Using The PRS DGT 15W Amp As A Clean Platform

In this Jazz Guitar Today review, Brad Jeter explores the PRS DGT 15W Amp in the clean domain.

The title of this review should set the tone (sorry) for an amp developed by and for one of the premier bluesy rock players that has come out of Texas. Yes, this amp rocks but that is not what this review is about. There are plenty of great reviews and videos for that purpose but I want to explore this little 15W powerhouse’s performance in the clean domain. 

The amp arrived for review with the companion 1X12” semi-open back cabinet (more about that later). It is a rather attractive combination.

Although the accompanying photo shows the amp with two solid bodies (it was a PRS family portrait) I used a D’Angelico Style B arch top and a Gibson ES-335 for the review. The control layout is tried and true and should be familiar to everyone. The single input is on the left followed by a volume control and then a treble/mid/bass tone stack followed by the master volume. The reverb, and tremolo controls fill things out with the addition of a presence and top-cut control. There are three mini-toggle switches on the front panel that offer how the included foot switch function operates as well as the reverb and tremolo. Since we are only going to be using the amp clean, we are not engaging the boost function so, we are going to forget about that option and also bypass the master volume. The amplifier also features an effects loop which I’ll mention a bit later.

The PRS DGT 15W utilizes a traditional dual EL-84 output section. A well-executed EL-84 design brings a rich, full-bodied tone to the table, There is a long tradition of exceptional amps using this classic vacuum tube, not least of which is the Vox AC-15 and AC-30. From The Beatles to Brian May, the love shown for the EL-84s is extensive.

The PRS DGT 15W squeezes all of that goodness in a dynamic, well-rounded utilization of that output tube. Again, we are concentrating on the inherent tone and performance of this amplifier set clean. 

The first thing I noticed was how much clean headroom can be achieved. Unless your drummer is Bam-Bam, this amp will be up for the task of filling a room and not getting lost in the mix. It is very responsive to touch sensitivity and really makes the connection with the player. A full-bodied tone is easily achievable that retains comportment as volume settings are increased. With the matching cabinet (ported Celestion Vintage 30) I was able to maintain clean-with-character with arch top, semi-hollow and solid body guitars.

The amplifier’s noise floor is down in the basement where it belongs. This is the result of a well-thought-out design because the EL-84 is quite easy to exhibit unstable behavior if attention isn’t paid to balancing the gain-to-performance envelope.

As a pedal platform, I tried overdrives in front of it and was absolutely happy with the results. I used a low-gain (Jetter Gear Helium) a medium gain (Jetter Gear Gold 45/100) and a higher gain (Jetter Gear ODS-124) and they all sounded like extensions of the amplifier which I think is the ultimate compliment of a well-designed front-end (the PRS DGT 15W utilizes 12AX7s in the pre-amp section).

As far as the FX Loop, I only tried it with digital delays (personally, it is the only FX I will venture to use in an amp’s loop) and they worked as expected with no overloading of the signal and natural tone and feel maintained.

Because I only was interested in the inherent tonal structure of the amplifier for clean sounds, the three toggle switches in the preamp section were left off. Obviously no boost, no treble boost, and the master volume was bypassed. I also left the Tremolo out of the circuit (a nice touch to actually have the option). Treble, Mid, and Bass controls worked as expected with tone centers of each proving effective. Also, I will mention that the controls had a solid, high-quality feel to them—not too loose and not too tight; just right. There are also Presence and Top Cut controls which can further tailor your sound. I found them to both be worthy additions. I think the Top Cut can really help dial in the cabinet—therefore the speaker within—to suit the the playing environment. Used in conjunction with the Presence control, the top-end is able to fine-tune.

I will mention that the Tremolo is nice (even though I never use the effect). I know many who do to add just a hint of character to their sound and it achieves this, but, it’s just not my bag.

The Reverb is obviously a spring unit and performs as expected. For me, built-in spring reverb is best used to add a wee bit of ambience to the sound or full-blown surf music. Since I prefer to achieve ambience with delays, Reverb, like Tremolo is not really my thing. Regardless of my prejudices, I think the spring Reverb circuit should satisfy those who utilize them. 

I mainly used the PRS cabinet loaded with the Celestion V-30. However, I did try two other 1X12 cabinets that I have on hand (Both similar in design to the PRS cabinet). The winner for me was the Celestion Blue but I am very biased. I love the Celestion Blue (mine is at least two or three decades old, made in England and well broken in. The other cabinet was loaded with an EVM-12L. Another fantastic speaker with a decidedly warmer character than either of the Celestions. It also, by far, is the heaviest of the three and kind of defeats the idea of easy portability.

To wrap things up, I really did enjoy my time with this little 15-watt amplifier. It offers a richly balanced tone, superior clean output for a 15-watt amp and, is very well built. I didn’t go down the rabbit hole of tube rolling. The included tubes worked just fine and, again, I was using the amp as a clean platform so their characteristics were more that suitable. In a perfect world, sure, some NOS late 50’s Mullard EL-84s and vintage Telefunken or RCA Black-plate 12AX7s (ECC-83) and similar NOS 12AT7 (ECC81) would spice things up a bit, but, other than bragging rights, I wouldn’t be inclined to go down that slippery slope. I simply enjoyed my time with this amplifier just the way it is and I believe anyone who judges an amp for its inherent character will be impressed.

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