jimmarchi1's forum posts 8022

Short answer is in bold but this post is loaded (no pun intended) with amp and speaker info that everyguitarist should know:

Input impedance has no effect on the speaker, just don't exceed the maximum WATTAGE. Double the amp's rated wattage is a good rule of thumb these days. The speaker's not practically 'seeing' an impedance at all, the amp presents a resistance to return current. The amount of resistance is immaterial to the life of the speaker but it does effect the tone, it's called damp7ng. Low damping is part of the tube amp sound. Speakers are a very low impedance load that is driven by power.

The speaker on the other hand *IS what Ohm called an impedance, it behaves as an inverse resistance to the volrage output from the amplifier which is designed for specific impedance loads in order to amplify properly or even work. The relationship between that output voltage to the impedance it is being asked to drive determines how efficiently that voltage can create mechanical power at the voice coil which we measure in watts, the harder it gas to fight, the more voltage is wasted and the lower the power you're getting from that amplified AC voltage. Wheew*

This should be matched in a tube amplifier, class A or the more common AB, or you risk blowing the output transformer (which is designed to take the speaker impedance and step it up to a level the power tubes can drive or step the output down to speaker driving levels depending on your point of view) , it does other stuff in mist amps but don't worry about that, it's not impedance related). If you must mismatch, low amp ohms into higher speaker ohms is safer than high into low... sort of like how a high impedance signal right from your guitar output sounds like shit into a low impedance microphone preamp or even a 10kohm line input but plug a direct box in to step the impedance down to like 600-2k ohms and you've got tone. But a power amplifier doesn't bridge impedance the same way as a small signal amp due to the low impedances of speakers so there's a power loss and a tonal and output power change when you run low into high... but don't do it, most tube amps will blow up. High into low will always blow up.

low into high and your amp shouldn't fry, high into low will definitely blow

A class AB solid state amp like you usually run into for guitar on the other hand usually is designed for a minimum 4ohm load (some might be 8, the minimum load is usually printed under the speaker jacks). Don't go below 4 (or stated minimum) or you'll fry the thing, that's the high into low rule. But driving a high impedance approximately halves the power output every time you double the impedance so a typical 4ohm minimum amp rated 50 watts output power will be about 25watts into an 8 ohm load. No harm done to the amp or the speaker as long as the speaker can handle more than 25-30 watts RMS.

Class B isn't used for guitar and rarely for any audio because of the inherent crossover distortion but if you do encounter a class AB amp running close to class B the same rules apply. Match tube amps, respect the stated minimum for solid state.

Then there's class D which is by definition solid state. I generally understand how it works, but never serviced ione built one or even read enough about it to tell you if its fussy with speaker loads... my guess is no because it works on completely differently principles than the traditional class A, AB and B amplifiers we're used to. The low into high rule can be applied here just to be safe. If there's nothing printed on a class D amp, don't assume, consult the manual.

The katana is solid state, not sure if its class AB or class D. If the katana 100 says 8ohm minimum then 16 is fine. Otherwise it would say 8 ohm ONLY... though it might not produce a full 100 watts into 16 ohms. 100 solid state watts is excessive for anything less than a small theater. You'll probably never use that wattage even though 100 tube watts can produce higher SPL per rated watt for various reasons... the speaker doesn't care what the source impedance is, you're fine. The 16 ohms is not a maximum or minimum source impedance, it is the speaker cab's nominal impedance rating as a load for an amp. Do not plug an 8 ohm tube amp into a 16 ohm cab and NEVER PLUG A 16 OHM TUBE HEAD INTO AN 8 OR 4 OHM CAB OR AN 8 INTO A 4... EVER!!! The kartana is solid state and will do fine as long as the speaker has sufficient wattage handling, double rms amp rating is safest (with 8 into 16 I would say a 75-100watt speaker rating will do... lower wattage speakers sound better and you may want to look into an 8 ohm 2x12 with a pair of v30s).

Try reading the katana manual. It'll answer these beginner questions and also walk you through the plethora of features from the digital parts. Its s complicated gadget if you deep dive the thing, it has an app... front panel controls do what you expect mostly though.

And why not just get a combo?

I would also point out that the guitar probably can't be made to sound that good all the time even hy a skilled player. The music performed and techniques employed play to the instruments 'strengths' and mask its deficiencies. The guy is skilled, the part is fairly staccato... etc.

It's not like he busted out some Air on a G String. Going Bach's going to require some nice, singing tone, strong dynamic response from the body and a comfortable neck with proper fret dress etc as opposed to layin down some funky waiting room jazz... when I'm encouraged to pick up a beater student guitar as a guest somewhere I will typically noodle quietly for a sec and then restrict my playing to music I think the guitar can keep up with (and if my host is also playing I want to make sue they can keep up so I don't mend up giving a lesson). Not so much for the owner's benefit, I just don't want to strain my hand doing something on an uncomfortable instrument when it's going to hurt my ears too. Okay, these days i usually manage to wriggle out of singing for my supper, but sometimes you can't without sounding like a jerk.

I'm not supporting it, I was just speculating that it's both annoying a futile. That's why I laid the irony on so thick... even assuming you sucker some creeper every month, how much would you even make? It seems like there's a total lack of cost benefit analysis from all of these scammers. If you can code a spam bot you can code something more lucrative that doesn't put you in legal jeopardy.

I don't know which one of them uses that pedalboard. Likewise, my interest comes from wanting to be able to make sounds like Duster

Those look like all the stuff me and my friends have built over the years. Go buy a copy of Craig Anderton's "Electronics Projects for Musicians" and warm up your soldering iron. Then you can forge your own sound, one transistor at a time.

Perhaps the Creator's point is that a very low-end instrument can sound wonderful in the hands of a talented person who practices

I'm positive that's the point... any junk nylon string could be the guitar in question.

Im pretty sure they're not promoting actual prostitutes, dude...

I wonder if anyone sees those bot posts and says "Indian hookers? I'm calling right now! This couldn't be a scam to get my credit card number or anything! I wonder if these ladies know that African prince I just helped out? I better book a flight to Goa, maybe there'sa fly by night travel site I can use... oh man I wish those penis pills would show up, I ordered them months ago!"

I mean, why would you post all this spam if you didn't reel in a few dupes every month?

That's not one of my powers but I did block that account and flag it for @Michael when I saw it. So I take it you're not planning on flying to India for a quick 'date' with a call girl?

A manly man who mans up so manfully that he mansplained manatees and mantises to Manfed Mann in Manchester?

Do you have a serious budget? Because I'll tell you what, I was just playing my 1962 and it just kills. If you look around there are deals. The original JMI vox amps are just phenomenal for everything short of metal... well, you can do zep, queen and deep purple, just not lamb of god and probably not Metallica but maybe...

If you look around for awhile you can find one for a couple grand in player grade cosmetic condition that's mostly original parts. You'll probably never part with it

I just plugged into my main ac30 and turned up to 5 for 30 minutes for the first time in ages.... and while it didn't change my mind about tone wood I'm pretty sure I could slap a chinese pickup and strings on a 2x4 and that amp would make it sound like music. They just don't make them like that anymore, no sir. The ac30 has character and every old one has a distinct personality too. You get some volume going and you don't really care about distortion, every note just rings out into harmonics. The cops didn't even show up...

I have a thing for 50s blues and sparkle finishes... maybe I need ice blue metallic

That was Yamaha's golden age. They made those leslie knockoffs, the CS synths, those cool electric pianos, the flawed but cool sounding pm1000 live mixer, the oddly featured but amazing pm2000 studio console and the pm180 rack mixer that has a lot of charm... not to mention the yamaha SG and SA guitars and the totally cool super-flighter.

You decide to get rid of that MJT strat body I could go with vintage white again... hmmm. I'm kinda tired of the brian may electronics I put on that strat, although a straight bridge pickup really makes it a better guitar for modern rock

I know you can still buy new guitars with a full Floyd Rose system as standard, but seeing a Floyd Rose nut always brings me back to the 80s and 90s, for some reason. It's like a mullet for your Strat.

What about a merkin for my strat?

Years back, a buddy of mine sent his late-90s CIJ J Mascis Jazzmaster to MJT for 2 reasons:

1. That model was (as I'm sure you recall) finished in a metal-flake purple sparkle. "Way too... Spacehog.", he lamented.

I love spacehog! The singer/bassist was married to Liv fucking Tyler. . . If that's not an endorsement of sparkly instruments then I dunno what is!

1. "The neck is perfect, but the body is a s$%@-hunk of basswood."

That squire has an amazing neck profile... if I liked jazz masters I would buy one.

I forget whether he had them use Ash or Alder, but he was very happy with the change in tone the new body introduced.

As long as it wasn't poplar. Worst sounding guitar wood ever. EVER... oh wait, I'm deluding myself and all solid body guitar bodies sound the same... so how come mexican fender standards oblf the 90s sounded like ass even with upgrade hardware and electronics?

I just think it was a baller move on my buddy's part, lol. It's a story makes me happy.

Your friend is a badass and a man after my own heart. I swear by Jimmy Vaughn and Robert Cray MIM strats. Best bang for buck for me stock. I like the necks, nice alder bodies, the stock hardware is usa stuff and they even have tolerable pickups. I might order a new body for the road warrior strat I bought when I was 21, it's a Jimmy Vaughn with the best soft v of any I've played but man I abused her lol. The body us mangled and I'm not as into Olympic white as I once was. She deserves a nice, new lake placid blue lacquer 1 piece alder body ir something...

I have a hard time imagining most died-in-wool metal guitarists caring about tone wood -- I'd image your pickups, amp & FX are gonna be so overpowering in that context that most would be embarrassed to get caught giving a @#$%.

There's also the wang bar factor. All floyd rose style locking vibratos powerfully decouple the strings from the body. In fact all vibrato systems decouple to some extent.

Basswood was fine for Jeff Beck who got free strats all year. But I don't.

Edit: I don't really object to folks saying that wood doesn't matter to them or that they think the impact of wood is mostly marketing hype... I do take exception to folks who perform pseudo scientific experiments designed to produce results that prove them right in order to win a war most of us aren't fighting because we're actually making music. If you need to convince gullible kids that folks like me have been suckered in order to validate your miserly attitude towards your tools, then I call sour grapes... I would never try to prove that Carol Shelby made shitty cars just because I'm too practical to own one and I admit I would like to cruise around in a cobra, but irs too expensive, isn't practical as a dad or musician... and an old sports car needs to be babied in a way i can't commit to. It doesn't automatically follow that there's nothing to enjoy from that car; that its reputation is founded upon lies.

There was also an ra50 ;)

Edit: added all 3 for you... time to get in the studio for a frustrating day of mixing screwed up audio!

I've been there, taking a head on a train and hiking it to the venue. I can't blame anyone for getting a class D amp that fits in a backpack. I don't even like taking my amps up and down stairs anymore.

Brace yourself for some history and speculation.

The golden age of tube amp design if you ask me is like late 50s when the narrow panel tweed fenders and early vox amps come out through to Mike Soldano's prototype SLO100s hitting stages around 86 or when he incorporates in 87. So let's say 57 to 87, 30 years.

Tube diodes go back to Edison and Tesla. The first triode was nicknamed the "audion" so you get that it was always meant to amplify analog sound. That was 1907. So by 1957 the technology had been perfected for audio over the course of half a century through 2 world wars which accelerated r&d because communications used the same technology at the time. Just a heads up, the triode and early speakers actually predate electric guitars by a good 30 years. The ability to amplify actually gave birth to the instrument. The amp is the heart of rock n roll.

By contrast, the first functional field effect transistor was developed in 1927. It couldn't be manufactured consistently and nwas never used outside labs. It took until 1947 for Shockley at Bell labs to improve FETs enough to possibly be used in a commercial product and the following year his team developed the first viable bipolar junction transistors from germanium. These took until the late 50s to be adopted and were very inconsistent. Mainly used in industrial switching, radios and fuzz pedals, although a malfunctioning transistor mixing desk inspired the first fuzz (it was probably malfunctionin gbecause germanium is crap). The first silicon transistor wasn't made until 1954 and wasn't available commercially until the 60s. That texas instrument silicon BJT is the first viable solid state device for our purposes.

So if we look at the development of tube guitar amps it takes 50 years to get to the golden era and it lasts for less than 30 as transistors and their IC opamp offspring take over the other branches of audio... so with that math in mind, the golden age of transistor guitar amps should've started around 2004, give or take, and with military communication having been digitized since satellite communications came if age things are going to move on a slower track. Tube radios and guitar amps are close... cell phones and transistor guitar amps aren't. I expect that great sounding solid state instrument amps are just getting started and the best is yet to come. Digital modeling really jumped the shark but there are still designers out there working on lightweight, analog amps that are voiced to make music and not just reproduce it (we have that down). A modeling amp still needs analog circuitry to drive a speaker. The digital part us just a digital signal processor with converters on either side that need to be bookended by a preamp and a power amp. The whole idea here is that the digital part makes the signal from the pickup musical so that the solid state input and output circuitry can cleanly capture the pickup and reproduce the processed signal, because like I said, with solid state we got that shit locked down now.

Also, keep in mind that the tube amp gave birth to the electric guitar so there was no competing, established technology slowing down development and the voice of electric guitar grew up with that technology, tubes weren't asked to imitate acoustic guitars, their idiosyncratic sound was embraced and pushed to the limits. Solid state is being asked to replicate or better an older technology that defined 20th century music... the thrust of solid state technology in audio has been capture/reproducttion and synthesis. There was a digital synthesus detour, and that technology is still growing up but has been detoured itself simulating analog, but analog synthesizers have really just hit their stride in the last 10 years and seem to be the defining sound of this century. Sorry Mr Guitar. Interestingly, electronic music synthesis is actually older than electric guitar but it wss really just novelty instruments until moog and buchla.

There's a lot of thing coming down the pike for solid state guitar amplification in the next decade. Keep your eyes peeled, its probably not coming from well known manufacturers, they're not daring enough, though you're seeing established brands experimenting with analog over digital for light, cheap amplification. I'm half tempted to fool around with my own solid state design after writing this.

They're weird sounding... another interesting piece of marshall history that didn't catch on because it's not fantastic as a bass amp and is more of a novelty guitar sound, unlike the original super bass that's a passable bass amp and for some people is a better voicing than a superlead for guitar with the bigger coupling caps and the jtm45 shared cathode inputs... the 800 bass I tried was a wonky sound. I could see myself using it if I was starting a stone rock band maybe ... but probably not... I think it had a complicated midrange control that wss really specific for bass but the amp was pretty light on actual bottom.

When I wss collecting Marshall's I didn't buy one.

I really like the little marshalls: 18 watt combos, 20 watt treble n bass head and the 800 series studio15

2 inputs is always a master volume, the so called mk2 master that is the same as the jcm800. 4 inputs is USUALLY non-master. Mk1 only came in a 50 or 100 watt combo... its 4 inputs with a post phase inverter master. I've only encountered 1 in the wild. It was interesting. They only made them like a year or two. Neil Giraldo,Pat Benatar's husband/guitarist, loves them and probably owns most of them. At a glance they look like the mid 70s combos with tremelo. They also made 4 input non-master models in the 80s with jcm800 cosmetics, andy summers used them for awhile... there's also an 800 series bass amp that's not a super bass but a master volume bass amp with its own distinct circuit and really unique eq... kinda cool for guitar.

church of misery were opening and their guitarist had a marshall jmp that thing sounded phenomenal

4 input or master volume?

We're talking about musical instruments, not kitchen appliances. How the instrument feels in your hands and in your lap, and all those final %s of a % differences and variations matter. Different details matter to different musicians, but none of them can be universally dismissed, nor conclusively "myth-busted" in the way that video seems to imply to some people.

Now I'm going to speak. The video isn't even rock n roll science. If tonewood is a myth then I want that guy to try out a pebblebrook custom tele made from 200 year old barn pine vs a typical slab of kiln dried swamp ash or alder with the same bridge assembly, pickups (underwound for flatter response), pots (1mega for minimal loading) and tone cap (or maybe we skip the controls and run the pickup straight to a DI box known to be very flat from 50hz). Hell, we could do the experiment with the same neck, swapping on and off. It's an extreme example that would generate a measurable result and therefore an objective answer. Skip the listeningtest, let's record through 32bit sabre converters at 192k and break out the spectral processing apps. No need to actually do it since I know how it would turn out when we ran those DI recordings just strumming the open strings through some FFT analysis. Frequency specific amplitude data will tell a tale beyond what you'll get from a basic spectrum analyzer like included in fabfilter. But everyone is entitled to an opinion. I didn't believe in magic capacitors until I finally saw some data on certain dielectric materials subjected to the correct tests to prove me wrong... but I still don't believe in magic wire beyond what you can expect based on capacitance specs lol... and the jury us out on opamp rolling... but sometimes it turns out that where there's smoke there's fire and that you need to design the right tests to get results that answer the question... and I don't mean subjective listening tests... but you can't purposely create test conditions that will spit back only data that is likely to support your conclusion and say "case closed," in the real world. But you sure as hell can on YouTube. Personally I find the argument tedious because none of these hills are worth dying on.

Maybe I'm dead wrong but regardless, that video isn't proving anything. I don't intend to prove my suspicions because I don't see why it has to be an argument. If tonewood doesn't matter to you then there's more endangered Honduran mahogany for me. You enjoy the basswood, it's all yours. If vintage amps are overrated, that's great, I'm not competing with you in an increasingly frenzied gear market over a shrinking pool of amplifiers when I want something different. In the words of my late wife, "go ahead and do you." Obviously I'm not speaking to YOU specifically, its authorial. Aimed at the basements experts who've never even played a packed theater.

IRL, if you went to some meetup and Ted Greene was arguing with Dimebag Darrell (RIP, dudes) about the importance of tone wood, you'd be like "ha, that makes sense, these two people have VERY different tastes, goals, and outlooks. I can see why tone wood is more important to one person, and less to the other person."... but for some reason, on the internet, that kind of context never seems to get considered, and instead we just read disembodied comments and think that some universal truth is at stake that we must fight for...

I just caught this... I can't picture dimebag caring to argue the point if the meetup had an open bar. Even though I started this thread, I think I'll be at the bar as well.

You're entitled to your opinion but I question what its based on.

EDIT: if you've never opened an old superlead all the way up in a big venue and felt your guitar vibrate in sympathy with every note you're missing out...

The channels could be cascaded to create a full bore metal amp if I tweaked one stage to be cold biased and decreased some coupling and bypass capacitor values, maybe decreased the resistor to ground in the voltage divider before tone control recovery stage but that wasn't the goal when I made it. It can get to 80s hair band levels of grunt no problem if you need it to but its more percussive than any marshall, pants flapping punchy in a way that the sennheiser on it flattened out.

This is a 50 watt amp I designed and built in a traynor PA head box a few years ago. It's an early hiwatt with extra gain, tweaked vox tonecontrols, a different master volume design and a big choke in the power supply instead of the hiwatt resistive filter because I like giant inductors:

https://on.soundcloud.com/tMeiE

Everything is like halfway up on the normal channel into 2 EV alnico speakers.

Thanks for the praise. If you like those tunes check out the whole record. I'm inordinately proud of that band almost 20 years later. The whole album has a dozen or more amps on it, different stuff every song. We got really into it.

When you try a Cub UK you now have a benchmark marshall tone, see if it gets you close, hopefully at a volume that won't liquefy all the pigeons in a 1 mile radius.

I'm a big proponent of getting good amps and letting them rip. In my professional music career I've owned just about everything.

I posted some recordings of my old band a minute ago that are good examples of cranked marshall and fender sounds in my last post. I never used to boost my Marshall's, they had plenty of tight crunch for me. In the studio I boosted my fenders for extra dirt but live they were just my clean tones.

For reference, the bulk of these diatorted guitars are marshall superleads driving marshall cabinets turned up to flamethrower levels apart from a few chord stabs that i think were a smaller vintage Marshall and solo which had a fuzz if I recall correctly:

https://on.soundcloud.com/6ZtXn

Pretty much all of the guitars on this song were blackface fender heads, even the distortion which were 80 watt showman heads turned to 10 with a gentle boost out front driving marshall cabinets, solo us a fuzz and cocked wah probably into another Marshall:

https://on.soundcloud.com/fGvbC

Just listening to the first minute or so will give you a good idea what the difference between 60s/70s marshall and fender really is when it comes to rock tones. Both are capable of great distortion that I don't think can be bettered for what you're into... I know this isn't metal but they're big, blown out heavy guitar tones generated by the amplifiers.

The jmp amps (aka metalface, nothing yo do with the genre this refers to the gold anodized brushed aluminum control panels) are the 4 input non-master and early 2 input master volume amps that came between the plexiglass panel amps and the jcm series. JMP covers a range of marshalls whrre they were evolving from tweed fender based designs into modern British amps and I can't guess which one they mean. There's something to love about just about every marshall model until they tried to introduce channel switching in the mid 80s. I think Randy Rhodes used a non-master JMP superlead that he boosted with a distortion+, yngwie still does something similar with a overdrive250, they're what kiss used etc etc... these are basically the same circuit as the laney amps iommi used for the original sabbath records. Even Kerry King still uses a basically stock jcm800 2203 (is anyone actually heavier than Slayer?) and most amps favored by metal players are based on this design which started at the end of the JMP series although there's a small but dedicated following for the Mesa Mark amps that are totally different preamps.

I have owned MANY classic Marshall's and the plexi and JMP superleads are my favorite heavy Rock amps when I can dime the volume. Superleads, my favorite was a little modified, were the source of all my distortion on tour and that band could melt faces.

You should find a Cub UK to try, I suspect the fender inspired version will make a better pedal platform but who knows. The quilter I have can produce a pretty badass grind that sounds better than most pedals. I don't know why people think ac30s are good pedal platforms, they're picky about what you give them because the circuit is so unlike any other popular amp, very direct signal path and very high current on demand making it super fast and unforgiving. I really like them but when I'm trying to add fx or more distortion my options are limited because a lot of pedals compromise the raw tone which is so good to begin with...

That was an easy one. All set.

Yup. Cheap, lightweight, take pedals well but can produce classic overdrive and my microblock45 is the best sounding solid state amp I've used. Available in a combo for under $600 used. Seemed to fit the bill, but you weren't into it because the voicing isn't metal enough for you so we dropped that. Even so, if you can try one somewhere you should do it. See if it's for you. The clean tone will be but you'll want to see if you can get it brutal enough with a distortion out front. You should also try a fender bass breaker.

I need some tone scrap metal...

That guy's home studio puts mine to shame.

Done

https://blackstoneappliances.com/odka/dual-range_guitar.html

If you're near DC check out Atomic Music in Beltsville MD, best all around budget friendly used gear dealer on the east coast... in the northeast the Daddy's Junky Music chain in New England is great. Obviously Nashville and Memphis are great towns to shop for an amp. Prices are a bit inflated in Tennessee but selection is great. On the west coast you have tons of options in LA, SanFran, Portland and Seattle... midwest I'm not sure outside of Chicago.

I wouldn't mind tonewood kitchen appliances. You could make some really high class industrial record with them.

Thank you for reminding me about solid state randalls though, especially because they are at pretty good prices and you can find them for even better prices on reverb so maybe I will think about buying good used randall with a good priced cabinet.

Buy a well constructed cab and don't stress about the speakers it comes with. You can change them later. Or buy unloaded and go on warehouse's site and order some of their wallet friendly celestion clones. In a closed back cabinet you want legit Baltic birch plywood with finger jointed construction. Front or rear loading speakers both work for metal but front loading designs can be too tight for cast frame speakers so you'll be limited to pressed frames... it rules out EVs, JBLs and some Fanes.

You might want to find a tech who does classic solid state amps and budget to take an old randall in for preventative maintenance immediately. Odds are it'll have some ailing parts in the power supply. People don't take care of those amps and they're old enough to have kids and a mortgage now.

Edit: what country/state do you live in?

You're describing 2 different amps unless you want to spend a lot of money on a channel switching tube amp...and then the best gain bangers tend to be just okay for clean. A lot of those sort if amps don't come in combo format.

You could maybe look at a 2 channel jet city, chinese made soldano design. Or victory amps is making pedalboard versions of their channel switchers and people rave about them but once you buy a cabinet its probably over budget. They're not cheap for a little hybrid amp.

It's hard to do metal without a 4x12 unless you get a helix, fractal or Kemper and go all direct.

But you also said "pedal platform"... metal isn't that sort of genre, not that fx aren'tused these days but a lot if the tone cones from the amplifier, usually via a heavily voiced preamp section...

you referenced pantera and metallica, metallica is definitely not a pedal based tonal palette on guitar. Or not classic Metallica... and is there any post 90s Metallica worth emulating? They began as marshall 800 players, then became mesa mark3c+ guys... I think they used a jazz chorus for cleans in the studio before switching to ADA mp1 preamps fir clean and the built in chorus and then going a whole other direction clean and dirty with vintage Marshall's in the studio for the black album. After that I'm not sure. Last time I saw them live they had mesa mark heads of some sort into marshall tall vintage cabinets, hands down Marshall's best current production 4x12. Dime endorsed affordable solid state randall amps so maybe buy a 90s solid state randall.

I've also heard that Bill Kelliher has been touring with friedman and victory pedals and a helix into a Seymour Duncan power stage to drive his cabinets. So theres another, modern route to brutality.