Update on Session 115

Jeff Campbell · From: Knoxville Tennessee, USA

I'm not a fan of amps with onboard effects built in them , to many things to go wrong and can be a one unit costly mistake! I am like Rick Campbell , my Nv400 and Session 500 with the Profex unit Rick gave me is all I want. I took the Profex apart to give it a little TLC clean pots etc.. found it was built it 1992... the battery was leaking a little on one end and hadn't got on the board yet. I got a replacement at a local shop and changed it out , factory reset and tweaked my settings I like I on it and done. My point is simple, less and just enough power is all most folks want. Like Rick said, a steel is hard enough to play when everything is working good and having to work with it all the time would get on my nerves. I'm sure Peavey will work out all of the things with the amp and will make a good product.
Just my opinion , make it simple , plenty of power and if they get the effects to a few different choices without going too deep it would be much better. I also think the price even at 14 to $1500 is to steep ... they are going to price themselves out of the game. I don't depend on music for a living and even as a weekend player that works I wouldn't pay that much...especially after all the negative comments right out of the gate with the first person to ever try one out. I believe if I were putting a new product out I would make a few and insert them in the field quietly for a few to try out and get feedback first before landing the first one out in public with issues.
JC

Ken Fox · From: Nashville GA USA

I was so pleased to see Mike Brown and the other Peavey folks with their new steel amp at the show. I was told this will be Made In USA!! Kudos to Hartley and Mike. The amp shown was a proto type with a few tweaks still needed, per what I was told. The amp looks to be a killer design to me with built in reverb, digital delay and chorus! Weighing in less than the N-112 amp, a 15" BW speaker and dual 250 watt amps (can operate an external speaker at 4 ohms).

Sure looks like a winner to me!

Glenn Demichele · From: (20mi N of) Chicago Illinois, USA

chris ivey · From: california (deceased)

forget effects, forget the effects loop, no more than $500, light and small.

glad i got a new LTD400 when they first made them. that was the right idea and still my main amp
35+ years later. that's how to build an amp.

this fiasco has been bad publicity that you might not overcome. too bad. still a fan of
mike brown!

Roger Rettig · From: Naples, FL

I'll admit I'm dismayed at the apparent price-threshold of the new amp - Peavey has always seemed to deliver solid dependability for a budget price and now they're talking about a figure that puts them in another category completely.

IF the amp turns out to be what we've come to expect from this company with the additional benefit of reduced weight along no compromise in output then I'd be tempted to return to the fold (A couple of years back I got rid of my 112s and replaced them with Roland 80xls) - but only for a discounted price around $600-650.

The on-board stuff? I'm okay with that compromise in principal. My Rolands have some acceptable effects that serve their purpose (a touch of delay/reverb) and all I need to set up is my amp. Touch wood, but I've never had a moments problem with any of my three 80xls - and they're pretty compact as well.
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Roger Rettig - Emmons D10s, Quilter TT-12, B-bender Teles and old Martins.
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Jeff Campbell · From: Knoxville Tennessee, USA

I still think that bringing one out in public this way was a bad idea, they should have mad a few and took some time to pass them around and get feedback from folks out playing all the time to see what changes may need made. I myself will not carry all of that to get a stereo sound that has no effect to the ears setting 10 feet away. I also looked at the Robert Randolph amp and can't tell much difference between the two of them...
JC

Dick Wood · From: Springtown Texas, USA

I did stop by and play around with it for about 15 minutes on Saturday. It would get loud so it had power for a typical gig setting. It had a nice amount of low end as well as high but the mids were hard to set so it didn't have a compressed sound.

While I played, some guys were adjusting it and it wasn't bad but I would have liked to have heard a little cleaner midrange.

In all fairness, it could have been partially the guitar they had in the room and I feel I would have to play it on a few gigs to really give a better report on it.

I believe Mike told me it weighed about 35 pounds.
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Cops aren't paid much so I steel at night.

Mike Brown · From: Meridian, Mississippi USA

Mark J, the Session 115 was in the Peavey exhibit room for the duration of the event, with a Show Pro guitar ready to play through it as well as the RR steel amp model and the Nashville 112. I'm sorry that you did not get a chance to sit down and play or ask that I do so.

John Swain · From: Winchester, Va

Just a thought about the MSRP of this amp.In 1983 I bought new Peavey Nashville 400 @ 30% off for $385. Using an inflation calculator, that amp cost me $916 in today's money with a MSRP is $1310.

Roger Rettig · From: Naples, FL

Good point, John.
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Roger Rettig - Emmons D10s, Quilter TT-12, B-bender Teles and old Martins.
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Keith Hilton · From: 248 Laurel Road Ozark, Missouri 65721

I have a question for Mike Brown. I have been wondering about something for some time. I have been wondering about the motivation for Peavey coming out with the Robert Randolph signature amplifier. The reason I wonder is because there is hardly any black steel guitar players. I only see a tiny number of younger steel players interested in what Robert does. From the comments I have heard, the vast majority of older players don't want to play like Robert. In all "due" respect to Robert's great playing ability, and to the great products produced by Peavey--I wonder the motivation in producing the new RR signature amplifer? I know this is a hard question, but many people have wondered the same thing. I am not saying it is wrong, and I am not saying good or bad. I am just wondering what the motivation, and the drive by Peavey, to produce this amp was? I ask this question with the highest respect for Mike Brown, Hartley Peavey, Robert Randolph, and all the dedicated people at Peavey.

Keith Hilton · From: 248 Laurel Road Ozark, Missouri 65721

I agree, good point John. I think your figures are correct. The real problem I see is that the majority of the VFWs, bars, and honky tonks pay the same, or less, in 2016 than they did in 1983.

Harold Bullard · From: Harrisonville, MO 64701 USA

Keith, another good point. Cost of retail continues to rise while wages don't.

I wasn't fortunate enough to make it down to Dallas to see these new amps, so I'm really surprised at all the unfavorable comments. I already had the money saved up to get one. I didn't realize until this thread that the 115 came with on board effects. That was the reason I didn't give the NV2000 a second look. For me, I prefer to take care of the effects side on my own.

I hope this all gets figured out. I'd hate to see Peavey just decide to wash it's hands of the steel guitar market.

Might be easier to just put the NV400 back into production.

Jeff Campbell · From: Knoxville Tennessee, USA

Jeff Campbell · From: Knoxville Tennessee, USA

Jack Stoner · From: Kansas City, MO

I don't think the Session 500 was that much. I bought one (first one in KC) and I paid about $400 for it.

A product has to be profitable but it can be priced out of the market (for most) too.

Keith is correct on what many are paying. But the steel guitar is "odd man out" on a lot of jobs just because there isn't enough $$ to hire one.
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GFI Ultra Keyless S-10 with pad (Black of course) TB202 amp, Hilton VP, Steelers Choice sidekick seat
Cakewalk by Bandlab and Studio One V4.6 pro DAWs, MOTU Ultralite MK5 recording interface unit (for sale)

Steve Spitz · From: New Orleans, LA, USA

Kieth,
I haven't done any research, and have no factual basis other than what I hear from other players in the region. But this is what I've heard , and some of what I've seen.

I've heard that there are a lot of young black steel players coming out of the Pentecostal church in the Florida pan handle region. Obviously they play in that sacred steel style, which is to me a blues rock sound. I've also seen young white kids interested in playing in that style. To generalize, RR influenced. It may well be a large part of our future.

This style isn't for me, but I don't discount it.

I'm assuming this is the crowd that Hartley is going for, and they've done their homework.
It'll be interesting to see which model sells more.

I'd like some of our sacred steel forum members add to this post.

I also think peavey is a victim of their own success. An old Peavey with a new neo speaker or without can be found at a reasonable price, and is going to be compared to the new Amp.

I also am thinking this amp will be cool when the kinks are worked out.

Keith Hilton · From: 248 Laurel Road Ozark, Missouri 65721

Steve, interesting observations. I personally love Robert Randolph's style and playing. I also hope Peavey sells a million RR amplifiers. The world of steel guitar needs new young people like Robert Randolph. Just my opinion.

Micheal Harvey · From: Palm City, Florida, USA

Steve thanks for your comments as well as Keith for your question. I think most would be shocked as well as surprised with the number of Afro-american steel guitar players that are out there, and especially the young players. You don't know them or see them because they are the ones in the church or still learning. There are very few states if any that you will not find an Afro-american steel guitar player. Some states more than others. You would be shocked at the ability they have on any old steel. In some of the programs that I have attended at some of the churches they actually give them lap steels to learn on, ensuring that this part of their heritage continues. I have been on the forum now for a few years, I am an Afro-american steel guitar player, but you don't know me and that is okay because music crosses all ethnic lines. I have silently watched and listened and learned. I am awe inspired by the amount of knowledge that this forum hosts and enjoy the process of learning from all of you. On the other hand I have been saddened by some of the closed mindedness here as well. While I play sacred steel and know R.R and some of his relatives, I don't play like Robert neither do I care to. My point is that this instrument is bigger than any one style of music, it is so versatile that crosses the lines that have been drawn. It is country, it is gospel whether that is cowboy church or black church, it is jazz, it is classical and a lot more. I am in love with the instrument and the instrument can do whatever the player wants it to do. Robert has given the INSTRUMENT exposure. I will take exposure over closure any day in the week if I love the INSTRUMENT. Keith hopefully you see this as a response because Steve asked for that. And just so you guys know, I am not a youngster, I am up there with a lot of you. I learn from everyone I can because that empowers me to be a better player so someone can come along and ask me about this beautiful instrument.

Keith Hilton · From: 248 Laurel Road Ozark, Missouri 65721

Michael, thank you for your wonderful response. The only way steel guitar will grow in acceptance is through a variety of people, and a variety of music. Some time ago I got a e-mail supposedly from some of Robert Randolph's people. In the e-mail they ask about me giving Robert one of my volume pedals. I have never given pedals away, no matter how big the player's name is. I figured if people like John Hueghy, Herby Wallace, Hal Rugg and other famous people "bought" my pedals---then why should I give someone a pedal? I thought about Robert Randolph and his band, and how I would love to play with them --just one time. So I answered the e-mail-- "supposedly"-- from Robert's people by saying; "Yes, I will give you a pedal, if you will let me jam with you sometime." I really meant what I said, because I love Robert Randolph's band, especially his bass player. Well---I never got a answer to my e-mail. Since then I have wondered if the e-mail was fake, or if it really was from Robert's people. If you are out there Robert, I still want to jam with you. Very Happy

Micheal Harvey · From: Palm City, Florida, USA

Keith, that was a great response. I have one of your pedals and I love it. Every time I am around the fellas and the girls (we have a young lady in our church that also plays the steel) they are always asking me about my gear. I tell them the good Lord has allowed me the capability to buy better equipment than my talent. Now I am working on getting my talent to catch up with my equipment. That was probably not from Robert's camp Lol.

Keith Hilton · From: 248 Laurel Road Ozark, Missouri 65721

Micheal, at the time I suspected it was a hoax. I still meant what I said, I would like to jam with Robert and his band.

Bill Ferguson · From: Milton, FL USA

Ok, I love all the RR stories and thank you for your input.

But I really would like to keep this thread on track.

I want the new Peavey amp to be a success for sure.
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AUTHORIZED George L's, Goodrich, Telonics and Peavey Dealer: I have 2 steels and several amps. My current rig of choice is 1993 Emmons LeGrande w/ 108 pups (Jack Strayhorn built for me), Goodrich OMNI Volume Pedal, George L's cables, Goodrich Baby Bloomer and Peavey Nashville 112. Can't get much sweeter.

James Stewart Jr · From: Vero Beach Florida

I for one can't wait to see and hear it -Sure sounds like it is going to be a winner.
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1975 Sho~Bud Pro III Custom (8-7)
1981 Peavey Session 500

J R Rose · From: Keota, Oklahoma, USA

Yes Bill, We should all keep this thread on track. I myself think it is an overkill. I do not think it is wise to have effects built into the amp. Just more problems to deal with plus drives up the price. When the steel guitar started the amps did not even have reverb. Why is the need to have effects an etc? We go to steel guitar shows and dance halls and you do not hear that. What few country artist that record with a steel you just hear pure steel guitar. I think that is what all of us here on the forum strive to attain. If Peavey would make a survey of what we all want in an amp it would be a small, compact, light weight with simple controls and ample power at an affordable price.
Of course I am from the old school and I think the Peavey LTD 400 was as close to perfect as you can get. Why not produce it or the Nashville 400 again in a lighter cabinet with a lighter speaker. I think they would sell like crazy. Let's face it, the large percentage of steel players today are older. The younger ones like Eddie Dunlap are few and far between. When I was his age it did not matter that a Fender Twin weight was 85 lbs. The new Nashville 15 has a lot going for it because of the weight but it could be smaller and more simple and less money. I wish Peavey all the luck with their new amp but even with all the bugs worked out it is still over price for the everyday guy or girl. Just my thoughts, J.R. Rose
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NOTHING..Sold it all. J.R. Rose

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