I lied about GAS. I want a single channel, face ripping Marshall

No one likes an SD-1. We want a single channel Marshall with 5 cascading gain stages
and built-in diode clipping on the front end.




Professor Farnsworth Futurama GIF






:hmm
 
V|J said:


For kids who have never played the real thing.

*Never played a vox/fender/marshall myself.
Click to expand...

His line of thinking here does kind of beg the question, though: Why aren't switchable overdrive circuits integrated into more tube amps? (The JP-2C has one, right?) He even makes the point that they're not expensive Adding one to a high gain channel allows the manufacturer to choose/design a circuit that best complements the amp. Defeatable for players who prefer something else - or nothing at all - of course.
 
I Have both an SLX and a Jube reissue. They each have a place. The SLX is the in your face Marshall though. Works pretty well with rolling back the guitar volume for kinda clean. If a single channel high gain Marshall is what you want the SLX is a great choice. I don't know why it hasn't been reissued yet.
 
I love SD-1s with Les Pauls, Marshall, and Vox.

I don’t like them with Fender amps or guitars. For those I like TubeScreamers or FD2

I don’t like Klons with anything
 
JiveTurkey said:
Surh RL ordered. Noooooooowwwwwww we wait
Click to expand...

Amp > Suhr RL > AXE (IR Loader, cabs, effects, etc.) > Stereo Outs (monitors, headphones, HiFi, etc.) is pretty much all I do. Hit me up for any pointers, AXE routing, etc.

First tip... you don't need to use the Balanced XLR out from the back of the Suhr, a quality guitar cable and the Unbalanced Output works just fine.

Also this:

 
texhex said:
Amp > Suhr RL > AXE (IR Loader, cabs, effects, etc.) > Stereo Outs (monitors, headphones, HiFi, etc.) is pretty much all I do. Hit me up for any pointers, AXE routing, etc.

First tip... you don't need to use the Balanced XLR out from the back of the Suhr, a quality guitar cable and the Unbalanced Output works just fine.

Also this:

Click to expand...

It ships with a "free" XLR cable but I am pretty much planning on putting it in the pile and using the existing instrument cable plugged into input 2 on the III. I am greatly looking forward to running through some IRs the proper way instead of using the headphone out of the Stealth. Despite getting some really great results with it overall.
 
If you can get yourself a quality HiFi stereo amp and speakers or powered Monitors you will shit yourself. Good headphones are also a great way to enjoy this setup but the same patch will sound totally different in headphones vs. external speakers. I'm constantly using a pair of Moondrop CHU headphones, which is the reason why most of my patches sound like ass through external speakers. But once you adjust your patch for speakers... boom! Dude, it's so nice.

You will definitely want to use cuts at about 8000Hz and 65Hz or so (adjust accordingly) on your IR/Cab block. It kills all the harshness and helps mellow out the bottom end and keeps everything sounding more "produced?" with less of the frequencies that don't translate very well for guitar amps through high end speakers.

Here's one I found from one of your old AXE posts:

Adventures in dumb activities.

Have I mentioned the IR capture utility in the III is fucking bonkers? Even for a dumbass like myself :rofl I have been using the headphone out of the Stealth into the III for post FX and LOVE it. The baked in cabinet emulation is probably poop by most people's standards but lathered up in FAS...
thegearforum.com thegearforum.com

This basic flow is cool because it lets you put the drive block(s) from the III into the front of the physical amp. You are going to love having a reactive load and the III.

With a load box and the III (or FM3/9 for that matter) you can literally put the drives from the III into the front of your amp, then the signal from your amp (load box) back into the III and into a Dynacab (or IR Loader block), and then into post amp effects in the III and out to Out1 in STEREO (of course).

This is how madness starts...

ReDEqti.png
 
A few more tips.

Make sure to disable all the Noise Gate settings in the Input Blocks, like turn them all the way down. I use a noise gate block for a noise gate because I can put it where I want it in the signal chain, usually after the Drive block.

I’ll setup the physical amp volumes and gains to get the amp sounding how I want it, preamp tube overdrive, power amp overdrive, etc. Then use the volume knob on the Suhr (Suhr volume knob is generally somewhere between 9:30-11:00) to bring that down or up to a level that I can send into the III and adjust the levels in the III’s Out and In blocks so that nothing is clipping.

You will also get to know the output level settings on all the blocks pretty well, including the Cab/IR blocks.

In the end, I generally adjust the Output level on the Out1 block up and down along with the physical Out1 knob on the front of the III until it’s coming out the way I want it.
 
JiveTurkey said:
The vid title + my own nostalgia for loud, unruly HIGH(ish) gain amps is kind of the overall inspiration for my GAS in this thread.
Click to expand...
I guess you crave the simplicity and vibe of an old school NMV amp but with a tight modern sound.

As I try to solve all life problems with an EQ block, I have no suggestions, lol.
 
mbenigni said:
His line of thinking here does kind of beg the question, though: Why aren't switchable overdrive circuits integrated into more tube amps? (The JP-2C has one, right?) He even makes the point that they're not expensive Adding one to a high gain channel allows the manufacturer to choose/design a circuit that best complements the amp. Defeatable for players who prefer something else - or nothing at all - of course.
Click to expand...
Yeah, on paper it makes complete sense and maybe there are a few designs out there like that.
But the world of guitar gear is so traditional, it just has its ways I guess.
 
A lot of the music we love would not be without the Rangemaster, bands like Deep Purple, Queen, Black Sabbath, Eric Clapton and Billy Gibbons used one.
Then there was Fuzz, boxes like the Tone Bender and Fuzz Face without which we would not have Jimi Hendrix, Jimmy Page etc. etc.
Also, people boosted their single channel amps with Tape/Delay machines preamps and Wireless units in the 60s and 70s, basically another form of transistor boost.

In my opinion SD-1, GE-7, Rat, TS-9, Distortion+ are just as iconic as the Rangemaster and Fuzz and important to music history but a little later in the 70s and 80s.
So yes, don't condemn the boost, it's an essential part of rock guitar sound and always has been, you just need to find the right one.
 
Last edited:
James Freeman said:
A lot of the music we love would not be without the Rangemaster, bands like Deep Purple, Queen, Black Sabbath, Eric Clapton and Billy Gibbons used one.
Then there was Fuzz, boxes like the Tone Bender and Fuzz Face without which we would not have Jimi Hendrix, Jimmy Page etc. etc.
Also, people boosted their single channel amps with Tape/Delay machines preamps and Wireless units in the 60s and 70s, basically another form of transistor boost.

In my opinion SD-1, GE-7, Rat, TS-9, Distortion+ are just as iconic as the Rangemaster and Fuzz and important to music history but a little later in the 70s and 80s.
So yes, don't condemn the boost, it's an essential part of rock guitar sound and always has been, you just need to find the right one.
Click to expand...
I'm getting my 45 degree angle all boost board ready to go as we speak :satan
 
Last edited:
Single-channel face ripping "Marshall": get a Ceriatone :D

I have their OG King Kong 100W, a knock-off Molecular 50 and I have a Chupacabra 50W on order (can't wait for it to ship out).

Their prices are more than good, the build quality is up there with everything else boutique tbh and the tones are juicy AF.

I think any of the Chupacabra, Yeti, Gargoyle, Molecular or their Plexi AJ-spec (Adam Jones) would fit the bill. Just depends on what flavor you like best.
 
texhex said:
If you can get yourself a quality HiFi stereo amp and speakers or powered Monitors you will shit yourself. Good headphones are also a great way to enjoy this setup but the same patch will sound totally different in headphones vs. external speakers. I'm constantly using a pair of Moondrop CHU headphones, which is the reason why most of my patches sound like ass through external speakers. But once you adjust your patch for speakers... boom! Dude, it's so nice.

You will definitely want to use cuts at about 8000Hz and 65Hz or so (adjust accordingly) on your IR/Cab block. It kills all the harshness and helps mellow out the bottom end and keeps everything sounding more "produced?" with less of the frequencies that don't translate very well for guitar amps through high end speakers.

Here's one I found from one of your old AXE posts:

Adventures in dumb activities.

Have I mentioned the IR capture utility in the III is fucking bonkers? Even for a dumbass like myself :rofl I have been using the headphone out of the Stealth into the III for post FX and LOVE it. The baked in cabinet emulation is probably poop by most people's standards but lathered up in FAS...
thegearforum.com thegearforum.com

This basic flow is cool because it lets you put the drive block(s) from the III into the front of the physical amp. You are going to love having a reactive load and the III.

With a load box and the III (or FM3/9 for that matter) you can literally put the drives from the III into the front of your amp, then the signal from your amp (load box) back into the III and into a Dynacab (or IR Loader block), and then into post amp effects in the III and out to Out1 in STEREO (of course).

This is how madness starts...

ReDEqti.png
Click to expand...
There is no variable output impedance in the loop, yet, right?
 
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