#1
I was just wondering what type of amps would be good for the black crowes and north mississippi allstars genre, have around 1000-1500 to spend on an amp. I have a strat, and an SG so i think with those two the pickups should be able to play em but what kinda amp would you recommend for these bands?
#2
Is that $1500 just for amp? Or do you need speakers too?

If you already have a good cabinet, then try the Egnater Tourmaster 4100. A very versatile head that will give you those sounds and then some. It can be set anywhere from 10 to 100 watts on any of it's four channels. I've seen reviews where people say they're muddy, but it's a very tweakable amp. So it's not hard to get rid of any muddiness. If Marshall's really appeal to you, then the 50-watt Vintage Modern is in your range. Personally, I think the Egnater has a far more superior tone (far better than the Vintage Modern, not Marshalls in general...who doesn't love the JCM 800?), but people love Marshalls and you could own a Vintage Modern at that price. The difference is that the Vintage Modern will take a lot of pedals (mostly drives and/or distortions) to get various sounds (which some seem to like), but the Egnater gets a vast array of tones without having to add much (maybe a little chorus, compression, delay, and some wah).

If you don't have a good cab, you might want to try a Fender Bassman Reissue (with drive/distortion pedals upfront), the Egnater Tourmaster combo (same specs as the head), or maybe one of the Fender Hot Rod series (either the 410 or 212 - again, you'll need drive/distortion pedals upfront).

I think you can get a Peavey Valve King and cabinet for around your price range. Though, I'd go with the Valve King head with a Marshall 1960a cabinet (or if you could find one with Celestion Greenbacks within your budget, you'd get a great Black Crowes sound).

There are many others, and I'm sure people will chime in with a bunch, but these should be some avenues to get you what you're looking for. Remember, your ears are the best tool you have in deciding what you like, so try stuff out and get what sounds best to you!
Last edited by b-rock34 at Oct 31, 2008,
#3
From 1992-

Rich Robinson: I bought this Fender Tremolo- one of those really old blond
amps-with like 30 watts. I used one of those through a Marshall
cabinet. I also have a Fender Super Reverb, two older Twin Reverbs and a 1972 50-watt Marshall that is in perfect condition.


GW: Judging by your stage set up, Your mostly fond of Marshalls

Marc Ford: Actually I didn't play much through Marshalls on the record, It was all Fenders, Marshalls just look better I guess. They are taller then Fenders.


From 1997-

Rich Robinson: I bought a 1955 tweed Twin; a 50-watt, low-powered
Twin. And that's the whole deal. I have a '55 and a '53 and they're in immaculate condition; original speakers, original everything and I used those on the whole record. On the road, I have the '55 with me, a Matchless and a couple of cabs.


From 2001-

GP: Which amps did you use?

Rich Robinson : I've been playing Harry Joyce amps a lot lately. Joyce was the guy who built all those early Hiwatts. My previous guitar tech turned me on to his new models, and I wound up liking them more than the Matchless amps I had been using.

GP: What's the main difference?

RR: The Harry Joyces have more bottom and they sound a little tighter.

GP: So you were after more of a Hiwatt-type sound?

RR: Yeah, but I also had my tweed Fender Twins - a '53 and '55 - and I used Chris' old Marshall Bluesbreaker combo on some things. I hooked the Joyce, the Bluesbreaker, and one of the Twins together for the solo at the end of "Lay It All On Me"


GP: What kind of amps are you using onstage?

Audley Freed: I have a Bogner Ecstasy and a Fender Tone Master. I mainly use the clean channel on the Bogner and just turn it up - which is kind of a waste because it has so many other sounds. The Tone Master is primarily for the clean stuff and it's a good substitute for my old Fender Dual Showman, which I don't bring on the road because of reliability issues. I run the Bogner and Fender heads into two open-back Matchless 4x12 cabs that are loaded with 8W Celestion Vintage 30s. I just switch between them - I never use both amps at the same time. I also had my tech wire one of the Matchless cabs for stereo operation so I can run both heads into one cabinet when we're playing a smaller place. Another amp I might put into the live setup is a Dr Z KT45, though it's not quite loud enough for this band.


From 1996-

On the Amorica tour Ford and Robinson plugged into custom made Matchless rigs, though for this album they returned to their vintage mainstays-an assortment of Marshalls (particularly RR's Silver Jubilee and Ford's '60s 50W Mark II and 100W Plexi), blackface Fender Showmans and a Bassman, a '50s Vibrolux and various Vox AC30s.


From 1998-

GP: You seem to favor a mix of vintage and modern amps.

Rich Robinson: What I really like about the old Fenders--I have a Tremolux, a '53 Twin, and a '55 Twin--is that they let the guitar speak. Same with Matchless amps. Sometimes you get a Marshall that sounds the same with ten different guitars. To me, a good amp is one that enhances the sound of every guitar that you have.

GP: Which amps worked best on this record?

RR: I used the TWins and the Tremolux on almost every song. Any guitar you plug into them sounds great, but it also sounds like itself. We also used this old Marshall Bluesbreaker combo--I'm not sure what year it is.

GP: I see the Twins are feeding the Marshall cabs--is that configuration similar to your stage setup?

RR: I tour with three combos and run them through three 4xl 2 cabinets. I play Matchless amps on tour. I don't know if the old Fenders would be very tour-friendly. The Matchless puts out 35 class A watts, and it's loud as hell. I don't need any more than that.

GP: Do you run several amps simultaneously?

RR: Yeah. I try to pick a really good clean sound and a great dirty sound. The third amp is optional. If we're playing an arena or a festival, I'll use it. I used to tour with two Marshalls and a Fender Showman. On the last tour I used a Matchless DC-30 and a Clubman. I used the Clubman for a dirtier sound and the DC-30 for a cleaner sound. I ran each of them through two 4x12s.

GP: Why do you use the 4x12 cabs instead of the combo's internal speakers?

RR: I just like the added bass. A lot of what's missing in music is bottom end. That goes for live sound as well as records, because with digital recorders you really lose that warmth and low end. We actually had Matchless build us some 8x12 cabinets. The bottom four were closed-back and the top four were open-back. They were a pain to carry, but they sounded really cool. Now I like those Matchless 4x12 cabinets. They're deeper than a Marshall, so they push more bass.

GP: Do you have any speaker preferences?

RR: I don't care what it is as long as it sounds good.

GP: How do you split your guitar signal?

RR: I have a THD tube splitter that has one input and three outs.

GP: Do you have any tube preferences?

RR: Derek sends our amps to a guy in Nashville who puts in the old stuff--Mullard EL34s and Telefunken preamp tubes.


From 1994-

For amps, Robinson favours a vintage 30W Fender with tremolo played through a Marshall cab. He also utilises a Fender Super Reverb, two Twin Reverbs (again vintage) and a '72 Marshall 50W combo. No effects are used at all.

On this album the amp selection was even more diverse, as the band borrowed a lot of gear from producer Puig - "Voxes, Gibsons, Fender, Marshalls, an Orange... everything!" says Ford. The Crowes secret weapon, however, is a custom stack designed for them by Mark Sampson of Matchless, who lent a hand hot-rodding some of the Crowes' usual amp selections.


So there you have it, that's all I can find on what amps Marc/Rich/Audley used over the years, so that should give you someplace to start.

Long story short, Rich and Marc like Fender tube amps in the studio, with Rich going Matchless, Harry Joyce, and most recently 65 amps live, and Marc using Marshall, Matchless, and in his last tenure with the band, Roccaforte. Marc Ford was playing a custom Roccaforte 80 watt (I think) half stack in '05/'06, and Rich still had the multiple Harry Joyce amps, before incorporating 65 amps into his setup. Last time I saw them (last Saturday), Rich had two 65 heads and cabs (but I saw a recent picture that showed both 65 and Harry Joyce, so it depends on the venue), and Luther had a Vox combo with an extension cab, plus a Marshall head facing the rest of the band, and a small, beat up tweed Fender in front of him.

Both Matchless and Roccaforte run about $2,000, which is a little over your budget, but the Fender reissues are around your price range, I believe. 65 amps are in the mid-high $2,000 and Harry Joyces are even more.

EDIT: Why I felt the need to do a history of Black Crowes amplifiers I have no idea, but hey, now you know what they used and what amps you can look into if you really want a similar sound from a specific period.

EDIT2: Whatever you get, crank the hell out of it.
How to achieve Frank Zappa's guitar tone:
Quote by Thefallofman
Step 1: Buy a Gibson SG
Step 2: Insert Green Ringer, EQ, 3 dead squirrels and a microwave into said SG
Step 3: Plug in and freak the **** out.
#4
haha thanks guys for the replies, ill check into the local guitar shops and try out a bunch of amps they got in stock. I'm just trying to get an eye for certain amps to look for, for the sound. Thanks a bunch guys!