axel_tnl

My head is a Rev G, mass produced before the release of dual three channels. This is THE SOUND of the 90's. The rev G is the 'stabilized' version of the 2 channel dual rectifiers, the most produced, it is darker, has more bass and gain and has less mids or rather different mids compared to previous revisions. The first versions were closer to boosted Marshall or Soldano SLO 100. 100 Watt Amp Head: - 2 channels - 5 12AX7 preamp tubes - 2 rectifying lamps 5U4G - 4 x 6L6 power tubes - effects loop in series until revision F, in parallel thereafter. - 1 master, 1 presence, 1 bass, 1 mid, 1 treble and 1 gain per channel - 'copy' function from one channel to the other: in normal mode the two channels have a different voicing, in 'clone' mode they have the same voicing and their presence settings are added together; the two voicings are 'Modern' and 'Vintage', so you can choose to have a modern and a vintage or two vintage or even two modern. The sounds will never be identical but can be quite close. - 1st clean / crunch channel, rear switch - 2 outputs 4 ohm, 1 output 16 ohm, 1 output 8ohm - rotary selector for the effects loop (bypass, with orange channel only, red, both) - 1 relay for effects loop switching - 1 relay for channel selection - 1 slave out to power another power amp - 1 bias selector, depending on whether 6L6 or EL34 are used - 1 lamp (vacuum tubes) or diode (silicon diodes) rectification selector - 1 'spongy' / 'bold' power attenuator selector, allowing the lamps to work a little more, sound a little more vintage in 'spongy' mode, full power in 'bold' mode - 1 volume of effects loop, serving as general master when it is activated. the config is not simple. The settings are not common to other amps I've had (Peavey, Krank). The potentiometers interact according to their travel... Very important to understand how this amp works: the two presence buttons are linked and work together, regardless of the channel chosen (and the mode of voicing)!! the presence of the orange channel manages the treble, the 'incisive' side, while the presence of the red channel manages the 'brilliant' side and acts on lower frequencies. So be careful to try the race of the TWO presences when looking for a sound on one or the other of the channels. The parallel effects loop is... crappy. Well no, but if you use recent effects processors, they only appreciate serial loops. And there, miracle, this dual rectifier can be modified VERY SIMPLY, and we can thus recover a perfect series loop, and that's what I hastened to do. The sound is now identical when I use the loop or not, whether it is disabled or bypassed (hard bypass). Adjusting the overall volume via the effects loop knob is a real plus, especially since the levels of the two channels are very sensitive and you can quickly burst your eardrums. You have to try everything to find what you prefer and it takes time: - 'Bold' or 'Spongy'? - Modern and Vintage? Modern and Modern? vintage and vintage? - Clear ? clearly boosted? light crunch? 2nd saturation? - vacuum tubes or silicon diodes? Orange channel: - Clear as saturated it is quite dark. I found the clean usable but overall I don't like this channel, the only use that might interest me would be as an alternative overdrive channel, because you can overdrive it as much as the Red channel. The sound is thick, not very dynamic and the saturation is constant, whether you attack frankly or little. So if you like crunch vox or hughes & kettner, very clear and powerful which only saturate on frank attacks and on extreme frequencies, go your way. Red Channel: There it thickens, the sound is there, powerful, raspy, thick, bass worthy of a sub with a good big quality 412, highs that pierce the eardrums. Attention to the setting of the presence, if you do not want his fuzzy you have to put little, I am about 3/4. The gain starts to drool at 7, we get closer to a sound like Entombed on uprising when we push further. I prefer a gain of 6/7 and the addition of a Lichtlaerm Audio Aesahaettr upstream (boost with eq) and there, it's huge. I play hardcore, I'm the only scratch. The sound is very typical, but that's why we turn to this kind of amp. Well adjusted, we have a saturation rich in harmonics which covers all frequencies well, and which does not get lost with the bass in the mix. For me, the sound has never been so clean in repeats. I plug on a Ltd ec-1000t ctm I've had it for a few years, but it puts the slap in the face to everything I've had before in the overdriven channel. I never liked the sound of dual rectifier outputs later and yet I can not part with it. I was impressed by the quality that emerges from the head, at each level, to the ignition switch and the connection of each cable, you have to manipulate all that to realize it.

The DiMarzio Clip Lock Strap is one of the straps that you see often on both Ibanez and Musicman guitars. It’s a unique take on straps and locking systems in that it uses a quick release buckle that stays attached to the guitar. This guarantees that the strap will stay on your guitar, and you can always guarantee you have a secure connection, unlike certain other guitar straps. This strap fixes a few things about strap locks currently on the market. Schaller strap locks have an issue with both squeaking during heavy usage and the nut coming loose. The nut issue can be fixed with loctite, but you need to buy the strap lock system again to fix the squeaking. The biggest issue with Dunlop strap locks is that the ball bearings might not fully engage inside the lip. This can cause the guitar to come apart from the strap. The DiMarzio strap system prevents this, for the most part. There are a few issues with this system, however. The biggest is that the piece that stays attached to the guitar tends to scratch it up. Despite the ends always staying very secure, you should always make sure the screws are tight, and this goes for all strap systems out there. Overall, this is a really good strap locking system. In fact, I think this is the most secure strap locking system on the market.

Everyone knows the EC-1000 ESP model. It is their primary single cut guitar. It is like a mix of a single cut design with a super strat design. Some people wanted ESP to make a single cut that has a more traditional feel in the body. This is that guitar. The EC-1000 CTM. The CTM model has a more traditionally shaped body. While the normal EC-1000 has a lot of bevels in the body the CTM has a traditional Gibson style body with just the carved top. The body is double bound as well like a Les Paul Custom. The cutaway isnt as big and it only has 22 frets as well. The guitar has a mahogany body. The set in neck is mahogany as well with the 24.75 inch scale. The fretboard is ebony with 22 jumbo frets. The hardware is all gold with ESP locking tuners up top and a Tonepros locking bridge down at the bottom. It has the traditional pickup setup for an EC1000 with an 81 in the bridge and a 60 in the neck. The controls are 2 volumes and a master tone with a 3 way switch on the upper bout. UTILIZATION Every mid to high end ESP guitar plays well. This is an LTD model so it isnt made in Japan but it is made to pretty much the same specs with the same hardware. This guitar comes from the factory with all the upgrades I would do to a singlecut guitar. The ESP locking tuners do the job and hold tuning well. The Tonepros locking bridge makes changing strings and working on the guitar easy because the bridge doesnt fall off every time you have the strings off. The locking bridge also increases sustain a bit. Since the pickups in this guitar are active they include a battery compartment. This is nice but the compartment uses screws to open it. If you have to unscrew the compartment you are not saving any time from just having the battery in the control cavity. I dont know why some ESP's have screw in compartments and some have flip out compartments. The flip out compartments make more sense to me. SOUNDS This is a metal guitar so it is armed as such. The pickups in this guitar are full of metal pickups. They are so metal that they need batteries to operate. The 81 gives you great high end crunch and clarity even in the lowest of tunings. With the 81 harmonics pop right out and you get a nice searing high end tone. This high end is what keeps the sound nice and clear. The 60 in the neck is a pretty much neck only pickup. It is not super high output and is best used for clean tones. You can get good bluesy low gain tones as well with the neck pickup 60. If you want a more organic and passive like tone from the pickups you can do the 18v mod which has you running the pickups on 2 batteries instead of one. This gives the pickups more headroom and a more organic tone overall. OVERALL OPINION If you are looking to get into a more modern style Singlecut guitar but dont like all the bevels in the body and whatnot this is the guitar for you. it has a traditional style body construction that gives you the same feel as your old school singel cut but combines that feel with the modern neck and playability of a modern guitar. With the locking tuners and locking bridge it has all the mods you should do anyway from the factory so it is pretty much ready to gig right out of the box. This ESP is great if you are looking for a guitar with a thick body and thick tone with upgraded hardware and modern playability.