jimmarchi1's forum posts 8022

he's a big deal in the USA... and he's not the ebst player but he knows his music theory and really has songcraft

or had

Overdrive As an overdrive then I'd say go for the Seymour Duncan 805. It is a great overdrive pedal that can be used as a clean boost. The 805 is a very versatile pedal, leaving you plenty of room to play around in different styles. If you're looking to read about some other overdrive pedals, I wrote a little article about it.

YATS (yet another tube screamer)

also how would that quilter micro sound infront of a drri/blues jr

you can't put the quilter inf ront of another amp, it IS an amp... it you use it as a drive pedal it will blow up your tube amp

every time I look at this list there's more Peavy and the rage seems t be the king of first amps apart from young guys withs tarter packs... I'm nto surprised but I'm a bit bummed too. Maybe I need to start a 2nd amp thread?

hey, it just occured to me that absed on your other posts in guitars that this is probably for a metal band? I think its pretty muche stablished tradition for metal bands to draw the msot illegible, squiggly 'demonic' lettering possible! You cna do that yourself for free, man.

Look:

http://www.nme.com/photos/31-illegible-black-metal-band-logos-1435801

no self-respecting graphic artist would have made any of those, but they work eprfectly within the metal community even if you can't read them. Maybe ask your tattoo artist? That's the kidna person who would design that for you if you couldn't do it yourself.

as for the metallica styled stencils? Its really not that complicated.... that version of the metallica logo is actually kinda the late version. First time I saw it was in the Live Shit Binge and Purge boxed set... came with a stencil actually. You still need a logo tos tart with and then its not difficult to turn it into a military-style stencil if you know what you're doing. Even those black metal logos I referenced could easily be cut into stencils, man. If you're good enough with an exacto knife to hand cut a design for a 1 color silkscreen then you're good enough to turn any lettering into a stencil for flight cases.

I used to do this sort of thing when iw as an art student and while Iw as a studio manager and engineer to supplement my income... forget about this itnernet BS if you're ona budget... go to the local art school campus (even if its just the art institute) and get a student. Maybe a sophmore who will work cheap but who has a lot of talent.

Depending on what your budget is I would consider doing it for you if I liked the music and got a mental image from a few of the songs.

I never said i wasn't a fan of Supro.... I think the reissues ar ebuilt like shit. is ee them broken, new in the store ALL THE TIME. Infact, I've encoutnered 2 broken ones, a model 24 and one of the oens with reverb just at the sam ash in my part of philly. I mean, the originals could be a real point-to-point rat's nest and the 50s ones use crappy parts all over the place, but that's part of their charm... and for some reason they don't break all that much.

I also oned an original Airline badged 1624T for eyars. You know, the amp that's one of the contenders to be the LZ1 amp? I liekd that amp, bit of a 1 trick pony so i sold it to my friend who was head over heels in love with it. i also sued to own an original Statesman 2x12 cab.

That said, I don't think that the new statesman head or cab have anything to do with the old one. that's not a bad thing. The old sttesman cab was a weird flaoting baffle closed back. It was really not such a hot 2x12. Interesting though. The old Statesman heads were really not so good sounding... this is a vast improvement, pretty decent sound... wish eh ahd used some other guitars through it. if it has Supro DNA in tis design it will come alive with a tele or Gibson. The strat's the weakest guitar to really get the badass from a supro.

I used to use the tall mesa recto cabs soemtimes when i couldn't use a tall marshall and I really don't care for modern V30s... they used to sound different, celestion changed soemthing, I dunno... the oldest V30 I owned, an '85 in a marshall studio combo? best sounding V30 ever. Iw as half tempted to steal the speaker outta that am when I sold it. Actually I wish I had the amp and the speaker. that obscure 80s 1x12 sounds fantastic for anything short of death metal. It does not sound like the itty bitty 15 watt, cathode-biased amp it actually is. its a total ebast. I made a lot of money on it though.

I like the Jubilee, its the only marshall that egts into higher gaint erritory ad still soudns good. Other than that design they coudla just quit with the single channel 800, just kept making that sucker forever.

they use their touring abckine to record? a lot of folks don't... I ahd a period where I just used one of my tall cabs thatw as the magic for studio use or I sued combos, but a lot of the other 4x12s I ahd did not eveng et brought, just the magic oversized amrshall one that soudned better then any other 4x12 when close miced... all the otehr cabs Ie ver sued sounded great on stage, but the amgic one was straight up magical... it was somehat the speakers but also just that aprticular box was just plain superior sounding

figure out what those sevenfold guys have in their cabients, not just on teh road, but in tehs tudio sicne you're used to their studio tones... soldano designs are real sensitive to speaker choice

So you're saying that this https://www.guitarcenter.com/Vox/AC15CH-Custom-15W-Tube-Guitar-Amp-Head.gc

and this https://www.guitarcenter.com/Orange-Amplifiers/PPC-Series-PPC212OB-120W-2x12-Open-Back-Guitar-Speaker-Cab.gc

will get me the tone I'm after?

and no Iw as not ever saying that... iw as suggestion a lower gain 50 watt, EL34 or 6L6 head might get it ;-) but turned up... I love the vox thing but its not THAT metal. The big difference between the EL84 Jet City 22H and say a terror series or even an ac15 is nto so much the preamp (we're looking at simialr cathode follower absed tonestacks following a handful of gains tages, all bassman descendents more or less, even the top boosted vox preamp is sort of like that) but the POWER SECTION. All the terrors are, like the ac15/30 (not to mention the classic marshall 18 watt, 20 watt elad and bass, watkins dominator, etc, are cathode baised (what many companies call class A even though tis not really... el84s lend themselves to this bias scheme mroe then any other power tube). The voxes and msot of the terrors also have no engative feedback. pwoer amp distortion slides in gracefully ina very brian may sense. There's a lot of comrpession, not as much percussiveness and the pweor amp's frequency repsonse will favor the midrange the louder you play... the 22H runs the same pair of tubes in fixed bais like a alrger amp. A more modern arrangement. now the cathode bais scheme is self biasing. No ened to go to a tech when you ened new tubes... and it has a sound and its a great sound. I LOVE it. But its a vitnage sound... small tweed amps, voxes, supros. Change the preamp all you want and you still have a small cathode baised pwoeramp with a gain banger stapled on teh front... as you turn up the pwor amp wille xhibit those cathode biased sonic traits. If the pwor amp ahs no engative feedback it will sound loose. now one of the options on the triple rec is 'raw mode' which elimiantes the corrective negative feedback, but tis just oen voicing option on the amp. The Jet city is going to use those smae small pwoer pentodes in a totally different way with a large amount of corrective engative feedback for a tighter response and a twinge more ehadroom and the fixed bias will expand the headroom and lows even further as well as changing the distortion character to include more odd order harmonics like a amrahall as well to have a more abrupt onset of distortion. I could explain more, but most high gain amps prior to Orange upping the gain on the tiny terror? Fixed bias pwoeramps with a good amount of negative feedback (presence and depth/resonance controls effect the way thise corrective feedback from the output tranformer effects the extreme highs and lows)...

another thing to think about with the terros is that the original TT is pretty gainy ebcause its designed to clip the pwoer section. There are 2 cascaded triodes from V1 that share a dual ganged gain pot so that they both turn up together giving equal gain rather then everything being bunched up in the firsts tage like msot high gain amps, a cool idea, but they're no generating much dirt, the dirt comes from the PHASE INVERTER that splits the signal for the push-pull pair of power tubes. The master control is the same post-phase-inverter variety that orange overdrive ehads of the 70s used. its been used by matchless and vox. it was a favorite mod for marshall JCM800s when iw as a kid. That original terror soudsn vicious because of this arrangement. The toen control is also in the pwoer amp right in line with the amster. its basically a the vox cut control which is a frequency specific master volume for the treble. that's it. This really simple arrangement really works on the terror. Those type of vox-based aps do really well with this sort of gain structure. They really messed with the formula for the Dark, Hinds OR15 etc. Iw as still reptty imrepssed with the OR15 overall, but it defintiely is spongier and softer then the Jet City and they are VERY similar ind esign until the poweramp. I've used both amps ins tores and while Iw ould say that for myself I rpeferrred the Orange, for metal? I think the Jet City will own most of the time.

PS: prepare to redefine loud amps... 15 to 20 high gain tube watts is going to take your head off compared to that fender modeler. Blood will come out of your rectum or something... if you think 15 watts will dial it down for apartment use think again. 15 watts is loud as fuck in a small space. its not less than half as loud as 50 watts ;-) its about half as loud as 100.

Also, if you want to save $ on a cab, definitely hit the local Craigslist or check out Avatar Speakers (made in USA amps that cost less than MIC-Oranges, with the same specs). I got my new Avatar cab loaded with Celestion Vintage 30s for $478, new.

I picked up an empty avatar used for under $200 local pickup a while back. I have ltos of speakers aorund though. Was actually looking for an empty 2x12 to be my Fane/JBL cab

the other thing with this whole amp thing, even in metal/high gain turf? Is speakers. They matter way more then you think. A lot of discerning metal freaks are quite particular bout high pweor and high headroom favoring stuff like the EVM12L over more obvious things like the V30. more 80s flavored metal is best with the celestions loaded in the marshalls of the era like G1265, G12S50 and even the lowly G12L35 (a very underrated driver). The V30 was late to the party with the earliest Marshall branded example I've owned being in amp made late '85! A lot of guys in emtal like the modern elads and that whole 70 to 80 watt class of celestion but an often overlooked celestion is the 100 watt one that's pretty ideal for shred and that kidna stuff. I'm always screwing around with whats in my cabs and everyone should. There's no be all end all (although for most of my needs a Blue and an H30 are it). But my closed back cabs are always getting different stuff based on what I want to record and what amp i'm planning to use.

and the 22 is basically a 20 watt fixed bias EL84 poweramp with the preamp from the Soldano Hot Rod stapled on. I actually really like the hot rod amps. Better then the SLO100. They're more marshally.... and I like me the marshally.

also try some Jet Cities, they're msotly designed by Soldano... i think they have a new 2 channel designed by the guy who does Cornford. The Jet City Sodlano ehads sound really good for $300 amps.

St Luis music is nota reputable company... its a shame they now own ampeg

I didn't realize you had such a high res photo in your gear porn

those aren't chickenhead knobs but I think I catch your drift?

My first one was a First Act combo. The model escapes me. Then I got a Fender FM100 head and the matching 4x12. The first amp I owned that I thought was incredibly mega cool, however was a 50 watt Laney Pro Tube AOR, the eight knob version. I miss that amp every day.

I briefly had a AOR head too, very recently... the version that's mroe like a modded JCM800, not the later channel swithcing extra features one you had... really liked it and I'm not sure why i sold it now that its gone... I also have had several GH50Ls and i can never figure out why I sold them ocne they're gone. Maybe its the non-JCM800 features that always turn me off in teh end but I cannot figure out what i was thinking. Then again I also don't know why I sold my 50 watt 800. I know I bought my band a van with the money, but still...

dude, why not just fix it? I'm sure its something very minor and inexpensive if the pwoer ampw as stil working. Although 300 bucks for a rackmount one is reptty cheap,s till.... I assume you tested all teh preamp tubes. Did you see if there's some sort of short in the FX loop output? that's common in 80s amps of all kinds. Buffered eries effects loops with switching jacks are prone to failure.

look above 'post reply' and you'll see a blue link "Formatting Help"... a lot of photos and videos will auto-embed but some don't including ours I guess

I like the stray marshall knob on the rack... I got an JCM800 from a guitar center once with a stray fender knob on the presence pot... I guess GC swapped our knobs!

the difference ebtwen any of the terrors and an ac15 or amtchless spitfire is like 2%... pretty much just an extra gains tage. But hey, if you want all rpeamp gain then that's the ticket. alo, an roange logo on your gear is way more metal then a vox logo and that actually is something worth considering when gigging. But I'm telling you, the wholet error series is very much a pile of vox rip offs with various voicings, extra features and varying amounts of extra gain. personally I liked the original TT the best.... also try the OR15. its a TT power section with an marshally/soldanoey type preamp stapled out front. I thought it was too much gain for the power amp for my sort of sound but it may be right up your alley. It was also built pretty damn well for a chinese amp although the other terrors kidna have the edge for grab n go convenience if you wanna take it on the subway or something. The or15 is prettier though.

anyway, if you get a chance try the discontinued Rocker30 if you're lucky enough to run into a used one. that's the best modern orange design I've ever tried. been flirting with buying one for years. Really uique design and has way more gain then I for one could ever use, but its nicer sounding gain to my ear then a lot of other modern oranges.

thepower section ofa terror is an ac15 or 30...VOX OX XOX XOX... not a bad thing, but maybe not metal

buy an old amp... buy an old cab

you're thinking "more gain is more muscle?" no, less is more. You cando a lot w/apile of baddassery with a 50 watt amp pinned to 10 through a big 4x12 with good celestions or fanes... RAH!

heeeeeeeeeeeeeeeeeeelooo... zIpPyKiD? hola there. aloha, ave

get a life... there ya go! live alittle and technique is meaningless. Go LIVE..but also stop sucking.

you don't sing like mic jagger... you live jagger

I cometh not for attention but for improving my standard by getting suggestions from pros here...

cum for the pros, eh? what about ex-cons?

sure is, you have to pretend you're a mmidwesterner pretending he's in the clash.. and you have to hit your guitar so ahrd that wood chips fly off it every few beats!

I've been eyeballing falcona nd workstation for a while but I fear they'll go udner and my investment will be for nothing whereas soemthing like Kotakt never goes away... and i don't use this stuff that much anyway. For software sampling I will a lot of times be making really unique stuff with TAL sampler voiced up like an old akai or emu unit with soundfont layers, my own samples built in and fitlering and shit doing some 'hollywood' sound design type of thing... I don't often want a stock soundlike this, but piano is one of those things. I just cut a recording where I used my Yamaha digital piano initially and was underwhelmed and really ahd to screw around with assigning sounds to the MIDI data I recorded along with teh audio to get the piano sound iw as envisioning. its not even perfect, tis just close... I tried Kotnakt stuff, I tried some dedicated piano plugins and I forget what I printed. I needed something bordering on a tack sound and it was a bear. If Iw ere working in a comemrcial studio I woulda just played an acoustic piano,... anyway, tangent here... food for thought though. thanks for all the great info Dan. how stable is UVI being a small fry would you say?

I ahte to say it but behringer clones the triple rec in its tube amp line, bugera and the mesa version sia lready such a reliability nightmare that you could look at those without fear that your behriger copy would be breaking down more often... the diezel stuff and the triple rec don't have THAT much in common circuit wise though other than being from the soldano school of cascading preamp gain with weird bias etc. They're all high gain tweed bassman descendents loosely, but the triple rectifier is very much a soldano SLO100 with a different pwoeramp design that has alotta mesa jackassery to voice it and switch with more preamp options too (more that can and WILL break)... coem to think of it the whole epavy 5150 line and the EVH branded 5150s are also SLO100s more or less. The Diezel VH4 is a fresher approach to high gain as far as I can tell. The Herbert employs more marshally voicing but its still uses the same approach to high gain. I mean, its not reinventing the wheel, and its still a tweed bassman/JTM45 descendent at heart, but diesel doesn't seem to be too direct of a SLO100 lift with tweaks like a lot of high gainers of the 90s... they took it somewhere else. Simialr technology though I guess.... its an apples and apples comparison on all this shit.

you should read up on this, there are only a few camps of high gain and all of them have either tweed or blackface fender as their building blocks... the earliest examples besides the JCM800 are all blackface fender like mesa mark amps and the dumble design... SOldano took the bassman and 800 ideas and then whacked on more gain in a novel way that's nothing like the way emsa did it.... then peavey did a version when evh wanted a different tone from his SLO100s and finally mesa took the design and copied it with tons of swithable components and a brand new power section (for better or worse, the SLO100 sounds great stock) as ther ectifier series... evne the heartbreaker and the nomad use a SLO100 preamp more or less and that's a well tought out, gained up JCM800 which in turn is a bassman with the 2 stages of V1 cascaded instead of parallel as well as some voicing tweaks to prevent fartiness (as wella s some plexi holdovers where they refined the circuit for the hard rock sound too) .

most of these amps are very similar, tis very minor thigns that separate them tonally and a few little parts value mods here and there can eba world of difference... for sitnance,e very modern orange design is either a vox ac15, 30 or a marshall 800 with some different values... the old oens were a weird groundup design though, but everything else they do is a vox or marshall with darker orange voicing ;-)

UVI Worskstatoin?! I had no idea anyone sued that or Falcon or whatever... wow

the cartridges are ahrd to come by... try saving your aptches as MIDI data onto your computer via a dedicated MIDI librarian ;-) I've sued MIDIox for some time. It works. its free.

that's a blackface trem as far as I know because Isaac and his band tend to use super reverbs, LDR circuit in the preamp. the other trem in blackface is the bias vary trem that's in the power amp... oh and the vibrochamp uses a different preamp trem that's like ac30 trem (vintage top boosted ac30 trem)

I got mine in the 90s when they traded for $100... I had that, my dx7 (another unfashinable syntha t the time) and a rboken down realistic MG1 for a moog... picked up poly800 soon after and my boss at the time took pity on me and gave me his MKS50 rack because he was so down on the korg. I think eha lso gave me a tx81z that eyar but I I enver sued it much and I don't have it anymore. But the ESQ1 is a desert island piece of gear ebcause it does so many thing well and also manages to sound like tiself while doing them.

People rave about the Minitaur if you justw ant a big and dirty 2 osc bass sound. The phatties are all nice.... but the mdoel D is what we all cave, right? Before there was a reissue or behringer I got a studio electronics SE1 and its one of those thigns I use ALL THE TIME. the ARP Odyssey RI is really great as well, though not as strong on bass as a moog product. Its really affordable though.

welcome, I see we're ESQ1 brothers, nice.

like a big blackface LDR trem?

Beethoven? he wouldn't do it... he thought performing for an audience felt like slavery. Will you settle for Liszt isntead? He probably could outplay Beethoven anyway.

didn't you already psot this? Nikhil, how come you only come on this site when you want attention?

the OCD is really only an ODin the sense the DOD OD250 is... its one of thos greay area effects that hard clips but has headroom on the clipping... it defintiely ocerdrives more like a big brit amp than the average fender or an ac30 even... its a good thing... I would NEVER accuse the tubescremer/SD1 of being amp like, maybe tis softer clipping is tube-like, but its just its own thing overall and a classic thing it is I might add. The Bluesdriver is the first OD I remember being advertised as amp-like (I'm gettig that old that I vaguelly remember boss hyping it up in my buddy's guitar rags when it was relatively new). I have NEVER liked it... vastly prefer the SD1/TS9/OD1 type circuits.

Disregard my comment about an OD250 or Distortion+, the OCD is derived from that lineage. its just a more dynamic, more refined version with a tone control and variable input fitlering via the switch. It can kidna cover rat tones too... somewhat. I have amps so if iw ant amp drive I use an amp turned up. I like the more primitive circuits ebcaus ethey sound like themselves. They're an effect. The amp-like drive thing mystifies me. mps alreayd voerdrive when turned up. Use an amp that's the right volume for the room and have at it. if you need a bone clean sound use 2 amps on an AB box. If iw ant to hit a epdal iw ant an EFFECT. it might work WITH my amp but it shouldn't be trying to simualte soemthing ym amp can do on its own. that's silly. That said the OCD is a great design. Voodoo lab ahd a genius idea when they ivnented the type of clipping it implements and mike fuller was brilliant for knowing about it to rip it off.

the lionhearts all sound great from the 5 watt to the 50 watt... as long as you stay off the gain 'channel' which is just awful unless the amp is already rbeaking up, in which case why not just turn up some more on the normal channel? Kidna pointless. But I would totally own a Laney Lionheart 20 or 50. They have a taste o vox and a taste of early hiwatt but also some of their own mojo. I like the big oens ebcause tis rare to ehar a true class A,am that's single ended and not push-pull that's more than 10 watts.

I'm not in love with any chiense made ac15, I just don't think they sound that good, but for the price? they sound pretty decent. I prefer the tiny terror though. but if you cna scoop a handwired they sound pretty stellar , just a half power 30. might be too pricey. Vox hasn't made a true ac15 sicne the vintage era though. its a different circuit then the 30 in the preamp. Or its supposed to be. They were originally the same but after a few years vox dropped the ef86 in the 30 supposedly due to failure, but if the tube quality went so low why not lose it in the 15 and 10? Also, i use brit ef86 tubes form the era that vox ditched the tube in the 30 in my matchless and I've enver had an issue with them. In fact I have yet to need to replace the Mullard that's in tehre now and its been tehre for over a decade. Anyway... the original 15 and 10 retained a compliment of oddball preamp tubes for the gain stages and vib/trem effect until the arbiter buy out in the 70s as far as I know. no one has really replicated a real 15 with all thsoe weird tubes since then, or at elast not a production model. The original 10 and 15 have a certain mojo and i think that's why a lot of vox purists rag on the mdoern versions thata re just halfpower ac30s. The kodern 10 is nothing like msot real ac10s other than inc abient design... evne the super reverb twin 10 thatw as a ehad has a unique circuit from the ac30. Anyway, there are modern ac15s that sound fine, like low watt 30s and that ain't bad. Don't let the snobs get you down. AC15 versus a hot rod? I;ve never seen a hot rod fail at a gig and I've seen a chiense ac15 go down before. That said I cna enver get a tone out of a hot rod and I think most guys who gig with them (everyone) sound pretty lukewarm, its just a few who seem to know their inner secrets... an ac15 is ahrd to get bad tone out of although it cna be a little tricky tog et used to the weird tone stack response.

Oh yeah, make sure you get yourself some old school classic though. I would invest in an MXR BC108 fuzz if I were you, maybe an EHX double muff instead, either way... I'd pick up a rangemaster or some other colored boost effect to try on my tube amp when it shows up... I'd try an OD250 and a distortion+ and pick one, worth having one of those... I'd look at quality analog choruses, flangers and phasers or maybe an octave fuzz and something off the fucking wall like an EHX frequency analyzer or octave divider? I've been really rediscovering some of those old designs while recording altely.... a main guitar part can eb a good clean tube amp sound but in with the synthesizers its can be fun to make some splatty, clangy and outright weird guitar tracks to shake thigns up and you're not doing that without some old oddball effects. verything modern and digital leans towards ambient or its too in your face... and much as I erespect EQD and those companies their shit is borderline unmusical and pretty overpriced. Don't tell EQD I said that though.

obviously I'm asking what country you live in so I can give some amp recommendations... different stuff is available on a budget in the US and UK... as I recall you have some kinda fender solid state amp and I would pump 300 bucks into a tube amp

Are you american? I forget

troc and khyber were my stomping ground too, sued to do sound at troc and northstar soemtimes as well around '00

I had no idea humans had been taken out of the sampling equation... not in my studio. Precision? nah

Hi Dan, where's center valley... I'm from NE Philly and worked ina lot of Philly and NJ recording studios between 99 and about 2005ish as the elgs really fell out of the big comemrcial studio thing ins econd cities...

and welcome... keep me psoted on the old baldwin piano... my kid's piano eacher has a vintage '20s steinway, if you wanted to do a whole product based on old pianos I would lvoe to sample that thing with her behind it and contribute to your plugin. She would probably do it for free, friend of my fathers form highschool in the 60s.

I wnder what it is under the hood, all of the mojo hand pedals are clones except the rook... although the rook might be a clone, I just don't know of what pedal