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My initial experience with the RP was of shock, amazement and distress as I understood that the 6 year pedal quest was all sought for nothing: quite simply, this amp needed no pedals. Now that three weeks have passed, I can reflect with a sober mind and share my thoughts.
The RP was my first amp built this side of 2000, and my first 'boutique' amp. My experience with amps other than a reissue ampeg and a reissue bassman were all pre-1975. I started out with a '72 fender twin silverface 27 years back, stopped playing music and returned with an interest in gear these last 6 years. While my current sound of choice was indeed more Marshall (superbass/lead, artiste, etc), my favourite sounds sat somewhere between a marshall and a fender (hence mixing alnico and ceramic cabs; and favouring different artiste amps, the Marshall fender twin). I finally settled on a kelly sound master, built by an ex-selmer employee, based on the treble and bass amps. It has one sound that, depending on the channel, is either open or bold. It handles pedals well and will always be my amp of choice. I play custom made 50s/60s stratocasters, each with a unique voice. My guitar interest is mainly Hendrix and SRV, supported by the american and UK blues players.
So why buy a Redplate?
The features on modern amps interested me (the kelly amp doesn't even have a standby switch) and the potential for a different sound for a multiple amp setup pushed me to inquire about D-type amps. After looking at ceriatone, I read posts on the forum about Redplate, mainly from @Wazmeister. I had the good fortune to inquire about his RP at the right moment when he had decided a lighter combo was more suitable. He made the purchase a delightful one and I'm grateful for all his help and more.
Simply put: everything he said is true.
My vintage snobbery, my disdain for 1x12 when only a 4x12 will do, was all put to the test and crushed and humiliated by the RP. I quickly sold on a couple of amps to help cover the cost without a shred of regret. That's it; I've found it. I don't need anything else. No more forum for me or scouring gumtree. The usual new gear ecstasy.
However, after three weeks of playing the Redplate, I understood its place in my setup. The RP is different than the kelly, although it sounds just as great. All the pedals that work so well on the Kelly are unnecessary on the RP: Cali76 compressor, Ryra Klone, Hamstead Odyssey, Chase Tone boost, EQ, TS9, Spring reverb. It does what I was trying to make the Kelly do with the help of pedals; and as much as I tried, the Kelly has its own voice and is not a Fender type amp. I have a limited experience of Fender amps, especially vintage tweed and blackface, to offer a reliable impression of the Redplate's interpretation of vintage tones. Rather, I can testify to the strength of every setting, whichever sound option is selected. Please allow me to explain the amp's tones/sounds to give an idea of its potential.
The RP's tone/sound options:
Tone options, an effect and power settings to begin with:
1. A rear switch selects between single coil, humbucker, and fat (selects bass gain amount in the clean input stage).
2. A front switch selects between normal, bright 1 (new strings twang) and bright 2 (normal bright)
3. A rear pot turns on and adjust the amount of Reverb
4. The blackface channel has a 6 selector pot passing through progressively fatter positions of the midtone frequency
5. A rear switch to select between 50 watts fixed bias or 40 watt cathode bias. The cathode bias permits using 6V6 to run at 18 watts
Channel options (bear in mind that this does not include the myriad of tones produced by moving the volume for a clearer or punchier or gainier sound and the tone controls which produce more spit, added bass, scooped mids):
Brownface (reduced girth)
Tweed (brownface + Mid)
Blackface
Blackface + Mid
Blackface + Drive
Blackface + Mid + Drive
Brownface + Drive
Tweed + Drive
Brownface + Boost (full tone stack control lift)
Brownface + Drive + Boost (full tone stack control lift)
Tweed + Boost (full tone stack control lift)
Tweed + Drive + Boost (full tone stack control lift)
Blackface + Boost (partial tone stack control lift)
Blackface + Mid + Boost (partial tone stack control lift)
Blackface + Mid + Drive + Boost (partial tone stack control lift)
That's 15 channel options where I am hard pushed to decide which is my favourite. I have followed a tradional route and chosen the clean Blackface as my foundation, and matched the other channel's volume accordingly. It's important to note that there is no 'pop' or click in the amp when changing channels. I still haven't decided whether to match the brownface's or tweed's volume to the blackface. I currently play at bedroom volume level so the girth difference between the brownface and tweed may show its advantage at higher volume; it currently sounds like a weaker tweed. The tweed is technically a brownface + Mid (hence no tweed + Mid option).
15 options all controllable via the simple and convenient foot pedal.
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Comments
However, it doesn't end there.
A send/return loop allows for the addition of modulation and echo effects or the inclusion of other pre-amp pedals.
A presence control works to establish a balance between highs and lows at louder volumes (low end can cause speaker cab distortion). It has little purpose at low volumes other than cutting the low frequencies.
A master volume allows for a faithful louder presentation of the settings without losing tone.
I tried using alternative speakers, including alnico, but ultimately returned to the celestion V30, as recommended by Redplate.
As a reference, I managed to find settings very similar to the whole Stevie Ray Vaughan catalogue. Playing along with the recordings, I was surprised to find how often he switched between pickups, using all 5 settings. I had always thought he was predominantly a neck PU player whereas the middle PU is much more audible and the 2 and 4 settings are used a good 50%. In some cases I switched on the brightness 2 or reverb. The mid together with the drive gave a good Tube screamer sound although with less clipping. And in case you're wondering, my leslie 16 cab helped complete the sound.
I have yet to try the effects loop circuit. I plan to place my tremolo and maybe a vibe there. They both sounded great in front. A fuzz and treble booster also sounded good in the front input. I still need to test my way pedals.
The drive circuit was perhaps the most challenging to dial in as the mid and boost already provide enough umph and edge of breakup. The most extreme drive/distortion I use is usually fuzz-based so amp drive is probably at the limit of Voodoo Child SR. The RP is particularly good at matching volumes. Including the cascading drive channel plus the boost option helps make performance much easier.
The most alarming part of the RP is the fact that I really don't need the obligatory four or five pedals to a pedalboard (boost, drive, compressor, EQ, reverb). When I've stopped enjoying the simplicity of plugging in directly to the amp from the guitar, I will make an effort to return to the pedalboard, although it really has thrown a spanner in its final completion. I am not kidding; I had just received the final A/B loop pedal and had worked out how many cable jacks to order to complete the board. Once again, the pedalboard completion date has been postponed (and potentially jeapordized).
The construction is impressive and heavier than I expected. The zilla matching 112 cab is open backed as the bass was a little too much for the fat baby cab. I'll have a 212 at the end of the month and will face the difficult speaker choice. I really wanted to try a mixed cab but I'm a little worried about the highs that an alnico could provide. I'll try a set of Goodmans blackbacks although I fear they may be too dark.
There were times I prayed that the next time I played the amp I would discover that all my pedals were indeed necessary. Other times I calculated how much I could sell those same pedals for and whether the funds would contribute to buying another redplate. A vintage marshall amp is still an option and the redplate magica might just be my next GAS.
I'll comment some more when I get a moment
Check out the Mike Hermans vid reviews of the ADD, which do more justice to the amp and it's tones than any blurb I could post here. Simply put - a superb amp
Vid at the bottom of the page
The Aurora is exactly this chassis and layout, with 6 "clean" modes as per the rotary options. They provide the foundation for cascading drive options in CH 2 & 3
I can't remember if Coda had a Magica in before they stopped selling the line, but if you want to import one direct, call Henry and do a deal. Could end up a tad expensive when you add freight + VAT + 3% duty
Where are you based? If you want to try mine out, it lives near Glasgow
People shouldn't be put off the extra features of the Redplate amps; I use every option as every voice possible sounds as though the amp was made for it. The 15 foot switchable options are multiplied by 6 with the normal/bright/bright2, the single coil/fat and the reverb.
Thanks for such a well written and in depth review @lukedlb . I have been interested in Redplate amps for a while, while I have not had the opportunity to try one myself, the YouTube videos are pretty convincing, I like the design ethos, and reviews like yours only help to feed the GAS monster too !
I note both your, and Zen's, comment about reliability issues, could you, or maybe @Wazmeister , or anyone else familiar with these amps, cast further light on what these issues are, which models, possible fixes, or when they were eliminated, so that I can hopefully have a great experience first time round with one of these amps. Hopefully a treat in store for me later this year. Thanks