Amps for Marshall first part
- Datum: 27-07-2009 16:44
- Ispiši Stranicu
1959 SLP "Plexi"
Oasis wall of sound with the crunch of james page. Tight low end that can stray when you want it to. Use MXR to boost and tighten leads, or leave it off for full expression.
Note: must use MXR comp and cab with vintage 30 speakers. The bottle rocket (two 12 x 7 tubes) is awesome.
I hate boogie gear and I bought it, that is enough said. The SLP should be full on all EQ and presence, volume is to your liking. Try taking the two outside tubes out to lower the volume to 50 watts like Angus Young.
1987X 50Watt "Plexi"
The most satisfying rhythm/lead tone possible!
Plug your Flying V (or Les Paul, etc.) with 57 Classic (PAF humbucking) pickups into the Wah then the Rat (with distortion at the 9 o'clock setting & with the filter and volume all the way to the right) then into the amp's Channel One High Input and crank it all the way to 10 (no master volume). All other tone controls set to 10 (except bass on 0-1 to cut the mud out) Use the Variac to lower the voltage from the wall to 90 volts AC (this smooths out the tone and lowers the volume slightly while saving on tubes, too!). Plug the speaker output from the amp into the Hotplate's input and then from the Hotplate speaker output into the Marshall 4x12 (must be 30 watt drivers). Attenuate the cab at around -8dB on the Hotplate and wail to your heart's content. The more you play the better YOU sound! With no pedals on it is the most classic crunchy rhythm sound you will ever use and with the Rat's subtle boost, the leads sing with a golden voice without altering the original tone. Using the wah is always a ton o' fun. Note: A thicker sound can be achieved by linking Channel One's low input to Channel Two's input and blending Channel Two's volume control for more(!) gain. TOTALLY KILLER!!!
6100LM Anniversary Series
* Les Paul Standard Marshall 6100 LM (30th Anniversary)
* 1960A cab w/greenbacks
I know Slash actually used 25th Anniversary Marshalls with Vintage Speakers, but this is the equipment I've got
p.s. Slash's actual stage settings for his signature amp are in the accompanying manual (ask your marshall dealer to see the manual to take a peek!)
I was going to go out and buy a "Slash" Marshall until I noticed my 6100 was set to the 50watt mode, changing it back to 100w made all the difference! This sound setting is VERY similar to G-n-R with a little more gain. The Preamp volume is set louder than the preamp gain - this gives that driving sound. My guess is this would sound even better with a Power brake and the Master Volume turned up a bit.
LP standard into
Marshall 6100 LM (Set as follows) -
Master Vol: 1 (bedroom level)
Low comp: out
Setting for Channel 3 -
treb: 5 1/2
Gain button: off
Gain: 4 1/4
This setup was initially modeled after Joe Satriani's live rig, though I have tailored it to my liking: To me the sound is very similar to Joe's:
"The Forgotten - Part 2"
>From "Flying in a Blue Dream"
With this setup you can get a fantistic "throaty" gain that can be easily varied with the guitar's volume knob. It cleans up well. The Brake allows volume attenuation while allowing you to drive the valves hard and saturate the amp's output transformer. The crybaby offers extreme presence suitable for coaxing a very controllable feedback and harmonics. The Digitech routing allows use of the amp's effects Mix control (for DSP) while the compression limits the peaks from the Crybaby as well as increases the sustain. This is the most noiseless setup I've ever used.
Humbucker pickups into:
GCB95 Crybaby Wah into:
Tone @ 9 o'clock
Dist @ MAX
Level @ 1 o'clock
Into MS 6100LM head:
Ch. 2 (mode A)
Low Comp = In
All ch. knobs @ MAX
Presence @ 4
Master Vol @ 10
Power Tube Mode = Pentode
Power = High
Damping = Auto
Loop Level = In
Parallel Loop = In
Line Input Activation = In
Master FX send/Return into Digitech Studio Quad v2:
Input/Output #1: Chorus/Delay module (w/ fdbk into chorus)
Series loop Send/Return into Digitech:
Input/Output #2: Compression module (light comp preset)
Spkr Output into Marshall PB100 Power Brake:
Set @ 3 o'clock
Brake Output into Marshall 1960A cab loaded with 4 Celestion 25w Greenbacks.
On channel 2 (main rhythm channel) Gain at full (of course, needs to be as dirty as you can get it) Treble at 8, (kill)Mids at 0, Bass at 9 Master Vol on the amp at 5, Channel 2 vol (compensate...let the channel do the work, not the power here) Presence at 8. and I use an old Alesis Quad 2 Para EQ set at the classic "gull-wing" pattern to achieve even more crushing lows. This setting will give you That classic "DEATH TONE" without too much mud! If too muddy for your liking..start adding in some mids little by little.
You can achieve a silverchair type distortion with the settings and a chorus pedal set at low levels.
Set gain to 70%
set bass to 55%
set mid to 0
set treble to 60%
set contour to 85%-90%
reverb 20% or less
Heavy Distortion 2
This will get you, in my opinion, the heaviest sound possible on the 8080
Use the boost channel on the 2nd (heavier) drive:
Gain: 10 (max)
Bass: about 8
Middle: about 5 or less
Treble: about 8
Volume: keep this pretty low and rather use the master for more volume
High Gain Crunch
Probably attainable with any humbucker equipped guitar but I definitely can't get it with my Strat. My guitar is D-tuned and this probably has a lot to do with the sound.
This sound uses the lead channel of the 8080 with parameters set as follows:
Middle: Just below 12 o'clock
Treble: About 1 o'clock (maybe 2 o'clock if your strings are a little worn)
Contour: In between 1 and 2 o'clock
Volume: Just over 2 o'clock
Use the Master to control output.
Oh yeah, there's a push button on the lead channel to select OD1 or OD2. I can't remember which is which but use the heavier one, it's easy to tell the difference.
I run a Cry Baby between the guitar and the amp and a Zoom 1010 in the loop with the effects mix at about half dry, although I only really use it for clean sounds...speaking of which I can't get any.
Smooth High Gain Distortion
Clean Channel w/ Crunch on
Gain cranked at about 2 oclock on Clean Crunch Channel
Bass around 2 o'clock
Middle around 10 o'clock
Treble around 11 o'clock
Plexi Type Balls To The Wall
I have a Gibson Firebrand Sg, into an older Jimmi Hendrix wah, into a Marshall 9000 preamp, dod delay through fx loop,right output a Marshall 5210 solidstate combo with dod flanger in fx loop (only use clean channel), left output a Marshall Artist tube head w/ Marshall 212 cab, and dod chorus in its fx loop (only use clean channel).
NOTE: My preamp has had some work done to it to improve the tone, I replaced the jap circuitry with an old boss Metal zone, and old dod overdrive plus, on the drive channel.
I could pull a nice clean vintage plexi-blues breaker tone, but the overdrive is the spotlight. I could beat a Boogie, or a 5150 with the gain half up. The beauty is that I dont get 1oz of hum, its very very quiet, (like a clean channel).
The preamp- It won't help you at all
The dod delay- L-10, R-8, D-3, R-any
Marshall 5210- clean T-7, B-10, R-5
The dod flanger- L-6, S-5, D-5, R- 6
Marshall 3203- B-10, M-0, T-5, R-6
The dod Chorus- L-5, S-5, D-10
Marshall Artist 30 watt head, Marshall 1939 2-12 cab, and a cry baby wah. I have other fx but I'd rather not use them. It takes away from the tone.
Sparkling clean stustain, and a raw, over the edge distortion. Clean enough for Clapton, but powerful enough to keep up with Slash. Ibanez Ax70 with bridge pickup hot.
Guitar into the wah then into amp.
Channel-1 vol @ 4
Channel-2 Tone-7, Pre-10, Vol-4
Marshall 2-12 @ mono
AVT 150 Combos
Hamer Explorer, BOSS GE-7 (graphic EQ), Jim Dunlop GCB-95 Crybaby
It's a completely midless sound, very heavy, chuggy sound. it's almost perfect. the only thing really lacking is a sterileness only associated with EMG pickups (which i can't afford....yet), and another degree of gain only found in mesa/boogies (generally). but this is the best sound i could get from this amp, and it's far more than satisfying, it ROCKS!
I have the treble at 9, the bass at 7, the mids at 0, and the presence is at 7.5. first in the effects loop is the EQ. It's got 7 bands, and I have the lowest 2 frequencies at just above even, the next 3 bands at complete cut, and the highest 2 frequencies at just under full boost
Blackmore Theme Variation
Beautiful tone, almost similar to a Ritchie Blackmore type sound.
Guitar - plugged into amp and nothing else. No pedals, no racks, no effects.
Channel Volume: 10
Dry Effects: sometimes 10, sometimes 0
Master Volume: just pick a nice level.
Hendrix Reissue Limited Edition Stack
The perfect blend
Treble (tone): 1
High Treble: 6 1/4
JCM 2000 DSL 100
Heavy Rock / Metal
Charvel Soloist with a Bill Lawrence XL-500 in bridge straight into my Marshall and custom 2x12 with selected vintage 30's. This Marshall has the most gain of any previous Marshall, and it shows. Gain levels are about the same as the Dual Rectifier, but the Marshall has a more rock tone and smoother.
The sound is very crunchy and sustains very well. Comparable to Creed, Godsmack, new Metallica.
Master: loud as you want
This is suited for lead playing.
These settings are for a full stack only. Less cabs mean lower the master a couple notches. Have fun, distortion buds!
Just a WARNING for any players who use heads, do not crank your amp like your heros unless you have a full stack. Amp blowing is a direct result of carelessness when too much power is being put out to your speakers. A 100w amp generally sends about 125w into your speakers.
JCM 2000 DSL 50
I like to use a Jackson guitar with an active mid-boost circuit straight into the amp. The extra mids help increase gain without going too muddy, and the tone controls (which are placed after the gain stages in Marshalls) can then be used to get the desired EQ. Many metal players boost the input of their amps with mid-heavy pickups and then use the tone controls for the scoop; Max Cavalera is a good example. Other than that, I don't use any effects.
This sound is a rather fuzzy metal sound. If you use these settings with the tone shift disengaged it gets less fuzzy and is very articulate.
Tone Shift: on
Reverb: both channels as desired
Mode B: lead 2
Gain B: 8
Mode A: as desired
Gain A: as desired
Simply a Jackson with an active mid-boost straight into the head. When playing metal my mid boost is necessary, but I dont require it on this setting.
This is a real mid-heavy sound, great for a little Pearl Jam or RATM type heavy distortion. It can get muddy if you play too fast or have alot of bass coming from your guitar. Also, this setting sounds good when using channel A in the crunch mode as well. This is the only setting I use that doesn't EQ channel A too thin or bass heavy when using the crunch mode.
Tone Shift: off
Reverb: both channels as desired
Mode B: lead 1
Gain B: 8
Mode A: crunch
Gain A: 6
JCM 2000 Triple Super Lead
Gibson Les Paul Custom, I don't need fx's Description
These are the setting I use live on stage. It is a clean, crunch and lead sound.
Use the clean sound in combination with both pickups. Use the rythm-sound in combination with the bridge-pickup. Use the lead-sound in combination with the neck- or bridgepickup (depends on the speed of the solo).
Clean: preamp on 5, output on 4, bass on 4, mid on 6 and treble on 6.
Rythm: preamp on 8, output on 4, bass on 4, mid on 4 and treble on 5.
Lead: preamp on 8, output on 4, bass on 3, mid on 5 and treble on 6.
I put both the presence-knobs on 5, since too much presence screws up the sound in a PA-system. For the lead and clean sound I sometimes use the reverb on level 3-5, depending of the output-volume.
Rock & Roll
Epiphone Del Ray, Randall 4x12 cab(warhead)
Straight Rocking, with a ton of Balls. It has great tone, and is very versitile. I like playing spaced out jazzy stuff, as well as blues, straight up rock n' roll, and fast diminished metally stuff. So all you metal kids, forget about the Dual Rectifier, you'll get the sound your looking for, and then some out of this head.
Presence for the clean, lead, and crunch, 6. I keep the reverb at about 4 on the clean, and just around 3 on the lead and crunch.
Bass is at 10, straight up. Mid on the clean is at about 6, for the lead about 5, and the crunch around 6. High on the clean is at 6, and for the lead and crunch between 4 and 5(trust me when it's cranked, that's pleanty of high). Volume, that depends where you're playing, but you should never have it down below 4.
The hard blues edge sound that SRV was so famous for, best to use a Strat. Keep the volume on the guitar at around 7 and the tones on 10 and when you launch into a solo whack the volume up to 10, nice.
Crunch - Bass 6 Middle 6 Treble 4 Volume 6 Gain 4/5
Lead - Bass 8 Middle 8 Treble 6 Volume 8 Gain 4/5
Clean - Bass 6 Middle 6 Treble 9 Volume 6 Gain 10
JCM 2000 Triple Super Lead 60
OD Reverb: 1
Channel Volume: adjust depending on venue.