I never thought I'd like Marshalls, but my only real reference was an 800, which I really don't like. Having used a bunch of old Traynors and then moving to amp sims, I've discovered that I actually like British amps that are based off of Marshalls, just not that particular model. (I prefer EL34s over 6L6 when modeling power amps, and I tend to prefer British amp-style models). I have owned some Fender amps, and looking back I've found that I've never really liked them.

I don't really appreciate when my OD pedals have more than one or two knobs.* That's why I struggle with my Boxidizer so much, and on the other hand I love it as much.

*ZVEX SHO is the greatest made pedal EVER!

EGC makes crappy instruments that make people bleed when playing them. I cut my hand and finger on the neck numerous times. Made a "reclamation", been told to be happy/lucky to have a great guitar.




I sold it next week after that "incident".

Because I have to post on every amp topic here... them's the rules.

I used to be seriously anti-Marshall when I started playing guitar. Marshal was the pride and joy of the enemy. The wall of Marshall attitude, the branding, the trend, and the sound. It just grossed me out. It gave me a "fuck all that shit" attitude. This was like 1989 until 1993.

Then, right around '93, I was lucky enough to run sound at an all ages punk space. A ton of the Dischord bands used it as a tour stop, along with other cool east coast bands. So did a lot of the San Diego hardcore bands. Fugazi came to play the big theaters around me. So many of these bands used Marshalls, and they sounded amazing. Wouldn't you know it, my local used guitar shop (where I was basically free labor on Saturdays) got a used JCM800 2204 and a no name 4x12, so I got it for a killer deal. There were some things I didn't like about it, but that early 90s post hardcore sound was RIGHT THERE. Also, the big ass Marshall logo had fallen off, so that made me feel better.

There's a reason why so many guitar amps, especially high dollar, boutique, high gain amps are built on the 2203/2204 platform. You look at the schematic and you can see the changes, but they are like 80-90% that circuit. I can also justify using the "amp of the enemy" by viewing the 2204 is just a mod on the plexi with cascaded gain stages, and the plexi as a slight tweak to the JTM 45, which is a pretty much direct copy of the Fender 5F6 Bassman. So really, I'm just using a VERY modified Fender.

I still hate that Marshall gold anodizing.

Lu Zwei wrote: Wed Sep 18, 2024 11:03 am

Frankie99 wrote: Wed Sep 18, 2024 10:58 am What Tony said is the 12" remix of my post "bruh."

Appreciate the further explanation, and this is for Tony and yourself included, this is still a "confession thread". I would welcome leaving your judgment for the Politics thread.

Was just a silly joke. Haven't judged anyone anywhere.

Frankie99 wrote: Wed Sep 18, 2024 11:52 am

Lu Zwei wrote: Wed Sep 18, 2024 11:03 am

Frankie99 wrote: Wed Sep 18, 2024 10:58 am What Tony said is the 12" remix of my post "bruh."

Appreciate the further explanation, and this is for Tony and yourself included, this is still a "confession thread". I would welcome leaving your judgment for the Politics thread.

Was just a silly joke. Haven't judged anyone anywhere.

nah, man. all good. it's all fun and jokes.

benadrian wrote: Wed Sep 18, 2024 11:36 am I can also justify using the "amp of the enemy" by viewing the 2204 is just a mod on the plexi with cascaded gain stages, and the plexi as a slight tweak to the JTM 45, which is a pretty much direct copy of the Fender 5F6 Bassman. So really, I'm just using a VERY modified Fender.

Yeah, I have no issues with the Fugazi sound and I think it has been done in a matter that has served them well, because their sound was a mid wall of guitar dissonance and riffage with a bland bass sound, and the vocals are just so pristine that it just pains the picture that is immaculate.

For me, the golden standard starts with AB165. I have owned a mid 60s Bassman that was/is a AA371 and it's still the best sounding amp I ever played. It was just so clean and pristine and punctual and direct. And it could eat up any pedal you would put in front of it.

benadrian wrote: Wed Sep 18, 2024 11:36 am I still hate that Marshall gold anodizing.

Oh, man. Don't get me started. Just when I think about those knobs on that plate, I get a semi seizure.

jeff fox wrote: Mon Sep 16, 2024 10:28 pm What most people seem to describe as 'great sounding drums' sound like complete shit to me. Ringing out with a mess of overtones and sustain that just makes the kit sound horrible. Bonk Bonk Bonk Doink. Rattling messy snare. Ringo had it right. Deaden those shits. Sounds better in nearly every context.

Did I already agree with this post? I meant to reply like 3 times.

Anyway, yeah I feel like the big boomy drums thing is very contextual and even when it works, occupies a lot of space in the mix. People really like to talk about “the Bongham Sound” like it’s some tone ideal, but in so many contexts it just muddies stuff up.

Also I realize I misspelled “Bonham” but I’m going to let it stand.

benadrian wrote: Tue Sep 17, 2024 11:33 pm

Frankie99 wrote: Tue Sep 17, 2024 5:21 pm Yeah the yellow is goofy. Other than that I think that’s got a lot of good things going for it. Totally love, the 10 inch and 15 inch speaker idea.

I posted this elsewhere, but I'll post here too. Why not.

Jack White is one of the few people who has the juice to get this done. All of the features on this amp are the favorite circuits of the more intense Fender amp nerds. However, they are complex and difficult. Whenever anyone would bring up these ideas to Fender or some other amp builder, they'd get kind of shot down. Three knob verb, Harmonic trem, stereo tube power amp, different size speakers, etc. The amp companies would reply, "oh that's too expensive." or "so few people would want that, it's not worth it.", or "it would be too big and heavy." Basically, no one wanted to make the sonically coolest ideas because of effort and risk.

And yeah, now we have a $3k PCB amp. It's a lot. But it's basically a Pro Reverb (with a 15"), a Princeton Reverb, a complex reverb, a harmonic tremolo effect, and a tube booster all in one box. Let's hope they don't cook themselves.

we'll see how it sells but I love that they did it.