Page 9 of 11
#321
311 - Mine also has the loop volume. I think my year model was the first or second year for that addition. I was running my channel volume (front panel) at 11:00 to noon, and my loop volume (rear panel) at 3:00, full power. The other guy was running his channel volume and loop volume both at 11:00 and his volume was about the same as mine. As far as tubes, mine aren't brand new anymore but they should still have plenty of life left. Either way, I had been planning to call Scott and order a new quad for spares. They're biased up right as well (thanks to your help on my thread a while back ). I checked the Splawn boards, and nothing's been said there about this issue. I might get on there and ask. One other thing, I have a 12at7 in the PI right now, and when I first put it in there I noticed a slight drop in overall volume - not enough to account for the vast difference in the two amps, but still a small drop. Have you tried this, 311? I was under the impression that an at7 would increase headroom as opposed to an ax7 in the PI...

gregs - I'm running a Carvin Legacy 4x12 w/V30s. His cab is a Recto Oversize Cab, also w/v30s. The big difference is his is 8 ohms, while mine is 16. Would that make such a big difference?
Ibanez UV777 - Carvin TL60 & 727 - Jackson KE3
Splawn QuickRod - Mesa Stiletto & RoadKing - Peavey Ultra+ - Peavey Bandit
Some pedlulz & cabz


7 String Legion
Last edited by BCKRedBaron at Apr 25, 2012,
#322
Nice thread.
Just one thing:
I think the Street Rod has a small block in it, not a big block.
#323
^ good catch. *fixed*

I think I originally assumed it was a Big Block and forgot the Small Block is actually 55 watts.


Quote by BCKRedBaron
311 - Mine also has the loop volume. I think my year model was the first or second year for that addition. I was running my channel volume (front panel) at 11:00 to noon, and my loop volume (rear panel) at 3:00, full power. The other guy was running his channel volume and loop volume both at 11:00 and his volume was about the same as mine. As far as tubes, mine aren't brand new anymore but they should still have plenty of life left. Either way, I had been planning to call Scott and order a new quad for spares. They're biased up right as well (thanks to your help on my thread a while back ). I checked the Splawn boards, and nothing's been said there about this issue. I might get on there and ask.

Good point. I didn't know exactly what you had and assumed that could have been part of it. I keep forgetting that it has been some time now since that Master Volume has been incorporated.

That said, some have claimed that the new Splawns do not quite have the 'mojo' the older ones have but who knows. Some are also claiming the new amps with the Classic Tone OTs do also not have the same 'mojo'. Who knows. I'd ask on the splawn proboards.

Quote by BCKRedBaron
One other thing, I have a 12at7 in the PI right now, and when I first put it in there I noticed a slight drop in overall volume - not enough to account for the vast difference in the two amps, but still a small drop. Have you tried this, 311? I was under the impression that an at7 would increase headroom as opposed to an ax7 in the PI...


I have run a 5751 in V1 with great success. No volume difference that I could hear but honestly was not listening for that. You can swap preamp tubes safely while the amp is on however - which should add to your analysis capabilities. The 12AT7 is generally noted to have about 70% of the gain of a 12AX7 but I don't view it as 'adding headroom' even though that might be the ultimate result. V1 is the first input stage - half of which drives the clean channel for what it is worth. Just keep experimenting and get yourself a JAN Phillips 5751.

Quote by BCKRedBaron
gregs - I'm running a Carvin Legacy 4x12 w/V30s. His cab is a Recto Oversize Cab, also w/v30s. The big difference is his is 8 ohms, while mine is 16. Would that make such a big difference?


There should be no audible differences between 8 and 16 ohms. Different cabs/construction will though. An oversized cab could 'feel' louder.
Last edited by 311ZOSOVHJH at Apr 26, 2012,
#324
Just to clarify, the 12at7 I have now is in the Phase Inverter, not V1.

Actually, I do have a 12at7 in V1, which, according to the manual, is only the 2nd gain stage of the clean channel. V2 side A actually shows to be the input stages for both clean and OD. I got a used-pull Telefunken ax7 in there now And I have a couple of those JAN Philips 5751s. They are nice! One is in V1 of my Ultra.

I've done a bit of tube-swapping in this amp over the past few months, and I've yet to hear a volume difference between different tubes in the preamp stages (v1-3), but I did *think* I heard some when going from an ax7 to an at7 in the PI. I didn't realize I could swap the preamp tubes around while it's on. That'll be helpful information! Should I put it on standby when I pull one out?

My friend's oversize cab is in my shop, so I'll just go out there and A/B my amp on his cab and my cab and see if I notice a volume difference. I didn't think ohms made a volume difference, but I wasn't sure.

Splawn's getting a call tomorrow. I'll see what Scott has to say about it.
Ibanez UV777 - Carvin TL60 & 727 - Jackson KE3
Splawn QuickRod - Mesa Stiletto & RoadKing - Peavey Ultra+ - Peavey Bandit
Some pedlulz & cabz


7 String Legion
Last edited by BCKRedBaron at Apr 26, 2012,
#326
311, how'd the 5751 sound in V2? Did you notice much difference?

BTW does yours have the blue labeling or green? All of mine have the green labels, and I'm wondering if there's any internal difference between the two, or if it's just the label.

EDIT: I saw your post over on the Splawn forums about the V1/V2 issue (you're splawndude over there, correct?). While I can't speak to what's happening in the signal pathway between the stages, what I can say is that my ears agree with what the manual is saying. The 12at7 I have in V1 noticeably affects the clean channel, but has no effect whatsoever on the OD channel. On the other hand, tube changes in V2 have a noticeable effect on both channels. Again, that probably won't answer your question about what's actually going on internally, but
Ibanez UV777 - Carvin TL60 & 727 - Jackson KE3
Splawn QuickRod - Mesa Stiletto & RoadKing - Peavey Ultra+ - Peavey Bandit
Some pedlulz & cabz


7 String Legion
Last edited by BCKRedBaron at Apr 29, 2012,
#327
So I was at GC today. I found a Splawn Quick Rod there, in the used section.

MY OH MY.

I done found my dream amp (either that or a Soldano.)
NT

BE QUICK OR BE DEAD SON
#329
Quote by Ippon
Did you buy it?


I wish. I believe it was $1650.

Meanwhile, I have $0

I'd like it in a different headcase as well, either the classic plexi or a white Rhoads like plexi.

Quick Q, what's the difference between the Quick Rod and the Nitro?
NT

BE QUICK OR BE DEAD SON
#330
^ The main difference between the QR and the Nitro is that the Nitro is more modern voiced. It comes stock with KT88s and has more lower end and lower mids. They are also slightly more expensive and not as readily available used.

The Quick Rod is the original Splawn amp that all the other Splawn amps are based off of. There are 3 and 4 preamp versions of this amp. They have the 'Gears' that the Nitro does not have. They have been in production longer and there are more of them out there. You can typically find them used starting at $1,000. The Quick Rod will have more mids and will have more of a classic rock and hair metal vibe to it. That said, I can hit some nice modern tones with mine like Killswitch Engage. Some actually say that the QR is better for dropped tuning because the Nitro can get overly bassy as is. I've never played a Nitro. Ippon or someone might have more experience there.

If you order one new you can get whatever headshell you like. Similarly, you can just get a different headshell. That's what I did
#331
Quote by 311ZOSOVHJH
^ The main difference between the QR and the Nitro is that the Nitro is more modern voiced. It comes stock with KT88s and has more lower end and lower mids. They are also slightly more expensive and not as readily available used.

The Quick Rod is the original Splawn amp that all the other Splawn amps are based off of. There are 3 and 4 preamp versions of this amp. They have the 'Gears' that the Nitro does not have. They have been in production longer and there are more of them out there. You can typically find them used starting at $1,000. The Quick Rod will have more mids and will have more of a classic rock and hair metal vibe to it. That said, I can hit some nice modern tones with mine like Killswitch Engage. Some actually say that the QR is better for dropped tuning because the Nitro can get overly bassy as is. I've never played a Nitro. Ippon or someone might have more experience there.

If you order one new you can get whatever headshell you like. Similarly, you can just get a different headshell. That's what I did

Agree with this!

The QR has the broadest base for variety of tone. The KT88 version is the ProMod but for the pissed off sound, I like the QR's EL34 more.

I've had the KT88 and EL34 Nitro and as 311 pointed out, it can get bassy and the KT88 amplifies this further. The EL34 Nitro is so much better with the Hulk smash pissed off tone, which the QR can't quite touch.
#332
Quote by BCKRedBaron
311, how'd the 5751 sound in V2? Did you notice much difference?

BTW does yours have the blue labeling or green? All of mine have the green labels, and I'm wondering if there's any internal difference between the two, or if it's just the label.

EDIT: I saw your post over on the Splawn forums about the V1/V2 issue (you're splawndude over there, correct?). While I can't speak to what's happening in the signal pathway between the stages, what I can say is that my ears agree with what the manual is saying. The 12at7 I have in V1 noticeably affects the clean channel, but has no effect whatsoever on the OD channel. On the other hand, tube changes in V2 have a noticeable effect on both channels. Again, that probably won't answer your question about what's actually going on internally, but

Hey bud.

I just realized I never responded. V2 makes a huge difference. I have not tried a blue label JAN 5751. Yes I'm Splawndude. I was confused, and still am, on what the B side of V1 does. The 5751 adds clarity in both V2 and V4 PI. What lacks to me when it is in V2 is some harmonics. The amp is more musical with a JJ in V2 for example. Having the 5751 in V4 I think is best. I like the tone I get with it there but it is hard to explain. Have not tried a 12AT7.

#334
Need a little help deciding, but I have been looking at the QR and the Nitro KT88 models. But what would a diecent used price be?
I know GC is a rip off, but they want basicaly the new price for them used ($1900)
2002 PRS CE22
2013 G&L ASAT Deluxe
2009 Epiphone G-400 (SH-4)
Marshall JCM2000 DSL100
Krank 1980 Jr 20watt
Krank Rev 4x12 (eminence V12)
GFS Greenie/Digitech Bad Monkey
Morley Bad Horsie 2
MXR Smart Gate
#335
Quote by Robbgnarly
Need a little help deciding, but I have been looking at the QR and the Nitro KT88 models. But what would a diecent used price be?
I know GC is a rip off, but they want basicaly the new price for them used ($1900)

The best price I've seen for a Nitro, from HC, was $1000. For the QR, I've linked a CL ad here for a head and 212 cab for $1200.
#336
Quote by 311ZOSOVHJH
I just realized I never responded. V2 makes a huge difference. I have not tried a blue label JAN 5751. Yes I'm Splawndude. I was confused, and still am, on what the B side of V1 does. The 5751 adds clarity in both V2 and V4 PI. What lacks to me when it is in V2 is some harmonics. The amp is more musical with a JJ in V2 for example. Having the 5751 in V4 I think is best. I like the tone I get with it there but it is hard to explain. Have not tried a 12AT7.


Did you ever get an answer on your thread over on the Splawn board? I agree with the 5751 in V4. I had one in there briefly, but I think it was on its last leg (it was a used pull off ebay, go figure) because it got pretty noisy. I have another one I can try, but I also have some RCAs I want to try too. Have you tried JJ's new 5751?

Ippon, you are correct, a 12at7 will drop the gain significantly. I have one in the QR's clean stage b/c I felt it needed to be tamed and opened up a bit.
Ibanez UV777 - Carvin TL60 & 727 - Jackson KE3
Splawn QuickRod - Mesa Stiletto & RoadKing - Peavey Ultra+ - Peavey Bandit
Some pedlulz & cabz


7 String Legion
#338
How are Splawns at lower volumes? (like <1)
Do they have to be cranked to sound good?
#339
They can still sound good at low columes, but of course they sound best with more volume. The FX loop volume control on newer models works wonders for keeping good sound at lower levels. I ran my QR thru a 1x12 cab in my dorm when I was in college and was able to keep my neighbors from getting too pissed. So I think if you run a 1x12 at half power and keep the loop volume down, you might not get the cops called

EDIT: The Street Rod combo is 40 watts, switchable to 20, so it would be tamer than my QR. Also, it looks like they just introduced the Supersport, which runs only 22 watts w/6V6 tubes. That might be something to look for if you want tamer volumes.
Ibanez UV777 - Carvin TL60 & 727 - Jackson KE3
Splawn QuickRod - Mesa Stiletto & RoadKing - Peavey Ultra+ - Peavey Bandit
Some pedlulz & cabz


7 String Legion
Last edited by BCKRedBaron at Aug 27, 2012,
#340
Quote by RStrat
How are Splawns at lower volumes? (like <1)
Do they have to be cranked to sound good?

RedBaron has some very valid points but the general consensus is that they need to be turned up to sound their best. In that regard - I don't think they are as flexible or forgiving as maybe some other amps. On '1' it won't sound good imo. 3/10 - 6/10 is the sweet spot. That's 9am on the dial to 12 noon or so. Beyond that and it doesn't really get much louder.

Quote by BCKRedBaron
Did you ever get an answer on your thread over on the Splawn board?

Only really what I've posted in here so far. I'm still not sure what the second half of V1 does and didn't really get an answer on that. I felt kind of stupid so I let if go
#341
^ Just re-checked your thread over on the Splawn board, and just now saw Scott's response to your email. It seems odd to a toob noob like myself to have two triodes running in parallel instead of series in a single gain stage, but hey, I guess that's why Scott's the man!

Another thing I'd like to ask them is how exactly they get the ratings on their power tubes. For example, the ones I run are rated 27, so does that mean their matched to draw 27 mA at a certain negative bias current? I'd like to get their numbers and formulas so I can see if Eurotubes can get me a set of JJs that are in the ballpark so I don't have to drastically change the bias. The Shuguangs sound great but still <JJs.
Ibanez UV777 - Carvin TL60 & 727 - Jackson KE3
Splawn QuickRod - Mesa Stiletto & RoadKing - Peavey Ultra+ - Peavey Bandit
Some pedlulz & cabz


7 String Legion
#342
^ hey

Honestly on the power tube thing I just assumed he matched up tubes himself or gets them in matched pairs already. So if he has a pair or quad of Shuguangs at 27 then that is what you get. Just raise the bias to what sounds good. Most of the Quick Rod owners I've spoke too are getting the best tone in the 32 mA range and I tend to agree. Mid 20's is way to shrill and cold and 34 is 'warbley'. I can't remember but have you seen my bias blog?

But yes Eurotubes or Dougstubes (better) should be able to get you tubes that are already matched at 27 or whatever you want. Actually, on that note - go to Laura at www.thevalvequeen.com I got my SED =C= EL34s from her and she matched the tubes using her Splawn amp. That is a key factor I think. At least give Bob or Doug or Laura your plate voltage.


-------------------------------
Yeah, sorry. I guess I really didn't do a good job of communicating the outcome of the preamp tube scenario


I'm still a bit confused but here is the dialog basically in case anyone else (Cathbard and Min I'm looking at you) cares


Quote by splawndude
Specifically the Quick Rod I guess but this may hold true for any Splawn model with a clean channel.

It has been a long time since I looked at the User Manual but when I ran across this I looked at it more carefully and got confused.




1/2 of V1 is for the 'gain stage' on the Clean Channel?

WTF?

So what about the other 1/2?
What 'gain' on the clean channel?
Does all guitar input go through V1 or does it go strait to V2 if you are on the OD channel?

Does anyone have an answer for this mystery?

I shared it with a few amp tech friends of mine that know more about amps than I do and they were curious as well. I was going to email Scott and ask but I know he is super busy and wanted to ask the community first.


Thanks,





Quote by splawndude
^ Guess what.


I did just that just now (emailed Scott). It is currently 9:52 pm CST


He responded literally within minutes

You just don't get that kind of Customer Service anywhere else. All Hail Scott Splawn!



Hello
Each preamp tubes has two gain stages the A side and the B side. The input goes to V2 side A first which means both channels share this gain stage. The clean channel 2nd gain stage will go to V1 wired in parallel which uses the entire tube. The od channel will go to the B side of V2 for the 2nd gain stage, V3 A side is the 3rd gain stage and V3 B side is the 4th stage. Hope this helps.

Splawn Amplification
704-922-0020
www.splawnguitars.com


On May 1, 2012 10:18 PM, "me" <me@hotmail.com> wrote:

Hey Scott,

Quick question. I have an '08 QR. I'm confused on the layout a bit for the preamp.

V1 = Second gain stage for the clean channel
V2 = First gain stage for the clean and OD channel. The other half is second gain stage of OD channel

So does that mean that if you are on the OD channel that your signal goes strait into V2?

I ask because I'm experimenting with different preamp tubes and the answer would help me in troubleshooting as well.

I honestly don't hear much gain on the clean channel at so when I read this again in the owners manual the V1 thing really threw me.

PS: I'm running all JJs with the exception of a JAN Phillips 5751 in V4

Thanks,
Last edited by 311ZOSOVHJH at Aug 28, 2012,
#343
Quote by 311ZOSOVHJH
Honestly on the power tube thing I just assumed he matched up tubes himself or gets them in matched pairs already. So if he has a pair or quad of Shuguangs at 27 then that is what you get. Just raise the bias to what sounds good. Most of the Quick Rod owners I've spoke too are getting the best tone in the 32 mA range and I tend to agree. Mid 20's is way to shrill and cold and 34 is 'warbley'. I can't remember but have you seen my bias blog?


Yeah your blog helped me thru the debacle that was my first attempt at biasing!

But yes Eurotubes or Dougstubes (better) should be able to get you tubes that are already matched at 27 or whatever you want. Actually, on that note - go to Laura at www.thevalvequeen.com I got my SED =C= EL34s from her and she matched the tubes using her Splawn amp. That is a key factor I think. At least give Bob or Doug or Laura your plate voltage.


Cool, I'll send some emails to those homies and see what happens. I need to get some different power tubes in my arsenal. I got all kinds of cool preamp tubes out the wazoo but not half as many power toobz. JJ alone has several different directions to go with EL34s that I'd like to try, E34Ls, KT77s, 6CA7s. Those 6CA7s sound pretty thick in my Stiletto, I'd like to give em a shot in the QR. Of course, if someone wanted to give me a matched quad of NOS Mullards...

Oh BTW maybe you could message Cath or Min or CECAmps with Scott's response just to see what their thoughts are on how the heck one goes about wiring a dual triode tube in parallel to run one gain stage. I'm curious as well...
Ibanez UV777 - Carvin TL60 & 727 - Jackson KE3
Splawn QuickRod - Mesa Stiletto & RoadKing - Peavey Ultra+ - Peavey Bandit
Some pedlulz & cabz


7 String Legion
Last edited by BCKRedBaron at Aug 29, 2012,
#344
^
Glad the blog helped


biasing is more an art than a science so I go with what sounds good and obviously the closer the 'matching' the easier it is to 'average'. I've only biased with a single socket probe so I have to average it out.

I'd love to try some EL34Ls but actually KT77's are probably my next purchase. No SGR changes are necessary and it should cut out some of the mids that are sooooo prominent.

So basically for the preamp tube thing what I'm hearing is that Scott added an additional preamp tube (being the new V1) and that's that.


bump for Cath


(edited for clarity)
Last edited by 311ZOSOVHJH at Aug 29, 2012,
#345
*brofist*

I swap between E34Ls and 6CA7s in the Stiletto. The latter go in when I'm playing at church since their thicker, darker, and smoother. I haven't yet been able to do an apples-to-apples comparison between EL34s and E34Ls in the same amp yet, so I dunno what the comparison is. Eurotubes Bob says the 34Ls are bigger-sounding and more powerful, but he has his own opinions...

My only experience with KT77s was messing with my friend's JCM900. The 77s had a lot more top end sizzle and were chunkier/boomier on lows, but I thought that particular amp sounded tighter and less harsh with 34s.

One other thing, how many different speakers have you tried yours through? Does your cab have the Small Blocks?
Ibanez UV777 - Carvin TL60 & 727 - Jackson KE3
Splawn QuickRod - Mesa Stiletto & RoadKing - Peavey Ultra+ - Peavey Bandit
Some pedlulz & cabz


7 String Legion
#346
^ I've had it with 2 cabs now. Both sounded pretty exceptional to me.

1.) Avatar Traditional closed back 212. Celestion G12H30 and CL80.

2.) Splawn closed back 212 (non oversized I think). Small Blocks.

I get a lot of bass as it is quite frankly.

Quote by BCKRedBaron
My only experience with KT77s was messing with my friend's JCM900. The 77s had a lot more top end sizzle and were chunkier/boomier on lows, but I thought that particular amp sounded tighter and less harsh with 34s.


tighter and less harsh huh?

good to know

maybe I should go with EL34Ls
#347
Quote by BCKRedBaron
...

I swap between E34Ls and 6CA7s in the Stiletto. The latter go in when I'm playing at church since their thicker, darker, and smoother. I haven't yet been able to do an apples-to-apples comparison between EL34s and E34Ls in the same amp yet, so I dunno what the comparison is. Eurotubes Bob says the 34Ls are bigger-sounding and more powerful, but he has his own opinions...


Which Stiletto? I have the Trident with EL34s. Quite different from the RA100 (EL34 also) yet retains the signature MB tone.

Quote by 311ZOSOVHJH
...

2.) Splawn closed back 212 (non oversized I think). Small Blocks.

I get a lot of bass as it is quite frankly.

Have you tried the Big Blocks? I was wondering how it compares.

#348
Running two triodes in parallel is pretty common Marshall fare.

311, some JJ EL34L tubes may be the ticket. They still have the bite of a normal EL34 but have a bigger, beefier bottom end.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#349
Ippon - no experience with the Big Blocks but there are plenty of guys on the splawn proboards that do.


Cath - I get that (I think) I just don't understand what is going on with the other half of V1. It was my understanding the Scott added an additional preamp tube to the Quick Rod starting in '07 or '08 and it was added to improve the Clean Channel.

Is that standard Marshall fare?


Really really not sure what to do next for power tubes. I don't really need any - I'm more just curious. I've already heard great things about the JJ-EL34Ls as well as the Ruby version. KT77s would be an easy swap I think. KT88s need an addition resistor piggy backed on. Super super interested in trying that.
#350
If he paralleled up two triodes it would thicken up the sound. That is the difference between the high and low inputs on the 1974X and is also what people are doing when they bridge the inputs on a plexi. That isn't just done for reasons of distortion, it also creates a warmer and richer clean tone. It is quite possible that that is what he has done.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#351
I see.


That helps.


I was trying to compare the set up to a two channel JCM 800 I guess.

So by Scott adding a new preamp tube to the stack as the 'new V1' then that tube becomes dedicated to the clean channel? If you are on the OD channel, then you are feeding directly into V2. So if you are on the clean channel are going into V1 and then the PI? Doesn't the signal still have to pass through the rest of the stack or no? I know this is amp 101 stuff for you but not really making sense I guess for me.


Thanks BTW
#352
If it's like a normal Marshall, the tone stack is hanging off a cathode follower between the last preamp gain stage and the PI. Let's take the simplest of all, the JTM45, for example; only half of V1 is being used (unless you bridge the inputs). That feeds another gain stage from V2 and the second half of V2 is the tone stack which is a cathode follower and hence providing no real gain as such.
So we have two stages of gain and a tone stack. If you bridge the inputs you still have only two stages of gain because those paralleled triodes count as one stage. He could be doing the same thing and for the dirt channel just kicking in an extra tube between V1 and V2 without departing very far from a Marshall type circuit.
The JCM800 2203, for example, isn't much more than a plexi with the two triodes of V1 running in series instead of independently. Basically, the 2203 was Marshall doing what techs had been doing to plexis for years. That was what hotrodding a plexi was all about - seriesing up the two triodes in V1. It's almost certainly what Slash's plexi on AFD was and why a 2203 is the goto amp to replicate that sound.

My guess is that on the Splawn he is attempting to get the best of both worlds by adding an extra tube. The warmth of a bridged input plexi plus the extra gain stage of an 800 and he'd still have a spare triode left over for a hotter "gear." That would add the luxury of an SL/X level of gain without having to sacrifice the cathode follower driven tone stack.
I'd love to get a Splawn apart in front of me to test my theory.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
Last edited by Cathbard at Aug 30, 2012,
#353
Wow.


That really helps me get my head around this. A lot.


Yeah, because there is more to it all that probably not very many people understand.

In addition to what you are talking about you've got stock on a Quick Rod:

Gear 1,2,3
OD1/OD2
Solo Boost (which in some cases sounds amazing)

A secret I picked up off of that is that to get the best tone you should have the Solo Boost volume (yes it has a separate volume) just slightly higher than your channel volume. I believe this is similar to how Egnater runs with their 2 Master Volumes on say the Renegade.

Lots of people including myself have experimented with running the Treble on '0'

I'm usually sitting in Gear 2/OD2 for my heavy stuff that I love so much with the EQ at noonish, Bass a bit lower, presence at noonish, channel volume at 9 or 10 oclock and the Gain at 12 or 1pm oclock


anyway
Last edited by 311ZOSOVHJH at Aug 30, 2012,
#355
They're a mighty fine little beasty. If I won lotto I'd be tempted.
They have a 230V switch on them, no?
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#357
What's yours got in it? I have it in my mind that they are Onetics but they aren't are they? Heyboer? I know that yours doesn't have the Classic Tones.
I'm loving the Classic Tones in the JTM. I've been hammering it. The lowest I go is 8 and 9 with bridged inputs. I prefer 8 and 10 between high and normal respectively. So they've been getting punished and the OT never gets very hot.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#359
My Classic Tones. Fairly decent for what's basically a 30W amp, huh.
Got the same sort of aesthetic to each other don't they?

Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band