Dumble Overdrive Special

Never played one, bet its got knobs for vol, bass, etc.

10k better sound real good, like a good used car.

like a Honda I hope.

Better not need any.

Pleeez! If you have to spend lots of cash buy a Vicki 410 (used 1200)a Blockhead 18wt 210 (2000) and a Fender Verb (200). Now you will sound great and have $6,600 to buy a guitar a gig car and (god forbid) some lessons. P.S. I gotta believe Stu C spent his high-school years with his whities-tighties jammed in his crack bound with duck tape wearing fake boobs.

simple, not many but useful for the tones I use

I use a G&L Comanche Strat, with Z-coils that I am trying to get Alnico II magnets for, A 336 copy with Seymour Duncan Alnico II Pro Humbuckers, and late 70's Les Paul Custom with a SD Alnico II pro neck and a SD Jeff Beck bridge (the alnico II's lend a very sweet response in tone and dynamics with this amp). I built a clone from some private info and research, since there is no way on this earth I could afford a real Dumble! In the end, my clone has amazed everyone that has heard/played it that knows how Dumbles sound. I built a D-clone 1-12" cab that sounds better than any 1-12 or 2-12 for that matter, and is very harmonically rich. It has a vintage EV-SRO Alnico 12 in it. The amp responds to the touch and sustains very well even in cleaner settings. Its the chimmiest amp I every have played, it can get anywhere from sweet B.B King Blues tones on to early Robben Ford tones, on up to modern Robben Ford and Larry Carlton tones, it gets a great Carlos tone like that of the one with Michelle Branch "The Love Game" Solo. It responds well to the guitar volume knob, very smooth and articulate, very Blackface Fender sounding in the clean mode. It gets Old Mark I Boogie-like tones (in the JAZZ setting), and also very good Marshall Plexi-like tones (in the rock settings)as well for being a 6L6 power tube amp. I find that it is very sensitive to different preamp tubes especially NOS 12ax7's. I put in a Telefunken in the 1st stage, sometimes a Sovtek LPS, and a Raytheon 12ax7 Blackplate in the overdrive section, it can get pretty close to early Van Halen overdrive with this guy. Various driver tubes will give many palletes of overall tone here, such as a Philips 12at7, for more Fender tone with a slight less output (drive), a GE 12ax7A for warmer, fatter, response, a Mullard long plate for more British vibe etc. For higher gain sounds, a Chineese 12ax7 in the overdrive stage will really chock up some gain. The mid switch on this amp is really FATT sounding! Its very British sounding! I don't use it very often. The PAB (Pre-Amp-Boost) switch is great for that fat boost like a that of Tweed-like mids and thick leads. The brite switch can be pretty brite, but at times it really helps cut through with articulation. I also have a Dumbleator that is a must when using effects, it even adds some compression that sounds good for low to medium playing levels, that sounds like the poweramp compressing. There are brite switches for it as well, which helps one to get the EQ right for wherever you are playing. All in all, since it is only a clone, I have to say that Alexander Howard Dumble had a great ear, but an expensive appetite for tone! His design is very ingenious though many ideas may have been borrowed from Fender etc. His intentions, I feel were pretty good, other than that most of us could not afford a real one. The amp is pretty quiet by comparison. I have had Boogie Mark I's, Mark II, Mark III, a Heartbreaker, Triaxis/2:90, Marshall Super Lead 50 watt head/212 cab, Muisc Man HD 130, RD50's Bassman, JC-120's, Yamaha G112-100, Groovetubes Soulo-75, etc. THe amp also works great with pedals.

I have read stories that there old Dumble had tubes that were 15 years old, like some Fender guys have said, but depending on the use, volume level, style of music etc. I work on my own gear for the most part, and for the real Dumble, I understand Dumble only works on his amps, and that is in the agreement when purchasing one from him, since he would want to keep his design a mystery, and to protect it, hehe! ;^) Well, I guess anyone that charges that much for an amp, and doesnt want anyone to catch on, would probably do the same.... Now days we have many cloners out there doing it, but with maybe a twist here and there. I am glad I was able to build a clone and experience what I never could if I had to come up with 10-15G's...

Well you know the rest of the story

Its not evry guitar players dream amp, its more of a particular players amp, think Robben Ford, Larry Carlton etc. If thats your tone, and you have the cash, go for it, Carlos did. An aquaintance of mine is a god friend of Alexander, and had built a guitar with Alexanders help back in the late 60's or early 70's, its a beauty by all means and its a 10 string of all things. Supposedly Alexander was spending some time hanging with Carlos Santana and is building him a amp, though Carlos is using a high profile clients amp in the meantime.

simple, not many but useful for the tones I use

I use a G&L Comanche Strat, with Z-coils that I am trying to get Alnico II magnets for, A 336 copy with Seymour Duncan Alnico II Pro Humbuckers, and late 70's Les Paul Custom with a SD Alnico II pro neck and a SD Jeff Beck bridge (the alnico II's lend a very sweet response in tone and dynamics with this amp). I built a clone from some private info and research, since there is no way on this earth I could afford a real Dumble! In the end, my clone has amazed everyone that has heard/played it that knows how Dumbles sound. I built a D-clone 1-12" cab that sounds better than any 1-12 or 2-12 for that matter, and is very harmonically rich. It has a vintage EV-SRO Alnico 12 in it. The amp responds to the touch and sustains very well even in cleaner settings. Its the chimmiest amp I every have played, it can get anywhere from sweet B.B King Blues tones on to early Robben Ford tones, on up to modern Robben Ford and Larry Carlton tones, it gets a great Carlos tone like that of the one with Michelle Branch "The Love Game" Solo. It responds well to the guitar volume knob, very smooth and articulate, very Blackface Fender sounding in the clean mode. It gets Old Mark I Boogie-like tones (in the JAZZ setting), and also very good Marshall Plexi-like tones (in the rock settings)as well for being a 6L6 power tube amp. I find that it is very sensitive to different preamp tubes especially NOS 12ax7's. I put in a Telefunken in the 1st stage, sometimes a Sovtek LPS, and a Raytheon 12ax7 Blackplate in the overdrive section, it can get pretty close to early Van Halen overdrive with this guy. Various driver tubes will give many palletes of overall tone here, such as a Philips 12at7, for more Fender tone with a slight less output (drive), a GE 12ax7A for warmer, fatter, response, a Mullard long plate for more British vibe etc. For higher gain sounds, a Chineese 12ax7 in the overdrive stage will really chock up some gain. The mid switch on this amp is really FATT sounding! Its very British sounding! I don't use it very often. The PAB (Pre-Amp-Boost) switch is great for that fat boost like a that of Tweed-like mids and thick leads. The brite switch can be pretty brite, but at times it really helps cut through with articulation. I also have a Dumbleator that is a must when using effects, it even adds some compression that sounds good for low to medium playing levels, that sounds like the poweramp compressing. There are brite switches for it as well, which helps one to get the EQ right for wherever you are playing. All in all, since it is only a clone, I have to say that Alexander Howard Dumble had a great ear, but an expensive appetite for tone! His design is very ingenious though many ideas may have been borrowed from Fender etc. His intentions, I feel were pretty good, other than that most of us could not afford a real one.

I have read stories that there old Dumble had tubes that were 15 years old, like some Fender guys have said, but depending on the use, volume level, style of music etc. I work on my own gear for the most part, and for the real Dumble, I understand Dumble only works on his amps, and that is in the agreement when purchasing one from him, since he would want to keep his design a mystery, and to protect it, hehe! ;^) Well, I guess anyone that charges that much for an amp, and doesnt want anyone to catch on, would probably do the same.... Now days we have many cloners out there doing it, but with maybe a twist here and there. I am glad I was able to build a clone and experience what I never could if I had to come up with 10-15G's...

Well you know the rest of the story

Its not evry guitar players dream amp, its more of a particular players amp, think Robben Ford, Larry Carlton etc. If thats your tone, and you have the cash, go for it, Carlos did. An aquaintance of mine is a god friend of Alexander, and had built a guitar with Alexanders help back in the late 60's or early 70's, its a beauty by all means and its a 10 string of all things. Supposedly Alexander was spending some time hanging with Carlos Santana and is building him a amp, though Carlos is using a high profile clients amp in the meantime.

100 watt combo amplifier,6l6 power tubes,class A/B circuit design. (1x12)speaker. BIG tone based on the best of Fenders amps with a twist......Smoother and sweeter sounding than a Fender and with much more harmonic content than a Fender or Boogie.Clean sound and boost.

I dont own one of these amps and several in this column don`t own one either. It really seems like an opinion page for a highly regarded and very expensive amp indeed!!Obviously i am familiar with what these amps sound like as i`ve heard Christopher Cross,Eric Johnson,Larry Carlton and Robben Ford etc. I did catch Roben Ford in concert here in New Zealand 4 months ago and he was using his Dumble. The 2nd guitarist in the band was plugged into a hotrod deville(4x10)which sounded thiner and not as 3 dimensional as Fords Dumble. Although the dumble sounded rather impressive, I really felt that Robbens 1960s Telecaster sounded thin and harsh through this amp and the dumble really seemed to suit his guitars with humbuckers.There was clarity,balance,sustain and tone present with the H/buckers, where-as the tele single coils just didnt match,i thought.The drive or boost footswitch he used sounded great and thickened the tone with a smooth and slightly compressed signal that was quite harmonic sounding. Very pleasing to the ear,very soulful and just like his recorded tones as of his solo career.I would believe that a nice woody sounding 335 would match and suit this amp beautifully.I would be curious if a Hotcake O/D pedal would also do justice as these little pedals suit amps that are Harmonicaly rich. I own one myself,but it only drives a Tweed(4x10)Deville which sounds nice,but not as good as an AC30.

Lucky for those who can afford one of these amps, or better still, find one to buy!! I believe alot of our tone is in our own fingers but it is always nice to have a tone/s avalible to us that we really appreciate and even strive for.Ive learnt over 15 years what i like and dont so much like with guitar tone,and this subject is personal and highly individual and everyone is different.I do feel that what i like about the Dumble`tone is that it sounds musical to start with,but it also has a fat and squeezed O/D tone with an almost violin type sustain, but without sounding muddy or harsh.Well not harsh with H/buckers anyway.I will have to search for my Holygrail Tone with a nice SuperReverb or i might look at trying a Tech 21 TM 60 Amp as these little fellers have had excellent reviews on this site. There`s a Larry Carlton tone,BB King lead tone. Smooth rhythm selects aswell built into this amp. I have considered a Mesa Blueangle combo but think it would be too agressive sounding for what i am really looking for. Feel free to email me if you have a suggestion or would just like to drop me a line

Epoxy-encapsulated Ibanez TS-9 inside chassis produces warm, thick, sustaining overdrive while maintaining the subtle nuances of your attack.

Like a TS-9, only a lot more expensive.

If it ever breaks down, it's gotta go back to 'Alexander the grape'...

Insert riotous laughter here

Even if I'd only been playing a week, I could tell you that a $12K amp is not going to make you sound better. The emperor's naked, and the man behind the curtain is exposed (eeek!).

In response to last reviewers comment. The Trace Elliot Velocette is an inexpensive class A Boutique-style tube amp (check ebay for pricing - around $300) - 15W but sounds best loud or with an overdrive pedal. This is a very loud 15W amp. Class A is was gives that pick-sensitive response. For rock, Marshall DSL201 20W tube amp is a tone monster (the new inexpensive solid state Marshall practice amps MG-series are also surprisingly good).

At the time of this posting, there are 14 previous postings. This will most likely be the 15th. And, out of those 14 previous postings, 10 of them were posted by people who do not own a Dumble amp. And, if you read the reviews, you can infer that the majority of those 10 people are either poor or cheap, have an inferiority complex, and other emotional problems.

It is my understanding that Howard Dumble is somewhat of a recluse and can be very difficult to deal with. But, this being America, that is his prerogative. As I have never met the man personally, I will not comment about him solely based on hearsay.

However, I will comment on what seem to be the major complaints voiced in these reviews about the man's amps with the caveat that I do not own, nor have I ever played an actual Dumble. The biggest complaint in this forum seems to be the cost of an actual Dumble. Seeing as how there are less than 300 or so actual Dumbles in existence and even fewer overdrive specials, it is merely supply and demand that causes these things to be so expensive. Is that a travesty? an injustice? Perhaps. My opinion would definitely be that amps like this, much like vintage Strats and Les Pauls really should be in the hands of players. However, that is merely my opinion. The fact is that unfortunately most of them are not. But my opinion, like most of the others voiced in the reviews here, doesn't count. The fact is there are people willing to pay the kind of money that these amplifiers cost. Are they fools or idiots as some in this forum have suggested? Who knows! I don't know any of the people who have spent this kind of money for Dumbles and cannot therefore pass judgment on the state of their personality until I actually do.

The second biggest complaint is that the amps don't sound that good or aren't magic, or are only good for "stupid" blues. Well again, unless you have actually played the actual amp upon which you are supposedly commenting, you can't really say for sure now, can you? And, again, the FACT is no matter how good any particular amp is by any particular builder, it will not and can not satisfy every player. And as for the poster who said it was only good for "stupid" blues, the obvious ignorance of that statement speaks for itself. There are numerous types of music that I do not care for. Even some that are very good and/or popular that just aren't my cup of tea. But for me to call them stupid is really more a reflection of what is inside of me rather than the actual style or class of music.

Lastly, with regard to how these amps sound, they are ALL different. This is not a model amp that is mass-produced or formulaicly put together by technicians in a shop. These are hand-build one at a time by Alexander Dumble. And, he builds each one according to what the player needs or what he thinks that player needs. If you want to hear how radically different OD specials can be from one another, listen to Christopher Cross' song "Ride Like the Wind". Then, go listen to Robben Ford's "Politician". And then get a copy of Larry Carlton's great CD "Last Night". All three of the amps featured in these tunes are actual Dumble Overdrive Specials.

Again, I do not own a Dumble, but I sure do love the aforementioned artists who use them.

I have never heard of anyone having problems with these amps.

Howard no longer builds these amps on a regular basis and from what I have heard is very difficult to get ahold of. However, this is an aged circuit and the schematics are readily available, especially on the internet. And, there are several places where one can have them properly serviced. I understand the guys at K&M Analog Designs are particularly good at servicing and fixing these amps and NOT screwing them up.

As I stated above, I do not own a Dumble. I do, however, own a Bruno EL34 Super 100 and a Two Rock Custom 50, which are definitely good enough for me. If you are used to playing forgiving amps, it will take a while to get used to playing these. Over time you will really become hyper-aware of how minute changes in pick angle, attack, and MINUTE differences in fingering come through these amps. My opinion only is that they are not very good practice amps as they really need to be opened up to sound the way they are supposed to. If you really want to have a Dumble-type tone to practice with, the Line6 Boutique Overdrive Model should suffice, but it will definitely not be as articulate or touch-sensitive as the buzz terms go.

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I agree with Maxx. I've been playing professionally for 30+ years, and
have used everything from Silvertone to Mesa, Peavey to Marshall,
Fender to Carvin, and the hits keep on comin'. I currently am on my second Tweed Carvin, and am more than adequately pleased with everything about it. I haven't paid over $1,000.00 for an amp since I jettissoned my ADA rack system in '92, and have to this day always been complemented on my live and recorded tones. Enough, I might add, that I've had a producer or so fly me transcoastal more than once to use my non-boutiqueafied tonal abilities on tours and recording sesions. The last time I dropped more than $1, ooo.00 on anything at all, the expenditure freed me from a hell-made marriage & got me royally drunk for a month, not to mention the fact thaat I could fit the entire hangove neatly into one small suitcase. Nuff said.

Mine is made in 1999.
It's has an Eq, distorsion, reverb.
The power is well enough for me. When going on tour I also use a Riley 15" cab as an extra resource.

It sounds a bit like an old Samick or a Carlsbro Stingray. When cranking the distorsion it sings like an Ibanez Toneblaster 15.

It's built like a tank. Solid and nice.

Great. Bob at the support helped me with all my problems.

I've been playing for about 2? year. It's a great beginners amp but it also fits the pro. I can dial in Korn on it and it can also sound like Suzanne Vega.

Tubes, Transformers, Wiring. $10,000 for a hand built tube amp? Pleaaaase!!!

I had the opportunity to hear one of these in s studio recently. What a joke. Yes, it did sound great, but not $10,000 great. Not even $5,000 great. It seems that these amps are in the same catagory as new Harley-Davidsons. They are over-priced and being bought up as status symbols by all the Doctors, Lawyers etc that can afford them (nothing against the two, just using them as referance). How far will people go? The funny thing is that most of the really really good players would laugh at the idea of ever dropping that much cash on any piece of equiptment.

I am sure it has the highest quality components in it, which in return make it very reliable.

Will never know.

I guess if you can afford it, go buy it and enjoy having it. Oh yea, incase any one is looking for the ultimate "brown sound", I think I ve found it. It comes out of my ass after I eat too many beans at dinner.