Edit: DO NOT READ - (this post was composed under severe caffeine intake)
Lots to respond to - tried multi-quoting, but no luck, so I'll just respond to all.
First of all, thanks for the generous replies. The truth is that With my scratch-built amp, I'm 100% happy with the Abraxas - It's basically a clean amp that I built to take pedals and she loves them all it seems. I have 3 ODs on my board that play really well together and offer a wide pallet of tones from edge-of-breakup, SRV, Classic rock, to heavier tones that still retain dynamics. The pickup is about 2mm from the fretted strings, BTW. Here's the lineup:
JHS Morning Glory - gritty, edge-of-breakup tones and excellent boost pedal - even with Splawn.
G2D Cream Tone - Fat medium gain rock tone that remains clear and tight.
Dr Scientist The Elements - 2 gain options with shades of colors within each. Can do high gain, but sounds like a boosted fuzz. I have it set to the highest extent of the lower gain side.
Now these are all being used through the clean amp - I have a sep loop on my board for the Splawn. The JHS + Elements sound amazing together and are quiet with both on. I use these mainly for my single coil tones - and the Abraxas cops one hell of a pissed off tele like this. And it mates extremely well with the BK 63 Veneer in the neck - the most amazing singlecoil I've played through.
The Elements + G2D is where the Abraxas lives. This is tight, fat, clear, and soaring tone with tons of dynamics and texture - even with the Abraxas split, but it's not as transparent as the JHS + Elements combo - loses some twang.
Your posts have made me realize that the thing I love most about the Abraxas is its ability to do so many things brilliantly - and as I type this I am realizing that having a dynamic pickup is the key to my happiness (at the moment haha). What led me on this path and back to y'all is that I've just (re)acquired a Splawn Quickrod and was initially unsatisfied with the tone I was getting. I remembered the amp being a "set it and forget it type" that sounded constantly great from stage to stage, but couldn't coax the tones I remembered having back then. I remembered that I was using a 2011 LP Custom that had a Burstbucker 3 in it and another Frankenstrat that was fitted with a JB or Rio Grande BBQ.
I thought the Abraxas was afraid to let it's balls hang, but yesterday I found some old pics of my first QR (2011) and I was able to zoom in close enough to see where the dials were set. Once I returned home, I positioned the knobs as depicted and I was back in business (mostly). There's some loss of thickness/saturation/tightness apparent on the low E, but honestly, I don't think it's enough to warrant a pickup change - and with the Splawn, I can't bring myself to boost it. I like it as it is and the difference in what I perceiving..well, once I'm out of my apartment and back into the rehearsal room or on stage, all bets are off. These amps come to life with a little volume and she wasn't getting much of that. Even then, I could hear that saturated and aggressive voice waiting to be released. I think volume may be the key and all of my playing with various ODs through my other amp have spoiled me at living room levels. I bet my neighbors love my new amp!
As an aside, I'll bring another issue to you, since you mutants have proven to be articulate, insightful, and chock full of knowledge :mrgreen:
In my apt, I have an open back Avatar with two of the aforementioned V30s (broken in at the shop). These guys are not edgy or piercing, but are smooth and full. Both of my amps sound perfect through this cab, but when I gig, I use a 1960a or a straight cab loaded with G12K100s (an AMAZING speaker for the Splawn). Both of these cabs sound like warmed over horse poop with my head and it leaves me frustrated. Being blinded by the obvious, I can't seem to grasp the concept that the speakers are holding the amp back. At rehearsal the guys always tell me, "Man, that thing is dialed IN!", but I know better. What do they know anyway? They don't know about tone! My bassist's tone is all lower-mids and my singer thinks tone comes from the logo on the amp! NO! It's thin and overly bright - doesn't have the perceived thickness and gain of my rig at home. I bought the Splawn because I couldn't get this sounding right live (and because of G.A.S. obviously).
Maybe it's the speakers - maybe it's the room, or the cab perhaps. The open back just fills the space with amazing and glorious tone! It's as though sound is coming from everywhere and it's unreal. Maybe the closed back is choking the life from my amp. Maybe those G12T75s are too bright and absent of mids. To rule this out, I've ordered a quad of the Avatar H60s to retrofit into the 1960a, rendering it a 1960 AV. This will end my curiosity re: speakers. Either way the cab will be much improved. And I still have..the Splawn..
@Brow - yes V30s + Splawn = amazing. Maybe you and I have lost a certain frequency range in our hearing or the tinnitus is actively canceling out the harshness, but this amp sounds great on top of every cab I've placed it! Can't say that about my old Stiletto, MKIV/V, or whathaveyou. I figure if the Splawn likes the 412 with the G12K100s more, then I can just continue using that live and use the 1960a(v) for rehearsal. I haven't gigged the Splawn yet - only had one rehearsal with it, so I'm stoked to see if it wants to play with the bigger cab.
Sorry if I've failed to address all of your points, my coffee has kicked in and I'm awake!
