sounds great!OK, here's a quick and dirty clip of the new 2204S dimed out. It's not nearly as painful as the DSL40C was on full blast, since it's not as searingly bright. I put an Audix i5 on one of the speakers, and felt it was missing something. So I put an Audix D6 on another speaker just to present the low end more like it feels in the room. This probably wouldn't work in a mix, but it does kind of represent the "chunk" a bit more. Forgive the drums, I just can't seem to come up with a riff without some sort of drum line any more.
Gibson LP Classic
Marshall JCM800 2204S
Presence: 1.5
Bass: 6
Mid: 8
Treble: 4
Master: all the fucking way
Preamp: ditto
Audix i5 at dust cap edge, pointed inward
Audix D6 at edge of cone, highs rolled off in Reaper (had some comb filtering going)
I can't say I've made a HUGE effort to find one like the Ross but pretty much all of them I've heard had that metallic sucky sound .... now that it's come up I have started looking a bit a of the 4 or 5 I've checked out so far, this one sounds the closest.You think that pedal is as close to your Ross as you've heard??? Just curious....
I fixed the Marshall 6101.
Got a wild hair and tore it down tonight .... there's 5 internal fuses in it besides the three on the rear panel. 8 fuses in all!
It has a BUNCH of ribbon cables and other connectors in there connecting all the boards.
Those things always start having connectivity problems.
I just unplugged everything and plugged it all back to clean the connections and it works. I have no idea which one it was .....
Took about 2 hours to disassemble it .... work on the guts and then reassemble it ......
But it won't last ..... those connectors will vibrate loose again ..... they're just not that tight.
I didn't take pics but I will when I go back in there which I'll do as soon as I figure out a way to clamp those connectors in place. And all the switches need cleaning and the pots too.
It has to be the biggest POS design Marshall ever came up with.
I'm not sure what to do with it.
I won't feel right about selling it 'cause I know it's crap.
I'd sell it to a collector but I couldn't let a gigging player buy it and think it's a gig worthy amp ...... it just isn't.
I think I'm gonna go in there and try to mod it with regard to the connectors.
I might even remove the connectors on some of them and simply solder the wires.
Then I'll just use it and if it breaks again I might just throw away the amp and use the cab for something.
I think that's the whole thing right there.Those 6100s were pretty much Marshall's first foray into modern build techniques. I guess they didn't have it quite figured out yet. .
Just for shits and grins I dug out my Ross flanger and my DOD flanger 670 and ran them in stereo.
The signal chain is: out of tune LP custom with dead strings > Carvin Legacy > Palmer PDI-03 > Ross flanger> interface
............................................................................................................................ > DOD flanger
Anyways, here's a quick jam with the JM and the JCM. Silly drums and bass included...
Fender '65 Jazzmaster, bridge pickup. Tone rolled back to 50%
Marshall JCM800 2204S
- presence: 0
- bass: 10
- mid: 8
- treble: 0
- master: 6
- pre: 6
I like it. Pretty cool. Definitely a little bit single coil twangy, but not too bright.
One thing you could try with the LP and high input is to run the master up high and keep the gain low. Both volumes cranked will get mushy and weird with a hot humbucker. Keep the gain low with your mega-hot pickups if you're running the master vol way high.
Yamaha FX500
Sample one is Broad Distortion - 1:infinity compression threshold at -10, heavy distortion with a mid scoop and separate L + R delays.
Sample five is Sweet Flange - comp thresh -10 & 1:infinity, big bump in mids & highs a room reverb & deep flange.
Sample eight is Horror House - heavy compression, masses of distortion, boost in low & mids. Reverb & Delay with a DEEP flange.
I've been experimenting more with the Kemper.
I got an opportunity to really test the Kemper today at a proper studio with some good microphones and obscene speakers.
Picture: lots of Marshalls!
They really highlighted the difference between the amps and the profile. The Kemper tended to add more low end and roll off high end as well as gently compress the sound. At the same time, the Kemper de-reverbs every signal you put into it. We first tried it through a room mic and it cut the reverb tail flat and made the sound more present.
We then ran it through a chain with a reverb in it set to over 5s of decay and the profile still came out dry.
It seemed to enhance high gain tones in a rather pleasent manner but didn't keep it quite together on the crunch and clean.
PENT-ALL is pentode mode, obviously. It goes to channel 2 at about a minute and channel 3 briefly at 1:26.
CLEANCRUNCHDIRTY is the triode setting ..... starts in channel 1 .... goes to channel 2 around :44 and channel 3 at 1:28.
I've been experimenting more with the Kemper.
I got an opportunity to really test the Kemper today at a proper studio with some good microphones and obscene speakers.
Picture: View attachment 94357 lots of Marshalls!
They really highlighted the difference between the amps and the profile. The Kemper tended to add more low end and roll off high end as well as gently compress the sound. At the same time, the Kemper de-reverbs every signal you put into it. We first tried it through a room mic and it cut the reverb tail flat and made the sound more present.
We then ran it through a chain with a reverb in it set to over 5s of decay and the profile still came out dry.
It seemed to enhance high gain tones in a rather pleasent manner but didn't keep it quite together on the crunch and clean.