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AlNiCo Plus Blue Dog-- 12", 1-3/4" VC, 30 Watts, Ribbed Cone, AlNiCo 'Plus' 8A100-- 8", 1" VC, 15 Watts, Straight Cone, AlNiCo 8F100-- 8", 1" VC, 15 Watts, Straight Cone, Ceramic 8A125-- 8", 1 1/4" VC, 20 Watts, Ribbed Cone, AlNiCo 8F125-- 8", 1 1/4" VC, 20 Watts, Ribbed Cone, Ceramic AlNiCo Sig 8-- 8", 1" VC, 15 Watts, Straight Cone, AlNiCo AlNiCo Sig 8S-- 8", 1" VC, 15 Watts, Ribbed Cone, AlNiCo Ceramic Sig 8-- 8", 1" VC, 15 Watts, Straight Cone, Ceramic Ceramic Sig 8S-- 8", 1" VC, 15 Watts, Ribbed Cone, Ceramic AlNiCo Sig 10-- 10", 1" VC, 15 Watts, Straight Cone, AlNiCo AlNiCo Sig 10S-- 10", 1" VC, 15 Watts, Ribbed Cone, AlNiCo Ceramic Sig 10-- 10", 1" VC, 15 Watts, Straight Cone, Ceramic Ceramic Sig 10S-- 10", 1" VC, 15 Watts, Straight Cone, Ceramic 10A100-- 10", 1" VC, 15 Watts, Straight Cone, AlNiCo 10A100T-- 10", 1" VC, 15 Watts, Ribbed Cone, AlNiCo 10F100-- 10", 1" VC, 15 Watts, Straight Cone, Ceramic 10A125-- 10", 1 1/4" VC, 20 Watts, Ribbed Cone, AlNiCo 10A125O-- 10", 1 1/4" VC, 20 Watts, Smooth Cone, AlNiCo 10F125-- 10", 1 1/4" VC, 20 Watts, Ribbed Cone, Ceramic 10A150-- 10", 1-1/2" VC, 25 Watts, Ribbed Cone, AlNiCo 10A150T-- 10", 1-1/2" VC, 25 Watts, Ribbed Cone, AlNiCo 10F150-- 10", 1-1/2" VC, 25 Watts, Ribbed Cone, Ceramic 10F150T-- 10", 1-1/2" VC, 25 Watts, 'Q' cone, Ceramic AlNiCo Blue Pup-- 10", 1 1/4" VC, 20 Watts, Ribbed Cone, AlNiCo Ceramic Blue Pup-- 10", 1 1/4" VC, 20 Watts, Ribbed Cone, Ceramic AlniCo Silver Ten-- 10", 1 1/4" VC, 20 Watts, Ribbed Cone, AlNiCo Ceramic Silver Ten-- 10", 1 1/4" VC, 20 Watts, Ribbed Cone, Ceramic 12A100-- 12", 1" VC, 15 Watts, Straight Cone, AlNiCo 12F100-- 12", 1" VC, 15 Watts, Straight Cone, Ceramic 12A125-- 12", 1 1/4" VC, 20 Watts, Ribbed Cone, AlNiCo 12A125O-- 12", 1 1/4" VC, 20 Watts, Smooth Cone, AlNiCo 12F125-- 12", 1 1/4" VC, 20 Watts, Ribbed Cone, Ceramic 12A150-- 12", 1-1/2" VC, 25 Watts, Ribbed Cone, AlNiCo 12A150T-- 12", 1-1/2" VC, 25 Watts, Ribbed 'Q' Cone, AlNiCo 12A150W-- 12", 1-1/2" VC, 25 Watts, Ribbed Cone, AlNiCo 12F150-- 12", 1-1/2" VC, 25 Watts, Ribbed Cone, Ceramic. 12F150W-- 12", 1-1/2" VC, 25 Watts, Ribbed Cone, Ceramic. AlNiCo Blue Dog (30 watt)-- 12", 1-3/4" VC, 30 Watts, Ribbed Cone, AlNiCo AlNiCo Blue Dog (15 watt)-- 12", 1-3/4" VC, 15 Watts, Ribbed Cone, AlNiCo Ceramic Blue Dog-- 12", 1-3/4" VC, 30 Watts, Ribbed Cone, Ceramic. AlNiCo Silver Bell-- 12", 1-3/4" VC, 30 Watts, Ribbed Cone, AlNiCo Ceramic Silver Bell-- 12", 1-3/4" VC, 30 Watts, Ribbed Cone, Ceramic. 15A150-- 15", 1-1/2" VC, 30 Watts, Ribbed Cone, AlNiCo 15F150-- 15", 1-1/2" VC, 30 Watts, Ribbed Cone, Ceramic. Ceramic California 10-- 10", 2" VC, 60oz Ceramic, 80 Watts AlNiCo California 12-- 12", 2" VC, 40oz AlNiCo, 60 Watts Ceramic California 12-- 12", 2" VC, 60oz Ceramic, 80 Watts Ceramic California 15-- 15", 2" VC, 60oz Ceramic, 80 Watts Ceramic Chicago 10-- 10", 2" VC, 60oz Ceramic, 80 Watts AlNiCo Chicago 12-- 12", 2" VC, 40oz AlNiCo, 60 Watts Ceramic Chicago 12-- 12", 2" VC, 60oz Ceramic, 80 Watts Ceramic Chicago 15-- 15", 2" VC, 60oz Ceramic, 80 Watts Ceramic Texas 10-- 10", 2" VC, 60oz Ceramic, 80 Watts Ceramic Texas 12-- 12", 2" VC, 60oz Ceramic, 80 Watts Ceramic Thames 10-- 10", 2" VC, 60oz Ceramic, 80 Watts AlNiCo Thames 12-- 12", 2" VC, 40oz AlNiCo, 60 Watts Ceramic Thames 12-- 12", 2" VC, 60oz Ceramic, 80 Watts 15A200-- 15", 2" VC, Bass Woofer, AlNiCo. 15F200-- 15", 2" VC, Bass Woofer, Ceramic.

  10F150
Richard Tompkins
Amp: 1965 Epihone Galaxie 17 watt all tube
Guitar: Les Paul Standard & Fender American Tele. LP has Seymour Duncan Seth Lovers. American Tele has Fender Texas Specials
Effects: Fulltone FD2, Chandler Digital Echo(an old one)
Genre: Blues, Rock, Jazz, Country
Comments: First off, this amp is only used for small 100 person clubs and recording.It has no tone controls(good thing!)the guitar,amp and speaker is what controls the tone. This speaker replaced the old CTS that was in it and there is no comparison!! No Bull!! What used to be a so..so. little tube amp is now a poor man's blackface deluxe, the speaker is that good ... very touch sensitive and smooth....but with the 6AQ5 power tubes in this amp it can be very chimey at the same time with either guitar...odd? it did neither of these things before I changed the speaker and I had done nothing else to the amp....and I have to confess to being a relentless amp fiddler and trader and buyer and etc. etc. Plus I've been doing this since 1959(what an old fool I am !!)

10F100
Bill Rogers
Amp: Homebrew
Guitar: Strat
Effects: None
Genre: Blues
Comments: I was lucky enough to win the C10R a few months ago. The only amp I have with 10's is a Super Reverb. I put the C10R in the SR to break it in. Just recently I took my home brew 15 Watt head (think tweed deluxe with 6BQ5's) and A/B'd the C10R still mounted in the SR cabinet with one of the original CTS Alinco spkrs. I left all the settings the same on guitar and amp as I switched, and went from clean to mean. The best word I can think of to describe the C10R is "clear". Great bass. The clean tone sounds are crisp and well defined, not quite as warm as the CTS, but definately not a harsh speaker with this setup. The distortion is not as "blended" as the CTS, but sounds great. The CTS Alnico does generate a cool phasing effect at some settings that the C10R does not. Just a great all round 10" speaker.

Akbar Anwari
Amp: '63 Brown Princeton, stock
Guitar: Guild Roy Buchanan (tele), Guild Nightbird
Effects: None
Genre: Blues, Rock
Comments: When they say 'tweed tone', they aren't kidding. A definite improvement over the Oxford, Eminence, JBL, EVM and genuine Jensen speakers I've tried with this amp. The speaker breaks up just enough with the distortion of the amp to give a real smooth solo tone without any annoying artifacts. Highs are rounded, no 'icepick in the forehead' with the tele. The bottom end is solid without getting mushy in any way. This is what I imagine a Jensen would have sounded like new. Clean, again, a very smooth tone for Jazzy runs. I can't imagine a better sounding speaker for this amp.

John Templeton
Amp: '64 Tremolux w/NOS 6V6's
Guitar: RI Strat w/Vintage Duncans
Effects: None
Genre: Blues
Comments: They were beyond expectations. Louder than original Oxford 10L5's. Gave my BF a very 'tweedy' tone. At low levels they are crisp with great resolution. Turn up the power and they fatten up nicely and really come alive. A great Blues speaker. I'm sold on the one piece straight cone. I think I'll replace the VST P12Q in my Deluxe Reverb with a VST P12R.

J. Bardsley
Amp: Deluxe Reverb with 5881s into a tweed 2x10 cabinet.
Guitar: '95 Ric "John Kay"
Effects: none
Genre: various
Comments: Very open, neutral, uncolored. Great detail, louder than most 10s. Nice distortion, but makes you want to back off and listen to the clean sound too. Reminds me of the Kendrick 10, which I like alot, although this C10R seems more like a real Jensen 'R'. Everything else being equal, I can now see the big difference between an AlNiCo (10A100) and a ceramic (C10R).

Mike Milligan
Amp: 73 Vibrolux Reverb
Guitar: '60 Strat
Effects: TS-808
Genre: Blues
Comments: Stronger than original. Cooperated with TS-808 well. Nice midrange. More bass than original. No harsh highs. Very nice with reverb on.

Joe P.
Amp: BF Bandmaster with 2-10 cab (instead of 2-12)
Guitar: RI Strat
Effects: none
Genre: Rock
Comments: Louder than 10A125. More highs. Not as clear overall as 10A125. Punchy, stiffer attack. Celestion-like.

AlNiCo Blue Pup
Jeremy Lewis
Amp: THD Plexi 2x10 combo. 50 watts with EL-34's
Guitar: Old strats and modded epiphone Les Paul with Seymour Duncan Anitquities
Effects: None used (not needed with these speakers)
Genre: Blues, Rock, Jazz, Surf
Comments: Complex chimey warm and aggressive. These speakers are vast improvement over the originals...
This amp is designed after a Marshall 50 watt Plexi and these speakers are incredible through
it. They break up just right and are perfect for british and american blues and rock. My amp
sounds like a fusion of a marshall and a vox now.

Randy Countryman
Amp: '62 Fender Concert w/all NOS RCA's
Guitar: '73 LP Deluxe w/Gibson '57 classics
Effects: Fender RI Reverb w/NOS tubes
Genre: Blues
Comments: Very smooth from top to bottom. Harmonically rich. Adjustments were needed to get the top left speaker to fit (transformer was moved). Big improvement over the stock Oxfords. Wait time for the speakers was long (over 3 months), but response from VST was always excellent.

12F100
Ken
Amp: Crate VC508 tube 5 watt with 8" speaker
Guitar: Tele with VanZandts
Effects: None
Genre: Blues, Rock
Comment: Weber's C12R in use with Crate's VC508 5 watt amp 8 inch speaker. I just disconnected the 8 inch speaker and ran the wire out to connect to the 1x12 speaker cab straight to the C12R speaker. And brothers I've seen the light!! The 5 watt Crate had no problem at all pushing the C12R. In fact, with this speaker I've backed off all the amp settings to half, and now I have plenty of volume and tone to play with at my liking. I can play very clean to overdrive just from the guitar's pickup volume easily. Even my tone settings on the guitar I have backed off. Man, I have beautiful sounding bass... bass... bass... all I want at the touch of my tone settings. The beauty is I'm in charge of how much bass I want not the speaker. Conclusion the C12R is loud, very full sound without the overkill in bass. The highs and lows are very clear, with clean tone clarity and all the crunch just waiting to kick in at the touch of the guitar's volume. The C12R speaker is an all around winner that lets you be in charge of the tone you want to bring out of 'er.

Bill Fuentes
Amp: '64 Deluxe Reverb
Guitar: '54 Custop Shop Strat w/Texas Specials
Effects: TS-808
Genre: Blues, Country, Rock
Comments: I ordered this speaker after seeing other glowing reviews about it and it's ability to handle more than it's rated power load. I replaced the stock Oxford with this speaker. The bass response improved, as did the overall tonal spectrum of the amp. I run the amp at about 5-6 so it doesn't really get that dirty. The bass does get muddy when cranked, but it's the amp not the speaker (I think). The combo does have a beautiful chime with the Strat. The amp is now a piece of art and one heck of a player and conversation piece.

Andy Ruhl
Amp: 64 Deluxe Reverb
Guitar: Ash Am Std Strat, G&L ASAT
Effects: None
Genre: Blues, Rock
Comments: It's amazing how different 2 speakers can sound with the same cone! I put the C12R in the Deluxe Reverb after having the P12R in there a while. The differnce is striking. The C12R has more bass, efficiency, and headroom. This is actually more of what I would consider a "blackface" sound than the P12R. The P12R really compresses and distorts, the C12R is less forgiving (less compression) and has more bass and overall more balanced tone. It still crunches very well at high volume, but not quite in the same league as the P12R. Here's the bottom line: If the Deluxe Reverb is your only amp and you have to decide between these two speakers, get the C12R. It does clean better and still gets nice drive. If you use the Deluxe Reverb as your drive amp, then the P12R is better by far. Just for fun, I stuck an original C12R in my amp to compare. The old Jensen has an oreo cookie sized magnet compared to the Weber. It isn't even close. The Weber has it all over the Jensen. The Jensen breaks up a lot sooner. I was very afraid to blow the Jensen though. Once again, the Weber VST speaker withstood my merciless pounding in an amp that puts out more power than the speaker is rated for. Good job on this one. This is a killer speaker!

Mike Milligan
Amp: 72 Deluxe Reverb
Guitar: '60 Strat
Effects: TS-808
Genre: Blues
Comments: Very clear and clean. Tight highs. More low end than original. Bright. Much nicer when I turned off reverb. Lots of bite and crunch when I turned up the amp to 5. With TS-808 very warm and overdriven. Increased mid punch with amp cranked.

12F125
Mark Webber
Amp: Mission Soulkicker. 5E3 Tweed Deluxe w/bright/boost switch
Guitar: Fender Strat, Cort JTriggs, Robin Ranger. Strat has VanZandts, Cort has DiMarzio H. from Hell(2)
Effects: Alesis Headrush, Boss ChorusII, 70's Big Muff
Genre: Blues, Rock, Jazz, Country, Surf
Comments: I had my Tweed Deluxe based custom built by Bruce Collins and had the luxury of trying every brand/type speaker in his shop. For me it was an easy choice. I liked the Weber C12Q because it made this amp sound very clean and bright at lower volumes and then when driven hard it has a unique, almost humanlike voice to it. This speaker does not fart out at high volumes at all. I've had this amp for a year now and even though Bruce does not let a custom built amp out of his shop before seasoning the speaker(s), I find I like the tone of this speaker more and more. It's simply an excellent choice in a twenty watt amp!

Joe Pampel
Amp: 15 Watt "AC30-inspired" custom amp.
Guitar: Gibson SG
Effects: none
Genre: Various, mostly dirty/overdriven tones.
Comments: Chimey, crunchy, rich. Kinda brit, but still kept the 'American' flavor. Adapted well to this amplifier. A sign of a very good speaker, in my opinion.

Joe Pampel
Amp: 5E3 Deluxe
Guitar: RI Tele, AmStd Strat, Gibson SG
Effects: none
Genre: Various
Comments: Playing Clean --> Bright overall, nice clear sound. Dynamic, punchy. Seems quite efficient. Great for C&W tones, probably Jazz, too. Likes the neck PU on the Strat the best. Nice low end. Highs are not ringy like some speakers. Wonderfully clear.
Playing Dirty/Overdriven --> Still punchy and dynamic. Really cuts, cunchy like an old Jensen. Growls, good lows, rich, complex, warm.

Tom @ HIWATT Amps
Amp: HIWATT 'Pup', 2-EL84s in Class A
Guitar: LP Jr. w/Duncan Soapbars, '64 Mustang w/Red Rhodes Velvet Hammers
Effects: none
Genre: Blues, Rock
Comments: Sounded at once like a Jensen. I think the big magnet (30oz) lends a larger presence to the speaker than you would normally get with a C12Q. More bass, crisper. Would recommend this speaker to anyone looking for a Jensen replacement.

Ceramic Silver Ten
Mark Norwine
Amp: '64 Princeton Reverb
Guitar: ES-335, Telecaster, both stock
Effects: None
Genre: Blues, Jazz
Comments: This dandy little pre-CBS amp came to me dead stock in 9.5+ condition except for the radio shack speaker which simply had to go. I spoke to Ted at length about an apropriate speaker which would be rich & bold when playing jazz, yet still bright & crunchy when cranked for blues playing. He suggested the C10S. This speaker is a marvelous creation, delivering all the attributes we discussed. It's bright, but not shrill....The clarity is second to none. It is not the least bit farty on the low end, even when pushed hard. While I don't play much country, this speaker delivers a clear, clean tone with a Tele which most country players will like. This is one helluva speaker! Highly reccomended.

J. Bardsley
Amp: Deluxe Reverb with 5881s into a 2x10 cabinet
Guitar: '89 Country Gent. with '60 f-trons, '68 ES335 w/SD antiquity's
Effects: none
Genre: various, from clean to overdriven
Comments: Bright, a little cold, very detailed. Good britishness when overdriven, yet has a late '60s Fenderish tone when clean. More bass than you'd expect from a 10". Clean sounds like a Ceramic 12" Jensen.

10A100
Jose Arroyo
Amp: 68' Princeton Reverb
Guitar: Fender MIA Strat, MIA Strat w/ Warmoth neck, ProTone Tele w/ Warmoth neck. EMG SA set with an 89 in the neck position for both Strats. Seymour Duncan Alnico V Humbucker in neck, Broadcaster pup in lead position.
Effects: Fulltone Fulldrive 2, Vox wah, Tech 21 GT-2, bunch of Boss swirly pedals
Genre: Blues, Rock, Punk
Comments: Wow. I've had a couple of Weber speaker in my amps, but have never felt so awed that I'd jump on the computer and write a comment about one. I've had a pair of 10F125s and 10A125s in my Vibrolux and am still looking for the right speaker in there. I found a new Weber 10A100 online and figured I'd give it a try for my Princeton. The original Oxford was alright and got the job done, but the Weber 10A100 has taken this amp to a whole new level! The Oxford was a bit muffled and boomy when cranked, but held up quite nicely at low volume. Now I have a speaker that sounds nice and full at low volumes yet retains it's fullness when pushed. First of all, the bottom just blossoms out under the note perfectly, never sounding farty in the process. The speaker passes on this SF amp's ability to "hear" picking nuances without missing much. I find that I can no longer be too sloppy and need to bring up my finesse playing when taking this amp to rehearsal. With the amp's volume on "7" the speaker is very responsive to the guitar's volume knob, keeping a nice "clean/ dirty" tone when I pull back to "6," and creaming out when I turn the guitar's volume knob to full. This the perfect lead guitar amp, offering cutting tones while still holding on to bottom nicely. Too bad I can't put a pair of these in my Vibrolux (I just need a little more headroom in there).

Jean-Michel Gras
Amp: Fender Pro Jr.
Guitar: RI '62 Strat with VZ blues, Gibson Nighthawk
Effects: None
Genre: Blues, Rock, Jazz
Comments: I've just installed a 10A100 in my Pro Junior: GREAT ! (I had before the stock fender ceramic V1030): more bass, less treble, more high-midrange and much, much better crunch sound. The amp distorts earlier and is more "Marshally", the clean sounds are looser, I think the amp is much more alive now. Notice that with this Weber, the Pro Jr. doesn't "sparkle" at all, it really has a brown sound and I now play more "rock" stuff 'cause now the cranked tones are much better (more vibe I would say). I didn't believe a speaker could make such a difference in tone. Go for it if you like old marshall tones.

Joel Hatcher
Amp: RI Bassman w/mojo OT
Guitar: G&L, 73 LP w/paf in bridge, SD59 in neck
Effects: Fulltone FullDrive 2, Suydam Pipeline 3 Knob Reverb
Genre: Blues, Rock
Comments: These speakers are great. I've been spoiled by old Jensens in my other amps, but going out and paying an arm and a leg is now just an option rather than the only option. These 10A100's gave me that gorgeous transparent, balanced, rich new 40 year old Jensen sound that I crave. The bottom end is comparable to a Martin D-35 or a piano. I am able to turn up the bass quite a bit more at high volume without worrying about the speakers farting out. The highs are transparent, yet authoritative. These things truly do sing. I've tried them all, including the originals, and trust me, fellow tone freaks, these are by far the best thing going.

Nick K.
Amp: '85 Super Champ
Guitar: PRS, Gibson ES-295
Effects: None
Genre: Blues, Rock, Jazz, Surf, Punk
Comments: The 10A100 replaced an EV that had been in this little guy. Previously had the stock Fender, followed by a Celestion G10S50. The Weber 10A100 finally gave the little Champ the Fender sound I had been looking for. Instantly improved the sound 1000%. Gave it that loose 50's vibe, and went to a nice clean cranked tone, to a full-on overdrive with smooth breakup. Not as much bottom as I would have liked, be we are talking about a single 10" in an open-backed cabinet. Now that I've had a pleasant experience with VST, I'm going to order a P10N for the Champ and some more 10A100's for my Bassman reissue.

Andy Ruhl
Amp: 5F6 circuit w/BF bias and Pwr Supply, '64 Super Reverb
Guitar: Various Strats, LP Standard
Effects: Tube Screamer
Genre: Blues, Rock
Comments: Sounded great in my Super Reverb. It gave it more low end beef, but with less high end detail than the C10Q's (Jensen) that were in it. Much better with the 5F6. The speakers really smoothed it out and made it sound more "worked in". They took full power fine. They seemed to gain high end with time. The Super wanted something with more slice, though. I'd recommend these 10A100's to anyone looking for an older, looser sound.

Evan Aurand
Amp: '55 Fender Bassman
Guitar: '52 LP, '62 Strat
Effects: Fender Reverb
Genre: Blues
Comments: Very Cool Sound. I could never get the right tones with the speakers that came with this amp. Now, with the WeberVST 10A100's, I can dial in the right tone easily. Nice balance, nice low end, a great speaker.

Ken Kantor
Amp: Pro Jr.
Guitar: Strat Plus w/vintage rails
Effects: None
Genre: Rock
Comments: Had to remove magnet cover to install. I liked the punchy tone that the heavier cone provided, but miss some of the breakup/treble that the lighter, seamed cone provided.

J. Bardsley
Amp: Deluxe Reverb with 5881s into a tweed 2x10 cabinet.
Guitar: '90s Custom Tele with Tom Andersons.
Effects: none
Genre: various
Comments: In your face! More mids. Great bassy distortion, wonderful for overdriven slide. Very marshally-sounding.

10A150
Bill Wardell
Amp: 64 Vibrolux Reverb
Guitar: 63 Strat, 95 Relic Strat, 61 Jazzmaster, 63 Jaguar
Effects: BOSS DD-3 Delay, Ibanez TS-9 Reissue Tube Screamer
Genre: Blues, Rock, Surf
Comments: My pair of new 10A150's make my Vibrolux sound absolutely INCREDIBLE! Plenty of low end, beautiful highs, and a rock sound that just won't quit. Weber has my business for life!

John Stokes
Amp: 61 Super w/all NOS tubes including RCA blackplate 6L6GC's.
Guitar: 90 Am Std Strat, VZ blues in neck and middle, VZ Rock in bridge.
Effects: Fender reissue Reverb w/NOS tubes and 'warm up' cap mod.
Genre: Blues
Comments: Totally in-your-face punch at high levels. High volume tone remained very smooth. No harshness at all. Chords played just below amp distortion were nice and rich. No flabbiness or farting out. The high efficiency is great and appreciated. These are considerably more efficient than the original 10A125s they replaced, have much more low end, and produce much more SPL before breakup. I do think they could use a pinch more high end. Just a little sparkle to give them some cut to go along with the blast.

12A150T
Margaret Wilson
Amp: Blues Junior (others include Fender Deluxe 90, Electar Tube 10 and AR Acoustic Pro-Verb). 12AX7 phase inverter replaced with GE 5751
Guitar: Fender US Fat Telecaster, Breedlove classical cutaway w/ Fishman Blender
Effects: Boss BD-2, AC-2, NS-2, TU-2, Uni-Vibe Stereo Chorus
Genre: Blues, Jazz, Classical
Comments: I needed more headroom (for jazz) in my Blues Jr, so I replaced the PI with a 5751, and that helped a lot. But the bass was still somewhat flabby and fuzzy (12th fret and up) on the low E string. I'd heard that the 12A150 was too dark for this already dark amp, so I thought about the P12Q or C12Q. Ted recommended the 12A150Q or C12NQ hybrid for the Q sound with more low end. WOWWWWWWW!!! The speaker's not even broken in yet, and it sounds wonderful. I've been able to increase the bass a notch without losing any definition or clarity, and I get breakup with the volume at 8 rather than 4. (Smooth thickening up to 8.) I now play with volume on 5, master on 3, and I get this wonderful smooth thick clean with tight bass, chimey (not harsh) highs, and full mids. With the stock PI and speaker, I played with volume on 2.5, master on 10, and I got flabby, muddy bass with no headroom. I think the P12QN is the perfect speaker for this amp if you want to play jazz. The 12A150Q corrected the amp's shortcomings without changing the tone behond recognition. Great speaker!!!

12A150
Mase Henry
Amp: '64 Vibrolux, Marshall JCM900
Guitar: Les Paul, Strat Ultra, Gretsch Tennessee Rose, Reissue Tele. LP has Seth Lover PU's, Strat has SD Custom S-C's.
Effects: Occasional Uni-Vibe
Genre: Blues, Jazz
Comments: Terrific speakers. I got them to complement my newly purchased '64 Vibrolux. After a bit of a complication, I can tell you that your speakers are every bit as important as wood, strings and pickups. These things brought this amp alive (for lack of a better term). They're in a Marhsall 4x12 cab that I modified with yellow pine baffles and back (from a bookshelf my grandfather made before I was born). It's vented in front, and open one fifth at the top). I tried the amp out through a '69 Marshall 8x10 cab, and I was sold in under a minute. The clipping was so sweet. Brown and detailed, I had never heard such a vintage sound. I was worried that the 10 inch speakers might be responsible for the tone, and wasn't sure about getting two 12's for this amp. They added bass (alot) and smoothness. They're not boomy, just deep. Very rich, still articulate, but the one thing they don't do is modern. My Marshall is a mediocre amp, but it does modern much better than the Vibrolux (obviously), and it sounds vintage through these (although it pales in comparison to the Fender). There is no harshness attainable with these speakers; the treble pickups I would never consider using with the Celestion G12T-75's (stock on many Marshalls) become entirely usable and open up new possibilities. The alnico seems to make the cone travel more, and this adds life to the sound, makes it more organic. Adjectives: bouncy, deep, rich, thumpy. I plan to counter the softness by adding C12S's in my cab soon. They're also going to be put in a solid pine combo with the Vibrolux for more practical transport. The vintage of vintage, I'd say. Incredible for blues and any clean tone. It's "turn-heads" tone to say the least. Get 'em.

Dave Johansen
Amp: '59 Tweed Twin Repro w/Tungsol 5881's and NOS 12AX7's
Guitar: Strat w/ash body and maple neck, Nocaster VZ's and Fralins
Effects: None
Genre: Blues, Rock, Jazz, Country
Comments: Down low:
smoooooth..
articulate..
woody.. almost acoustic-like

Cranked:
Organ damaging power (SERIOUS chest thump)
STILL articulate, but able to really scream
That grinding overblown sax sound.. Phew!!

Let's just say that I just ordered 10 C/P10Qs
and 6 C/12A150s to replace all my other speakers..
More on those when I get 'em..

Scott Swartz
Amp: Homebrew P-P EL-84 (6BQ5) with Fender style preamp (15 watts)
Guitar: Various
Effects: None
Genre: Blues, Rock
Comments: This speaker has a smooth frequency response with tight bass in an open back cabinet and smooth highs. If you have overwound pickups, you'll probably wish for more treble. The cone breakup rises smoothly and adds nice character to the amplifier distortion. I am very satisfied with the speaker. The cone breakup is the most musical I've heard.

Bill Johnson
Amp: SF Princeton Reverb, recapped, BF'd
Guitar: 64 Strat, Guild CE 100
Effects: None
Genre: Blues
Comments: I love this speaker! I'm a "go play guy". I hate fussing with gear. The speaker that was in my amp was damaged and I needed a replacement. I bought the Weber 12A150 on the suggestion of a friend. I can't believe how good it sounds! Now I'm going to replace all the speakers in my other amps with Webers. The best I've heard!

Brian Metelits
Amp: Carvin Vintage 33, '68 Super Reverb (BF'd, NOS tubes, recapped, rebiased), '65 Deluxe Reverb Reissue
Guitar: Warmoth Tele w/Rio Grande Muy Grande in neck and Lindy Fralin in bridge, '57 RI Strat
Effects: TS-10 Tubescreamer (brown mod)
Genre: Blues, Rock, Jazz, Country
Comments: I bought the 12A150 to replace the stock Carvin speaker. I wanted to improve the voicing of the Carvin Vintage 33 which I had re-tubed with Tesla EL84s and Ei12AX7's. The 12A150 was less efficient than the stock Carvin. With the Carvin the clean channel did not distort until the volume was way up. With the 12A150 the sound broke-up with volume at half. The 12A150 brought out bass and lower mid-range while giving up highs. The amp sounded smaller and less refined with the 12A150. On the other hand, the Super Reverb sounded very nice through the 12A150 which was almost as full as the 4x10" CTS alnico's. The tone was just a tad smoother than with the 10"s...more like Vince Gill. With the Deluxe Reverb it was a similar story to the Carvin: Too much low end and no highs. I thinkg the 12A150 needs an amp with a bright switch. I like the glass-like highs used in surf and late '60's to mid '70's soul (e.g., "Me and Mrs. Jones"). I learned something worth noting: WeberVST speakers should mate with your guitar and amp. That's more than I had come to expect. I now believe that the speakers can make a huge difference in our ability to make the sound we are looking for. Unfortunately, the 12A150 was not the right model for my application. However, I would strongly consider another WeberVST speaker in the future.

Tom Knezevich
Amp: 66 Pro Reverb
Guitar: 68 Gretsch Viking, 68 Gretsch Country Club
Effects: Maestro ((( Echo Plex )))
Genre: Jazz, Country, Surf
Comments: The 12A150's gave me great bottom end and smooth highs. Two words come to mind 'Warm' and 'Fat'. They sound great at all volumes (alnicos!). These speakers replaced the stock Oxfords which sound 'bland' in comparison.

Michael Moody
Amp: Fender Deluxe Reverb
Guitar: Les Pauls, ES335, Strat, Tele
Effects: Vox Wah Pedal
Genre: Blues, Rock, Country
Comments: I bought the 12A150 for my Deluxe Reverb which has a Jensen original cone C12N. I wanted the same type of a tone with a little more punch and volume. I really like the sound of the original speaker but I just beat it with my amp cranked all the time. So I decided to find a replacement to savor the old relic. The 12A150, I am sorry to say, didn't do it for me. It was much darker and not as loud as my C12N. I do have to say it sounded good through the bottom end and had a nice overall sound but it didn't give me the openess and clarity I was looking for. I gave the speaker a couple of weeks to break in but it didn't chage much in transparency. It did loosen up and it felt pretty nice. Overall the speaker is a very good one. I think I just picked the wrong model. I have some other Weber speakers in two of my amps and they sound better than any new speakers I have tried.

Tim S.
Amp: 66 BF Pro Reverb (recapped, NOS tubes)
Guitar: 77 Hardtail Strat
Effects: Danelectro Cool Cat
Genre: Blues, Rock, Jazz
Comments: After replacing the caps and tubes, this amp sounded great with the exception of the Utah speakers [which weren't stock anyway]. After putting the 12A150's in, the difference was immediate. The highs shimmer, making chords on the strat ring. The bottom edge is tighter, great for plucking the low strings. In general, these are articulate and allow this classic amp to sounds it's best. Another satisfied customer!

Ted Smith
Amp: '62 Deluxe
Guitar: Swamp Ash Tele, 65 Jazzmaster
Effects: Fender Tube Reverb
Genre: Blues, Rock, Jazz
Comments: Before I got this speaker, I was very envious of the sound of a friends 59 tweed Twin. I still want the Twin, but with this speaker I got a big chunk of that tweed sound. In fact, more than I thought a speaker could provide. The lows are big and round, the mids thick and sustainey, and the highs are musical- not shrill or harsh. I'm using pretty bright pickups - the 12A150 fattened things up a bit but retained clarity. The 12A150 might be a little dark sounding with higher output pickups, however, keep in mind that the brown tolex Fender amps tend to have much less treble on tap than blackface amps (no presence control either). By the way, the speaker I took out of the amp was a Vox silver AlNiCo which I like a lot. For now, it is staying in the box while the WeberVST 12A150 is in the amp for good!

Pete Cage
Amp: Late Tweed Tremolux (5G9)
Guitar: LP '59 Historic, PRS
Effects: None
Genre: Blues, Rock
Comments: I bought the VST 12A150 to replace a '62 P12N that was in the Tremolux. The old one was getting fuzzy due to cone and spider deterioration. I also was tired of worrying about frying a valuable relic. The VST 12A150 was like putting one in a time machine. Exactly the same as the old one, minus all the rattiness of age. The lows are strong without becoming loose and flabby. Distortion barks nicely as you crank it up without a trace of harshness. Really nice, punchy dynamics in the clean-to-edgey range. I will buy VST speakers again.

David Freedman
Amp: Custom '66 BF Bandmaster Rvb. w/Torres chan. switching, Svet 6L6s
Guitar: '62 US Strat RI, PRS EG Bolt w/SD single coils
Effects: TS-9, Vox Wah
Genre: Various
Comments: I've been using this 4 Ohm 12A150 for about a month now. I like the speaker quite a bit. It is very fat, round, smooth. Volume wise, I thought this speaker would be a bit louder than it is. Perhaps it's a little more than 4 Ohms, but it is certainly an improvement over the 8 Ohm Utah that was in there before. I think the best quality of this speaker is its refusal to 'flop out' when I really crank up the bass. It maintains its composure very well under all playing conditions. I'm certain I will be using more VST's in the future.

Joe Pampel
Amp: Deluxe Reverb, Tweed Super into Deluxe Rvb cabinet.
Guitar: SG, Strat, Tele
Effects: None
Genre: Blues, Rock, Jazz, C&W
Comments: The 12A150 is a tight fit in the DR cabinet. OT fits into basket slot. Thicker sounding than the P12Q, with more lows. Warm, mellow clean sound that lends itself well to Blues and Jazz as well as Rock. Especially well suited to tweed amps with presence controls when brighter tones are needed. Good tonal balance, very deep low end. Overdrive brings out a 'barking' midrange that is very rich with a good bite to it, but it never gets harsh. A great choice for 2x12 combo amps. The 12A150 loves reverb. A solid choice for Deluxe Reverb duty, but be careful to make sure you have clearance between the output transformer and the speaker basket. Chassis must be set back as far as possible.

Ron Ott
Amp: Kendrick 2212 (40 watt Tweed Twin) w/NOS GE pre's and Tung Sol 5881s
Guitar: Fender Custom Shop Strat
Effects: None
Genre: Blues
Comments: Warm, tonally rich and well balanced. They sound like I thought an old Jensen ought to sound -- warm, smooth, and well behaved without excessive brightness. They are slightly less efficient than the original Kendricks, but the 2212 has plenty of reserve power.
I also tried it in a Kendrick 2112. It has more power than the 12A150 can handle, and the 2112 can produce some great tone at higher volumes. So, I replaced the original Kendrick Black Frame with the new "redesigned" version (distinguished by a 3-inch diameter dust cover) that is sonically VERY different. The original design is pretty bright, while the redesign sounds very warm - not unlike the WeberVST 12A150's. The redesigned Kendrick breaks up very smoothly and, frankly, I liked it better in this particular amp.

Kenny Blue Ray
Amp: '71 Pro Rvb BF'ed, Philips 6L6s, Mojo Tweed Output Trans.
Guitar: Several Strats w/P90s, VZs, Duncans
Effects: None
Genre: Blues
Comments: I've never heard a 2x12 sound so good. Had the Pro fully cranked, no problem. Sounds like a Twin with much better tone. I can't wait to record with these next week.

12A150W
Terry Terrance
Amp: Fender Blues Junior
Guitar: 52 RI Telecaster w/Joe Bardens
Effects: None
Genre: Blues
Comments: Perfect match for the pickups. Rings out almost angelically when running clean. Exceptionally well defined picking dynamics...I couldn't believe how crisp it handled the spank of an Albert King type finger-picked riff. I primarily play 50's and 60's blues and the 12A150T in the Blues Junior is the tone I've been looking for in a reasonably priced package. SRV wannabes may want to consider a speaker that breaks up a little quicker and has more bass.

12A125
Andrea Bagnasco
Amp: Deluxe Reverb Reissue. Retubed with NOS Telefunkens and Westinghouse 6V6's
Guitar: Telecaster w/Joe Bardens
Effects: None
Genre: Blues, Jazz, Country
Comments: Tri-dimensional. Very transparent, if compared to stock Eminence. Mids snap with a sweet honk and bass comes out round and smooth, yet very defined. Not the least bit brittle. Highs a little sterile, but it's just a matter of breaking in. I love this speaker, swapping to the Weber was like wearing glasses (I'm short-sighted): you really get to hear things you haven't heard before from your amp. The guitar FEELS different, too!

Fred Gillespie
Amp: BF Bandmaster w/post PI-MV, modded tone stack
Guitar: Gibson ES-345, Gibson ES-335 w/SD AlNiCo II Pro, JB bridge
Effects: None
Genre: Blues, Rock
Comments: This was my second venture into Weber speakers. The P12Q sounded great right out of the box, as opposed to the break-in required by the C12S I had ordered previously. The P12Q is really more what I like, clear, bright, open and balanced, with a nice breakup. It sounds wonderful in a 2-12 open back cabinet paired with the C12S. Sounds great with Gibsons ! Sort of like a low-powered, "idealized" JBL/Greenback kind of vibe. What a wonderful, sweet, clear yet complex tone ! If you can't make up your mind about whether or not to go British or American, try a P12Q with a C12S in a 2-12 cabinet, and sit back and enjoy the ride ! Spend the extra ten bucks for the Alnico magnet, the P12Q is a bargain. This particular combination just flat-out ROARS with my ES-345 and Bandmaster head ! What a gas ! Say goodbye to my V30's and JBL's ! Yeeeaaaahoooo !!!

Joe Pampel
Amp: BF Bassman head and tweed Super into 2x12 Bandmaster cabinet w/back open.
Guitar: SG, Strat, Tele
Effects: None
Genre: Blues, Rock
Comments: Classic American clean tone, good lows, clear highs, good balance. Overdrive is crunchy and dynamic, very detailed. The warmth and clarity make it a natural for clean country Tele tones and the bite and grit on overdrive are a natural for Rock and Blues.

John Templeton
Amp: Deluxe Reverb (Stock)
Guitar: Strat w/Duncan Vintage Pickups
Effects: None
Genre: Blues
Comments: This speaker is great! I was surprised at how versatile it is. You can get a real clean, crisp sound or a very mellow and smooth sound by rolling off the tone on the guitar. When I need to rock it, it's a real kick in the pants when I roll the volume on up. But, it never gets harsh or gritty. The speaker has quality written all over it. I really thought the info kit, the stickers, and automatic warranty registration showed a real concern for the customer's satisfaction.

10A125-O
Anders Reuss
Amp: Fender Champ - Silverface
Guitar: Fender Telecaster, Jazzmaster, Mustang. No-caster tele bridge
Effects: None
Genre: Rock
Comments: (3.2 Ohm model) Some years ago I purchased a cheap, very beaten up silverface fender champ as a definately non-collectors item, but a great players amp. To start with, I upgraded to a reissue 4 ohm Jensen P8R, which was definately a huge improvement compered to the stock 8" speaker. But I wanted more. As the amp held no value as a collectors item, I decided to upgrade for a 10" speaker. These really don’t come in a great selection in 4 ohm except from Weber VST, who even has a huge selection in the correct 3.2 ohm. Great. The difficult choice was which model to choose. However, the Weber home page offers a lot of info, so I settled for a 10A125O form the hybrid series. The speaker is like a Jensen P10Q with a 10A100 cone. In theory this should mean a more efficient speaker with the sound characteristics of a 10A100. When the speaker arrived, I was surprised how big it is. The magnet is HUGE, and my first thought was that I had wasted $130 (I live in Europe so shipping was expensive) this thing would never fit in my champ! Even though the front area of a champ is big enough for a 10" speaker, the tubes and the big electrolytic capacitor hanging down fron the chassis inside the amp, does not offer room for this type of 10" speaker. The Weber speaker was about 5 mm’s deeper than the champ cabinet too, so the magnet would stick out of the back of the amp too not ideal and not a cool look..! After some sweating and fooling around with the amp and speaker, it became clear that the speaker could actually fit in the cabinet, if I moved it to the left of the centre of the amp (from front), but this meant that I couldn’t just cut the existing 8" hole larger. The new position was too far off from the old one. The speaker baffle in a Fender silverface amp is glued in, and non-removeable, so installing an all new baffle was no easy task - if possible at all. The final solution came to me on a sleepless night: I needed to ‘blackface’ the cabinet. In a blackface Fender amp, the speaker baffle is screwed in and thus removeable. In a blackface amp the grillcloth is mounted on the speaker baffle itself as opposed to as silverface amp where it is velcro’ed on the front of the speaker baffle on a frame. What I needed to do was to cut out the old baffle, just leaving 20 mm’s on each side, to mount the new baffle on. This would also move the speaker about 12 mm’s forward in the amp, eliminating the problem of the magnet sticking out of the back. Perfect! The final job was done in a few days: Down to the wood shop to buy a piece of cut-to-measure 16 mm MDF board. Get home. Cut the old baffle out (one vertical cut in each side, then rip the baffle out. Remember to leave 20 mm’s in each side). Cut the 10" hole in the new baffle. The hole can be in only one place and it’s a tight fit - just only leaving enough room to mount the Fender-logo in the original position. Paint the new baffle black. Mount the speaker carefully. Move the grillcloth to the new baffle, and finally mount the whole thing in the amp, using the left-over 20 mm of the old baffle in each side as base for the new one. I used 5 30 mm screws in each side to hold the new baffle good and tight. All done. The amp looks exactly as before, just a little better better becase the new baffle is more precisely cut, and fits better than Fenders original velcro-on grillcloth frame! Now to the sound. First thing that I noticed is that the amp is a fair bit louder now. It is as loud as my silverface princeton. The tone is fuller, like the bandwith has been expanded in both the upper and lower register. The champ actually sounds like a big amp now with the unique tone and charactaristics of a single-ended amp intact. I have not yet brought the amp to break-up level, but it can only be great. I have played it with overdrive and distortion pedals and it handles it very well. I have spent much more money on speakers for this champ now, than what I payed for it. This could be regarded as really stupid, but I’d say it’s been all the money’s worth. This champ simply sounds like a great, great amp now. It’s hard to say if it still sounds like a champ and I really don’t care. I just love it. The Weber 10A125O speaker is definately among the ultimate upgrading speaker for a champ that you can buy.

10A125
Nick Greer
Amp: 68 Pro Reverb made into a head. Using a 4x10 Red Oak Vented back cab of my design.
Guitar: 60's Reissue Strat, 50th Anniversary Am. Std. Strat, Greer Model 13, '82 Tele
Effects: Nick Greer Exp. Designs www.nickgreerexpdesigns.8m.com and crybaby and Big Muff Pi (Original)
Genre: Blues, Jazz, Surf
Comments: Alright, I received these speakers (two 10F150s and two P10Qs) immediately placed them in my cabinet and wired them up. At first I was not expecting a whole lot of difference from other 4x10 cabs, but as I turned the volume up to THREE I began to feel the speakers work, they had loud clear booming low end and chimey highs with just enough mid-range to make me feel like I could go gig again. This rig is truly amazing now, I have the tone I have needed for years in my four ten cab. The break up on these things is also amazing. Being that I play both clean and distorted music I find these speakers to be best suited for everything I do. They work in all situations and sound great. There is enough low end and just the right amount of mids and highs and man oh man the texture of the speakers is amazing, they stay tight even when being slammed with my amplifier (and yes, this Pro is LOUD). I love these speakers and I'll never use another brand! Thanks guys for such a wonderful product!

Bob Clear
Amp: '63 Vibroverb RI w/Super Reverb PT, 5AR4 recto, B+ set at 440V, Bassman OT, reverb send changed to original configuration, adjustable bias.
Guitar: PRS McCarty, Strat w/DiMarzio Blue Velvets
Effects: None
Genre: Blues, Rock
Comments: First, I must say that nearly any speaker would be an improvement here, as the (seemingly accurate) reissue Oxfords suck just as bad as the originals. That said, these P10Qs are exactly what I wanted to hear. They are MUCH louder than stock (a trend I'm noticing with Weber products). Previously, the amp wasn't much louder than a Deluxe Reverb. Now it keeps up with a Super! I was initially considering 10A150s, because I thought these might be too bright. The tapped treble pot on this amp results in more gain as you increase the treble. So, I'm always playing with the treble on 10 (something I never do on any other amp). I was concerned that the result would be ice-picky. Surprise! The setup is bright, but in a good, warm, balanced way. This may be because I've got a lot more low end with the different OT, and some browning effect from the tube rectifier. Anyway, I like it! It's very 'dirty-Fender' when cranked, as opposed to, say, a Pro or Twin, and very steely and detailed when you lay back. I'm also noticing that I use that word a lot now - detailed. You can hear *everything* you play with Webers - whether you want to or not. Other speakers leave me feeling like there's a sheet of velvet (blue, of course) between my ears and the amp. If you're used to letting speaker breakup mush cover your playing errors, you won't like Webers. Even when they give it up, you can hear every note and every nuance. These are really the forgotton piece of the puzzle in making Fender reissues kick.

Tom Knezevich
Amp: '60 Concert
Guitar: Gretsch Duo Jet, Viking, Country Club
Effects: Echoplex or Ibanez EM-5 Echo
Genre: Jazz, Country, Surf
Comments: The P10Q's were a holy grail match for my brown tolex Concert. The Weber's gave the amps natural 'brown' tone to it's fullest. The bottom end is incredible, highs are smooth with a tint of break up and increasing volumes. If you have an early 60's Concert and want to retain the authentic tone of the amp with added dynamics, P10Q's are the ticket. I mostly play rockabilly, emphasizing a lot of finger picking and the P10Q's don't miss a pluck!

Tom Loizeaux
Amp: '62 Fender Super
Guitar: Strat Plus, '59 Gretsch 6121
Effects: None
Genre: Blues, Rock
Comments: This Brown Super had the original Jensen P10Qs in it. They sounded good, but I was concerned about damaging them. When I got the Weber P10Qs I installed one and listened up close to the tonal difference. The Weber had stronger bass and slightly brighter or clearer top end, and was a little louder as well. The Jensen sounded a little veiled by comparison. When I installed both Webers I could really feel the extra bass and clarity these Weber P10Q's gave me. When I turned the amp up, they began to sing and produced a full sustain! If you like the vintage Jensen sound, you'll find that the Weber P10Qs give you that with a little more!

Kenny Blue Ray
Amp: White King Street Bandmaster, 3x10
Guitar: All kinds with Van Zandts, P90s, PAF Humbuckers
Effects: None
Genre: Blues
Comments: These P10Qs wrote the book! In my white Tolex King St. Bandmaster, made by Ron Ott, this is the best tone I've had in 30 years.

Brad Emmons
Amp: '60 Fender Super
Guitar: Harp, Lee Oskar
Effects: Astatic Crystal mic w/Tape Delay
Genre: Blues
Comments: These are the best replacement speakers I've heard. Sound great for harp. A little brighter than the original Jensens. I need to spend some more time with this amp to comment further.

Andrew Mirisch
Amp: Princeton Reverb
Guitar: LP Jr.
Effects: None
Genre: Blues, Rock
Comments: The speaker did everything as promised. Deeper bass than I expected with warm mids and a sweet treble. I'm real pleased.

8A100
Mike Shaw
Amp: Vibro Champ
Guitar: 61 Gretsch Corvette w/P90, 79 Strat w/Fralins
Effects: None
Genre: Blues
Comments: Man, is this thing gorgeous! The sound is incredible, nice highs without harshness and has a real cool 'snap' when you hit a string hard. With the strat, think early Clapton solo work. Very sweet tones and definition like Robert Cray but with an edge to it. Nice raspy mids, a real ballsy sound. The speaker fit my VibroChamp just fine. I also have a Victoria tweed champ clone. It looks like it might be a tight fit in it, though. Overall, I think this is an outstanding little speaker.

AlNiCo Blue Dog
Larry R. Fail
Amp: Peavey Classic 50 212
Guitar: Fender Strat Texas,Fender tele, Yamaha AES1500w/bigsby tremolo, Telecaster has Custom Shop Noiseless
Effects: Line 6 DL-4,DM-4,MM-4 , Boss PN2 tremolo/pan
Genre: Blues, Country
Comments: Peavey Classic 50 212 95 model. Amp sounded good, but I wanted to get more from this unit. Had read lots of articles on how good it sounded with JJ tubes. Pulled up his web page (eurotubes.com) and found that his good sound not only came from JJ tubes, but he also used Weber Speakers in several of his personal amps. Pulled up Weber's web sight and here we go. Found this to be one of the most educational web sights I have ever visited. If you had a question they had an answer. Very friendly on the phone, and I did get the chance to talk to Ted on question I wasn't sure about. After lots of consideration I chose P12B speakers to use. I built a new cabinet using Rosewood and Fiddleback Maple. Used 7/8 solid Mahogany baffle board. Once completed all the effort was well worth the trouble. The amp from the first cord sounded completly different. This thing had depth that would take your breath. Bottom end is so smooth, with the chime and ring you only here from custom shop amps. Its not too trebly or bright. It will bend to your playing style very easy. After about 6 hours of playing time the speakers setteled in to a rich smooth,or creamy warm brown sound. I play Christian Contemp, Praise and Worship and Southern Gospel with a touch of Blues added in. Volumes are low to on up there. If you want this amp to growl load it up, the P12B's can handle it with ease. The attack is super sensitive. Had to alter playing style or this amp now would tell on you. Put a mike in the back of the amp and one in the front and it records unreal. If you got needs for new speakers, Weber will have what you need. Take time to research all the different types of speakers Weber sells and they will have one for you. I am sold.

Mark LaJoie
Amp:TopHat VibraTrem 20 1x12 combo w/polyester caps, teflon sheathed pure silver wire
Guitar: '85 Guild Nightbird, '93 Tom Anderson Classic
Effects: Fender Reverb Tank
Genre: Blues, Rock, Jazz, Surf
Comments: After a brief 'break-in' period, this speaker showed it's glory. Made me realize the RI Celestion Greenback was murky, blurred, and had *ice-pick* high end when pushed hard. All that disappeared with the Weber P12B! The P12B is *completely musical*, no matter HOW you dial it in! Even pushing the high's off the cliff sound musical. Everything is gorgeous for tones. A truely full-bodied AlNiCo magnet sound. Girth with Majesty. Soulful. Handles cracklin on-the-edge, to violin sustain, in the *best* of ways. Where the RI Greenback was stiff and hard-sounding, the Weber P12B has this *Very Cool* slight 'bounce' to it's character, which is eminently more danceable. Vintage chime. This Tophat has about 50% open back, so room placement impacts overall performance. The P12B delivers, no matter what. You got a EL84 powered amp? Don't leave home without one of these Weber P12B's!

Brian Thorne
Amp: DIY AC-30TB Clone
Guitar: LP
Effects: Occasionally Dallas Rangemaster, FF
Genre: Blues, Rock
Comments: These speakers were definetly worth the wait. At loud volumes they sound relatively tight on the low end, with a hard mid punch. Well balanced and great for english R&R. They come across as very clear and defined even when the amp is driven to the max. These speakers sustain forever.

Jay Filippone
Amp: Vox AC15 Reissue w/EI (Yugo) preamp tubes
Guitar: Gretsch Country Gentleman Classic II w/Filtertron RI AlNiCo's
Effects: Reverb
Genre: Rock
Comments: I am a purist and only considered upgrading the amp speaker with the Celestion G12 Blue Speaker. The P12B Blue Dog captures all of the sweet, bell-tone characteristics at one half the price (!). I am very impressed...BRAVO!!

Name: Rickey Ray
Amp: Vox AC-15 RI
Guitar: Fernades Tele, Fender Esquire w/SD Broadcaster, Ric 12-V64, Gibson ES-335 w/SD Seth Lovers, Harmony H-77
Effects: Assortment of Boss, Ibanez, EH, Vox Wah, Fender Vibratone, Dan Echo
Genre: Blues, Rock, Jazz, Country
Comments: This P12B made my VOX-AC15 RI come alive! Let's see now, enhanced low-end response, WAY enhanced high end response (chimey, bright, jangley, etc. pretty much sums it up). It really brings out the character of what a VOX should sound like IMO. Thanks for making such a well designed and affordable product.

Akbar Anwari
Amp: Homebrew 5F6-A, Princeton Reverb, 6G2 Princeton
Guitar: Guild Nightbird, Tele, Single Humbucker Strat
Effects: TS-5
Genre: Blues, Rock, Surf
Comments: This speaker replaced an AlNiCo Oxford in the 5F6-A homebrew 1x12. The speaker has a very solid bottom end to it, almost like having a closed back in a combo. The low end was focused, never flubby, even with some rather severe dives with Kahler. It doesn't seem to have any problem handling the full 45-50 watts of the 5F6-A. The speaker sounds nice and warm clean, but it loves output tube distortion, even if the speaker itself isn't distorting (with the Princetons). Just for a kick, I tried it in parallel with a JBL and it almost sounds 'stereo' adding alot of depth to the rather HIFI JBL. Someone with a Pro-Reverb should really try this combination!

Greg Gagliano
Amp: 50 watt Harry Joyce 1x12 Combo
Guitar: G&L Legacy w/Duncan Vintage series (factory stock)
Effects: none
Genre: Various
Comments: Does the 'British thing' to a tee! Very impressive. It pushes the mids a bit more than a 12A150 or the P12S Silver Bell. However, with an open back cabinet, the sound it produced was very diffused and not well defined. It loves closed backs, though. Very efficient.

AlNiCo Silver Bell
Pete Cage
Amp: AB763 Deluxe circuit w/deluxe-sized cabinet for 1x12" speaker
Guitar: Les Paul, Strat
Effects: None
Genre: Blues, Rock
Comments: I started with a Weber 12A150 in this cabinet (it's a favorite speaker) but I found that it had too much low end, and was especially boomy on the low E string. Then I tried a P12Q, which sounded great but the cone broke up a little too soon to get a good Fender-ish clean tone in this application. The P12S fit the bill perfectly. It seems to have more bottom than the Q, but retains all of the sweetness in the high end, and does a great job of hanging tough when the 6V6s start to really work hard. With the Strat it was really balanced across the audio spectrum, especially when playing clean and jangly. The LP pushed the amp into distortion more quickly, and the S took it all without getting flappy. Flat out, it just screamed, with no ghost notes or other cone weirdness. This thing really sounds great; I'd describe it as a 12A150 with less bottom end. Weber's got another gem!

Brad Shermock
Amp: Homebrew 15 watt, 2-EL84s
Guitar: Hamer Daytona Strat
Effects: Tube Screamer
Genre: Blues, Rock, Jazz
Comments: I wanted a British-inspired speaker for an amp that would be played cranked all the time. The P12S has a throatiness, complexity and detail to the sound that my EV Black Shadow couldn't get, with punchy lows and a sweet high end. I am also very pleased with the incredible volume level in an open-back cabinet. Way cool. I won't make an amp without VST speakers now, period.

Greg Gagliano
Amp: 50 watt Harry Joyce 1x12 combo
Guitar: G&L Legacy w/Duncan Vintage series (factory stock)
Effects: None
Genre: Various
Comments: Sounds a little tight, presumably because it is new, however the tone is there. With a closed back, the lows drop off sharply and the volume goes down. It didn't like a closed back cabinet, in my opinion. Overall, it was very efficient, smooth, and warm. I would consider the Silver Bell for an open back Fender without hesitation.

15A150
Karl Fleischmann
Amp: 1955 Fender Bandmaster (5C5 w/ 12ax7's)
Guitar: '66 Telecaster, '68 L-5CES. Tele has a vintage Gibson pup in neck, L5 is stock
Effects: Fender Tube Reverb
Genre: Blues
Comments: I purchased your P15N as a replacement for an original cone P15 Jensen- your speaker has actually improved the tone of my old Bandmaster! Very even, full sound and a very musical speaker that responds well to dynamics. Not a lick of upper-end harshness either. Thanks! This is FINALLY the tone I've been hunting.

Andy Ruhl
Amp: '63 BF Pro, NOS 6L6GWB's
Guitar: Strats, Teles, G&L ASATs
Effects: Reverb Unit
Genre: Blues, Rock
Comments: Sounded great right away. It was a colossal difference when compared to the other speakers I had in there (stock CTS, JBL D130F). After putting it in, it was like the difference between a solid state and a tube amp compared to the JBL. It compresses and distorts when the volume is cranked, and sounds nice clean. Not as clinical as the JBL, not nearly as much bass or efficiency. I like it better though. It made the amp go from mini Showman sound to 1x15 Vibroverb. WeberVST's stuff has survived my pounding 3 for 3 now. I highly recommend this speaker.

Charles Baty
Amp: '55 Fender Pro
Guitar: Gibson ES295, Strat
Effects: None
Genre: Blues, Jazz
Comments: The Pro was improved dramatically with the addition of this P15N. I recently used the amp to record with John Hammond and was ecstatic with the tone on tape. The tone was full without being too crunchy, deep without being muddy. The overall sound was reminiscent of the '50s Chess Studio sound. It is not an overly bright speaker, so I also used a Reverbrocket with a 12".

12F150
Jack Hudock
Amp: 65 Deluxe Reverb Reissue
Guitar: Gibson ES 446-S The stock pickups are Gibson '57 Classic Humbuckers
Effects: When I feel like playing around, I use the effects emulations in my Line 6 POD, v 2.0
Genre: Blues, Rock, Country
Comments: (30 watt model) First of all, please note that I've only changed the speaker in this amp. The tubes are the ones supplied by Fender. That said, the Weber C12N sounds great in my Deluxe Reverb Reissue. It noticeably tightened the lower end and took the piercing edge out of the high end. Made the little beast sound like the blackface amps I remember from the days of my youth. After changing the speaker, it took a few days of playing with the tone controls to get the sound I wanted. I had it sounding as close as I could to my memory of the classic "Fender clean" before I changed the speaker. Once the Weber was in, the amp sounded very different. Both before and after the conversion, I've run both of the guitar's pickup volume controls at 10. To get back to the sound I prefer, I wound up boosting the amp's bass knob to about "7" (I'd been running the bass with the stock Emminence speaker at about 4. Beyond that it was too "woofy"). I now run the amp's treble knob at about "3" (I had been running the treble at about 2, with the guitar's tone controls rolled all the way off.) So, with the Weber in I run the guitar's tone controls rolled on at least half way, and still the sound is clean and unbroken at practice volumes. I think these post-conversion EQ settings would change if I were playing at performance volumes, and I think I could use all the range of both the amp's and the guitar's tone controls with out undesired rough edges at the extremes. But until I'm back on someone's stage, we'll never know. With the new settings I've described, if I crank the amp the paneling in the bedroom rattles so much I can't really say it's a fair test of the speaker or the amp. This is a knock on the paneling, not the speaker, guys. I'd like to put in a good word for Mr. Weber's advice here as well. I had planned to buy an Alnico Weber, having read about them being favorably compared to the Celestion Blue in Guitar Player magazine. Ted Weber advised against Alnico, and recommended the C12N for the '65 Deluxe Reverb Reissue because of the amp's excessively "bright" voice. He was dead on correct, at least to my taste. This speaker is a good product at a fair price. I'm not done fiddling with the new speaker yet. In the next few weeks, I'll be experimenting to see what effect it has on the sound of the amp models in the POD. My guess is that any change can be dealt with by minor tweaks to the amp's tone controls. When the speaker "breaks in," which may be a while since I use my gear pretty gently, I may have to do some more tweaking. But hey, that's what hobbies are for. This was a fun modification because it worked well, with no harm to the amp either.

Skip Helms
Amp: 66 Deluxe
Guitar: Les Paul, Strat w/Rio Grandes, Tele, Les Paul Special
Effects: Reverb Tank
Genre: Blues, Rock
Comments: I really like this speaker in this application with the Gibson-style guitars, particularly with the P-90's on the Special. The breakup starts around 6 so I have some headroom when needed but can push it past that. I had tried a 12A150 but felt it had too much bottom for this amp. A P12R sounds good too but overall the ceramic magnet sounded best in this application.

Chuck Minahan
Amp: '73 Twin Reverb w/push-pull disabled, amp is partially BF'ed.
Guitar: 96 Am Std, 83 Japanese Squire Strat, 95 Epi LP Standard.
Effects: Boss BD-2, SD-1, ProCo Turbo RAT, EH Small Stone.
Genre: Blues, Rock
Comments: The amp is a 100 watt '73 Twin Reverb that was completely redone with caps, resistors, tubes, and new speakers about 6 months before I bought it. The push/pull circuit was removed from it but it retains the master volume circuit. The speakers were new (1996) but mismatched. They were both Eminence; one was a British style 80 watt 12BR30 and the other was a standard, vintage American vintage style speaker. The amp sounded quite good and is dead quiet, loud as hell and clean as it gets. I've had many comments on how good it sounded. I installed the WeverVST C12N's, hit one chord, and couldn't believe the difference. I am not a fan of a real harsh treble/bright sound, so I usually leave the treble rolled back quite a bit on my amps and the guitars. I always felt kind of cheated since the trebles I've heard from the stock Fender speakers on my silverface amps and with the Eminence speakers was always so harsh that I couldn't get satisfactory treble levels. Whole different ballgame with the Webers. I can now crank the treble on the amp and guitars up and I get full, fat, warm highs. One of the biggest things I noticed was also that the "boominess" of the bass was also gone. The speakers are incredibly responsive and produce an even volume level at all frequencies. I have 3 amps with 12" speakers in them and they all have a this "boominess". I also have a Super Reverb (4x10") that has a much tighter bass. The Weber C12N's is closer to the Super Reverb in the bass sound. Much, much tighter than the other 12" speakers I've heard and the tone is very smooth. I now realize that the old speakers were controlling my EQ selection. Now, I can set the EQ to many variations and the speakers seem to provide a natural compression, leveling out the volume so that no particular frequency is annoyingly dominant. This makes playing easier since I don't have to worry about pick attack depending on whether I am playing a high note or a low note. I used to have to pick harder on the highs to compensate for the rolled off treble and easier on lows to prevent the "boomy" bass notes. No more of that crap. The speakers are so responsive, my Strat seems like a different guitar altogther. It sustains forever with these speakers. It is like a note just won't die. The tone of chords has absolutely no muddiness or muddled aspect to it. It is almost like I can hear each string separately within the chord. Another note about the treble response on these speakers is that I have a Gibson 498T humbucker in the bridge of my Epi Les Paul Standard. The treble from this pickup will slice your head off it. It is a high output pickup (about 17 Kohms DC) that is touted for increased highs. I could hardly take the highs. With the C12N's, I can now use the treble on these pickups and let them scream. Again, warm, fat, thick treble. I think the fact that my experience with amps is somewhat limited is good in that I can give a perspective that is the reverse from a long time working musician. I'm hearing all the good stuff for the first time, perhaps something that many long time musicians might not notice as readily. Someone with more tube amp experience would probably do a review taking for granted some of the things I am noticing. So what did I get for $75.00 each? Beautifully made, vintage Jensen sounding speakers with such an even frequency response that playing my guitar has become easier just because I don't have to worry about pick attack to even the tone out. I also got extremely personal service from Mr. Weber himself, a better sustaining Strat, a screamin' Gibson humbucker that I can finally use to its full potential, and a silverface Twin Reverb that sounds like it was made in 1965. These speakers are a tremendous value, especially for a warm, even, clear blues or jazz sound. My thanks to Ted Weber and the WeberVST crew for a great product.

John Templeton
Amp: DR w/Vibroverb Reverb circuit, all NOS tubes
Guitar: Strat RI w/Duncan Vint. Strats, Tele w/custom neck, DV 54 in bridge, P90 in neck.
Effects: None
Genre: Blues, Rock
Comments: Very deep resonant bottom end. Top end smoother than P12Q AlNiCo. This speaker is very different from the other speakers I've tried. It took about a week to get used to the more refined sound that it produced. The magnet is very powerful. When I take the tube shileds off it's hard to keep them in hand! This helps the huge bass response stay in control. No flabbing or farting at all.

12A100
David Gertschen
Amp: 59 Deluxe
Guitar: 95 Strat w/SD APS-1
Effects: None
Genre: Blues
Comments: I've tried speakers from Kendrick, Naylor, and Mojotone in my amp prior to discovering WeberVST. I think it's safe to say that my search is over. The Weber P12R is by far the livliest speaker I've had in the amp. It really enhances the amp's singing quality and violin-like tones are now possible. Probably the best choice for any tweed.

Andy Ruhl
Amp: '64 Deluxe Reverb
Guitar: Strats
Effects: Tube Screamer, Reverb
Genre: Blues, Rock
Comments: If you like the sound of a cranked Deluxe Reverb, then this speaker is worth checking out for sure. It's very nice at lower levels, a little midrangy with solid bass. The high end is not as prominent as the stock Oxford, but not attenuated either. It always sounds like it's on the edge of breaking up. The speaker is alot more sensitive to picking changes than a higher wattage style speaker. There's an amount of detail that was not present with the other speakers I used in the amp (stock Oxford, JBL D120F). It compresses and distorts when you dig in hard. Fully cranked, it's George Thoroughgood all the way. I played it for about 2 hours on 10 and it's still alive, so it can handle the power. A great speaker if you like to ride the volume control between clean and dirt. Highly recommended.

wP8Q 4 Ohm
Greg Gagliano
Amp: Fender Vibro Champ
Guitar: Fender Stratocaster, Rickenbacker 360v64
Effects: None
Genre: Blues, Rock
Comments: The Fender Champs, Vibro Champs and Broncos from the 1960s and 1970s may have been sold as practice amps or student model amps, but they sure are fun and useful for recording. Unfortunately, those stock Oxford 8EV52 speakers with their 1/2-inch voice coils are the wink link of these amps. They sound pretty good, but the sure do take a powder easily and I'd hate to blow a speaker in the middle of a recording session. I tried an 8-inch Celestion speaker, but it made the Vibro Champ lose it's Fendery-ness. I also tried a vintage Jensen P8T, but it was just as wimpy as the stock Oxford. Having such positive experience with my WeberVST wP10Qs and wC12CAs, I immediately went to the WeberVST website to see what was available. I was really jazzed to see that there was an 4-ohm 8-inch speaker available with a "Q" rating (1 1/4-inch voice coil!). Since I would be using the amp for a lot of overdrive tone, I opted for the alnico magnet version as I prefer the way alnico compresses the high end. Plus, I knew there would be little chance that my 4-watt Vibro Champ would blow this speaker so I ordered one up. The speaker arrived (well-packed and in perfect condition) about a week after I received my order confirmation. After installation, the speaker required very little break-in time. The wP8Q is a very impressive speaker. The first thing I noticed is how clean the amp sounded. The sound is huge for such a small driver and you'd swear there was 10-inch speaker shoe-horned in my amp. There's loads of bottom end and mid-range on tap. The high end needs to be coaxed out using the treble control but I wouldn't say the speaker is lacking high end definition. The neat thing is that with some quick EQ'ing of the amp's controls, I can easily dial in the sound of the stock Oxford speaker (bright, scooped mids, not much low end). As with all the WeberVST speakers I have, the wP8Q is very efficient and my 4-watt Vibro Champ sounds quite a bit louder than with the old speaker. The wP8Q really increases the volume.

Gerry Hundt
Amp: SF Champ w/Sovtek 12AX7 or GT 12AT7, output is 6V6M
Guitar: Various
Effects: None
Genre: Blues, Jazz
Comments: I installed a 4 Ohm P8Q in this amp as a replacement for the original speaker. The sound of the combo improved about 200%. I can now pluck the low E string at any volume and hear the string instead of a wobbly cone. The overall tone I achieve with guitar (jazz, blues) is round and warm, but the speaker will bite if attacked properly. There is no shrillness, though, just warm compression. It breaks up smoothly, just how I like it. For the skilled harp player, this speaker is an incredible asset to have. The richness and volume of my Champ has literally caused other musicians to double-take. I've used it un-mic'd at jam sessions! The low end response is incredible - full, but no mud. Especially with the tube sub (12AX and 12AT) above, the combo is rich and breaks up just when you want it to. I've used the amp at gigs for guitar as well and I am very, very happy with my purchase from WeberVST.

Gerry Hundt
Amp: SF Champ
Guitar: '90 Epiphone Sheraton, Hohner harmonica w/assorted mics.
Guitar Pickups: Stock on Epi
Microphones: 50's Shure Slim-X, Vintage EV 638, JT-30, Shure 520D
Effects: None
Genre: Blues, Jazz
Comments: A $70 speaker in a $100 amp???? You bet. This speaker provides solid bass, warm mids, and clear treble. The combo sounds smooth, smooth, smooth, with just the right amount of breakup. Great!

C10TX Texas 10
Chuck Minahan
Amp: Pro Jr.
Guitar: Am. Std. Strat, Japanese Sqrier w/Tex Spec, Epi LP Std.
Effects: BOSS BD-2, SD-2, Turbo RAT, E-H Small Stone
Genre: Blues, Rock
Comments: I literally stuffed the Texas 10 into my Fender Pro Jr. The amp chassis was flat against the gigantic magnet of the speaker. I think the Texas 10 weighed more than the entire amp including the original Emminence 30 watt ceramic speaker. I just wanted to check out the speaker, it really isn't meant for a low wattage amp like the Pro Jr and is certainly too big to comfortably fit in the cabinet with the chassis. I have two P12R's that Ted Weber rebuilt for me, so I already knew that the 'R' tone was to my liking. The P12R's are for use with my silverface Deluxe Reverb and a Deluxe Reverb II and sound absolutely killer.
The first thing I noticed was how goddam loud the amp became. Seemed like it went from a 15 watt amp to a 40 watt amp. The tone was without question 10A100, tweed sound. Very thick deep sounding. The speaker was so strong, the tube holders were vibrating like crazy along with everything else in my living room. I would have loved to have had a separate cabinet to try it in so I wouldn't have had to deal with the annoying buzz of the tube holders. The combination of the thicker sounding EL84 amp with more mids (as compared to a sweeter, less mid sound of a 6V6 DR), a Strat with Texas Specials, and that 'R' thick tone made it a bit too dark. It was much improved when I used my Am. Std. with the brighter pickups. It sounded like the Am. Std. had humbuckers, that sounded like Strat pickups, being played through a cranked Marshall. Woman tone without even trying. The sound was pretty amazing. The distortion of the amp came through very smooth and clear. It made me realize how raggedy the little Emminence speaker really gets with the Pro Jr. cranked. The speaker took the Pro Jr. out of the practice amp category. Even with the volume low, the amp screamed. I might prefer the Chicago Series for a Pro Jr type amp, but I believe the Texas Series would be great for blues in a Deluxe Reverb/Super Reverb type of amp. I really think the Texas 10 will be great for a master volume amp like the 100 watt JMP Marshall I have. I believe it will take that preamp distortion and beef it up so it is nice and thick. My plan is to try the Texas 10 with the Marshall when I get the amp in playing shape. I bet a nice 2x10 or 2x12 Texas 10 or 12 with a MV Marshall head would be a killer combination. I think a pair of Texas 12's in a Twin Reverb would give you a real nasty, monster sounding amp. A loud, tweed tone with some nice breakup. One other very noticeable thing. Just like when I put a pair of WeberVST C12N's in my Twin Reverb, the sustain increased dramatically. The Texas 10 sings forever. Notes just don't seem to die. It is like an immediate improvement to the guitar. I don't know how he does it, but none of the stock Fender speakers or Emminence speakers I've replaced with WeberVST's come close to holding a note so long. I swapped the Emminence speaker back into the Pro Jr and it sounded much brighter and almost wimpy. I thought this amp had all kinds of balls in it's original state, but it can offer much more with a great speaker.

Ceramic California 10
Brian Clark
Amp: Fender 1965 Bandmaster
Guitar: Fender reissue Jaguar
Effects Fender 1962 Outboard Reverb Unit
Genre: Surf
Aluminum dome. These speakers sound great for surf in a closed back cabinet. I was concerned
that 10" speakers wouldn't have nearly the "beef" of my usual JBL D-130F (15" speaker), but a pair of Ted's C10CAs with aluminum domes really sounds great for surf. I play authentic instrumental surf, with giant flatwound strings and high volume (usually Showmans), so when a speaker is not up to the task, it is very obvious. These speakers sound great, even with a Fender Bass VI going through them - now that is low end! There is good high end (not harsh), and no nasal midrange some speakers have when hooked up to a Fender amp. To my ears, these little gems sound like JBLs but a little more mellow (without ice-pick highs). I could not be more pleased. Once again, Ted has made a great product at a reasonable consumer cost. It doesn't get any better than Weber VST for my speaker needs. Thanks Ted.

Chris Gallagher
Amp: AA763 Super Reverb w/NOS Philips 6L6's and NOS RCA 7025's
Guitar: 81 50's Tele, new ASAT w/Texas Specials, 66 Fender Electric XII, all have treble passes
Effects: wah
Genre: Blues
Comments: It is good to be able to hear myself. I find the touch sensitive nature of these C10CAs familiar. They project the tight bottom and tough mids I like. The highs have the oily solid nature I require to get above the 12th fret. Dumping volume with the Guitars (treb pass equiped) brings on all the chimey shimmer in the world. The thunderous chops of Bluegrass attack are entirely present.

Ron (Uncle Spot) Veil
Amp: '65 Vox Berkley Super Reverb Twin TUBE Amp.
Guitar: '80 Gibson ES347, '74 4-bolt Strat, 50's RI Tele, all w/VZ true vintage. Also '66 Vox Super Lynx Deluxe with Chandler mini humbuckers.
Effects: Tube Screamer, MXR DynaComp
Genre: Blues, Rock, Surf
Comments: The only speakers to compare these with are the stock Vox 10's or Celestion 10's I've heard in this amp. I love the crisp (not harsh) highs, nice bottom end, and the fuller mid range response, especially for the humbuckers. These are GREAT for British invasion with a cleaner tone, and they really bring out the best in the superb reverb in this amp. If Vox had continued making these little-tube-sweeties INSTEAD of their S.S. garbage they'd probably STILL be manufactured. I'd far rather have one of these than an AC30, ESPECIALLY with these speakers! I'd love to hear a Fender Super-Reverb with these in it!

Ceramic California 12
Greg Gagliano
Amp: Fender Bandmaster AB763 with Bassman output transformer
Guitar: Fender Strat, Fender Jaguar
Effects: Fender Reverb Unit
Genre: Jazz, Surf
Comments: (Paper Dome) My Bandmaster sounded nice and Fendery, but the lacked bottom end, punch and overall clarity that I needed for surf guitar. In addition, this Bandmaster had the larger, ported cab used from late '66 onward. These tend to have a looser, less focused bass response than the earlier (smaller, sealed) speaker cabs. The stock Utah speakers aren't bad, but I knew that JBL D-120Fs or Altec 417s would be better. The problem is that the JBLs and Altecs are expensive to buy and expensive to recone. I also didn't think that I absolutely "had to have" alnico magnets. I needed a speaker that was high quality, had very even response from top to bottom (i.e., neutral), could handle 40-watts without a problem, and that wouldn't break the bank. I scanned the WeberVST speaker pages and was delighted to see that the description for the California series speakers included "big, solid bottom and clear highs. Best for Surf, Jazz..." Having wP10Q's in my 3x10 Bandmaster, I knew that the WeberVST speaker descriptions were accurate. The great thing was that the California series had some cool options available - ceramic or alnico magnets and paper or aluminum dome. I opted for the ceramic models with paper domes since I didn't need the "compression" of the alnico magnet or the extra high end of the aluminum dome. The speakers arrived about a week after my order was confirmed and were well-packed. After installation, the speakers took about an hour of playing time to break in, but most of the break-in occurred after the first 20 minutes. In fact, at about the 20 minute mark I had to re-EQ the amp and lower the volume as the change was that dramatic! These speakers work very well and exactly as advertised. Clean, even response, well-focused bottom end, but neutral. They are also very efficient and put out more dB's at at any given volume control setting than the stock Utahs or many other ceramic speakers I've used including Jensen C12Ns. The wCA12CAs really push some air providing punch and mondo low end without any flabbiness while letting the Bandmaster's Fendery tone shine through. Highly recommended!

Drew
Amp: Peavey 30 with EI 12ax7, Tesla 12zx7, 4 Tesla EL84s.
Guitar: Am Std Tele maple neck/ash, Am std maple neck strat, heavey/light strings. Pickups: Tele - SD Vint stack B&N, mid SD hot top coil only with blend control.
Effects: BOSS DC-2, DD-3, CS-3, GE-7, NS-2
Genre: Blues, Country
Comments: C12CA, 16 ohm, paper dust cap. Purpose - county playing. Before I replaced the speaker I bought all new tubes from LORD_VALVE@prodigy.net. All were replaced with JJ/TESLAS except V1 which a EI12ax7 was used. This made the amp more powerful, cleaner, punchier, and more harmonic "swirl" with V1. Now it was time for more improvements. The improvements below were in addition to the improvements of the tubes. Opening the box when it arrived (and on time) the speaker looked and smelled terrific like it was made a few days ago (it was!). After it was installed I put on the label so it was straight. I chose the CA12CA with paper dust cap for COUNTY use. The CA12CA, after about 6 hour break-in performed exactly as I wanted and WeberVST stated. During the break-in period the highs became smoother. The Peavey 30 was louder, fuller and fatter with better fuller bottom end and cleaner articulate mids and highs. This is a clean punchy machine. Just overall better sounding. The overall frequency response of the amp totally changed - all of a sudden the entire range (and clean) was there. The amps tone controls seemed to have more of an effect and when using different cables to the guitar one could here the difference the cables themselves made. The amp now sounded as I wanted for county. I am satisified. One should realize that WEBER'S description of the the tonal quailty of the speaker should be carefully reviewed as it performs as stated. If you want clean and the rest as stated in the C12CA description, it will happen. That is my amp sounded cleaner etc etc (see CA12CA). The cleaner highs great for county required me to turn town the treble for clean blues on the Strat when using a cable that let the highs through. The overdrive channel was used to add a little bit of distortion at low volumes when needed as this speaker's mids/highs are clean. Any distortion will be from the amp, not the speaker. (You can use a Phillips NOS 12ax7 for V2 to add warmth). The old non-blue-marvel speaker had added distortion which was nice at times but it did not have the overall great tone this Weber has. For blues, other than clean blues, I'd suggest other Webers made for that purpose. The C12CA is for clean output. The Peavey 30 dimed does not have the power to make it break up. Before the speaker upgrade, the old trick of putting in an unconnected plug in the ext speaker jack to use the 8 ohm tap for the internal speaker made the amp sound fuller. Now it sounded this way without the trick. Popping in the plug basically had no effect now. Also added to the Peavey were split clear tubing on the chassis edges, nut inserts tightened, and the power light silcone rubbered to reduce rattles as the tubes/speaker now produced more lows. Anyone replacing a Peavey speaker should be warned that the safest way to install and remove the speaker is to take out the tubes, then chassis (watch out it has sharp edges) and reverb pan. The top of the speaker is overlapped by the chassis and the four speaker screws are sharp as daggers sure to rip through a cone. Some folks will tell you they can do it just with removing the tubes. Maybe they can, but I think most will end up tearing the cone, so take my advice. Room is tight and it is hard to see. Use care in replacing the speaker! As I said previousily the C12CA is great for county. With the tubes I had described (EI 12ax7 for V1 and Teslas for the rest, and using the gain channel, you can still get creamy singing EL84 blues sounds using the C12CA. You are just not going to get distortion created by the speaker breaking up. You'll get either preamp, or power tube (better) overdrive. So I can still use the amp for country clean, county overdrive, and creamy blues too using a Am Std Strat with Heavey top/light botom strings. At first I did not realize the wide range of tonal possibilities I now had with this speaker. Now the controls on the amp and guitar can be more fine tuned. Before with the original speaker it sort of put out about the same tone all the time regardless of the controls. Most people also don't realize that that clean county they hear really has some distortion to it. The Peavey 30 will get the distortion for you. I am so happy with this speaker. It is so rare these days that products are better than expected. It made this low cost amp sound SO much better. (By the way, A PEAVEY 30 sounds great recorded with a SM-57 mike).

Jon S.
Amp: Tone King Continental Combo w/JAN Philips/Sylvania N.O.S. output tubes; factory-added line out and extension speaker jacks.
Guitar: Buddy Guy Strat, PRS Custom, Godin LGX-SA, Yamaha AEX-520.
Effects: Boss CH-1 Chorus; Boss TW-1 T-Wah; TubeWorks Realtube 901 Overdrive Pedal (w/12AU7)
Genre: Blues, Rock
Comments: The Tone King Continental is a wonderful sounding amp. In my view, however, the stock Eminence 12" speaker did not compliment the amp's 4X6V6 configuration. 6V6s are inherently weak on bass output, and my perception of the Eminence was that it was weak on the bass, too. I sought a high quality, efficient, clean speaker with excellent bass response as a replacement. My choices were limited, as the the Eminence I was replacing was a 16 ohm speaker, i.e., EV or JBL wasn't a reasonable option. I learned of the C12CA and decided to give it a spin in the amp. I ordered it with the paper dustcap out of concern that the stock aluminum version might be too shrill in my application (mostly blues). The C12CA arrived and my tech installed it. At first I was frankly a bit disappointed. It was fine, but not earthshaking. Then I broke it in over 6-8 hours of jammin' and wow! That baby blossomed. The highs sweetened, the mids got punchier, and the bass response became awesome. e.g., I used to leave the tone control for the lead channel (the Continental's lead channel has two tone controls, "tone," and "mid-bite") all the way at the bass end. Now I set it most of the time around its midpoint. That's how much more efficient the C12CA's bass response is as compared to the Eminence's. In general, the Continental is now louder, and projects better and further. A prior person's comment to the effect that "now the amp goes to 11" is how I'd put it. I really dig the C12CA in this amp! It gives me the clean, singing, Eric-Johnson-like violin sustain I dig so much. The speaker seems to reproduce the natural tube distortion of the amp perfectly. I get plenty of growl naturally from my 6V6s, particularly given the relatively small dual output transformers in the Continental. Folks with 6L6s and/or bassman-sized transformers who are looking for your growl to come from the speakers themselves (especially if you aren't in a position to dime the amp for output tube distortion) might want to consider a ribbed-cone.

Michael Dukes
Amp: Rivera M-60
Guitar: Tele, Strat
Effects: Script-logo DynaComp, Dan-Echo delay
Genre: Blues, Rock, Country
Comments: I bought this amp used and the stock Celestion M-70 was tired and ragged sounding, with a harsh top end. The Weber California (with paper dustcap rather than aluminum) went in last night, and if I had been blindfolded you wouldn't have been able to convince me that I was playing through the same amp. The Rivera's Fender style preamp channel actually sounds like a great old Fender amp now. Unbelievable improvements in detail, complexity and touch sensitivity. Nice tight bottom, great upper mids. This is the sound I've been dreaming of.

Mark Norwine
Amp: Deluxe Reberb, Blues Deluxe, several custom amps
Guitar: ES355, Telecaster
Effects: None
Genre: Blues, Jazz
Comments: I was looking for a high powered speaker for several of my amps to replace the EVM12L speakers presently installed. The EV speakers were too heavy, and I wanted to try Ted's offerings. The "California" [C12CA] seemed to be the closest to the EV, so I bought one....and almost immediatly didn't care for it. The metal dust cap seemed to give a shrillness that I found a bit harsh. I really liked the speaker's brightness, fullness, tight bottom & effeciency, but the metal dust cover was very "JBL-ish"...a tone I don't care for. I consulted with Ted who indicated that the California could, as a special order, be made with a paper dust cap, so I ordered one in this configuration....**WOW**...this may be the greatest speaker I've ever played with! It's rich, true, efficient [read: LOUD], never flabby, tone for days! I'm reluctant to post this opinion, as this speaker is outside of Weber's standard product offering. Nonetheless, I am so completely overjoyed with this "modified California" that I can't really keep it a secret! If you like the clean, powerful sound of an EV speaker, yet dislike the "shrill" tone of a JBL, give Ted a call & ask for this speaker.... it's a winner.

Ron (Uncle Spot) Veil
Amp: '68 Bandmaster Reverb, BF'd, NOS tubes, smaller B'Master speaker cab.
Guitar: '80 Gibson ES347, '74 4-bolt Strat, 50's RI Tele, all w/VZ true vintage. Also '66 Vox Super Lynx Deluxe with Chandler mini humbuckers.
Effects: Tube Screamer, MXR DynaComp
Genre: Blues, Rock, Surf
Comments: I've heard these speakers in open cabs and they seem to have a wider tonal range...but, they REALLY made this BMR head come alive. I love the crisp (not harsh) highs, nice bottom end, and the fuller mid range response, especially for the humbuckers. It's too bad these speakers weren't around in the '60s for Leo's 'stock' speakers!

Michael Nelson
Amp: '74 Fender Twin Reverb, BF'd, recapped, MV removed.
Guitar: '52 Tele reissue w/SD Nashville Studios in bridge and neck
Effects: None
Genre: Country
Comments: I agree with the other posters here. These speakers are great. I replaced some old Eminence speakers with these. The C12CAs are louder, more bottom, and have clearer highs without that icepick sizzle. They are very clear and rich sounding from low volumes to "STUN". If you're looking for clean machines, these are the hot ticket. Plus, they look neat with the aluminum dust covers peaking through the grillecloth and the white baskets with the big California Bears on the magnets. I'm delighted!

Mark Koppen
Amp: Rivera R30-112
Guitar: Strat w/Texas Specials, Gibson H. Roberts Fusion, Hamer Studio Archtop
Effects: Matchless Hot Box
Genre: Blues, Rock Surf
Comments: Great speaker -- did exactly what I wanted to do, tighten and clean up the bass (replaced an original Celestion 55 watt in the Rivera) which was a bit muddy and buzzy. It also smoothed out the treble, and added almost a full number ("11") of volume. I usually play Ch. 2 on this amp (the "Fender" channel), and I found myself able to turn the gain up a bit without any fizziness and also turn the bass up a bit without distortion. It gave my surf/rockabilly playing a nice stringy/twangy bass sound on all the guitars. Highly recommended for surf, rockabilly and country!

Ron Stokes
Amp: Fender Blues Deluxe
Guitar: Strats (including a '62), Les Paul Double Cutaway Studio
Effects: MXR Compressor, Vox Wah Wah, DigiTech XP200 Modulator
Genre: Blues, Rock, Jazz, Country
Comments: Kept me from burning the amp! Seriously, the C12CA cleaned up the clean channel, made the amp louder overall, increased the dynamics, and tightened up the bass response. Low guitar volume yields a 'string' tone with no loss in highs, mids, or lows as the stock Eminence did while full volume produces a -slightly- compressed bluesy/jazzy tone that sings. No muddiness, the Californian 12' provides lots of punch at extreme pick attack and plenty of presence when approached gently. My initial impression was that it was a cross between a JBL and an Altec Lansing, having the best qualities of both. VERY high quality.

Ceramic California 15
James S
Amp: Vibroclone, Bandmaster Reverb converted to a Vibroverb combo specs
Guitar: 69 Tele, Les Paul Classic, Howard Roberts Fusion
Effects: Distortion pedal
Genre: Rock, Jazz, Country
Comments: Paper Dome. This is the only speaker I have used that complements all my guitars. I bought it to put in my Vibroclone and it sounds fat and has great dynamics, the paper dust dome keeps it from having that sterile JBL sound. Its tough to break down, good clean sound. Since I use effects and pedals I did not want the speaker to break down to early. I also hooked it up to my Mesa Boogie MKIII, Matchless Clubman, Vibrolux Reverb, and Blackface Princeton Reverb. None of these amps have sounded this good with their own speakers. I used the Princeton Reverb with this speaker live and it kicked butt. The fidelity is great.

Ceramic Silver Bell
Laurence Impastato
Amp: SFDR, Black Faced
Guitar: G&L Legacy and ASAT, LP STD and JR, Heritage 535, ES5 clone with P90s
Effects: Minimal, usually a booster.
Genre: Blues, Rock, Jazz
Comments: I picked this up at TA's garage sale, what a deal! I've just realized I've had 11 Weber speakers and currently own nine (sold the others with amps). I've tried a number of different speakers in this SFDR; the stock speaker, a Weber C12Q (a mistake, but my own fault), an Eminence alnico, a Weber Chicago and now the C12S. The C12S is so far the best sounding, most balanced speaker, I've had in this amp. The big low end helps tame the DR's tendency to be a bright amp, and the high end is much sweeter and usable now. It definitely gives the amp a British flavor, although it's still plainly a DR in tone and response. The amp is much more 'controlable' at higher volumes with this speaker, and it's not 'farting out' the least little bit - very cool. This speaker is lightly doped (my preference), but is still very lively and complex. Low volume tones are woody and clear, with the top beginning to break a bit at 5 on the normal channel and around 7 on the verb/vib channel. This speaker is staying in the amp, period.

Pete Cage
Amp: 2xEL84, Class A, Cathode bias, Tweed Tremolux
Guitar: Tyler Strat, ASAT, Les Paul
Effects: None
Genre: Blues, Rock
Comments: The C12S was one of our test speakers in the EL84 amp. I found that it had less high end than I was looking for, almost like a Jensen-style speaker. It sounds a lot like a cross between a Jensen and a Celestion. It really was nice in the 6V6 Tremolux, though, adding a just enough of the British thing to make the amp interesting, without going too far like a V30 (which sounded like an ice pick in this amp - screamy highs and no bottom). Quite a nice compromise - a good "in-between" speaker when P12B is too crispy and 12A150 too dark.

wC12B Blue Dog
Mario
Amp: Mesa Boogie Triaxxis w/ Mesa DynaWatt amp
Guitar: PRS(s)
Effects: Rocktron Intellifex
Genre: Blues, Rock, Classical, Metal
Comments: I absolutely love these speakers. I've been searching high and low for a "unique" sound that i liked. I've gone through Celestions, Eminences, Jensens, and Reverends. The Reverends were the closest to the tone i was looking for but a litte too treblely and "american" for my tastes. The Blue Dogs are full, rich, chimey, and very "woody" sounding. The high end is very chimey but no brittleness or harshness what-so-ever! I love the dynamic response from these speakers! My rythm style is sort of like Dave Matthews on electric guitar (lots of odd picking, rythmic tempos, etc). I use a nice thick distortion and these speakers deliver everything with clarity and chime and a nice thick, smooth bottom end. I have to mute alot of my chords because of the distortion (weird overtones) and the main concern was finding speakers that allowed the notes to ring through. These do the trick.

Eric Bresnick
Amp: Various Marshalls, Tophat, Fender, etc.
Guitar: Various Strats w/Rio Grandes, VV's, and stock.
Effects: Analog Delay, FD2, Burn Unit,etc.
Genre: Rock
Comments:I now own 2 Weber C12B's, a Tophat/Weber C12B, and 2 30watt Celestions reconed w/ Weber C12B cones. I love these speakers. They feature a beautifully tight bottom end and great articulate mids and highs but never shrill/harsh sounding. If your amp chimes, these speaker will emphasize that. They're rated at 30 watts, but seem to be rugged thus far. Anyway, they really allow Marshalls and Vox-type amps to sound amazing, and also sound great w/ Fenders although in a British way! I recommend them highly.

Name: Paul P.
Amp: Fender Pro Jr.
Guitar: Les Paul copy w/Duncan Seth Lover in bridge
Efects: None
Genre: Blues, Rock, Jazz, Country, Surf, Punk
Comments: Looking for a 12" speaker for your Pro Jr.? The C12B is "the" speaker! I've tried many 12" speakers (including a Celestion Vintage 30) to get more of a rock sound than the stock 10" Alnico Blue, and the WeberVST C12B is the best match. It heads the Pro Jr into VOX AC30 territory. I also tried this speaker with a custom made 18 watt amp with 6V6's. The speaker produces very clear, articulate, and chimey highs... yet is never harsh. The sound projects evenly throughout the room. Try the C12S if your amp is a little weak in the low end.

Bill Davis
Amp: Allessandro Redbone, Callaham EL34
Guitar: PRS Custom
Effects: None
Genre: Blues, Rock
Comments: Exactly the sound I wanted for these amps, the classic British overdriven sound. When playing high gain single note lines, the notes sing and come through clearly. Clean tones are chimey and sound like you want them to sound. I like these speakers.

Mark T. Van Ditta
Amp: VHT Pitbull Fourty-Five 2-12 Combo
Guitar: PRS Standard, Ibanez Custom S540FM
Effects: None
Genre: Blues, Rock, Jazz
Comments: I ordered the C12Bs to replace the stock speakers that came with the Forty-Five because of my positive experience with WeberVST's 10F125. I wanted to reduce its weight, and tighten-up its bottom-end. The C12Bs satisfied both of these requirements. The amp is now ~10 lbs lighter than it was with the stock speakers, and the improvement in tone is incredible. The Forty-Five has always been great amp with lots of tone, but the C12Bs turned it into a TONE MONSTER. Its tone is so thick that it could send a cranked JTM 45 home with its tail between its legs when driven from the Forty-Five's drive channel. My overdriven tone is now as thick as a Wendy's Frosty (sorry Dr. Z.) When driven by the Forty-Five's clean channel, single notes are big and fat with lots of sustain, and chords have lots of chime and ring. In closing, the C12B is a yet another great speaker from the industry's new master speaker builder. It sets a new standard for British-style tone.

Mike Jones
Amp: Vox Royal Guardsman
Guitar: '62 Gibson Les Paul "Melody Maker", double cutaway w/Dimarzio single
Effects: Peavey Backstage chorus amp as a preamp
Genre: Blues
Comments: Punchy, fat, and clear. Oh yeah, did I mention punchy?

Pete Cage
Amp: 2xEL84, Class A, Cathode biased
Guitar: Tyler Strat, ASAT, Les Paul
Effects: None
Genre: Blues, Rock
Comments: We tested the C12B against 6 other ceramic-magnet speakers in this amp (with an open-backed 1 x 12 cabinet), and it won hands down. It's got lots of punch, crisp highs, and a tight, focused bottom end that was very consistent both close up and at a 20-foot distance. It really hangs on to the notes, almost seeming to add sustain to the guitar. Compared to the others it sounds more "sophisticated," very British and keeps its composure when really blasting. It had better bottom than a Vintage 30, and the midrange was much smoother, with no ghost notes from the cone during single-note runs. The cone never flaps or gets gritty. It's really sweet with the EL84s at full chat.

Ceramic Chicago 12
Tim Mashburn
Amp: 71 Bassman head. Circuit board replaced with Hoffman 5F6A, Tung Sols.
Guitar: Strat, Tele. w/Stew Mac Golden Age in Strat
Effects: None
Genre: Blues, Surf
Comments: It took three weeks for the speaker to break in, but now I don't think I could imagine anything warmer or fuller. It's so fat, and cleaning up the bass knob delivers the woodiest clean tone for riffing on the low strings. GREAT traditional blues speaker!

Bob Colmerauer
Amp: Peavey Classic 30, early SF DR
Guitar: Epiphone Emperor, custom solid body w/2HB and coil tap, Duncan JB, Dimarrzio PAF Pro
Effects: None
Genre: Blues, Jazz
Comments: Great Speaker. After I had ordered the speaker I reread some of the comments and worried that it would be too muddy. Both my guitars are on the dark side. What a great surprise, all the excellent comments I've read about Webers were true and then some. Really fattened up the bottom on the classic 30, cuts through the mix like a knife and what a sweet high end. Kick in the overdrive and more sweetness, it just sings. You have to understand I replaced the speaker to correct some obvious faults in the Classic 30 and what a job it did. I still plan to do some mods but this is great. I play in church, so the demands on my sound are critical, we go from very quiet (well for guitar players anyway) to rocking with the distortion blazing. We believe that Jesus deserves our praise with everything we've got! Well, this speaker really tightened up my sound. It does delicate, it does punchy, it grinds, it screams what more can I say, I Thank God for this speaker God is moving powerfully in Christian music today- any other Christian musicians who use Webers? rcolmer@fcs-net.com

Pete Cage
Amp: 6L6 homebrew, switchable pentode/triode mode
Guitar: Tyler Strat, ASAT, Les Paul
Effects: None
Genre: Blues, Rock
Comments: Mr. Weber described the Chicago 12 to be based upon the 12A150/C12N family. I think he hit the nail right on the head. It sounds like a big, powerful 12A150. At first, it seemed almost too dark, but it loosened up over the first few hours of playing and gained some of that characteristic smooth high end. Bottom is big and fat, but never gets flappy or farty. The big magnet really seems to control the cone well, and it retains lots of punch, even when hitting it really hard. The smooth high end takes some of the harshness out of 6L6s when working hard; the amp and speakers work well together. Read all of the C12N comments and 12A150 comments, then think "high power." Cool.

15F150 (4 Ohm)
Joseph Dabbs
Amp: Modified single 6L6 class A (electar 10) with a lot of mods based on early Fenders.
Guitar: Strat
Effects: None
Genre: Blues, Rock, Country
Comments: (4 ohm model) Well time to post my comments. Bought an Electar 10. Hated it. But for the price well worth the electrics, simple 6L6 setup, easy to modify. Couple of resistors and caps, review other feedback on harmony central and fender amp feild guide for champ and similar circuits. Needed a good speaker, what to do? Bought this speaker off the bargain center list, someone else ordered and backed out, (boy did they miss out). OK, now what? contact fellow player, professional carpenter and cabinet maker, said "Jim build me a cabinet". (modeled after a tweed Pro) builds his own guitars from scratch, plays like Roy, nuff said. Ok the meat and potatoes. Craftsmanship and design quality or this speaker-excellent, sound unbeliveable. Smooth and tight, top to bottom, clean or dirty, satisfaction guaranteed. Ha, from a 15" speaker you say? You bet! Jim says he'd take it if I didn't, not likely. What about volume you ask? My ears rang till Tuesday from last Saturday's get together, still had numbers left on the dials. Ted, thank you. I'm sure we'll be doing more business in the future, Joe

Michael Taylor
Amp: Fender HR Deville w/NOS Philips 7581's
Guitar: 80's Fender Strat MIJ w/Rio Grande Halfbreeds
Effects: Fulltone Fulldrive 2
Genre: Blues, Rock
Comments: These speakers really improved the amp 100%! They have a very full sound & combined with the NOS power tubes, give it a bright punchy sound reminiscant of an old Super Reverb. These speakers do not get harsh with the treble or boomy at high volumes like the stock ones do. Many people criticize the overdrive on the Hot Rod amps but the stock speakers are largely to blame. Overdrive is very useable now, either cranked in the clean channel, Drive channel with the Master cranked and use Drive control to adjust volume, or clean with O/D pedal. The treble is very useable now also. Before I couldn't get the treble past 4 or 5 without harshness but now I usually leave it at 8 to 10! The clean sound is also greatly improved as these speakers are very efficient & allow you to get quite a loud & sweet clean sound before breakup. They are a tight fit in the Deville though. Get the ones with the cutouts to clear the transformers & you will need to modify these a little more to make them fit. I believe another option is that Ted will send you a frame that you can mark where the cutouts need to be & will make the speakers accordingly. Overall these are awsome speakers that are well made & really catch the vintage Fender vibe.

John Borneimer
Amp: SF Princeton
Guitar: Am Std Strat and Tele (Tele has Blue Lace Sensor at neck), Ric 360/12
Effects: TS-9, AD-9, Dynacomp
TGenre: Blues, Rock
Comments: I just replaced an anemic-sounding Pyle speaker with the 10F125 in my SF Princeton. Let me say, simply, that the new speaker has unleashed the tone I'd always hoped was in the Princeton. I had always liked the Princeton Reverbs, I thought because of the extra gain stage, but I get a louder clean with the non-reverb model. The speaker has given back the punch which was missing, and there is a dynamic edge to the tone at 7 or so on the volume knob which could not be characterized as distortion, but makes the amp seem more alive (dare I say SRV'ish, even in such a small amp?). I just love the new speaker!

Mark T. Van Ditta
Amp: Tweed Princeton-inspired homebrew with SS recto, no -fb, 360V on plates.
Guitar: PRS Standard, Ibanez Custom S540FM
Effects: None
Genre: Fusion of Blues, Funk, Jazz and Rock
Comments: Like many people on the net, I look to the alt.guitar.amps newsgroup for answers to my questions about amplification-related products. Many people have taken the time to produce well written and informative product reviews. I can only hope that this review does justice to this fine product. First and foremost, be prepared to wait longer than the posted lead-time if you want a speaker with an impedance other than eight-ohms. I ordered two 16 ohm and one 8 ohm 10F125s for my Bandmaster-style cabinet. After waiting the posted two-week lead-time, I called WeberVST to see if they had shipped my speakers. However, to my disappointment I was told that they were waiting on 16 ohm voice coils. I have heard this song from many manufacturers before, but this was the first time I honestly believed what they were saying. Another week and a half went by, and I started to wonder if I should drop WeberVST a line to see if the voice coils were still backordered when, to my surprise, two well-packed boxes greeted me when I arrived home after work. Like many people, I dropped what I was doing, and immediately inspected the contents. The first thing I noticed, after opening the package, was that the backs of the speakers were bare. WeberVST is shipping the speakers without the decals affixed, so the customer can decided were they get (or do not get) attached. I chose to put the decals on the backs of the speakers. The next thing I noticed, while hooking the 10F125s up, was that these speakers have very small terminals. Threading two, tinned, pieces of eighteen-guage, stranded wire through the tiny holes in these terminals is quite a feat. However, it can be done. Enough of this negative stuff, how do they sound? Well...it took me until 10:30 PM to get them hooked up, so I had to wait until the next day to give them a test run (Cyndi does not stand for loud guitar playing after 9:00 PM on weeknights). However, after doing so, here is my first impression:
The first thing I have say about these speakers is that they are loud, REALLY LOUD. I had been playing this amp through the speakers in my Pitbull Forty-Five and my Marshall ValveState 8240. It sounded good through the speakers in both of these amps; however, neither came anywhere close to the volume produced by the Webers. I was quite surprised to see how loud the 10F125s were because this is not the amp that I have targeted to go into this cabinet. That amp, a cathode-biased, 6G3-derivative, is still on my workbench. All I can say is that Cyndi will probably divorce me after I stick it in the cabinet :-). Okay the speaker is loud, but how does it sound? Well...the first thing that came to my mind, after playing the amp the next day, with a Svetlana 6L6GC installed, was Stax. You know, that sound Steve Cropper had when he and Booker T. where the house band. The bottom-end is tight. The top is bright and steely without being harsh. The 10F125 makes single coils sound like single coils, and to steal a line from Mike Z., it will take your humbuckers off of life support. It even makes my midrange-thick PRS sound good clean (the PRS is my acid test because it turns most amps into mud producers when playing cleanly). After playing with the amp a little more, I was also able to produce a wide range of Motown-derived sounds. Do you want James Brown-like soul? no problem! How about about a little funk? no problem here either! These speakers are just the ticket for a 6L6-amp player who wants to do the 60s R&B and 70s soul/funk thing. Okay, 10F125s do the clean R&B/soul/funk thing, but how about the blues? Well...I popped out the 6L6, and plugged in a 50's RCA 6V6GT ( I really like this tube because, while not having great bottom-end, it produces beautiful midrange harmonics). The 6V6GT gave the speakers a completely different personality. Yes, the tight bottom-end and steely top-end where still there, but the midrange fattened up, and they really began to sing. The tone produced by the 10F125s was not the "R," bass-heavy type of fatness, but something totally different. It was a tone that could most definitely cut through a muddy mix. In closing, if you are an aging, but not over the hill, musician like me, who is looking to expand their tonal palate, getting a set Webers is a great place to start. They will not create your tone - that responsibility lies with your fingers. However, they will most definitely enhance and open-up your tone. Give Ted a call, what do you have to lose except for bad tone?

Ceramic Blue Pup
Bill D.
Amp: Cage 18/30 w/JAN Phillips EL-84s, Sovtek 12AX7LPS
Guitar: Parts Tele w/Harmonic Design Vintage + pups, Hamer USA Daytona Kinman pups
Effects: Blues, Rock, Country
Genre: Very punchy, nice ring and chime on top, well balanced, especially impressed with
Comments: the big tight bass response (for 10s anyway) and they're not even fully played in yet. They're LOUD too - even with my amp running at half power (18 w). I debated a long time over a one 12" vs a 2 X 10" cab (wanted reasonable weight and size), and I'm happy with my decision to go with the 2X10" - it sounds really big for such a compact lightweight little cab. No matter how hard I've pushed them they haven't mushed out in the bass or gone shrill in the treble. Overall more crisp than super smooth, but that's what I like. Very satisfied. Only downer - took 3 months to arrive.

Ceramic Thames 10
Dave R.
Amp: 50 watt Marshall clone (86/87 ckt w/Ei 12AX7's and Svet EL34's); 2x10 homemade closed back cab.
Guitar: 1971 Gibson SG, w/P90 type pickups; 1980's Kramer strat w/ DiMarzio PAF in neck, others stock.
Effects: Fulldrive II
Genre: Rock
Comments: Delivers a nice smooth "Marshall crunch" tone at volume settings from 3 to 5 (of 10), without the excessive brightness, or icepick effect, that you sometimes get. These speakers definitely have a dark voice. Normally, I lower the treble setting control and jump channels to balance out the brightness. With these speakers, I don't jump channels and I have the treble and mids set relatively high, because there's no excessive brightness to tame. Low end response is so-so, but this may be due in part to the homemade closed back speaker cabinet. I noticed a nice midrange sizzle as the speakers broke in. Highs are OK, definitely not too biting. For the right amp and sound, these speakers are good. I like them because I get a nice tone at practice levels without biting treble. Probably not the best speaker for a darker voice amplifier.

Matt D
Amp: '63 Super w/cap job and Philips 6L6WGB's
Guitar: Tokai Strats & Tele, Epi LP Special w/ P-90's, Texas Specials in Tele and one Strat
Effects: Fulldrive 2, crybaby wah, Yardbox, Fuzz Face, Experience (varies with mood)
Genre: Blues, Rock
Comments: After much consideration of features and cost, I decided to replace the crappy old non-stock speakers in my brown Super. I often use Celestions with Fender amps and hoped the Thames would beef up the mids. Well, these things are thick indeed! High end gets through and continues to improve as they break in. However, the Thames are too much speaker for this amp. It's got a thin floating baffleboard and 18 lbs. of massive speaker makes me nervous! The overall tone is TOO thick and I've lost the clarity that the amp wants to produce. I tried to tweak the tone of the amp but I realize that stock-style speakers are probably the way to go in this case. I've just ordered Jensen C10Q RI's for this amp. These speakers will someday find a home with a Marshall or mixed with Jensen-styles in a Super Reverb. My experience dealing with the Weber company has been top notch.

Ceramic Thames 12
Lew Collins
Amp: Mission Amps Bluestone 45 watt with reverb from Mission Amps
Guitar: Fender Strat w/two Duncan SSL 1 & one Duncan neck model JB jr, but used in the bridge position.
Effects: None
Genre: Blues, Rock, Jazz
Comments: At Mission Amps, we've been testing a number of Ted's speakers to decide which one sounds best in our newest design, the Bluestone 45 watt with reverb. Tone wise, the amp is kind of cross between a classic blackface Fender and a JTM 45, with a little AC 30 pluck tossed in for spice! Our amp has alot of bass response and I usually keep the bass control at about 3 or 4. It's also very touch sensitive and can sound muddy with a speaker with too much bass. A Vintage 30 really works best so far with this amp. But the C12GB is a great speaker and my favorite Weber so far with this amp. I put a C12GB and a Vintage 30 in our Tweed Twin clone cab and compared them against each other. The C12GB was maybe a little louder and had much more bass, more mids and was easier to overdrive than the Vintage 30. The C12GB also got muddy sooner and was not as bright or as smooth sounding as the Vintage 30, nor was it as clean. It sounded excellent, but with our amp, the mid range was a tad too thick sounding and it lacked the overall sense of space and transparancy that we're looking for. When I tried my '57 Deluxe with it the results were much the same - excellent, but a little to thick sounding for my tastes. I would recommend this speaker to someone who likes a fat bassy tone, with a thick midrange and smooth highs with a chunky edge to them. Oddly, the Vintage 30 seems to have more highs yet the Weber C12GB is capable of a harder, glassier, sharper edge. I really like the C12GB, but it couldn't be the only speaker I owned - I'd need to hear something else sometimes.

15F200
David Perry
Amp: SS Fender Bassman 60
Guitar: Customized Martin Acoustic 5 string w/Lane Poor passive humbuckers
Effects: Budda Preamp
Genre: Rock
Comments: I needed a speaker for bass, although it is listed as a keyboard speaker. But, although
I didn't consult Ted on this, it was stated that it could be used
for synthesizer, which suggested to me it could handle near sub-
harmonic frequencies. I actually didn't really want to know since
I am sold irrevocably on Weber products after trying only one
(C12B) and needed a 15" bass speaker for relatively low-volume
work. Ergo, I was willing to cross my fingers, order the C15L
and hope I didn't blow the cone with my fifth string. Happily,
after a couple of days of breaking in, the speaker responded
with as much nobility as I have come to expect from WVST. I play
through a meat and potatoes solid state Fender from the eighties
with a Budda Phatman, dual 12ax7 (RCA) preamp which I run clean
slapped on the front end, and a heavily modified Martin Acoustic
five string bass that's been disemboweled and turned into a semi
hollow electric with Lane Poor p.u.'s and a Hipshot bridge. This
is a sweetly responsive bass with a definite acoustic richness,
and the preamp is warm and transparent. The speaker does justice
to the complexity of the guitar, reproducing its multi-layered
harmonics more faithfully than most stock 15"s. Much more
inspiring than the EV 200 watt 15 I originally played the Martin
through--many more layers of depth and fidelity. This speaker
also really stands out for punch and bloom. I can get a magical
flatpick response that reminds me of later Phil Lesh--great
bounce and lilt to rhythmic flatpick lines. Yes, percussive punch
combined with delicious warmth and a well rounded frequency curve
are the name of the game here. In keeping with the Weber VST
trend, this speaker combines the old brownness and warmth of
true vintage models with greater fidelity and wider response,
somehow managing to keep the new approach from getting in the way
of the old. Can't wait to try it in a better amp! *Note* I only
use this speaker for low-volume bass guitar. If you are thinking
of using it for bass, I would strongly suggest you talk to Ted
about it first.

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