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Discussion in 'Ampage Area' started by pmac11, Sep 13, 2019.
You can play any electric guitar thru any amp.
What's important is how it sounds to you.
Ok I found a good video comparing the Marshall DSL40 to the new Fender Bassbreaker 30R
The presenter gives good verbal info in this one imo.
Tones are non comparable in all youtube videos but my take from his comments are that.
1) Fender have produced their 1st ever mid gain distortion amp and it's an EL84 clone of the DSL40. Fender still can't produce their own signature overdrive and distortion tones so they've copied Marshall.
I find this copy thing pretty funny and poor on Fender's part. Other companies like Mesa Boogie and Egnater have their own signature gain tones but Fender don't even try. But at least it's progress from Fender and not another heavy one trick pony clone of their own vintage amps.
2) Irrespective of the usual youtube lofi tones I'd assume both amps sound great and similar thru the gain range.
3) Fender have updated to 2019 by producing a lightweight combo (38 pounds) with independent EQs, DI out and a loop. Still no wattage switching though. While that's a big step forward for Fender they're still a long way behind Mesa Boogie and Egnater.
4) Fender have put digital reverb in this 30R - probably to save weight.
5) One thing I noticed on the 30R was when he moved to the high gain mode it had VERY loud hiss. Much louder than the Marshall on the same gain setting. And of course Mesa Boogie high gain amps are all very low noise even with higher gain levels on tap than this Fender 30R.
So decent start for Fender into the mid gain area but still a long way to go imo.
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I like some of the base breakers but didn't Marshall build their first amps by copying Fenders design and giving a little tweak here and there? Doesn't bother me how it sounds or why it got there.
The Marshall killer.
yeah fair enuf - it's not the copying I'm bagging it's that after 60 yrs Fender have still not been able to produce 1 amp with their own signature flavour of distortion
I do Gretsch through a Randall. It makes me happy.
Guys. actually this is not the truth. Idiot stuff.
I am a certified Marshall fan boy since my very youth. Owned and played and recorded all models during the years with my -admittedly restricted- skills...
Most of the classic recordings are not nearly as distorted as described. No AC/DC record has been made this way.
The classic Marshall sound is far more clean on the rhythm side.
There are two ways of getting that sound.
The obvious is getting the watts working. So you will need an old 50 watts non mastervolume amp (or even more watts) and push some low-wattage speakers. Keeping that volumes way under twelve o´CLOCK: Bass at 0 all the other dials dimed. It`s a power-amp -thing.
That`s what it`s done.
Calm it down with a high-quality attenuator for live playing if you are fortunate to find a proper one (my vintage Allesandro Mussle is a time proven one, but it will not get you that speaker distortion needed for high quality recordings.)
Turn up to a mildly distorted tone and use a 4x12 so that there is not too much distortion from the amp but the speakers. The speakers should do their magic. My beloved Mesa 2X12 gives too much compression and that is something you will not like in a band mix. You want something to slice trough it.
JCM 900 cabintes will work fine. These are cabinets with evil fangs.
You will get a rather harsh sound but it will cut through the mix like Malcolm. "Harsh " and under-compressed will sound not fine when listening to your tone insulated.
But that is the point.
You do not want to judge on your tone without listening to our very personal band-context. Ths attitude will save your bass man`s and your singer`s sonic homeground. And it will make your band sound great in that final mix.
That`s the most common mistake.
You listen to all that crap-modellers at your basement and their sound (greatly at home) seems to desintergrate within a band mix/live situation or invade the other bandmember`s sonic playground.
So here is my cure:
Bridge that inputs on your vintage Marshall amp and turn it up until you got a good crunch in the mix. Dial off the bass completely and adjust the other dials to max (on plexies). This will get you to Eddie -Land. You will travel from clean to big crunch to solid solo violine tone with your volume pot and you do not have to rely on a high output pickup. A high output pickup will spoil your heights. Some Delay will help to sustain your tone, though. (In Marshall Land)
If you are on bedroom levels forget about my advice. This is the way to dial in for real world time tested old school stage or studio level.
I had a '87 50W Jube... this one sounds like a friggin kazoo.
Fender tried it with the red knob series. The Super 60 I tried in store(with a HM strat) actually got half decent hard rock tones, but I eventually pulled the trigger on the Jube(got a great deal). At the time Greg Howe promoted the Dual Showman model. A fantastic player but he always sounded like he played with a light fuzz on top. Horrible.
Gotcha! To me, it seems like the good distortion sounds have all been hit already though. Where would they go form what we already have? I think they would have to develop a new kind of tube. I have yet to hear an ss distortion I really like. Other than the Peavey Wiggy, I did kind of like it. It was an ss amp, wasn't it? Still wasn't good enough for me to buy one though.
yeah Bert but Mesa Boogie keep doing it.
There's about 50 fantastic overdrive and distortion tones in a Mark V.
Egnater have got their own distortion flavours too and so do Peavey and Randall
True. I hope fender can do it but they are good at their traditional tone is there a need to jump into heavier distortion! For that my Peavey or a Mesa or Orange would be my first choices. But you have to start somewhere O guess.
Power'Trons + 2061x = quite the expletive
On that video the player really seems to like it in comparison with the dsl and it sounds a little bit more open or complex and a little bit more warmer.. and yes Fender had crafted their signature gain sound for years -fizzy, flabby like a rubber band with lack of definition and punch... lol
The one thing I realized after I had two tube amps, cabs and speakers make a huge difference. An oversized cab and the same speaker can entirely change the character of an amp as can a simple speaker change. A rabbit hole that caught me but good a few years ago and is now calling to me again. I built a 1x15 with the Weber Cali speaker in it, extra deep cab. A 2x12 with the Weber silver Bell and Blue dog, I swap the 1230-55 Webers in when the mood hits but now I still want a few more speakers and cabs. I am constantly amazed at how the amp's character changes sometimes subtly sometimes drastically with just a swap of cabs and speakers. Now the truth is it has saved me a fortune in amps. Sadly it still costs some money but not nearly as much as chasing every amp that caught my attention.
The clean channel of my DSL15 has been brought to life with an Atomic Brain. A whole new level of sonic kung fu.
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Brian Wampler did a YouTube video on this same subject, making a bunch of different amps sound more or less the same, simply by running them thru the same cab.
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Silver Jubilee. 70's white Falcon see avitar
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Cool isn’t it!
Haven't watched the vid(judging YT sound on a iPad is annoying) but I believe it. By the same token, the same two amps can be made to sound substantially different just by changing cabs and speakers. It's the reason I've invested heavily in an assortment of cabs and speakers, rather than get another amp.