
die. The tone of chords has absolutely no muddiness or muddled aspect to it.
It is almost like I can hear each string separately within the chord. Another
note about the treble response on these speakers is that I have a Gibson 498T
humbucker in the bridge of my Epi Les Paul Standard. The treble from this pickup
will slice your head off it. It is a high output pickup (about 17 Kohms DC)
that is touted for increased highs. I could hardly take the highs. With the
C12N's, I can now use the treble on these pickups and let them scream. Again,
warm, fat, thick treble. I think the fact that my experience with amps is somewhat
limited is good in that I can give a perspective that is the reverse from a
long time working musician. I'm hearing all the good stuff for the first time,
perhaps something that many long time musicians might not notice as readily.
Someone with more tube amp experience would probably do a review taking for
granted some of the things I am noticing. So what did I get for $75.00 each?
Beautifully made, vintage Jensen sounding speakers with such an even frequency
response that playing my guitar has become easier just because I don't have
to worry about pick attack to even the tone out. I also got extremely personal
service from Mr. Weber himself, a better sustaining Strat, a screamin' Gibson
humbucker that I can finally use to its full potential, and a silverface Twin
Reverb that sounds like it was made in 1965. These speakers are a tremendous
value, especially for a warm, even, clear blues or jazz sound. My thanks to
Ted Weber and the WeberVST crew for a great product.
John Templeton
Amp: DR w/Vibroverb Reverb circuit, all NOS tubes
Guitar: Strat RI w/Duncan Vint. Strats, Tele w/custom neck, DV 54 in bridge,
P90 in neck.
Effects: None
Genre: Blues, Rock
Comments: Very deep resonant bottom end. Top end smoother than P12Q AlNiCo.
This speaker is very different from the other speakers I've tried. It took about
a week to get used to the more refined sound that it produced. The magnet is
very powerful. When I take the tube shileds off it's hard to keep them in hand!
This helps the huge bass response stay in control. No flabbing or farting at
all.
wP12R
David Gertschen
Amp: 59 Deluxe
Guitar: 95 Strat w/SD APS-1
Effects: None
Genre: Blues
Comments: I've tried speakers from Kendrick, Naylor, and Mojotone in my amp
prior to discovering WeberVST. I think it's safe to say that my search is over.
The Weber P12R is by far the livliest speaker I've had in the amp. It really
enhances the amp's singing quality and violin-like tones are now possible. Probably
the best choice for any tweed.
Andy Ruhl
Amp: '64 Deluxe Reverb
Guitar: Strats
Effects: Tube Screamer, Reverb
Genre: Blues, Rock
Comments: If you like the sound of a cranked Deluxe Reverb, then this speaker
is worth checking out for sure. It's very nice at lower levels, a little midrangy
with solid bass. The high end is not as prominent as the stock Oxford, but not
attenuated either. It always sounds like it's on the edge of breaking up. The
speaker is alot more sensitive to picking changes than a higher wattage style
speaker. There's an amount of detail that was not present with the other speakers
I used in the amp (stock Oxford, JBL D120F). It compresses and distorts when
you dig in hard. Fully cranked, it's George Thoroughgood all the way. I played
it for about 2 hours on 10 and it's still alive, so it can handle the power.
A great speaker if you like to ride the volume control between clean and dirt.
Highly recommended.
C12K
Brad Shermock
Amp: Homebrew 60-ish watt head
Guitar: Hamer Daytona
Effects: Tube Screamer
Genre: Blues, Rock, Jazz
Comments: I replaced the 200 watt EV in my Mesa cabinet with this speaker, and
was thrilled at the better midrange and chunky character of the C12K. It loves
every Strat pickup combination and physically moves your insides around when
cranked. The ductwork in my basement ceiling just isn't the same after the initial
sonic test. The only niggle I have is that the speaker was rather dark compared
to the EV, so I had to install a bypass cap on my volume control to regain the
high end.
wC12CA
California 12
Greg Gagliano
Amp: Fender Bandmaster AB763 with Bassman output transformer
Guitar: Fender Strat, Fender Jaguar
Effects: Fender Reverb Unit
Genre: Jazz, Surf
Comments: (Paper Dome) My Bandmaster sounded nice and Fendery, but the lacked
bottom end, punch and overall clarity that I needed for surf guitar. In addition,
this Bandmaster had the larger, ported cab used from late '66 onward. These
tend to have a looser, less focused bass response than the earlier (smaller,
sealed) speaker cabs. The stock Utah speakers aren't bad, but I knew that JBL
D-120Fs or Altec 417s would be better. The problem is that the JBLs and Altecs
are expensive to buy and expensive to recone. I also didn't think that I absolutely
"had to have" alnico magnets. I needed a speaker that was high quality, had
very even response from top to bottom (i.e., neutral), could handle 40-watts
without a problem, and that wouldn't break the bank. I scanned the WeberVST
speaker pages and was delighted to see that the description for the California
series speakers included "big, solid bottom and clear highs. Best for Surf,
Jazz..." Having wP10Q's in my 3x10 Bandmaster, I knew that the WeberVST speaker
descriptions were accurate. The great thing was that the California series had
some cool options available - ceramic or alnico magnets and paper or aluminum
dome. I opted for the ceramic models with paper domes since I didn't need the
"compression" of the alnico magnet or the extra high end of the aluminum dome.
The speakers arrived about a week after my order was confirmed and were well-packed.
After installation, the speakers took about an hour of playing time to break
in, but most of the break-in occurred after the first 20 minutes. In fact, at
about the 20 minute mark I had to re-EQ the amp and lower the volume as the
change was that dramatic! These speakers work very well and exactly as advertised.
Clean, even response, well-focused bottom end, but neutral. They are also very
efficient and put out more dB's at at any given volume control setting than
the stock Utahs or many other ceramic speakers I've used including Jensen C12Ns.
The wCA12CAs really push some air providing punch and mondo low end without
any flabbiness while letting the Bandmaster's Fendery tone shine through. Highly
recommended!
Drew
Amp: Peavey 30 with EI 12ax7, Tesla 12zx7, 4 Tesla EL84s.
Guitar: Am Std Tele maple neck/ash, Am std maple neck strat, heavey/light strings.
Pickups: Tele - SD Vint stack B&N, mid SD hot top coil only with blend control.
Effects: BOSS DC-2, DD-3, CS-3, GE-7, NS-2
Genre: Blues, Country
Comments: C12CA, 16 ohm, paper dust cap. Purpose - county playing. Before I
replaced the speaker I bought all new tubes from LORD_VALVE@prodigy.net. All
were replaced with JJ/TESLAS except V1 which a EI12ax7 was used. This made the
amp more powerful, cleaner, punchier, and more harmonic "swirl" with V1. Now
it was time for more improvements. The improvements below were in addition to
the improvements of the tubes. Opening the box when it arrived (and on time)
the speaker looked and smelled terrific like it was made a few days ago (it
was!). After it was installed I put on the label so it was straight. I chose
the CA12CA with paper dust cap for COUNTY use. The CA12CA, after about 6 hour
break-in performed exactly as I wanted and WeberVST stated. During the break-in
period the highs became smoother. The Peavey 30 was louder, fuller and fatter
with better fuller bottom end and cleaner articulate mids and highs. This is
a clean punchy machine. Just overall better sounding. The overall frequency
response of the amp totally changed - all of a sudden the entire range (and
clean) was there. The amps tone controls seemed to have more of an effect and
when using different cables to the guitar one could here the difference the
cables themselves made. The amp now sounded as I wanted for county. I am satisified.
One should realize that WEBER'S description of the the tonal quailty of the
speaker should be carefully reviewed as it performs as stated. If you want clean
and the rest as stated in the C12CA description, it will happen. That is my
amp sounded cleaner etc etc (see CA12CA). The cleaner highs great for county
required me to turn town the treble for clean blues on the Strat when using
a cable that let the highs through. The overdrive channel was used to add a
little bit of distortion at low volumes when needed as this speaker's mids/highs
are clean. Any distortion will be from the amp, not the speaker. (You can use
a Phillips NOS 12ax7 for V2 to add warmth). The old non-blue-marvel speaker
had added distortion which was nice at times but it did not have the overall
great tone this Weber has. For blues, other than clean blues, I'd suggest other
Webers made for that purpose. The C12CA is for clean output. The Peavey 30 dimed
does not have the power to make it break up. Before the speaker upgrade, the
old trick of putting in an unconnected plug in the ext speaker jack to use the
8 ohm tap for the internal speaker made the amp sound fuller. Now it sounded
this way without the trick. Popping in the plug basically had no effect now.
Also added to the Peavey were split clear tubing on the chassis edges, nut inserts
tightened, and the power light silcone rubbered to reduce rattles as the tubes/speaker
now produced more lows. Anyone replacing a Peavey speaker should be warned that
the safest way to install and remove the speaker is to take out the tubes, then
chassis (watch out it has sharp edges) and reverb pan. The top of the speaker
is overlapped by the chassis and the four speaker screws are sharp as daggers
sure to rip through a cone. Some folks will tell you they can do it just with
removing the tubes. Maybe they can, but I think most will end up tearing the
cone, so take my advice. Room is tight and it is hard to see. Use care in replacing
the speaker! As I said previousily the C12CA is great for county. With the tubes
I had described (EI 12ax7 for V1 and Teslas for the rest, and using the gain
channel, you can still get creamy singing EL84 blues sounds using the C12CA.
You are just not going to get distortion created by the speaker breaking up.
You'll get either preamp, or power tube (better) overdrive. So I can still use
the amp for country clean, county overdrive, and creamy blues too using a Am
Std Strat with Heavey top/light botom strings. At first I did not realize the
wide range of tonal possibilities I now had with this speaker. Now the controls
on the amp and guitar can be more fine tuned. Before with the original speaker
it sort of put out about the same tone all the time regardless of the controls.
Most people also don't realize that that clean county they hear really has some
distortion to it. The Peavey 30 will get the distortion for you. I am so happy
with this speaker. It is so rare these days that products are better than expected.
It made this low cost amp sound SO much better. (By the way, A PEAVEY 30 sounds
great recorded with a SM-57 mike).
Jon S.
Amp: Tone King Continental Combo w/JAN Philips/Sylvania N.O.S. output tubes;
factory-added line out and extension speaker jacks.
Guitar: Buddy Guy Strat, PRS Custom, Godin LGX-SA, Yamaha AEX-520.
Effects: Boss CH-1 Chorus; Boss TW-1 T-Wah; TubeWorks Realtube 901 Overdrive
Pedal (w/12AU7)
Genre: Blues, Rock
Comments: The Tone King Continental is a wonderful sounding amp. In my view,
however, the stock Eminence 12" speaker did not compliment the amp's 4X6V6 configuration.
6V6s are inherently weak on bass output, and my perception of the Eminence was
that it was weak on the bass, too. I sought a high quality, efficient, clean
speaker with excellent bass response as a replacement. My choices were limited,
as the the Eminence I was replacing was a 16 ohm speaker, i.e., EV or JBL wasn't
a reasonable option. I learned of the C12CA and decided to give it a spin in
the amp. I ordered it with the paper dustcap out of concern that the stock aluminum
version might be too shrill in my application (mostly blues). The C12CA arrived
and my tech installed it. At first I was frankly a bit disappointed. It was
fine, but not earthshaking. Then I broke it in over 6-8 hours of jammin' and
wow! That baby blossomed. The highs sweetened, the mids got punchier, and the
bass response became awesome. e.g., I used to leave the tone control for the
lead channel (the Continental's lead channel has two tone controls, "tone,"
and "mid-bite") all the way at the bass end. Now I set it most of the time around
its midpoint. That's how much more efficient the C12CA's bass response is as
compared to the Eminence's. In general, the Continental is now louder, and projects
better and further. A prior person's comment to the effect that "now the amp
goes to 11" is how I'd put it. I really dig the C12CA in this amp! It gives
me the clean, singing, Eric-Johnson-like violin sustain I dig so much. The speaker
seems to reproduce the natural tube distortion of the amp perfectly. I get plenty
of growl naturally from my 6V6s, particularly given the relatively small dual
output transformers in the Continental. Folks with 6L6s and/or bassman-sized
transformers who are looking for your growl to come from the speakers themselves
(especially if you aren't in a position to dime the amp for output tube distortion)
might want to consider a ribbed-cone.
Michael Dukes
Amp: Rivera M-60
Guitar: Tele, Strat
Effects: Script-logo DynaComp, Dan-Echo delay
Genre: Blues, Rock, Country
Comments: I bought this amp used and the stock Celestion M-70 was tired and
ragged sounding, with a harsh top end. The Weber California (with paper dustcap
rather than aluminum) went in last night, and if I had been blindfolded you
wouldn't have been able to convince me that I was playing through the same amp.
The Rivera's Fender style preamp channel actually sounds like a great old Fender
amp now. Unbelievable improvements in detail, complexity and touch sensitivity.
Nice tight bottom, great upper mids. This is the sound I've been dreaming of.
Mark Norwine
Amp: Deluxe Reberb, Blues Deluxe, several custom amps
Guitar: ES355, Telecaster
Effects: None
Genre: Blues, Jazz
Comments: I was looking for a high powered speaker for several of my amps to
replace the EVM12L speakers presently installed. The EV speakers were too heavy,
and I wanted to try Ted's offerings. The "California" [C12CA] seemed to be the
closest to the EV, so I bought one....and almost immediatly didn't care for
it. The metal dust cap seemed to give a shrillness that I found a bit harsh.
I really liked the speaker's brightness, fullness, tight bottom & effeciency,
but the metal dust cover was very "JBL-ish"...a tone I don't care for. I consulted
with Ted who indicated that the California could, as a special order, be made
with a paper dust cap, so I ordered one in this configuration....**WOW**...this
may be the greatest speaker I've ever played with! It's rich, true, efficient
[read: LOUD], never flabby, tone for days! I'm reluctant to post this opinion,
as this speaker is outside of Weber's standard product offering. Nonetheless,
I am so completely overjoyed with this "modified California" that I can't really
keep it a secret! If you like the clean, powerful sound of an EV speaker, yet
dislike the "shrill" tone of a JBL, give Ted a call & ask for this speaker....
it's a winner.
Ron (Uncle Spot) Veil
Amp: '68 Bandmaster Reverb, BF'd, NOS tubes, smaller B'Master speaker cab.
Guitar: '80 Gibson ES347, '74 4-bolt Strat, 50's RI Tele, all w/VZ true vintage.
Also '66 Vox Super Lynx Deluxe with Chandler mini humbuckers.
Effects: Tube Screamer, MXR DynaComp
Genre: Blues, Rock, Surf
Comments: I've heard these speakers in open cabs and they seem to have a wider
tonal range...but, they REALLY made this BMR head come alive. I love the crisp
(not harsh) highs, nice bottom end, and the fuller mid range response, especially
for the humbuckers. It's too bad these speakers weren't around in the '60s for
Leo's 'stock' speakers!
Michael Nelson
Amp: '74 Fender Twin Reverb, BF'd, recapped, MV removed.
Guitar: '52 Tele reissue w/SD Nashville Studios in bridge and neck
Effects: None
Genre: Country
Comments: I agree with the other posters here. These speakers are great. I replaced
some old Eminence speakers with these. The C12CAs are louder, more bottom, and
have clearer highs without that icepick sizzle. They are very clear and rich
sounding from low volumes to "STUN". If you're looking for clean machines, these
are the hot ticket. Plus, they look neat with the aluminum dust covers peaking
through the grillecloth and the white baskets with the big California Bears
on the magnets. I'm delighted!
Mark Koppen
Amp: Rivera R30-112
Guitar: Strat w/Texas Specials, Gibson H. Roberts Fusion, Hamer Studio Archtop
Effects: Matchless Hot Box
Genre: Blues, Rock Surf
Comments: Great speaker -- did exactly what I wanted to do, tighten and clean
up the bass (replaced an original Celestion 55 watt in the Rivera) which was
a bit muddy and buzzy. It also smoothed out the treble, and added almost a full
number ("11") of volume. I usually play Ch. 2 on this amp (the "Fender" channel),
and I found myself able to turn the gain up a bit without any fizziness and
also turn the bass up a bit without distortion. It gave my surf/rockabilly playing
a nice stringy/twangy bass sound on all the guitars. Highly recommended for
surf, rockabilly and country!
Ron Stokes
Amp: Fender Blues Deluxe
Guitar: Strats (including a '62), Les Paul Double Cutaway Studio
Effects: MXR Compressor, Vox Wah Wah, DigiTech XP200 Modulator
Genre: Blues, Rock, Jazz, Country
Comments: Kept me from burning the amp! Seriously, the C12CA cleaned up the
clean channel, made the amp louder overall, increased the dynamics, and tightened
up the bass response. Low guitar volume yields a 'string' tone with no loss
in highs, mids, or lows as the stock Eminence did while full volume produces
a -slightly- compressed bluesy/jazzy tone that sings. No muddiness, the Californian
12' provides lots of punch at extreme pick attack and plenty of presence when
approached gently. My initial impression was that it was a cross between a JBL
and an Altec Lansing, having the best qualities of both. VERY high quality.
wC12S
Silver Bell
Laurence Impastato
Amp: SFDR, Black Faced
Guitar: G&L Legacy and ASAT, LP STD and JR, Heritage 535, ES5 clone with P90s
Effects: Minimal, usually a booster.
Genre: Blues, Rock, Jazz
Comments: I picked this up at TA's garage sale, what a deal! I've just realized
I've had 11 Weber speakers and currently own nine (sold the others with amps).
I've tried a number of different speakers in this SFDR; the stock speaker, a
Weber C12Q (a mistake, but my own fault), an Eminence alnico, a Weber Chicago
and now the C12S. The C12S is so far the best sounding, most balanced speaker,
I've had in this amp. The big low end helps tame the DR's tendency to be a bright
amp, and the high end is much sweeter and usable now. It definitely gives the
amp a British flavor, although it's still plainly a DR in tone and response.
The amp is much more 'controlable' at higher volumes with this speaker, and
it's not 'farting out' the least little bit - very cool. This speaker is lightly
doped (my preference), but is still very lively and complex. Low volume tones
are woody and clear, with the top beginning to break a bit at 5 on the normal
channel and around 7 on the verb/vib channel. This speaker is staying in the
amp, period.
Pete Cage
Amp: 2xEL84, Class A, Cathode bias, Tweed Tremolux
Guitar: Tyler Strat, ASAT, Les Paul
Effects: None
Genre: Blues, Rock
Comments: The C12S was one of our test speakers in the EL84 amp. I found that
it had less high end than I was looking for, almost like a Jensen-style speaker.
It sounds a lot like a cross between a Jensen and a Celestion. It really was
nice in the 6V6 Tremolux, though, adding a just enough of the British thing
to make the amp interesting, without going too far like a V30 (which sounded
like an ice pick in this amp - screamy highs and no bottom). Quite a nice compromise
- a good "in-between" speaker when P12B is too crispy and P12N too dark.
wC12B
Blue Dog
Mario
Amp: Mesa Boogie Triaxxis w/ Mesa DynaWatt amp
Guitar: PRS(s)
Effects: Rocktron Intellifex
Genre: Blues, Rock, Classical, Metal
Comments: I absolutely love these speakers. I've been searching high and low
for a "unique" sound that i liked. I've gone through Celestions, Eminences,
Jensens, and Reverends. The Reverends were the closest to the tone i was looking
for but a litte too treblely and "american" for my tastes. The Blue Dogs are
full, rich, chimey, and very "woody" sounding. The high end is very chimey but
no brittleness or harshness what-so-ever! I love the dynamic response from these
speakers! My rythm style is sort of like Dave Matthews on electric guitar (lots
of odd picking, rythmic tempos, etc). I use a nice thick distortion and these
speakers deliver everything with clarity and chime and a nice thick, smooth
bottom end. I have to mute alot of my chords because of the distortion (weird
overtones) and the main concern was finding speakers that allowed the notes
to ring through. These do the trick.
Eric Bresnick
Amp: Various Marshalls, Tophat, Fender, etc.
Guitar: Various Strats w/Rio Grandes, VV's, and stock.
Effects: Analog Delay, FD2, Burn Unit,etc.
Genre: Rock
Comments:I now own 2 Weber C12B's, a Tophat/Weber C12B, and 2 30watt Celestions
reconed w/ Weber C12B cones. I love these speakers. They feature a beautifully
tight bottom end and great articulate mids and highs but never shrill/harsh
sounding. If your amp chimes, these speaker will emphasize that. They're rated
at 30 watts, but seem to be rugged thus far. Anyway, they really allow Marshalls
and Vox-type amps to sound amazing, and also sound great w/ Fenders although
in a British way! I recommend them highly.
Name: Paul P.
Amp: Fender Pro Jr.
Guitar: Les Paul copy w/Duncan Seth Lover in bridge
Efects: None
Genre: Blues, Rock, Jazz, Country, Surf, Punk
Comments: Looking for a 12" speaker for your Pro Jr.? The C12B is "the" speaker!
I've tried many 12" speakers (including a Celestion Vintage 30) to get more
of a rock sound than the stock 10" Alnico Blue, and the WeberVST C12B is the
best match. It heads the Pro Jr into VOX AC30 territory. I also tried this speaker
with a custom made 18 watt amp with 6V6's. The speaker produces very clear,
articulate, and chimey highs... yet is never harsh. The sound projects evenly
throughout the room. Try the C12S if your amp is a little weak in the low end.
Bill Davis
Amp: Allessandro Redbone, Callaham EL34
Guitar: PRS Custom
Effects: None
Genre: Blues, Rock
Comments: Exactly the sound I wanted for these amps, the classic British overdriven
sound. When playing high gain single note lines, the notes sing and come through
clearly. Clean tones are chimey and sound like you want them to sound. I like
these speakers.
Mark T. Van Ditta
Amp: VHT Pitbull Fourty-Five 2-12 Combo
Guitar: PRS Standard, Ibanez Custom S540FM
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