Best Dual Rectifier Tones

[MirrorProfiles]

Is there any other amp that could compete with this thread? Surely a lot of Marshall 2203/2204 on records, but kind of impossible to tell which one or if they’re modded. 5150 has a lot but nowhere the range of genres.

 

[MirrorProfiles]

P-Rock glory days. Fuck me what a time to be alive

 

[EOengineer]

Is there any other amp that could compete with this thread? Surely a lot of Marshall 2203/2204 on records, but kind of impossible to tell which one or if they’re modded. 5150 has a lot but nowhere the range of genres.

There are only a couple amps out there that you could say defined an era of tone. In my mind, that’s going to be:
- Plexi (late 60s - late 70s)
- 800 (late 70s - late 80s)
- Dual Rectifier (early 90s - ???)

We could probably debate some other amps should fit in there, but the Dual Rectifier has had a pretty legendary run.

 

[Stratzrus]

 

[Stratzrus]

Dr. Know of Bad Brains.

 

[MirrorProfiles]

pretty solid attempt from Rick and Ryan. Really hits home how much more intuitive and fun real amps+cabs+mics+outboard can be to landing on tones. There's always an inherent inclination for me to play it safer or more "proper" with modellers, whereas with real gear you just kind of push and pull and do whatever gets you somewhere good. Also, Jerry Finn was the man.

 

[mikah912]

Apologies for the last one, hopefully this adds some cool points back:

I saw Dillinger during the touring cycle for this (Summer Slaughter, in fact), and I'm almost certain that this record was a Mesa Mark V, not a Recto. That's certainly what Ben Weinman was using live. In fact, I think that album was two tracks of Mark V and then another track or two of lower-gain 5150.

 

[DrewJD82]

pretty solid attempt from Rick and Ryan. Really hits home how much more intuitive and fun real amps+cabs+mics+outboard can be to landing on tones. There's always an inherent inclination for me to play it safer or more "proper" with modellers, whereas with real gear you just kind of push and pull and do whatever gets you somewhere good. Also, Jerry Finn was the man.

I was talking to JT about this yesterday, to a degree. Now that I’ve spent some time learning those new monitors and hearing how things translate during the whole recording/mixing process, the ‘modelers sound too polished’ gripe I’ve often heard but never understood hit me square in the face. It’s so easy to dial them into something closer-resembling the finished product, but if that’s you’re STARTING point, by the time you do reach the finished product, it doesn’t sound as natural.

I would dial in a killer IIC++ tone, start tracking and when checking back it’d sound thinner, way too bright, scratchy, take your pick. I think part of my whole learning process was not allowing myself to dial a tone in nearly as sculpted before pressing Record.

You don’t even have the chance to cross that threshold with an actual amp.

 

[MirrorProfiles]

I was talking to JT about this yesterday, to a degree. Now that I’ve spent some time learning those new monitors and hearing how things translate during the whole recording/mixing process, the ‘modelers sound too polished’ gripe I’ve often heard but never understood hit me square in the face. It’s so easy to dial them into something closer-resembling the finished product, but if that’s you’re STARTING point, by the time you do reach the finished product, it doesn’t sound as natural.

I would dial in a killer IIC++ tone, start tracking and when checking back it’d sound thinner, way too bright, scratchy, take your pick. I think part of my whole learning process was not allowing myself to dial a tone in nearly as sculpted before pressing Record.

You don’t even have the chance to cross that threshold with an actual amp.

I think that’s kind of an underlying reason why I’m so much about matching my real amp tones with modellers and using those, and likewise, using my own IR’s. I basically want the most stripped down meat and potatoes unprocessed sound I can get, and anything on top of there is purely a creative choice to make it serve the song better.

I don’t really want to EQ or even blend stuff until I’m aware of the context of how it’s going to be used. Preprocessed mix ready stuff makes zero sense to me without knowing what it’s even trying to do. It’s like trying to put wallpaper in a house that doesn’t have any walls yet.

In a studio, there’s probably more of a linear timeline to how you end up at that “processed” stage - probably have some gear narrowed down that feels good in the room and settings that work for the song. The rest as about marrying that to the specific parts and the arrangement around them. Without those other elements, then none of the other stuff makes much sense.

I think with digital (and plugins especially) it’s so easy to add more and more of stuff when a simpler solution is probably going to work better.

 

[Snave]

anybody know what factory bias is on stock dual rectifier?

Depends on the tubes in it. On bold/silicon diode, red color code goes down to 35% and gray up to 45%. Yellow is right down the middle at ~40%. They seem to come with yellow, green, or gray stock. Red is rather cold for a Recto, and blue is quite hot.

This album was specifically recorded with Jay Baumgardner's Gibsons, Morin modded Marshall 2203, and Mesa Tremoverb into a Mesa 4x12. You can hear the different amps on each side on this track and Bring Me to Life. That mono guitar in the verse is 100% Morin Marshall.

Here's the left and then right guitar in that song. Left sounds like Marshall to me and right sounds like Mesa. It's kind of an odd tone—they mentioned using an old Mesa cab (old as of 2003), so I wonder if it had those Celestion C90s that are kind of flat sounding.

I think this is Mark IV and a JCM800, Clint had his Mark IV before he joined the band and John was aways a Marshall dude until he got with Randall.

John Connolly recorded most Sevendust albums (this one included) with his Morin modded Marshall Super Tremolo.

 

[DrewJD82]

Depends on the tubes in it. On bold/silicon diode, red color code goes down to 35% and gray up to 45%. Yellow is right down the middle at ~40%. They seem to come with yellow, green, or gray stock. Red is rather cold for a Recto, and blue is quite hot.


This album was specifically recorded with Jay Baumgardner's Gibsons, Morin modded Marshall 2203, and Mesa Tremoverb into a Mesa 4x12. You can hear the different amps on each side on this track and Bring Me to Life. That mono guitar in the verse is 100% Morin Marshall.


Clint Lowery recorded most Sevendust albums (this one included) with his Morin modded Marshall Super Tremolo.

That would definitely be the first and only time I’ve ever heard of Clint using a Marshall of any sort in the near-30 years I’ve been closely following his career. Any other info on that?

 

[MirrorProfiles]

Im pretty sure I've heard of Ben Grosse using a VH4 on their stuff

 

[spawnofthesith]

No mention of Dave Matthews band yet?

 

[Snave]

That would definitely be the first and only time I’ve ever heard of Clint using a Marshall of any sort in the near-30 years I’ve been closely following his career. Any other info on that?

My mistake—it was John Connolly's. He was selling that amp on Facebook some time ago.

Has 2 added gain stages. Excellent condition and has never been on tour. Studio amp only. Was one of the old Triclops studio amps and I've owned it since 2002. Used on debut Sevendust record, Next, Alpha, Hope and Sorrow, Cold Day Memory and Projected Human.

 

[EOengineer]

Wow imagine selling the highly customized head that you used on pretty much every release for like 30 years. Now, I get I’m preaching to the wrong crowd here, but presumably the guy is still recording and isn’t totally broke…why would he not hold on to it?

Side note - saw some recent sevendust concert footage - the singer has really lost a step. Loved those first 2 albums.

 

[Snave]

Wow imagine selling the highly customized head that you used on pretty much every release for like 30 years. Now, I get I’m preaching to the wrong crowd here, but presumably the guy is still recording and isn’t totally broke…why would he not hold on to it?

Side note - saw some recent sevendust concert footage - the singer has really lost a step. Loved those first 2 albums.

He said he made Kemper profiles of it. I agree that it's probably not wise in the long run, but I've seen a lot of artists and producers offloading gear they've used on major releases in the past 5-7 years.

 

[EOengineer]

He said he made Kemper profiles of it. I agree that it's probably not wise in the long run, but I've seen a lot of artists and producers offloading gear they've used on major releases in the past 5-7 years.

Yeah I’ve noticed that too and I keep thinking…they are eventually going to regret that.

 

[RaceU4her]

buckethead got a lot done when he was playing rectos

 

[MirrorProfiles]

 

[MirrorProfiles]

sort of inspired by some of the tones in this thread. Dual Rectifier Rev G, Bold, Silicone Diodes. No Boost. Epiphone Les Paul with JB.