#1
today i finally tried out a marshall dsl which i have wanted to for so long

i think i have my heart set on this one.

but what is the difference between 50watt and 100watt, obviously there is a difference in volume but is it dramatically different?

like for example say if my band got big and started playing shows the size of academys (uk people will know what im on bout) would a 50watt be too small?

also is it worth buying off the internet or should i buy the amp i try in store?

the 100watt head is 521 on internet

http://www.spectresound.co.uk/product.asp?ID=875

and can get 50watt head for 469 or 599 in store at the only shop round here that has it.

what you think? i know the answer seems obvious but i dont have a good knowledge on amps and want the best possible amp for me sat in my room not second best.


much appreciated, you guys never fail me

Gear:

Gibson lpj
Epiphone Les Paul Standard
Epiphone Les Paul 1960's Tribute Plus
Schecter s-1
Marshall JCM900 100WATT HEAD
Fender mustang 1
Dunlop Crybaby
Danelectro Distortion
Tanglewood exotic electro acoustic
Westfield Bass
#2
the 50 watt is powrfull enought,i would say go to a store to buy it and bring cash if you can not credit so you can talk the sales person in to lowering the price..
#3
100 watts tube is mega loud. Tube amps really come into their own as well when they're cranked up high, so for a decent sized show, a 50watt cranked up would sound better than a 100watt amp at half volume.

I like the DSL's too, they're cool.
#4
Amps tend to not different so much as guitars do in terms of testing out ones of the same model. While with guitars you really need to try them out first and cherry-pick the best one you find, with amps you don't really need to do this; the one you buy online will be pretty much exactly the same as the one you tried in a store (if not better, since store models have often been sat there for awhile, tested by many people). So with amps, it's quite alright (better, in fact) to test it out in a store, but then go buy it cheaper online.

As for the power - it really won't make any noticable difference. Most Academy venues will be able to mic up your amp, and even if not, those places rarely hold more than 2000 people, and a 50watt tube rig, for example, would be more than enough for that.

Of course, the 100watt will be nicer. It'll be able to handle those louder volumes better, it'll stay smoother to a greater extent. It's really not enough of a difference to make it a requirement though.


I say, look for a 50watt tube amp. This will be more than loud enough for anything you'll ever do - even for stadium-sized gigs, there's no need for anything more, you end up just micing everything up to the place's PA system anyway!
#5
In the academys and every other gig bands do these days, there gear is mic'ed up so don't worry.
Get the 50-Watt model so you can crank it, it'll be loud enough, if not a little to loud, at full volume.
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#6
+3dB, that's all you get doubling the wattage, all else being equal. You would need a 500W amp to double the volume of a 50W. The difference between 50W and 100W tube amps is mostly headroom, they are both going to be loud as hell, no worries for gigs. 3dB is just around the smallest increment the human ear can perceive as a volume change. I would be more concerned with any differences in tone that your ear can distinguish. Sometimes the differences in the circuit, tranny, powersection, etc. can alter the sound of an amp, even with the same maker/series of amp.
"The fool doth think he is wise, but the wiseman knows himself to be a fool." - W.S.
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Last edited by Erock503 at Sep 11, 2007,
#8
erm... i dont really know what genre but influences are guns n roses, motley crue, avenged sevenfold, drugdealer cheerleader, metallica, murderdolls, just sorta hard rock stuff.
Gear:

Gibson lpj
Epiphone Les Paul Standard
Epiphone Les Paul 1960's Tribute Plus
Schecter s-1
Marshall JCM900 100WATT HEAD
Fender mustang 1
Dunlop Crybaby
Danelectro Distortion
Tanglewood exotic electro acoustic
Westfield Bass
#9
50 watt would be just dandy mate. I've seen many bands play the Academy with 30 watt valve amps, things like Vox AC30's and the like. You will never have to worry for volume if you have a 30+ watt valve amp
Ibanez PGM301
Ibanez GRG170DX
Fender Telecaster MiJ - 1986
Swing T-Through

Ibanez TS9DX
Sovtek Small Stone - c.1985
EHX Big Muff
Kimbara Wah - c.1974
Boss GE-7

Orange Rocker 30 Combo

http://www.myspace.com/paythelay
#10
so would people say it not worth getting a 100watt even though it cheaper than a 50watt in store?
Gear:

Gibson lpj
Epiphone Les Paul Standard
Epiphone Les Paul 1960's Tribute Plus
Schecter s-1
Marshall JCM900 100WATT HEAD
Fender mustang 1
Dunlop Crybaby
Danelectro Distortion
Tanglewood exotic electro acoustic
Westfield Bass
#11
It's cheaper? That seems strange. Are you sure one isn't a combo and the other a head?
Ibanez PGM301
Ibanez GRG170DX
Fender Telecaster MiJ - 1986
Swing T-Through

Ibanez TS9DX
Sovtek Small Stone - c.1985
EHX Big Muff
Kimbara Wah - c.1974
Boss GE-7

Orange Rocker 30 Combo

http://www.myspace.com/paythelay
#12
well online 50head is like 490 and 100watt head is 520
but in shop the 50 head is 600
Gear:

Gibson lpj
Epiphone Les Paul Standard
Epiphone Les Paul 1960's Tribute Plus
Schecter s-1
Marshall JCM900 100WATT HEAD
Fender mustang 1
Dunlop Crybaby
Danelectro Distortion
Tanglewood exotic electro acoustic
Westfield Bass
#13
I'd buy it online, because with amps you're pretty much sure that if you like a model, it'll be the same if you order it online. It's not like with guitars, there isn't such wild fluctuation between models.

I'd still get the 50 watt, just order it online. You'd never need the 100 watts so it's just extra wait to be lugging about.
Ibanez PGM301
Ibanez GRG170DX
Fender Telecaster MiJ - 1986
Swing T-Through

Ibanez TS9DX
Sovtek Small Stone - c.1985
EHX Big Muff
Kimbara Wah - c.1974
Boss GE-7

Orange Rocker 30 Combo

http://www.myspace.com/paythelay
#14
the DSL100, TSL60, TSL100 & TSL601 are all cheaper than the DSL50 here.

It's because simply, the DSL is better, and lots of people want 50watts because it breaks up earlier.

But to be realistic, theres not that much volume difference. If you really need to crank it that hard, spend some good money on a THD Hotplate. Or, use an OD to give you that tiny bit extra.

The reason I go DSL50 over 100 was because I have more cabinet options with the 50.

If you SURE you want a DSL, then buy online. Especially if the 50 is cheaper, and thats what you want.
#15
well im in 2 minds which 1.

the 100 is abit powerfuller and the cab still handles it cause it 150 but people keep sayin get the 50 so i dont know which i should
Gear:

Gibson lpj
Epiphone Les Paul Standard
Epiphone Les Paul 1960's Tribute Plus
Schecter s-1
Marshall JCM900 100WATT HEAD
Fender mustang 1
Dunlop Crybaby
Danelectro Distortion
Tanglewood exotic electro acoustic
Westfield Bass
#16
Chances are, you probably won't need to use that extra power from the 100, so the 50 should be fine
#17
The DSL100 will put out more than 100watts. It's better to be safe than sorry.

Power isn't always a good thing. 100watts is not necessary. If a 50watt tube amp isn't loud enough, then you'll still have a PA. With 50watts you get earlier distortion at more acceptable levels.

It's really up to you. But if the 50 is cheaper, I can tell you what most people on UG would choose.
#18
Dont get the 100 watt... You wont even get to crank the 50 watt often, let alone the 100... Hell my laney gets turned up to 1.5 and the sound guy complains at gigs....
Frank Zappa's not dead. He just smells funny.
#19
Maybe look at a used jcm800 and an overdrive? I think that would nail those tones a lot better. Also, a Laney GH50L would be better for those too IMO.
Not to burst your bubble... it's just one of those things that most people can't afford to do often, and it'd really suck if you got an amp that you weren't really happy with.
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#20
The 100 watt will probably sound better, especially if you pull two tubes and use it at 50 watts. They will be equally loud, but the 100 watter will have overspec'd transformers, which will mainly improve the low end, but also the sound in general.
#21
so reckon i should go with 100watt?


ih can that be done?

take tubes out to lower power?
Gear:

Gibson lpj
Epiphone Les Paul Standard
Epiphone Les Paul 1960's Tribute Plus
Schecter s-1
Marshall JCM900 100WATT HEAD
Fender mustang 1
Dunlop Crybaby
Danelectro Distortion
Tanglewood exotic electro acoustic
Westfield Bass
#22
Yeah, you can take out the two inner or two outer tubes, but that will change the output impedance of the amp (can't remember whether it doubles or halves it), so you will have to compensate for that by changing the selector on the back.
#23
it's taking out half the pathways for current, doubling impedance. 4ohm on the head is now really 8ohm, 8ohm is really 16ohm, etc...
"The fool doth think he is wise, but the wiseman knows himself to be a fool." - W.S.
amp clips
amp vids
#24
Quote by Erock503
The difference between 50W and 100W tube amps is mostly headroom, they are both going to be loud as hell, no worries for gigs... I would be more concerned with any differences in tone that your ear can distinguish.


Erock has given you valid info.

Quote by nightwalker903
so would people say it not worth getting a 100watt even though it cheaper than a 50watt in store?


Yes.

"Headroom" refers to the availability of cleans at louder volumes, but going by the styles of music you're playing, you don't really need the extra headroom. What you want is to get the amp to break up sooner, if anything. In fact, you may even want to get a 30W amp. That's really more than enough power to handle any gig. Most larger venues should have a PA to mic into if needed. Not that it should be.
You Don't Need a halfstack.

You Don't Need 100W.

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i love you slats.
#25
Quote by slatsmania
What you want is to get the amp to break up sooner, if anything. In fact, you may even want to get a 30W amp.


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#26
i have a 30watt and alot of places round here dont mic up stuff so i have to borrow peoples amps.
i could always buy the 100 and if i prefer the 50 send it back and get the 50
Gear:

Gibson lpj
Epiphone Les Paul Standard
Epiphone Les Paul 1960's Tribute Plus
Schecter s-1
Marshall JCM900 100WATT HEAD
Fender mustang 1
Dunlop Crybaby
Danelectro Distortion
Tanglewood exotic electro acoustic
Westfield Bass
#27
There's something about the transformers in a 50w amp that seem a bit more crisp and less apt to overwork some of the subtleties of your guitar playing. I'm firmly convinced that the only time a 100w amp is necessary is if they don't make a 50w version of it.
ESP LTD EC-256 and a Fender Deluxe VM
#28
Quote by nightwalker903
i have a 30watt and alot of places round here dont mic up stuff so i have to borrow peoples amps.
i could always buy the 100 and if i prefer the 50 send it back and get the 50


You have a 30 watt SS amp, much volume difference between 30 watts tube and 30 watts SS.
Ibanez AFS75/Fender Strat Plus > Fulltone Deja' Vibe > Keeley TS808 MOD+ > Fulltone OCD > VanAmps SoleMate > Metro JTM45
#29
Quote by nightwalker903
i have a 30watt and alot of places round here dont mic up stuff so i have to borrow peoples amps.


I have a Vox AC30CC1. They'd have to mic the drums to get over me, not the other way around. If they ain't mic'ing the drums, I'm cutting thru the mix. Probably without going more than halfway up on the master. If that.

BIG difference between 30W of tube vs. SS.
You Don't Need a halfstack.

You Don't Need 100W.

Quote by jj1565
i love you slats.
#30
I've been gigging with a DSL 50 for the past four years. I prefer the tone over that of the DSL 100. It has more than enough power for playing clubs, concert theatres, and even outdoor venues. I think my average volume is set around 3 at practice and 4-5 at gigs. Any louder than that usually generates complaints from my bandmates and our soundguy.

Like most people I use the DSL head in the half stack configuration. I'd love to add a second cabinet though. Not so much for the sheer volume but for sound dispersion on stage. You can hear yourself alot better with a speaker cab at head level. Or set the cabinets next to each other at angles to widen your sound cone.

In any case with any decent sized gig your soundman will mic your amp for the PA. That's one mic to one speaker in your cabinet. The other 3 speakers in the cabinet are soley for you and the handful of people who are standing right in front of your side of the stage.