I love Seventies Hard Rock. The combination of a vintage Marshall amp, a couple of vintage Greenback speakers and a Les Paul guitar is quite a fascinating thing. However, there seems to be as many myths as there are players. Now it's my divine mission to bring clarity to this enormously important topic ;) I'll be doing a couple of demonstrations, shootouts and recording tutorials each week, so very welcome and please don't hesitate to give me feedback. Negative as well as positive.
These amps are F'n LOUD!! I owned silvers and black's and not one sound man EVER let me get above 2 maybe 2-1/2 before complaining. So consider them a clean amp unless you're ballin the big gigs.
I have that same deluxe but in a different color. I must admit, its my least favorite of all of my tele's (5 of them in total). It suffers from identity crisis in my opinion. Not really a tele sound nor a proper PAF sound.... even when split. Sure it's unique, but I haven't really found a use for its sound. My standard single coil tele bridge's kick its ass when it comes to distortion
Something I've realized is that... there's so much like "give and take" on everything. I mean like... one speaker/cabinet can sound mediocre compared to another with one type of sound or style, but then the roles reverse with another. - It just makes me want to stop comparing and just dial in the sound properly for whatever is in front of me. - And that has been the way most artists, but for the most tweaky geek types, throughout history anyway. Most just use what they have and make the best of it. Sure, over time they gain knowledge with experience and then find out about equipment and refine their methods and sounds, but kind of like photographers and the like would advise "the best equipment is what you have". Which in a way is very... I don't know, like an excuse or just put too simply, cause sometimes you can just have the "wrong" equipment, in the sense that it just doesn't work for what you're trying to do, which can totally be the case. But at the same time I think you shouldn't nitpick too much and just tweak away and see if you can improve things or find something interesting with what you have. Of course, this kind of demonstration is good to get a sense of something and go into a certain direction, but like I said, at the same time, it also demonstrates that it can change around all the time with any given input from whatever you send into the equipment. Not to even mention the microphones and room and so on. - There's just too many variables, is what I'm getting at.
I got a 65 fender princeton 64 gibson mariner 66 silvertone 1484 75 marshall mkII 2 O4 marshall dsl 100 98 marshall vs orange crunch ? Peavey bandit blue And several ss combos
That’s a nice jangle with the Mojotone. I feel like that speaker might be something to check out with Morgan Abbey 15/1x12” box/Rickenbacker 330. Just got an eBay offer for $103 for a 16ohm 12”. Eh?💸 🔈
This was my first amp. It doesn't have gain and eq knobs. It had limited me for many years so I certainly have no love for it. I still have it, with a couple of broken jack inputs. I tried it as a cab with a smaller practice amp I have. Removed the spring tank, local audio technician made it into a separate reverb unit, that thing is broken by now as well.
I love the Jensen sound. I don't know why I kept Celestions in cabs except my Fane Axiom replica From Weber. I need to put a pair of Jensen against the new Fane speakers or Fane Axiom to narrow down my favorites.
To my ears, the Brazilian Rosewood sounded brighter than the Indian Rosewood which sounded more mid-tone. Everyone will hear it differently it's just how our ears work.
My MM 112 RD50 Could NEVER be played above vol 2.. It starts injuring people.. I don't know what up with this one being played at 10 with the gain on 10.. Any ideas on why mine is so INSANELY loud?
I think bridging channels on Fender Tweed Deluxes is a huge mistake because there is a very useful interaction between the two volume controls when you are only plugged into a single channel. But on a Marshall I can’t hear any benefit in not bridging the channels.
Superhumbuckers in the L6S by bill Lawrence was better , sealed, solid cover , 3 magnets but low ohms like 4.9 to 5.7 ohms but was super powerful but sparkling clean
Johan I have heard that there is a solid state rectifier plug that you can substitute into your tube rectifier socket. we should try one in a jtm 45 or blues breaker and see if it sounds more like a plexi.
It was.my.first bass amp! I played it until blew the speaker then ra the head into a 2x10 until I ugraded . Ive picked up a few in the 40$ range this year. Mostly for nostalgia..They needed deoxit on the pots. I swapped one speaker for a 40$ jensen. Sounds pretty ok to me . Honestly I think.they a buit as good a peavey. I couldnt ger the fromt grill apart. Its glued as well as screwed together
I ended up with a 1968 arena Marshall that was used by the rock band Nazareth. I got it from guitarist Manny Charlton back around 2015. Manny told me that this is the same amp that created the intro for the Please Don't Judas Me song (it was an unintentional feedback from the guitar which he went on and recorded) The funny story he told me was that he one day decided to play his guitar in his home studio which was detached from his house. As he was playing he said it was getting cold. He stopped playing and that is when he realized he blew the windows out.
If I had to pick only one, I'd go with the M160. Really nice, sounded almost mixed already. And would take EQ well. The SM57 fares well, and liked the Peluso. SM57 and M160 make a nice pair, because of the smoother, more pleasant but still defined top end of the M160. The AKG C451E was a little better than I expected, because I find them a bit bright on cymbals, but was pretty good here. But still second worst. The worst for me, was the AKG C414-B-XLII, which I found unpleasant sounding. And I found the same on other demos. In other demos the M160 was slightly beaten out by the Royer R-121, though it was close. The M-160 is more versatile though, because a pair are fantastic for drum overheads, and strings (violin, viola, cello) and is better on vocals than the R-121 too.
I just got 4 wgs speakers two bran new, green beret and veteran 30. I guess I just don't like v30 or anything like them but the green beret are awesome. Need to try them mixed. 50 bux for all 4 Lmfao. I have so many Eminence speakers the only Celestion I ever like was the g12k 80. 1978 black backs. G12-t75. And the V type.
But cabinet matters. And peavey amps had the worst cabinets and baffle boards. The baffle board matters the most but peavey used that covering that made those cabinets sound so dead. They sucked. Plug a peavey into a different cabinet. Better build. And these square backs and bam
This Marshall sounds great and has plenty of tones, but it's true this JTM series overheat due to the layout of tubes and the PCB. Anyways I liked so much the demo with the Demeter that I cannot think of other amps now, it was so good, I'll get one. Thanks Johan, cheers !
