Discussion in 'Amps & Cabs' started by TheSandman, Oct 9, 2018.
I'd say be patient, research and try out various amps, and go for what moves you.
Why not use a Fender amp for cleans and another amp for crunch and use ABY switchbox to toggle between the two?
Although a dirt pedal is way easier to transport than a separate amp, gasket.
If that H n K amp is as sweet as it sounds, it seems like a good unit unless it turns out unreliable.
A nice Fender Reverb is a given,,,,, flat out sweet Fender cleans. If Reverb is a head version, speaker choices will color the sound a lot. I flat out love a 59 4x10 and Black face Bassman heads, I have a sweet Red Knob Twin.
Lots of great amps will get you the sound you are after, I can go on and on, except I have a 3 hr drive ahead of me.
I watched some more demo's of the GrandMeister and love the tones it has. It sounds nice.
@cerebral gasket thanks for the recommendation, but I'm wanting an amp that will do both.
Sand, I have more info, but hafta get it off my computer instead of cell phone
Cool...lemme know what ya find.
I posted a message elsewhere and got a few replies. Here is one--------
What do you want to do with the amp? What general tone profile are you interested in?
There have been so many different Marshalls over the years that there really aren't many commonalities. Since you are specifically looking for master volume amps I will deduce that you want to be able to get significant preamp distortion and do it at manageable volume levels. Here's my own experience with a few Marshalls:
- I gigged an 800 for years and it's a great amp if you just want that one '80's hard rock/metal sound and can use it at fairly high volume. They are not versatile at all and need to be pretty loud to sound good.
- The only 900 I had was a combo. Tons more versatile than the 800, but maybe a little too much sizzle in the higher gain settings, though with a drive pedal in front they are one hell of a good amp, and I disagree with all the people that kneejerk hated them just because of the diode clipping: they were an improvement over the 800 if only because you can cover so much more sonic territory with them.
- I had a JTM-60 for a while and it was arguably the best-sounding Marshall I ever had but they were notorious for overheating and mine ate up power tubes quickly so I got rid of it. The only other Marshall that I had that sounded maybe as good was a Studio 15, but that was basically a practice amp and didn't have enough juice to gig with.
- Never actually owned a 2000, because I had switched to Mesas, but I have always liked them when I have plugged into other peoples. Crazy versatile and not a bad sound to be had from them, but from my (very) limited experience you need to stick with the 100 watters to get a tight bottom end at gigging volumes, however owners of them can probably give you more info on that.
- Have not had any DSL's. Have almost bought one a couple of times but there is an inherent fizziness in the distortion that seems incurable, plus I can't get my head around a Marshall not made in the UK.
- Recently bought a Silver Jubilee (the 25 watt one) and I can tell you it's the real-deal. Hotrodded JCM-800 tone, but more controllable and more versatile. Its definitely worth a look if you are checking out Marshalls at all, and really affordably priced for one made in England. Strange thing is, I am thinking about sending it back because Mesa just came out with the Fillmore 25. I just have a feeling that amp would suit me even better for those medium gain crunch tones.
DSL40C owner here. Bought one on sale at Sweetwater when they were blowing them out for $399. Versatile amp at any volume, kinda fizzy and harsh. Swapped the speaker for a 50W Eminence Private Jack - $80 street. Fizziness and harshness gone, now I can dial in virtually any sound I want.
If it were me, I'd consider the DSL100 head and a cab loaded with an Eminence Texas Heat and a Governor. You'll get your warm, deep cleans, chunky rhythms, and searing leads.
I second this recommendation. The new DSL heads have 4 different settings/tones that you choose from.
One of the more versatile amps Marshall has made.
As for the 900s, the 900 is a series of amps. There are different models within the 900 series. I had the MK III for a while and it is a KILLER amp but it only has one channel and I needed a two channel amp for the band I play with.
The Dual Reverb is a two channel model but many people don't care for that one.
This is the correct thing to do.
I gig with a 20 watt Marshall DSL that gets mic'd thru the PA. I've played small clubs and larger outdoor venues and 20 watts is plenty when mic'd thru a good PA.
I have no idea where anyone could play where a cranked JCM900 thru a 4x12 was not loud enough. Boost a 900 with a Maxon OD808 and you are on your way. Worked for John 5 for past 15 years or so.
I use one. A 900 MKIII 100W 1x12" combo that I made as head. I use with one or two cabinets
The amp is good. Clean is good. I drive it with a TS808 and a Marshall Drivemaster. After 20 years with a Twin Reverb I love this small amp. Small in size, is 100W and has 4 EL34 tubes, don't miss that. Features two masters switchable by pedal. And the tone is good, I love it and don't miss the Twin Reverb. If ypu don't want diodes, do as me, low to cero the Gain Sensitivity pot.
I don't care about diodes and prefer my Tube Screamer (with diodes) in front
The amp was formerly like this:
It is probably not where you want to go, but my Rockerverb MKIII 50w does what you want I believe. There is a 100w as well.
If you're after a Marshall with master volume, go for JCM 800 instead, they rock ten times more IMO. The JCM 800 is by many, including me, now considered a classic rock n roll/hardrock/metal amp, and there is a reason for that :)
Myself I use a modded point-to-point Marshall 1987x and I can highly recommend it! It kills!
+1 on the JCM 800
2205 Dual-Channel 50W Head.
When I think of it, I can't really believe how often these crucial facts are NOT taken into consideration when people here talk about the sound of their pickups/guitar/amp/cabinets/ABR-1-bridges/straps and jack-plates.
Those words are not mentioned enuff on these pages IMO. Maybe those words should be a sticky-thread on the Amp/Pickup/Tone- departments, hehe, AND it should be mentioned at times when it gets down to the nuances of plastic VS metal-pickuprings and the likes, hehe.
Another important thing (yeah, important) is how a lot of players in two-guitar (rock)bands more or less ignore how the two guitarsounds match. (I'm can mainly speak for rock/hardrock/metal bands here, thats what I know best) This seem to be the case with lots of players, all the way up to pro-level. (Saw an example of this some weeks ago. A top-act Norwegian band I wont mention since I might risk my relationship, a friendship AND so-called worldpeace.)
If you play mostly alone, its no worry, but players in two-guitar-bands should be aware of how the OTHER guitar/rig sound, and must take that in consideration to get a good dual-guitar-sound that cuts through live and or in the mix of a recording.
I'm a AC/DC-fanatic (no sh't?!) and I love how the Youngs made the Gretches and the SGs go together and become The World Best Guitar Sound (talkin' 1978-81 here). So simple, so perfect.
To me it seems that a good deal of players, when theyre using/buying a guitar/amp/pu's, they do not take into consideration how the OTHER guy in the band's guitar sound, how the two guitars pu's, amps etc will work together; they just WANT that guitar/amp/pu/strap (and I admit I can most def relate to that)
You cant always get what you want.
No, you cant always get what you want.
But if you try some times ...
you just might find ...
a mindblowing guitarsound that says "HEL-LO! I'M YOUR DREAMSOUND!"
Now, some coffee.
Hm ... Seems like a good excuse to post a dirty, low-res-with-flash-pic of my (now endelessly improved) rig with my new super-SG Standard.
Yeah, bridged channels FTW! And that Koch LB 120 II is pure gold.
(Our rehearsal room is of course a dark and intoxicating place, so I had to use flash on the camera. That light really doesnt do justice to the color of the guitar. Gotta live with that I guess. Sigh.)
For those about to nerd: The Marshall (1987x) has been modded by a "witchdoctorguru in the woods" to a point-to-point amp, and has also had that "icepicktreble"-thing fixed. Channel one on these amps sounds downright horrible when they come from the factory. My dear old, beloved cabinet is loaded with four greenbacks that says they from 1976, made in Ipswich. I suspect the logo may have been replaced on that cabinet, but who cares, the sound is stunning. And thats a 1996 Ibanez Tube Screamer, a TC Electronics Polytune, and a wah I borrow, a fercious Dimebag wah.)
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