Well, he does like Marshalls. There's a bit of a family connection with the old Bassman.

Anyone who wouldn't is a fucking retard.

That's Fender I believe. Awesome rawk toanez.

I've only owned one Fender amp and it put me off them for life - it was a Hot Rod Deluxe which it seems are notorious for being shit I would be willing to try something like this though.

Jack White uses Twins, especially in the Raconteurs IIRC.

The drive channel on those is awful. Muddy shite. The cleans are okay, but shrill compared to a proper Fender.

I am strange, i have no beef with the HRD, or the Hotrod or Blues Devilles. I wouldn't choose it over something voxy, but i found them to be very similar to the Bassman sound. Actually, the circuitry is fairly similar too. It could be a lot simpler even than it is, and i didn't much like working on the PCB in the Deville i had here, but it is not too bad. The one i had were was a friend of mine's, and he uses it to very good effect on stage. It is loud as piss, and gets a nice thick breakup on the 'clean' channel. Gets proper gnerly with a fuzz pedal.

Actually, i found them to be fairly swell pedal platforms, especially the 60w Devilles.

You're allowed. I don't think it's bad- well, except for the drive channel, which is bad - I just don't think it's particularly great either. It made a decent clean channel A/Bed with a 50 watt Marshall, though.

It is funny, because IIRC, the "dirt" channel mostly is just an A/B switch with a second gain pot, and the removal of the bright cap by way of relays. It has been a while since i traced the thing, but i believe that is mostly correct.

The Blues amps retain one open half of a 12AX7 unused, while the Hot Rod series uses that triode as well. Other than that, the circuits are pretty close to each other(a very 'Fender style' design decision), but the Deluxes run at lower B+ voltages than the Devilles and have smaller transformers for that and the reduced wattage.

I am actually a little surprised that you disliked the OD so much. I know that lots of folks do, but it seems to have a bit of the drive krunkiness that you occasionally lean towards in your dirt explosion sounds.

Honestly, and in defense of the thing, I may have a bit different assessment if I played one now, versus 2004 when I wanted an altogether more conventional hardrawk distortion tone most of the time.

It just sounded/felt boxy and compressed. The drive has no balls and it's quite fizzy. Was ok with pedals but I can't say I miss it since getting my Laney almost 4 years ago.

Back to the Super: that thing is hot and sexie. I it so. Clips will follow tomorrow once I comp the takes together.

Fender American Strat/neck pickup --> Eventide Timefactor --> EHX Cathedral --> low gain input of the vibrato channel. Bass 7, mids 5, treble 6, volume 3.5 (this is roughly where it maxes out; it's NMV and breaks up after that. It is loud like my AC30 is loud.), reverb 4. Shure KSM27 LDC and modded Nady RSM-4 ribbon. Rode NT5 SDCs about 10 feet back in either direction for stereo room. My clean tone is... okay-ish.

Also, I pulled the tremolo driver tube on my AC30 earlier. It had worked itself loose and was making hellacious noise. I never use the tremolo channel anyway; I use my EHX Pulsar instead. It's way more versatile. Quieted the amp down. (As in noise, not volume.) Shit tube.

*posts goatse*




























































then faps

That video actually won really hard. I'm tempted to actually buy a guitar again.

Butbutbut the built in tremolo has so much mojo!

That blackface bassman does sound pretty swish

It does, but I don't use it for a number of reasons.

1. While footswitchable, it's assigned to its own channel, which is much quieter and even less gainy. I suppose I could jumper all three channels together though...? Or A/B. But...

2. Stepped controls versus continuously variable. This is especially an issue with the tremolo rate; I like to approximate the BPM of the song, for the most part.

3. My EHX trem can produce vibrato-ish wobblyness and off-kilter rhythms by varying the waveform to something really odd. It's a versatile piece of kit. And does a classic tremolo sound quite well, too.