i reckon a dsl 50 with marshall 1960AV cab man. this cabinet has 70watt vintage g12 speakers man. way more low end and tight bass response than a standard 1960a or b.
i say dsl 50. this amp has enough headroom for clean, and really, a 100watt british tube amp is really overkill because you cant saturate the power amp without a powerbrake, which takes some of your top end off.
a ds 50 can saturate a lot quicker giving you that open power amp distortion sound which is marshall
your probably looking around 2000 new for that setup. i love mine, but i have both 1960 av and bv cabs, and ir retubed with groove tube el34s.
i usually have the amps bass and treble set to 8, mids set to 4.
a general rule of thumb, is to have the level ( master volume ) of your pedals set to 4. i usually let my amp do the work.
as for the cleans, that might have something to do with your amp or guitar. my me50 has never had any clean problems, it always sounds super clean when i want it to, even through my stereo headphones.
you can crank the master volume on the me50 and the individual levels of your O/D and compressor when your amp hasnt got the volume. a 220watt randall is not enough volume for you? when i raise the level of my compressor, this makes the clean channel louder.
by the way, the me50 is not rocket science. you turn knobs until you get the sound you desire.
id do some research into settings. Use google like everyone else. i take it you can read?
play around a bit, but always set up your amplifier properly before you adjust the levels on the fx unit. as long as your amps base settings are done, all you have to do is match the O/D level to your amps clean, or a bit louder if you like.
boss bcb60's are pretty good. it has room for 6 pedals and can poer up to 7. all the relevant high quality cabling is included and set up for you so all you have to do is set up your pedals and then plug the board into the mains and guitar leads.
im a fan of the dsl series. i think they are the best all round marshalls. they offer a modern sound, but i think the vintage voicings on the clean channel are as useable and rich sounding as the classics.
i usually max the gain on my DSL50 clean channel for a very van halenish/high mid rich sort of lead tone. this easily cleans up a bit if you roll down the guitar volume to a gritty blues.
i like the lead 1 channel on this amp. very thrashy, throaty and gainy but musical and dynamic. its really responds to your attack and you can hear every note.
i reckon dsl's have the best clean channels of any marshall ive tried.
i think the tsl series overall is crap, along with the AVT, MG, VS and mosfet series.
with a lot of marshalls you can forget a clean channel. i love the older calssic models, especially those 1987x models, but if you you want high gain metal distortion, it just wont cut it.
most marshalls sound bloody great, but are not too versatile. this is why i picked the dsl50. i dont know why people give them such a hard time.
i went for this particular model over a mesa stilletto ( no balls, just hiss and wind ), and i have a peavey 5150 as well. this amp however does not have the richness of my marshall, and can only really do metal.
if you can afford it, then buy a fleet of marshall classics, if not buy a dsl
you could always consider a power attenuator. the THD hotplate and marshall powerbrake are very popular.
what they do is take a 'dummy' load. in its simplest terms this means it takes the signal from the amp, which cranked would be very loud, and 'attenuates' it to more controllable volumes. you can have the cranked sounds, but at a much lower volume.
this however drives your tubes as hard as it would be if you were not using a power attenuator. your amp being driven hard regularily will of course affect the lifespan of your amps, but this is probably the most authentic option. the tone of your amp is still very much intact. an expensive proposition though
my metallica settings on the me50 go something like this
gain- nearly full bottom- nearly full tone- about 7
i use stereo chorus 1 for rythym playing and turn it off during leads
rate- 2.5 to 3 depth- 3 level- 4
reverb- i sometimes use a slight hall reverb, usually about halfway of its intensity
noise gate- i set mine to about 8 for threshold
tone modify- if im using my EMG pickups, ill turn this off, but for most humbucker equipped guitars i leave it on the 'tight' setting. for single coil equiped guitars i usually have it set to the ' S>H ' setting.
expression set to wah of course
and compressor level at about 4, sustain about 8
this is for a very heavy metallica tone. its suited to and justice for all songs, and if you further reduce the chorusing, you can get a MOP sort of tone.
use the mids on your amp to fine tune it. i find if you turn the chorus off and add a slight vibrato effect instead, an earlier metallica tone can be achieved raelly easily. turn the gain down in conjunction with this for a better attempt at a kill em all tone.
for a nicer black album tone, and if you play their later stuff, if you jerk the mids a little, to about 6, the sound is still heavy, but sharper than the slightly more scooped riffs of AJFA.
if you can use this pedal for clean use, and have it A/B'd with an amp solely for distortion, the best metallica clean setting i can yield goes like this.
tone modify- H/S comp- settings same as above reverb- i use a little modulated reverb for this exp- wah
modulation- vibrato rate- 4 depth- 4 level- 8.
this gives a nice 'one' sort of clean, but a bit more dynamic and not as sterile sounding.
you have a marshall handwired plexi head, and you want an O/D pedal that sounds like slash?
id say boost that marshall with a clean overdrive/boost. look up how to do a clean boost on google. you are more likely to get a decent slash sound by pushing your plexi than any solid state OD pedal can achieve.
why did you buy a marshall TUBE HANDWIRED PLEXI HEAD if you want to use pedals to make up your main sound? ill swap you my boss me50 for it if you want. i can get a decent slash tone from that heheheheheheh
My 2004 LTD mh1000 and george lynch LTD skulls and snake models were made in korea, like it says on the back of the headstock, unless ive been thoroughly decieved, or mine were the only ones built in korea. im pretty sure all ltds above 200 are made in korea
even if they were built in indonesia, i would shake the hand of the 6 year old who made them, they are mean guitars.
just out of interest deeg, where did you get that info from? how reliable is it?
just on a fairly unrelated topic, isnt it funny how ESP go out of their way to let you know you have an LTD
You can get an esp decal for the headstock, but on most models the model name is inlayed at the 12th fret.
Some high end LTDS, ie kh602/3 series has got this inlayed at 24th fret to let you know its an LTD
they also paint the necks on these guitars so you cant pass them for a japanese kh
Obviously ESP bigwigs didnt want people doing D.I.Y jobs on their ltds rather than coughing up for a jap deal. ltd guitars are good as i reckon, so obviously ESP guitars are priced to highly. I can get them really cheap though from an aussie dealer ( a legal one! ). hahahaha . i got my m2 urban camo for what you yanks would pay for an mh1000 ( around 850 USD ).
arent other companies and consumers supposed to create brand snobbery between other brands high end and mid end products? not by themselves
this further proves that ESP know their prices are too high, and didnt want ESP korea on their korean guitar headstocks so people would reconsider about buying a jap ESP.
sorry for jackin' your post man. just thought id give the guys some food for thought!
LTDs are pretty damn good. as long as its 400 and over.
the 200 series models and less are indonesian made and feel like their made of balsa wood when you pick them up.
A real ESP guitar is made in japan. This includes the standard series, the signature series, and custom series.
DO SOME RESEARCH! i learnt all about the gear i know about from simply using google and going to manufacturers websites. its really not hard to do, and it pays to know what your getting into.
on that note, i use ESP and LTD guitars almost exclusively. the differences though between a 1000 series LTD and a standard ESP are not that noticeable, howeever the prices are. sort of like comparing an american series strat to an american custom series strat.
Good LTD guitars are made in korea, and ive found the standards to be very high, higher than anything else ive come across from korea. personally i dont give a **** where my guitars are built, as long as the standards of materials and craftsmanship are high.
dont fall prey to people saying that any guitar built in korea is crap, and any american or japanese guitar is **** hot. ive played some pretty **** mid 90's american strats, and some really ****ty japanese made jacksons ( even though i love their american offerings )
I think high end LTDs are great, especially considering they slash japanese ESPs pricewise.
ive always been a 'pedal thru clean amp' person, but j dub made some good suggestions. tubescreamers cannot be talked of highly enough for their amp pushing capabilities, and the wylde overdrive, i have found to be particularily useful if you want something a little more in your face.
have you considered using the clean boost method. this is a very poular method. it involves simply using an overdive pedal, and turning the gain down to about 2 and maxing the level. randy rhoads was known to do this. this can help you yield more gain from your amp, without colouring its natural tone too much.
EQ pedals cannot be talked of highly enough either. too many guitarists overlook them when buying pedals. i personally think if you are going to run od/ds pedals of some sort, an eq pedal is essential.
If you use them in the effects loop to shape the tone of your amp ( if yours has one ), they can wield more bottom end and balls than you could ever hope for without one, and they can radically improve your tone, so you can unleash tthe full potential of your amp.
my advice to you is definitely get an eq pedal. my suggestions include
boss ge7- nice and simple 7 band graphic EQ
boss ge20- advanced 10 band Graphic EQ. very good if you want to save preset eq settings, ie and EVH frown curve, and then switch to a scooped rythym tone. Especially good if you have a single cahnnel amp, or a common eq section on your amp for all of its channels.
MXR Kerry King 10 band EQ- this unit is especially good for metal tones, as it concentrated on tightening bottom end tone. it was also designed for kerry to use with his marshall jcm800 amps. I think this may be the one for you.
As for overdrive pedals, i would go for a tried and true unit that is known to push amps. my suggestions include
boss sd1- zakk wylde used one before mxr chased him up.
any ibanez tubescreamer- the circuitry differences between a ts808/ts9/ts9 turbo/ and ts7 are not that different. all of them are held in high regard.
ibanez for life has a point though, you either love them or hate them. They certainly have the gain when you want to use it. i think all play dead might be a 'little' mistaken though.
EMG 81s in particular are all about the lead tone. i dont know what he means by unrealistic. perhaps he would like to elaborate? I think EMGs are tight sounding, with a sharp bass end and razory attack, and the low impendance and onboard preamp makes for a very quite pickup, which is essential for the high gain tones im so fond of.
i would however stay away from the 81/81 combo ( not enough difference in tones ) and an 81/85 combo. i say this all the time, but the tone properties of these two pickups IMO do not match at all, and dont compliment each other.
My pick for an EMG based setup would be an 81/60 combo for sure. these two each have a different tone, but compliment each other nicely, and the 60 has nice cleans.
im also a fan of some dimarzio pickups as well, even though i use EMG almost exclusively.
Im particularily fond of the breed pickups. they offer a nice middle ground between super hot pickups, and lower gain models which would not really suit the style of music your aiming for. dimarzio are defintely worth considering.
As for duncans, i think they offer some good models, and their jb/59 set are well liked, but again offer middle ground sort of tones. you can push many duncans, but i personally think that on the majority of their models, the bass end is too loose for my liking, and their high gain models dont offer the treble, or the attack that EMGs do. I dont think they are bad, they just dont suit me.
Id love to see an 81/60 set in a js. And saying that, dimarzios have a synonymous relationship with ibanez guitars. I however cannot understate the value of extensive research. TRY TRY TRY. People who do their homework generally pass.
well in my experience with the 5150, its really a metal amp. i do agree with you about the sometimes weak bass response.
voodoo amps are really good, and their 5150 mods are hot. you can pretty much ask for whatever sound you want.
a quick fix for this is a 10 band eq pedal. The MXR kerry king one is really compatible with this beast. they can make a lot of difference for a relatively low price. a good biasing will help, and i particularily like the ruby tubes trace offers at voodoo. ( amazing how i got to try a voodoo modded amp in new zealand. )
i have a 5150 combo. i love it. it looks really nice along my marshall and fender amps.
i really hope you didnt buy a 5150-2, i think they are really crap. and contrary to popular belief, the 6th preamp tube in the 5150-2 is for the clean channel.
also the lead channels preamp gain knob may never need be past 6.
i think all of those pedals are crap. a real metal player will tell you that any pedal with 'metal' on the front of it should be avoided. they usually equate to hissiness and piercing treble ( ie MT2 ), or extreme bass and gain and no clarity ( ie MD2, metal master, death metal, black coffee )
id look towards a decent rock distortion and a chorus pedal.
i find the marshall guvnor setting on my boss ME50 with some subtle chorus, compressor, 45ms delay and noise gate to be very gainy and open sounding, but with useable gain and a tight bass response. the delay is almost absent, but it adds more balls.
you would do well to look into an ME50, they can make some great sounds, especially rock and metal ones with all the extra o/d settings and other effects to add heaviness to your sound.
i love the DSL series marehalls, i hate the tsl. i think the tsls are a ripoff because only the tsl100 head has 3 fully independant channels ( meaning separate EQ's and gain structures ), and the lead channel of the tsl100 is not much different to the crunch offering.
I personally think TSLs are crap. not quite clean enough to be clean, but not gainy enough to touch metal. if i was looking for this type of sound, i would buy a jcm800, which is way better
I love the dsl series however. They kept things nice and simple, just what marshalls are about. simple balls, and i love my dsl50 because of its versatility and how diverse its sounds are. i like the cleans and the crunch is great, and i love the lead channels.
also having a marshall is not about price. you should check the prices of the real ones. all this marshall/mesa/other thing is about trends.
many people like mesas because of their recto sound. granted there are many players who prefer the other models they offer. im quite fond of the f50 combo by them.
for some reason marshalls seem more attainable than the super expensive boutique amps. its a mindset. i love my real marshalls and most of the tones you hear from other manufacturers were all precursored by marshalls
real marshalls are not cheap and i hold them in higher regard than mesas and orange amps
did u actually consider that marshalls might actually be good amplifiers, which i think countless artists and players who use them will agree with
however the MG series is indian made crap, and its quality is a black smudge on an otherwise decent company. the fans in the back are known to be woefully unreliable.
i hold line 6 spider models in the same regard as the mg series. overpriced digital sounding crap. if you want heaps of effects, buy a decent effects unit and an amp with a decent clean channel. these effect laden amps are designed for beginners, and the tone is relative.
i would seriously suggest selling that mg100. you probably couldnt even trust it as a backup amp.
i would also suggest reading extensively into amplifier reviews, and trying many different amps out. research into anything before you buy it will probably save you a lot of hassle and /or disappointment. reliability is a crucial factor in buying an amplifier.
if you had maybe looked at some reviews, you probably would not have bought that amp. Its pretty common knowledge how awful MG SOLID STATE marshalls are.
sound like another victim of the MARSHALL mg logo and nostalgia. not all marshalls are created equal. SOLID STATES are second class citizens
and jb mate, the whole mg series has DIGITAL reverb, therefore the likelyhood of a proper spring being in there is very low
any pedal that says metal on the front should be avoided at all costs. this is a true saying in metal guitarist circles.
i would honestly say if you have to use a pedal, find one with a lot of useable gain, like a marshall guvnor, or a sansamp gt2. useable gain is paramount, not that buzzy, fizzy, treble heavy crap found in most metal pedals.
other than that, i cannot underplay the flexibility and overall better sound of a good amplifier distortion, especially a tube amp meant for high gain. Save up, then youll wonder why you even used pedals for your main distortion sound
if you have a guitar that is in proper working order and stays in tune, id upgrade to an amp with bigger headroom, and a decent clean and overdrive channel. a decent amplifier can some what raise the game of a lesser guitar, the same cannot be said for playing a mean guitar, through a 10w tin can. its logic man. def amp first
for a start, its a prs that is on par with tremonti quality.
good charlotte may not be good and have even a shred of talent, but they are marketable, and very popular. If the record companies can market and peddle their ****, then the guitar market is bound to jump on the bandwagon.
these people get sig models so that every whining nu metal 13 year old with a dual rec and a phobia of the L word ( meaning lead ) can emulate their hero and hand over their mums and dads hard earned cash, for a real piece of korean crap.
what better than to emulate a guitarist who shows no real talent for his instrument, learn all three of his chords, and feel good about yourself for nailing those riffs.
this is low, even for prs, who have totally sold out in the last couple of years to cheap asian building, and flash in the pan artists who can bring them riches.
its like big hair, Europe and spandex, itll all be a good laugh in 15 years time
that particular guitar is crap. its not even a real prs.
look for something else mate. if your in the market for that kind of guitar id look at the ibanez sz series, or s series. i just think the prs korean made sig series are a crap representation of what PRS is.
nails a mesa stilleto. dsl50 has way more balls and harmonics.
kills a recto. every note is clear.
its a brilliant, simple to use, gain amplifier. the clean is good as well, but i a/b mine besides a fender fm212r. i use the crunch channel and lead 1 with an eq set for a mid boost for the crunch channel. its really good marshall, and when i had groove tubes put in i was blown away.
i loved it a lot but it had some unavoidable flaws that will become more and more apparent and limiting the more you progress.
my grx20 was decently built and at the time sounded nice. it has a nice feel to it, and for the price it smokes other guitars in its range.
however do not be fooled, this is a beginner guitar
1) its tremolo system floats, but does not lock at all. its rather like a disadvantaged floyd rose system. unless you wish to upgrade to some locking tuners, this will cause woeful tuning problems. needless to say i learned to tune my guitar very well because of this.
2) the pickup selectors in particular are known to be a bit weak. i am not the only one who has experienced this, and most people have had to upgrade that also. Chinese electronics are not to be trusted.
3) the pickups themselves are horrible. my samick strat copy with a trio of shanghai - spec single coils sounds nicer. very muddy and intrusive to your playing.
if you can tell me exactly what you are willing to spend, meaning the maximum, i can help you along to find something nice.
stay away from tremolo systems on cheap guitars, they are a pain.
look for a hardtail bridge, these are the most stable aside from a floyd rose system, not exactly a beginners dream either.
of course talent is real. thats like saying that a pilot whos been flying for 30 years is always goin to be better than the hot shot rookie who smokes him all the time.
practice and music theory are definitely valid ways to become a better guitarist, but the latter is not essential.
for a player to be truly brilliant, meaning better than good or great, there needs to be a passion, sort of an affair with your instrument, but at the same time an obsessive search for perfection, and the enjoyment of making progress.
so many people i know play the guitar, and that is all. anyone can do this with enough practice.
people with the natural ability and passion for what the guitar is and what it means to them, can easily be set apart from 'players'.
take santana, slash, hendrix, paige, reinhardt, and zap. you cant tell me that is all just practice. its bull.
I love plexis and 800s, they are the tones of yesteryear, and represent the sound of rock and roll, but they suffer from limitations that in a modern world, are only any good if you have a row of amps to choose from.
firstly they are single channel heads, and the word clean is rarely used.
the plexis have no master volume either, so unless you own a couple of hectares, its pointless trying to crank it without causing some kind of earthquake. you could buy a power attenuater and fry your tubes in a couple of months.
if you have a nice amp for cleans, and another for a crusing rythym sound, then by all means add one of these classics to your rig. they sit very nicely between shimmering clean and hetfieldish thrash. i myself wouldnt mind a 1987x with a classic tall vintage marshall cab.
Is this realistic
i bought my dsl50 and 1960av cab because they sounded great. i dont feel as if i settled for second best by getting the 'all rounder', because it sounds great, and as well as having some pretty recognisable marshall tones at your disposal, it sort of carves out its own niche, especially for rectifier haters like me. my dsl50 has so much useable gain theres no excuse to buy a rectifier any more
i hate the tsl series. the whole thing is a rip off considering you only get 3 independant footswitchable channels on the 100 watt head, and cahnnels 2 and 3 do not sound the same. they also have no balls or thump. a bit wimpy really.
the simpler jcm2000 dsl series IMO is the pick for me. nice cleans, i repeat nice cleans, in the same thread containing the word marshall. The 50watter in particular has some real guts, and the power amp saturation is easier to achieve with the lower headroom.
its responsive, expressive, useable, ballsy and looks friggin awesome. i love it, and just because its a 'modern amp' it shouldnt get a bad rap from all the rich middle class purists who can afford a plexi or two
peavey 5150 combo marshall dsl50 marshall 1960 av cab various ESP and LTD guitars, all fitted with EMG pickups
mesa stilletto to go on another marshall 1960 av cab vox AC30 ( late 60s version preferable ) fender american strat with texas special pups and schaller locking tuners esp eclipse custom jackson soloist
dude. best thing with marshalls is to keep it simple
i love my dsl 50 and 1960 av cab combo.
guitar centre is a plague and should be avoided at all cost. dont let them tell you the bull****, and give you all the mesa/marshall hype crap. try as many amps as you can.
i play marshall because it sounds right for me. i love marshall balls, marshall volume, and just that poke that all the TUBE marshalls have that ive tried. explore first buddy! dont rush into things and spend a heap of cash till youve exhausted and been barred from every music shop around town. i redeemed myself by spending thousands upon thousands on amps