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Mesa and Marshall Amps
Old 5th July 2009
  #61
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Quote:
Originally Posted by Vogon View Post
Great quality stuff. It can make a difference, though I found it was slight when I experimented. But it is just a difference, not an automatic improvement - that would depend on the wood, and your taste.
Blackmore et-al actually prefered the mazak (pot metal) and cast junk found on the 70's CBS strats...

But these guys are talking high (mostly preamp-) gain amps, clipping from these, would hardly be competing with a bridge, I would think - if a properly set-up "regular" bridge *can* "fizz" on it's own.

I agree with keeping the mids up on the dual-recs, one can get way too carried away scooping them.
Did you experiment with Strat/Tele bridges or tunematic style? Callaham makes different claims for both. Specifically regarding tunematic bridges he criticises the use of zinc and its tonal properties. I find that a lot of the time when recording tunematic-equipped guitars I am trying to suppress the very stuff that he describes as being a problem with zinc.
Old 5th July 2009
  #62
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not sure how relevant this is, but the brass nut on my malmsteen strat adds something. Nothing as drastic as going from a dual rec to a blues jr, but it is its own thing.
Old 6th July 2009
  #63
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DeathMonkey's Avatar
 

Quote:
Originally Posted by James 'LA' Lugo View Post
The 2 channel dual rec I have killed the Framus.
I'd agree that Rectos are thicker, but I personally find that the Cobra plays better with others. I don't feel like I have to carve out as much space for another amp to find room for it. I don't think I've ever used the Cobra by itself.

I find the Cobra useful to augment a lot of the DSL, 5150 and Recto type amps I get in here. It seems to mix well with a variety of amps to add chugga without destroying the sound the player is used to from their own amp.

Of course, my 3 channel Triple doesn't sound as good as your 2 channel Rackto... :D
Old 6th July 2009
  #64
Vogon
Guest
Quote:
Originally Posted by Butcha View Post
Did you experiment with Strat/Tele bridges or tunematic style? Callaham makes different claims for both. Specifically regarding tunematic bridges he criticises the use of zinc and its tonal properties. I find that a lot of the time when recording tunematic-equipped guitars I am trying to suppress the very stuff that he describes as being a problem with zinc.
Strats. One had a mazak block, one mild steel. The mazak one gained a hint of top-end, the mild steel was to my ear, indistguishable when replaced...
Mazak is pot metal, which is a cheap zinc based amalgam and the block is the bulk of the unit's mass.
I'm just not really convinced I guess...
I used to get obsessed with all sorts of things, then repeatedly found out about so many great album tones that were made with "crap" or "wrong" equipment (plastic saddles! heresy). I only tweak when it's for a very practical reason, for now :-) .
The nicest gibbo's I played all had aluminum bridges, too. Even if the bridge was "impairing" something, I wouldn't have changed the tones I was hearing.

And - the Callaham site doesn't point out that it's an aluminum *alloy* that's used, not plain aluminum. Alloys can be totally different to the main composite material - but they're keen to stress the night and day difference between his steel and fender's. They make good solid stuff, but the pitch and the science seems a tad dogmatic IMHO.
Old 6th July 2009
  #65
Gear Head
 

Alot of stuff has already been covered in this thread, but I'll go ahead and say it. Engl Powerball. I like it, for high gain applications, but it is a bit of a one trick pony if you know what I mean. Could be the tubes though I know they are old as the amp...its being retubed right now, I can post clips when it gets back if anyone wants. My 2 cents..
Old 6th July 2009
  #66
Gear Addict
 

Quote:
Originally Posted by Vogon View Post
Strats. One had a mazak block, one mild steel. The mazak one gained a hint of top-end, the mild steel was to my ear, indistguishable when replaced...
Mazak is pot metal, which is a cheap zinc based amalgam and the block is the bulk of the unit's mass.
I'm just not really convinced I guess...
I used to get obsessed with all sorts of things, then repeatedly found out about so many great album tones that were made with "crap" or "wrong" equipment (plastic saddles! heresy). I only tweak when it's for a very practical reason, for now :-) .
The nicest gibbo's I played all had aluminum bridges, too. Even if the bridge was "impairing" something, I wouldn't have changed the tones I was hearing.

And - the Callaham site doesn't point out that it's an aluminum *alloy* that's used, not plain aluminum. Alloys can be totally different to the main composite material - but they're keen to stress the night and day difference between his steel and fender's. They make good solid stuff, but the pitch and the science seems a tad dogmatic IMHO.
I love nylon saddles. They are a completely different beast to metal saddles, and they change the envelope of the note quite significantly. They replace ping with pop. They wouldn't be my first choice for hard rock, say, but for retro/pop styles they are great. The Lennon Revolution Casino (the expensive Epiphone signature model) comes with them, they were also standard on 60's Gibsons. The Joe Bonnamassa signature Les Paul comes with a half and half mix, brass and nylon. Supposedly this configuration is also Eric Johnson's choice on Gibson guitars.

As for the aluminium bridges, I thought that up til now they were the best replacement available, and the ones that everyone was raving about compared to zinc?
Old 6th July 2009
  #67
Vogon
Guest
OK, sorry to the OP for this turning into a hijack!

We should start a new thread about this, if people want to carry on.
Could be interesting...

Edit:
I did.

https://www.gearslutz.com/board/instr...ml#post4350168

Last edited by Vogon; 6th July 2009 at 01:43 PM.. Reason: New thread
Old 6th July 2009
  #68
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CapnMarvel's Avatar
 

Quote:
Originally Posted by max cooper View Post
This is funny to me.

When I was a kid in (I think) '83 I saved and saved to buy a new JCM800 50 watt. I soon learned that real players considered them 'lame' and traded up to a '76 JMP which I still have today. Now JCM800's are sought after, but I still prefer the JMP's. I think 'modern' is how you play, not the amp. I got a Rectifier in '01 and disliked it for a whole tour.

To each his own.
Yeah, but try to convince them of that. Luckily, I went straight to a '76 JMP!
Old 6th July 2009
  #69
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theBackwardsman's Avatar
 

Well, the two are as different as can be, but still a wonderful combo.
Both have the ability to cut through the mix perfectly and both of them
doesnt sound that great solo'd but perfect in the mix.
I own a JMP 2203 and yes, its the exact same as JCM 800 2203.
The high end of it can be a bit disturbing even with the treble at zero, so
I would suggest anyone to clip the "bright cap" and yea I belive the reason the two goes so well together is because of the sweet tight lower mids of the mesa and the crunchy high mids of the 800, Still I have a hard time using my 800 without a great pedal in front, I use both tubescreamer and Rat 2, and the Rat instantly gives you the classic rocknroll sound we all love, as close to AC/DC as Ive possible come with this head, the best setting for me at least Ive found using lo gain, crank the master to ten and then adjust the gain as volume, the tube distortion will also increase acordingly so some tweaking nessessary. The tumescreamer on the other hand usually needs more gain to shine, because moch more of the amp sound will come through and i have never been able to get any noticable distortion on the low channel..
Old 6th July 2009
  #70
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Iggy Poop's Avatar
 

Quote:
Originally Posted by James 'LA' Lugo View Post
We just did a huge high gain amp demo in LA, biggest head to head comparison ever.

Music page of High Gain Amp Shootout 2009 - MP3 music page on SoundClick
YouTube - jameslugo's Channel

The 2 channel dual rec I have killed the Framus.
Yeah I was never impressed by the Framus. The Rectos sound awesome when blended with a Marshall.

James, your shootout was freakin awesome. But I didn't see an Orange or a VHT in any of the videos. Did I miss them or maybe you didn't post those parts of the shootout?
Old 6th July 2009
  #71
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The Orange was there. It was on one of the last two videos and i also think i remember seeing a VHT early on.

Great shootout all around!
Old 6th July 2009
  #72
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midnightsun's Avatar
 

Guytron GT100

Quote:
Originally Posted by jerdude View Post
What are THEE guitar amps to have for getting that 'modern' rock tone. I know opinions can vary and the creativity and uniqueness of the tone really comes from trying a bunch of different amps and blending some cool **** together... so essentially anything can work.

My question is more like... where is a good place to start in general. I've heard alot of guys talk about blending the Dual Rec sound with a JCM 800. I have got some decent rock tones with similar combinations.... Mesa and Marshall.

I want to buy some stuff.... maybe 2 setups to have here that rock guitar guys can use to replace or compliment there own rig while recording.

So... where should i start?

Oh.... are people really using PODS on rock records?
I've got Marshall, Mesa, Bad Cat, Dr. Z, Victoria, Supro, Fender, etc and the most versatile guitar amp that I own is a Guytron GT100. This is a phenomenal sounding amp and the company could never really make the transition from a very small boutique company to a mainstream company. These amps can be purchased used without spending a small fortune because they aren't collectors items yet. Guy Hedrick is no longer with the company and I suspect in years to come they will command rightful respect when the supply is GONE. Many years ago when I purchased it my choices were down to Guytron, Matchless (Mark Sampson era), Bogner (pre mass production), and Marshall. I chose the GT100 and have never looked back.
Old 6th July 2009
  #73
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swankdoc's Avatar
 

A little old school style Mesa magic.....

Boogie 'Studio' Preamp + Strategy 400 amp + cab of choice

= blowtorch
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