#1
I'm gonna sell my marshall valvestate vs100 head because it's just no good for metal...and get a new head that gives me the sound, gain and power that I'm looking for. My favourite gutiar tone ever is Carcass on the Heartwork album, so basically, I want a head for that. Gonna keep the valvestate 4x12 cab for now, but will sell that in future as well for a cab with better speakers and quality.

Thanks for your help guys
#2
Never heard that album, but for metal, a peavey 5150, or 6505 or something similar.
Whats your budget?
Gear:-
Mesa Single Rectifier
Marshall DSL50 (In the process of modding!)
Fender 2x12 Deville
Marshall 1960 (V30's)
Gibson SG Standard
Gibson SG Special
Fender 'Marcus Miller' Jazz Bass

My Band
Juturna

#3
They sound like boosted marshals to me, Jcm800s I would guess dude.

1977 Burny FLG70
2004 EBMM JP6
2016 SE Holcolmb
#4
Quote by Rossmillertarn!
Never heard that album, but for metal, a peavey 5150, or 6505 or something similar.
Whats your budget?


My budget isn't much man, sorry forgot to mention that. It'll only be somewhere in the region of 100 to 200 quid after I've sold the valvestate head. I'm only 16 it's all the money I can get, and I want it for gigging with a band. Will have to buy second hand obviously for a decent amp
#5
I'm quite sure Bill at least used Marshalls. I remember reading a thread on some forum about how they recorded it. They used 2 cabs, putting them back to back or something, i can't remember. If you search a bit, i'm sure you'll find it.
#6
Basically a boosted 800 tone. An original block letter 5150 is the bedrock of any old Swedish DM sound though. Those and the ENGL Savage,
Then there's this band called Slice The Cake...

Bunch of faggots putting random riffs together and calling it "progressive" deathcore.
Stupid name.
Probably picked "for teh lulz"

Mod in UG's Official Gain Whores
#7
You might as well keep the VS until you have more money.

1977 Burny FLG70
2004 EBMM JP6
2016 SE Holcolmb
#9
Hardly good tone though

1977 Burny FLG70
2004 EBMM JP6
2016 SE Holcolmb
#10
Here's a detailed account of the recording process from the engineer:

http://www.ultimatemetal.com/forum/andy-sneap/207761-carcass-heartwork-recording-process.html

Bill Steer (guitar) was bothered all the way through the backing tracks that the guide guitar (through his beloved marshall) had been too scratchy sounding. We tried moving the pickup height. We tried different amps (Soldano, 5150, various Marshalls, Dual rectifier, many, many amps!) then we tried different cabs... Nothing sounded as good as the demo sound. We had started with the same combo as the demo, but that was the "scratchy" sound that was annoying Bill... then I had an idea.

This was like making a resonant kick drum by putting two kicks back-to back with no heads in between. I took two Marshall 4x12 cabs. We took the backs of both of them. We took the speakers out of the second one, and we blocked off the holes with plywood and corrugated cardboard, as the closest thing we could find to a 'seal'. This was definately getting boomy, and quite interesting, but Bill still didn't like the top end. It was sandpapery and irritating to him.

As a last resort (after 4 days of trying things out, double-tracking things, seeing if things got better or worse after layering... then erasing everything right away!) we went up to the demo room (studio 3) and took our "Frankencabinet" up with us. We miced up the cab and brought it up on the Allen & Heath. There was our sound. Was it the room? -probably at least partly, but we'd tried 5 or 6 completely different areas in studio 2... ord knows there's no shortage of acoustic spaces there... or was it the Allen & Heath Mic preamps? -Who Knows? Who Cares? -I'm wheeling the Studer upstairs, and we're booking some time in studio 3!!!
#12
Quote by Ian_the_fox


Yeah we've had this discussion on another thread man, we came to the conclusion that Chuck's songs are amazing, but the tone is not that great

Oh and what does everything of the Crate Flexwave heads? I'm thinking about one of them, saw it cheap on ebay. I don't know how good they are though, is it worth trying one or are they shit?
#13
Like stated above, two 1960 cabs taped together, one of them was using an anniversary head, the 6100lm and the other one was using a 5150, both boosted by Marshall Guv'nor pedals... and for some reason, they recorded a Marshall ministack as well.
Either well, the best tone I know
I have a Marshall Valvestate (8200) and it can certainly do metal.
Crate Flexwaves, I dunno, I have a GT1200h which is similar. It's very good for Cannibal Corpse type stuff if you're on budget.

Hope I helped
#14
Quote by kerkhammet
Oh and what does everything of the Crate Flexwave heads? I'm thinking about one of them, saw it cheap on ebay. I don't know how good they are though, is it worth trying one or are they shit?

They sound decent, as they are true analog solid state amplifiers (not that digital bullshit that you see everywhere these days), but they are not loud AT ALL. Sure, solid state is supposed to sound quieter than tube, but the Flexwaves are pathetically quiet. My rhythm guitarist used to own one, and he had the volume maxed and it couldn't keep up with my Jet City on 2. They are also extremely unreliable; that's why my rhythm guitarist no longer owns it. They are known for having this problem where a capacitor breaks open and fries the board. He sent it back to MF and got a Dean Dime D100 (Randall RG100 clone) as a replacement.

Look for a used Ampeg VH140c head. Just about every death metal band in the early 90's used one. It's actually what the Crate Flexwave's preamp section is based on, except it's much louder and far more reliable. That or a Crate GX130c (same amp rebranded).