I see a guy using this with a little combo so yeah it does, i guess

It's all about where the signal is attenuated from (the guitar, amp head, or speaker cab). Lowering it at the guitar lowers the amount of signal getting to the amp - which will make the amp respond differently. Lowering the signal from the head to the speaker is the best way to keep the amp response as similar to a truly "cranked" amp as possible.

With this and other attenuators you could get slayer sounds into your headphones, or at almost no volume at all. It's awesome.

No it's not a better one just cheap but not better

Don't get hung up on marketing names.

The Double Inputs date from the 1950s…when a musician might plug a microphone into one jack in smaller venues. Another option, a 2nd guitarist or bass player would also plug into the same amp. The 6G Bassman of Fender has a separate Guitar and Bass input with different tone stack values for each. Amplifiers became popular and used indoors by country/western musicians (Steel Guitar a necessity) guitar players for larger indoor venues as 1) larger audience equals more money and in such establishments, people would dance. It’s not to say that amps prior to this were unknown, a necessity for Big Bands, but with volume more exposure at venues that were televised…in or outdoors. With the volume, the guitar starts to displace the Saxophone as the solo instrument. Leo Fenders Advertising pictures show the progression from Country, Western, to Dick Dale Surf, Instrumentalist, and then caught flat footed with the British Invasion. From guys in Cowboy Hats, To a Scuba Diver carrying his amp to the waves, to non vocal groups. It’s said the Deluxe was the most recorded amp, but Standel Amps Fenders neighbor to the in El Monte, CA has some off the most famous recordings (plus Leo borrowed a number of ideas from Standel, from knobs on the front of the amp, amp cab piggyback on the separate speaker cab, use of JBL speakers).

Is the DSL not a master volume amp?

@@SammyInnit Valid question. There are individual channel gain & volume pots, so no not a true "master" volume. For my purposes the "ultra" gain channel is useless, so this necessitates my utilizing the volume & gain settings of the "normal" to achieve my base tone, which unfortunately is "too loud" for some of the smaller venues we are booked into. Not an issue in larger or outdoors.

@GeorgeHeil-gg6wv I see. I'm currently looking for an attenuator. I have a 1984 JCM800 which is a master volume but you can tell, it just isn't as responsive turned down. I've just purchased a 1987X that has no master at all. I'd have thought it's all straight forward but it doesn't seem to be.

@@SammyInnit The Bugera worked well on a 20watt amp . . . gigged it quite a lot after acquiring it. Some EQ changes were required, but I usually have to veue match and fine tune anyway. Currently field testing a Fender Tonemaster "blonde". Best musical wishes.

I am thinking about putting an Eminence Swamp thing in my DR also! How did the Swamp Thang change the sound vs. the factory Jensen?

Capacitors

@@BryanClark-gk6ie True but in addition, there are other considerations. The design puts components too near each other- not enough shielding. Changing the pots and tubes also helps. When they work, they do sound great. I ended up buying a hand wired 5 watt tube amp. It's very quiet. I bought some pedals to get the effect I need.

To Weber DT-12?

@@dap777754 I went with a WGS ET65. Another great option in my opinion would be a vintage 30 or WGS Veteran 30. I’ve heard good things about Weber speakers though.

Why buy a 65 and clip it when you could buy a 68?

@@didamnesia3575 I’ve owned both and for some reason I think my 65 sounds better than the 68 I owned. I traded a 5150 iii combo to a guy for an almost brand new 65 reissue.