The Peavey Renown amplifier has been a topic of conversation among guitar players for years, particularly within communities focused on specific instruments like the steel guitar. A recent forum thread on steelguitarforum.com explored user experiences and opinions on the Peavey Renown, offering valuable insights for anyone considering this amp, especially for steel guitar applications. This article delves into the key points of that discussion, providing a comprehensive overview for guitarists seeking information on the Peavey Renown.
Initial Inquiry: Is the Peavey Renown Amp a Good Choice?
The conversation began with a straightforward question from forum member Joseph Solomon: “I am thinking about buying a Peavey Renown Amp. Comments Please!” This simple query opened the floor for a range of perspectives, revealing both praise and criticism for the amp, particularly concerning its suitability for steel guitar.
Speaker Configuration Debate: 15″ Black Widow vs. 2×12″ Scorpions
Kenny Krupnick quickly responded, highlighting a crucial aspect: speaker choice. He advised, “If you play steel guitar, then get the one with the 15″ Black Widow speaker.” Kenny also noted the existence of a version with 2×12″ Scorpion speakers. This immediately established a key point of differentiation and a potential factor in user experience.
Bill Bassett later echoed this point, mentioning his acquisition of a Renown 400 with 2×12″ speakers and his consideration of retrofitting a 15″ Black Widow. This suggests that the 15″ speaker configuration might be preferred, at least by some, for specific instruments like steel guitars.
Versatility and General Tone Assessments
Jennings Ward shared a positive experience, stating, “I HAVE ONE AND LOVE IT…GREAT TONE FOR STEEL OR GUITAR…SAME FOR KEYBOARD OR FIDDLE.” This broad endorsement suggests the Renown’s versatility across different instruments, beyond just electric guitar. Larry Robbins, who owned a model with 2×12″ Scorpions, found it a “Nice amp for lead guitar,” further supporting its general utility for guitarists.
Clean Headroom and Distortion Concerns: A Point of Contention
David Doggett presented a contrasting viewpoint, particularly regarding steel guitar. He stated it was the “Worst amp I ever tried for steel,” citing insufficient “clean headroom” and an inability to eliminate “cheesy solid-state distortion,” even at lower volumes. This critique is significant, as clean headroom is often crucial for instruments like steel guitars to maintain clarity and avoid unwanted breakup.
However, Fred Shannon offered a different experience. Having modified a Renown to a 15″ Black Widow speaker, he uses it daily in his studio and finds “Good tone from it.” Crucially, Fred mentioned he hadn’t experienced the distortion David described. This difference in experience highlights the subjective nature of tone and the importance of context, such as playing volume and musical genre.
Volume and Usage Context: Studio vs. Live Performance
The discussion between David and Fred further clarified the importance of context. David elaborated that his negative experience was in a “very loud rockabilly band” rehearsal setting, where he needed higher volumes and clean tones. He felt the Renown distorted too quickly at those volumes, making it unsuitable for his needs. Fred, on the other hand, uses the amp in a studio setting at “moderate volumes” (volume control at 4 or 5), where he finds it performs well, especially after the 15″ speaker modification.
This exchange reveals that the Peavey Renown’s performance might be highly dependent on the intended application. For lower volume studio work or practice, it might be perfectly adequate, even desirable for some. However, for high-volume live performance, particularly where clean tones are paramount, it might fall short for certain players.
Lloyd Green’s Endorsement and Counterarguments
Mike Brown introduced an intriguing anecdote, stating, “Lloyd Green once told me that the Renown 115 amp was the best sounding amp that he had ever played through.” Lloyd Green is a highly respected steel guitar player, adding weight to this statement.
However, Curt Langston questioned this, pointing out the Renown’s lack of a “MID shift,” which he considers “critical for steel.” David Doggett also responded to Mike’s point, acknowledging Peavey’s good amps but reiterating his negative experience with the Renown 212. He also mentioned Lloyd Green’s current use of Fender tube amps, similar to his own preference. This part of the discussion emphasizes that even endorsements from renowned players should be considered within the broader context of individual needs and preferences.
Honest Opinions and Conclusion from the Forum
David Doggett’s final comment encapsulates the spirit of the forum discussion: “steelers who post here for information on out-of-production equipment want and deserve very frank and honest opinions from people with first-hand experience, with no pulled punches.” He concludes by reiterating his experience, while acknowledging that others may find the Renown suitable.
In conclusion, the forum thread presents a balanced view of the Peavey Renown amp. While some users, like Jennings Ward and Fred Shannon (with modifications), found it to be a good amp for steel guitar and other instruments, others, notably David Doggett, found its clean headroom lacking, especially at higher volumes needed for live band settings. The speaker configuration (15″ vs. 2×12″) and intended use case appear to be crucial factors in determining whether a Peavey Renown is a suitable amplifier for a guitarist, particularly for steel guitar players seeking clean, loud tones. The discussion underscores the subjective nature of tone and the importance of considering various perspectives when evaluating guitar equipment.
