Bare Knuckle Pickups Forum
Forum Ringside => Guitars, Amps and Effects => Topic started by: cerpintaxt on March 17, 2010, 01:33:40 PM
-
Right, I'll fess up to not having ever being a gear-head,mainly through not having had the money to shell out on all different kinds of guitar stuff, so I've only ever looked at stuff I needed and could afford. Also, there never used to be all these forums teeming with people who know way more about guitar stuff than the spotty oik in my LGS!
Nowadays, I'm much more interested, and I keep hearing "Dumble-type this", "Plexi-type that",Twin, Jubilee blah blah and I'm completely dumb(le)founded by it all. :?
So, is it possible to categorise the main "sound groups" of valve amps and what it actually means in terms of tone, and what amps you'd put into which group?
Or you could just tell me to stop asking such silly and broad questions!! :shock:
-
Good group and bad group.
I dont think there are 'types' that would be commonly agreed on. What you allude to is people using a familiar sound as a reference to describe an amp thats probably alien to them.
For example "my engl has fender 'type' cleans but mesa 'type' distortion". It doesnt actually sound all that much like either, but those references get you in the right general range.
To understand and take part in the 'type' discussion, if you really feel you must, then just play as many amps as possible and have some interest in what was recorded with what.
-
Lordy, this could be a long thread!
-
Lordy, this could be a long thread!
I have no idea what you could possibly mean ;)
-
JPF, you build valve amps - you're going to have to do better than that! :lol: (just kidding).
MDV, I agree I'm probably going to have to just research what famous sounds were made what what amps and work backwards - sound advice dude. I just wasn't sure if there was certain terminology that people generally use that I have somehow missed the meaning on, as per your example "Fendery Cleans" - never having played through a Fender amp I can only guess that this could mean "all sparkly and shimmery" which is just what I think about when I think "Fender" - but that's mainly due to Strats and Tele's.
I know I've opened a can of worms here, but that's what forums are for! :P
-
I think the answer to this question is 42 :D
-
JPF, you build valve amps - you're going to have to do better than that! :lol: (just kidding).
MDV, I agree I'm probably going to have to just research what famous sounds were made what what amps and work backwards - sound advice dude. I just wasn't sure if there was certain terminology that people generally use that I have somehow missed the meaning on, as per your example "Fendery Cleans" - never having played through a Fender amp I can only guess that this could mean "all sparkly and shimmery" which is just what I think about when I think "Fender" - but that's mainly due to Strats and Tele's.
I know I've opened a can of worms here, but that's what forums are for! :P
Well theres sound/tone but theres design as well. Open ended, push pull, class a, class a/b valve 'type' el34, 6l6, 5881, 12ax7, 12au7, 5751, blah blah blah blah - so, so many things that can be used as or in 'amp type', and the tone is of course inextricable from the design, so thats a perfectly valid thing to talk about in 'amp type'.
Its just a really open question and wont get covered adequately by any thread.
-
Start looking at clips on youtube on Fender Tweed amps (Deluxe, Bassman etc) , Fender Blackface amps (Deluxe Reverb, Super Reverb etc), Vox AC30, Marshall 1974x, JTM45 and JMP50 amps.
That will give you a foundation of what many amps today have come from.
There's some great books on the subject, a book is worth a 1000 threads!
-
Cheers Tom, that's kind of what I'm talking about - when people say "sounds like a Fender blackface" or "sounds like a Fender tweed", that's the kind of stuff that baffles me.
And I keep forgetting Youtube isn't just videos of people getting kicked in the nuts, and can actually be of educational value. I wonder if there's an audio book I can listen to at work?!
-
For that matter, most (but not all) of our descriptions of sound ("clean," "crunchy," "ice-picky," etc.) are actually references to something else, usually something more concrete. Except maybe "br0Otalz."
After all, an ice-pick doesn't really have a sound associated with it.
Hence, any verbal description of an amplifier or whatever is necessarily limited by the reader's experience of the analogy used. If you don't know what "clean" is, describing an amp as sounding "clean" doesn't do much good.
A little like trying to explain "red" to someone who had been blind since birth.
-
From a very simplistic view, there are some classic amps that people use reference points:
Cleanish Tweed Fender - Twins (80watts, 6L6 power section) - think Rolling Stones or later-era Eric Clapton
Dirty Tweed Fender - Deluxe (20watts, 6V6 power section) - think Billy Gibbons or Neil Young
Marshall - Plexi (50 or 100w, EL34 power section) - think Van Halen or AC/DC
Vox - AC30 (30w, EL84 power section) - think Brian May or The Beatles
Mesa Boogie - Dual Rectifier (120w, 6L6 power section) - think Nickelback or Metallica
If you listen to clips of those on YouTube or wherever, and get familar with the tones, that would be a good starting point. You could then delve into the smaller details of valve biasing, pre-amp design etc. I'd start with a basic ballpark understanding first though!
-
Cheers Tom, that's kind of what I'm talking about - when people say "sounds like a Fender blackface" or "sounds like a Fender tweed", that's the kind of stuff that baffles me.
And I keep forgetting Youtube isn't just videos of people getting kicked in the nuts, and can actually be of educational value. I wonder if there's an audio book I can listen to at work?!
Well that ones easy, tweeds are grittier and have more mids, Blackfaces usually are smoother, more scooped (i.e. more bass and treble, less mids). Blackface clean is usually what defines Fender cleans, bright glassy treble that fills out when pushed into smooth sustain. Still, these are generalisations and they do cross over a lot but certainly a starting point.
the Tweed Deluxe sound is the Neil Young sound also.
-
Impossible to qualify.
In the end it depends on what you want/need (tone(s), channel(s), etc...) and what you want/can afford.
Don't underestimate also the impact of speakers and cabs - they are as important as amps.
-
some other amp tone than Marshall JCM800 exists??!
-
Very long discussion but, I was also in your situation so, I guess you need some tips to narrow the search for your amp.
I'm not an expert in any way so, I guess some others will chime in and amend or append whatever is needed or wanted.
Tube Amps have infinite combinations. What valves are used for pre-amp and power-amp sections, how are they wired, what kind of electronic components are inside, how the tone-stack was arranged, what kind of Transformers where used and a bunch of other little things make all them differents.
And all these, before talking about cabs and speakers...
It seems to be two main VOICES: the american and british ones. The available valves in each side of the World restricted a bit the election of the tubes to be used to design amps.
The british voice was forged around Mullard valves, while the american voice was lead by RCA valves, more or less.
So, one of your main decissions is what do you like more? british or american voice?
There seems to be also three kind of tone-stack arrangements: Vox-like, Marshall-like and Fender-like. Those, make huge differences on how the final sound is voiced.
Vox is well known for its chimey, warm and silky cleans and stunning crunch.
Marshall is the voice of rock but, usually has not so musical cleans.
Fender is the clean and sparkle voice (those amps are more of the hi-fi class).
You think you got it, right?
Then, not.
Some Fender amp are darker, some are brighter and, one of the more sought-after is the bassman (originally designed for bass), which was copied by Marshall, but using different valves and tone-stack arrangement so, they sound close but different.
Then, we can discuss about classes. Vox AC30 is the "hype" of the "class A" amps. It isn't, in the same way as the tremolo floatint bridge is really a vibrato floating bridge and, in the same way as out-of-phase is oposite-polarity instead and, as well as vibrato in Fender's amps is a tremolo effect.
You now, someone gives the tag, the rest follow the path.
Usually, amps are class A/B but, those amps designed with the Vox AC30 layout in mind are usually named "class A".
There are still more classification tags: simple versus complex amps.
It's well known that the simpler the design of an amp is, the musicaller the tone you get (Fender Bassman, Vox AC15, Vox AC30, Marshall JMT45, etc, etc).
But, the fact is that, some people needs amps that can cover a lot of ground, specially is playing in cover bands with a wide repertory then, some amp having 4 channels and 3 voices per channel can do the trick.
Maybe the amp isn't the best in no channel but, it's some kind of swiss army knife.
And one more classification: vintage and modern.
Vintage amps usually have less gain but more complexer and textured voice. Usually with a single channel that forces you to deal with in-front pedals or tweak your guitar's volume to "change" the channel.
Modern amps usually are complexer, more versatile but, with some loss of dynamics. High gain with compressed distortion, etc.
Still one more: PCB or wired (even hand-wired). The goodness of hand-wired hasn't be proven as certain but the myth is there. The real thing is that when you find a hand-wired amp, it also comes with high-end electronic components while PCB amps usually use low-end affordable components
I think there should be still more tags, myths and hypes around it but, my suggestions for you are:
1) analyze what kind of bands do you like... what are their amps? (you will probably state that you prefere british voices to american voices, since the greatest bands are british. period! (this, beign said by an spanish, even taking into account Gibraltar issue, :)).
2) analyze those sounds that for you are the sound to go... what amp was used? additional effects?
3) purchase some kind of amp modeler (amplitube 3, pod x3 live, Vox Valvetronix, Roland Cube...), just to hear some mythic amps. That will help you to narrow your search.
There are a bunch of mythic amps from yesterday and today to check:
Fender: Champ, Blues Jr., Tweed, Bassman, Super Reverb, Deluxe Reverb,...
Marshall: JMT-45, JMP-50, JMP-2000, JMC-800...
Vox: AC-15, AC-30,...
Hiwatt: DR-502, ...
Peavey: 5150, ...
Soldano: SLO-100...
Orange: OR30...
Diezel:
Mesa-Boogie: MKIII, MKIV, Dual Rectifier, Road King...
VHT: Pitbull
THD: Univalve, Bivalve
Connor: Connor 50...
Matchless: Chieftain, ...
Dr. Z: the most of them...
Mojave Coyote:
Rivera: Bareknuckle 100
...
(sorry if I am missing something important)
One affordable tube amp, versatile and nicelly voiced is the Vox Night Train (highly recommended!!!).
One interesting experimentation little amp is the Egnater Tweaker (you can even change the tone-stack arrangement!!!).
Still more affordable, little bit limited but used in a lot of recordings is the Fender Blues Jr.
On the high gain side, affordable and well sounding, you can find the Orange Tiny Terror and the Jet City 20W ones.
-
Woah! That's a comprehensive response; seriously, thanks for taking time out to do that! I'll certainly get on Youtube and listen to your list.
I've actually now got an amp which I'm very pleased with - the Blackheart Little Giant combo (got it for £100, is kind of Marshall voiced - definitely my thing now I'm over playing funk! But since I've got a bit more into the gear side of things I'll be on the hunt for various different things so it's great to have a rough guide.
-
Woah! That's a comprehensive response; seriously, thanks for taking time out to do that! I'll certainly get on Youtube and listen to your list.
I've actually now got an amp which I'm very pleased with - the Blackheart Little Giant combo (got it for £100, is kind of Marshall voiced - definitely my thing now I'm over playing funk! But since I've got a bit more into the gear side of things I'll be on the hunt for various different things so it's great to have a rough guide.
nice score.
btw, if you want another amp, just post on the forum saying "I want an amp that sounds like [enter song name]" and you won't go far wrong.
-
agreed with tom and dave (twinfan)... you can go into it in an awful lot more detail than that (which would be over my head, too), but those are probably the basics, but if you understand those, you're well on your way to sounding like you know what you're talking about.
-
Just to add.
The volume you play them at makes a massive difference too.
This thread is the start of something that could cost you a lot of money one day
-
Just to add.
The volume you play them at makes a massive difference too.
This thread is the start of something that could cost you a lot of money one day
Anything cheap in music?
Damn!
-
Very interesting thread :D
I'd also say "get your hands on a modellor".
I'd always assumed (at least 20 odd years) that I'd like "classic" Fenders and Marshall Plexi types.
For the last 5 years or so I've used a succession of modellors (POD 2.0, POD XT, and now Vox Tonelab) - it really opens up your ears to roughly what these amps could do for you, and also what effect speakers might have (stick an AC30's cab on a Blackface, for example).
They are only models, and don't behave like the real amps, but you can get a really good idea and imitate so-and-so's tone off such-and-such record...
Anyway, what it's done to me is this: it turns out I'm not really that fond of Fender amps... I don't really like the Plexi types (and most scary, I don't really like the Marshall master volume beast that all my heroes were using late 70s early 80s, if you gave me one, I wouldn't say no, but I would no longer go out of my way looking for one...).
But I do seem to rather like Marshall JTM types, and Vox amps, once I'd figured out how to use them for what I want to do. I've even ended up buying one of the AC4TV combos on the strength of it...
And the funny thing is, with a single channel, one volume, one tone (and no pedals!), I can get that AC4TV thing to do everything I want, and I can imitate tones that I thought I needed Fenders and Marshalls for :roll:
If you're really interested in finding out, go the youtube route, etc, but also get a modellor. Hours of fun, without breaking the bank or killing the neighbours :D
-
Yes, this thread is getting very expensive for me/others in the future!! As for the amp modelling thing, I understand the logic behind that but I don't think I'd ever buy one . I've played around with a Line6 thingy before and I have to say I wasn't that impressed, although it was a fair while ago and things have probably got much better.
I found a great set of demos on Youtube by "Proguitarshop.com" which i've been looking through and there's some really useful stuff on there.
So far, I'm definitely more into Orange, old Marshalls and Vox than I am Fender and Mesa (Never been a fan of the super-high gain thing)
-
Don't underestimate also the impact of speakers and cabs - they are as important as amps.
At least. To my feline ears, Celestion V30 turn any amp into "instant ice-pick."
And indvidual taste matters. Apparently there are some people who actually enjoy having their eardrums penetrated by sharp objects, to judge from the sales of V30s.
-
Is it possible the V30's were designed with a dark/muddy amp voice in mind and they were looking to add a load of top-end?
Oh, I found this article: http://www.marshallamps.com/resources/secret_life_of_valves/secret_life_valves.asp (http://www.marshallamps.com/resources/secret_life_of_valves/secret_life_valves.asp)
Quite a good "idiots guide" to valves (esp Marshalls)
-
And no-one has yet mentioned the Fender Brown Tolex era amps!
The Brown Tolex Deluxe and Concert are killer amps.
-
Is it possible the V30's were designed with a dark/muddy amp voice in mind and they were looking to add a load of top-end?
When the V30 first appeared they where marketed as having the sound of the old Alnico Blue (Celstion weren't making blues at this point), but using a ceramic magnet.
-
i'm with andy...
get a digital modeler. and learn to use it...
it's not like the "real" thing, but it teaches you a lot of things that you'll later use with proper amps.
if you didn't like Line6 models there are chances you won't like a tube amp on your first experiences... you can't plug in a POD, browse through factory presets and find YOUR tone. and if you use an amp model (rectifiers usually are the trickiests) your first reaction could be "this doesn't sound at all like a real recto!", assuming that the real thing is what you hear on a lot of metal CDs. just to discover that the real amp sounds even worse if you aren't able to find the right overdrive, compressor, cab, eq settings etc...
so andy's advice is the best i could give you myself...
-
To me, the best current tool to learn about all this is just IKMultimedia Amplitube 3 software.
Not all the iconic amps are included but, there are a bunch.
Not all the iconic effect pedals are included but, there are a bunch.
Not all the iconic rack effects are included but, there are a bunch.
This plugin or standalone program, allows you to:
- Test entire rigs, to tame the sound of certain song or artist
- Tweak the amp models, changing the pre-amp, tone stack and power amp sections
- Pair it with alternative cabs/speakers
- Use different well known virtual studio mikes, placing them anywhere in the space
- Arrange the pedalboard in different ways, so it's easy to see how the combination of certain pedals affect the sound, way more easy that do it physically
- Probably you will find more uses
All this let you better obtain a "record-hit" sound.
The real thing is that the most of hits you heard, aren't just pure amp/effects. They are really processed and, at the beginning of the chain, there are the mikes. So, this program let's you also learn about how the placement of mikes affect to the sound also.
-
To me, the best current tool to learn about all this is just IKMultimedia Amplitube 3 software.
Nice one Hermetico. That would have been my suggestion, along with some of the better / more representative 'You Tube' demos.
I had 'borrowed' the full GR3 demo, and based on that experience , have now purchased ( but as yet had not installed) the 'mobile' version. The fact that I went for GR3, was initially a very firm recommendation from a chap I know, who was working in a recording studio - with need of 'Tone cloning'. He's a fussy chap, so there must be some value beyond the recreational with this stuff. :)
-
I must admit I haven't tried Amplitube, I've Guitar Rig Mobile and POD Farm and have demoed Peavey Re-Valver
Guitar Rig sounds the most real to me with POD Farm coming second, I think the big difference isn't the amp modelling, but the difference between impulses (GR) and Line 6's AIR for Cab/speaker modelling.
Peaver Re-Valver I really tried to like this, it is dynamic but it's really, really, harsh and Very noisy indeed. Of course it may be really accurate and Peavey's higher gain amps are like that. The Classic 30 model was very pleasant though.
-
Peaver Re-Valver : I really tried to like this, it is dynamic but it's really, really, harsh and Very noisy indeed. Of course it may be really accurate and Peavey's higher gain amps are like that. The Classic 30 model was very pleasant though.
Does it also model the valve rattle and the sound of your car going to the repair shop ?
( Sorry chaps, only joking - as the Classic 20, and 30 have sounded pleasant in real life).
-
This is a great book for introducing a wide variety of amp sounds from the 40s to the present day. It includes an excellent CD with lots of demos.
http://www.amazon.co.uk/Guitar-Rigs-Classic-Amp-Combinations/dp/0879308516/ref=pd_sim_b_5
-
To me, the best current tool to learn about all this is just IKMultimedia Amplitube 3 software.
Not all the iconic amps are included but, there are a bunch.
Not all the iconic effect pedals are included but, there are a bunch.
Not all the iconic rack effects are included but, there are a bunch.
This plugin or standalone program, allows you to:
- Test entire rigs, to tame the sound of certain song or artist
- Tweak the amp models, changing the pre-amp, tone stack and power amp sections
- Pair it with alternative cabs/speakers
- Use different well known virtual studio mikes, placing them anywhere in the space
- Arrange the pedalboard in different ways, so it's easy to see how the combination of certain pedals affect the sound, way more easy that do it physically
- Probably you will find more uses
All this let you better obtain a "record-hit" sound.
The real thing is that the most of hits you heard, aren't just pure amp/effects. They are really processed and, at the beginning of the chain, there are the mikes. So, this program let's you also learn about how the placement of mikes affect to the sound also.
Now that sounds like a plan!
-
This is a great book for introducing a wide variety of amp sounds from the 40s to the present day. It includes an excellent CD with lots of demos.
http://www.amazon.co.uk/Guitar-Rigs-Classic-Amp-Combinations/dp/0879308516/ref=pd_sim_b_5
i didn't think it was as good as some of his other books (i pretty much have them all, now). Some of that might be because I got his other books first, so there was a lot of overlap, but i reckon the amp book is much better for telling you about amps. No CD, though.
also, he seems to have a thing about ignoring anything vaguely modern. I like classic rock and blues as much as anyone, but when you buy a book about supposedly "classic rigs", and there's no rectifier, no jcm800, etc. etc. etc. It's like rock music stopped in the mid 70s, if not the late 60s (SRV notwithstanding). And who even listens to surf any more, let alone even knows what it is?
Don't get me wrong, I'm not saying surf and stuff like that shouldn't be in there (i have nothing against surf), but when you're leaving out stuff that a good 50% (at least, based on what i see on guitar forums, not to mention music shops) of new players want to see covered, there's something wrong. and two chapters on jazz? I mean, I love jazz, but really. There's one cursory chapter at the end entitled "brit rock to classic metal" where, if i remember correctly (it's a while since I read it, so apologies if I'm misrepresenting it), it tells you pete townshend's rig for about 5 pages, and then warns you that modern high gain amps are evil. I still haven't seen any mention of "classic metal" in that chapter, let alone anything vaguely approaching modern.
Sorry for the rant, but if you're writing a book claiming to cover the classic rigs, you should probably cover them all. If you're not comfortable or familiar with certain rigs which anyone with any sense would still deem "classic", then either (a) you should hire someone who can write those chapters or (b) maybe not write the book at all. Information books shouldn't really be home to personal biases...
:)
-
And who even listens to surf any more, let alone even knows what it is?
I listen too and indeed (attempt to) play Surf!
Don't tell me this forum is full of hodads.
-
i was being a bit facetious about the surf thing, as i said, i don't have a problem with its being in there. I do have a problem with there being two jazz chapters, and no chapter on anything heavier than the who.
i have no idea what a hodad is :lol:
-
i have no idea what a hodad is :lol:
Thus, I rest my case.
Two chapters on jazz! Nice!
-
I do have a problem with there being two jazz chapters ...
Wow ! You mean there are other styles out there too ? :lol:
( " Nice " Jazz Club reference there JPF ) 8)
-
"shitee"
:lol:
EDIT: just figured out what i hodad is. I've never posed as a surfer in my life... :lol:
-
To me, there are few basic types of valve amps. I come from a metal background so that affects the way I look at the following...
1. Marshall
The most known and one of the most popular amp makers ever. Marshall has a really organic grit. It really grinds and you can adjust it anyway you like, it'll always have that signature marshall tone (which some prefer, some don't). The tone itself is a bit tight, like perfect for hard rock-type of stuff but not in it's comfort zone in heavier music. Warm cleans that get the job done, nothing earth-shattering. I think most still buy Marshalls for the name and logo, dunno, to me they have never really shined but then again, I don't play that much classic rock or that kind of stuff. There are of course other amp makers that also fall into the marshall-tone category, from what I hear Splawn is one of the more popular and promising ones.
On a curious note, Nile has recorded some wicked tones on DSL100s but they have this whole different sound world going...
2. Boogie
Here we have two types of tones actually. The Mark and the Recto. These are two different beasts altogether. The Mark is a bit more like a Marshall but it takes the organic feel a leap further and while the Marshall can grind, it feels more like a soft sizzle compared to Mark series. Mark series allow you to maintain a really responsive and organic tone but still take it to the extremes. The result is a seriously tight metal crunch that has a really meaty and aggressive tone.
The Recto of course is one of the most easily indentifiable. A tight sizzle in the top end and a larger-than-earth bass thump that you can feel in the chest. No wonder Mesa has a huge array of amps in the rectifier series. They are a bit of a tricky beast to tame since so much bass can easily turn flabby without some precautions. A booster pedal is recommended here to cut the bass from the signal coming from the pickups and to compress it a little to make Recto deliver a bone-crushing wall of sound. Rammstein would be a good example what the recto can do.
Diezel I believe falls a bit into this category, like a hotrodded recto that costs an arm and a leg.
3. German robots
This is a debatable category, but let me share my insight.
ENGL, Bogner (Uberschall mostly) etc. What they have going is a sizzly and tight bass thump, minus the character and organic tone. Now this isn't necessarily a bad thing. If I needed a tone that is so balls to the wall that it's ridiculous, ENGL would be one of my top choices. It has a tight metal crunch written all over it. I myself prefer the mesa mark series but ENGL can take a sizzly bass thump -esque tone and take it beyond, it won't have the same organic and woody tone that comes from the guitar as in mesa and marshall toned amps, but you can get a grind happening that'll pulverize small animals. The clean is *very clean* rightly according to the german engineering -spirit, it's almost too clean, massive headroom here. Overall the German robots are very cold and not digital but a bit solid stateish at least that still have the powerful tone of valves.
There of course are exceptions as in everything. I've been hearing a lot of great things about the Invader for example having a lot of character and tonal capability.
4. The face(plate)less ones
These are amps from mostly boutique amp manufacturers and some of the less popular but big companies. It's the amp type that you just can't get your head around. It's *ok* and *nice* here and there but there's no wow-factor or anything that jumps out at you. It'll probably get the job done and with careful tweaking and mic positioning you can record some nice tones but these are not the tools for making your signature tone. Now I can't go naming that many amps extensively since I've only had my fair share of amps to play with but Hughes & Kettner are one that have never appealed to me in any special way.
There are a lot of unique tones in the amp world but most of the amps' voicings can be categorized like this. While it's good to hunt for an amp that gets the magic happening for you it's also good to know what ballpark you should be looking in. Hope this helps.
ps. 5. Koch = fuzz pedal that looks like an amp
-
ps. 5. Koch = fuzz pedal that looks like an amp
Did you ever heard a Koch Studiotone re-valved and with an Orange PP112 cab (2x12)?
Not for metal stuff but, versatile as hell and really useful for studio applications.
-
ps. 5. Koch = fuzz pedal that looks like an amp
Did you ever heard a Koch Studiotone re-valved and with an Orange PP112 cab (2x12)?
Not for metal stuff but, versatile as hell and really useful for studio applications.
No I haven't actually. I've tried out a few kochs but it's possible that I've only come across the monday batch ones. :P
-
I still wanna know what a "hodad" is.
-
I think it's like mods and rockers
surfers and hodad's
Hodad's being the guys with the hotrods and greased hair
-
I think it essentially means "Your daughter's a dirty stinking hoare" :lol:
Thanks all for the amp info btw! Been checking out loads of stuff on the 'net. Decided the Marshall "plexi" tone is the one i like most.
Also found somewhere that sells DIY amp kits, and their 18W plexi looks rather tempting for a later date!
-
I still wanna know what a "hodad" is.
http://dictionary.reference.com/browse/hodad
-
Rammstein would be a good example what the recto can do.
yes, but just on the last album... before they used to play ENGLs and sounded, yes, like german robots... but they were supposed to! :)
jokes apart, OR i fall in the heartless german engineer human category OR my ENGL FB100 sounds much more organic then most say... ;)