Both close miced with 57's going into Millennia HV-3's. I'm not saying the Marshall is the end all of tone, but one color I prefer. its like you need to run a high gain signal into it just to get it to sing... i dont know why that one sounded better [but still not great]... still, an Orange/Matamp is still the best amp ever made IMNSHO. I find that my 800 sounds really weak when used low, but when I crank it, it really opens up. Oh yeah, what model is yours and what type of output tube?(end of Marshall elitist rant...) Ian the new fu manchu has the 2k's on it... i was suprised to find that what the amp they used. The US versions were shipped with 6L6's (fender style), I changed mine to EL34's (UK Marshall) and I like it a bit better. im wondering if the 6l6's might sound a lot better... i dunno jay, it was this guitarists head who i am recording right now.
I have 6L6's in my Dual Rectifier and Carvin X100B if I want that kind of sound.Even though I've had this amp for a few days so far I've had the bass just about all the way up and the treble and presence usually aren't higher then 4 or 5. On Michael Wageners recomendation for a good 'all round' rock workhorse recording set up - I bought an Engle Savage 120 Special Edition.Since A was used in both 19, Marshall decided that 1971 would start with C.To avoid confusion with the numerals 1 and 0, Marshall elected to skip the letters I and O.Any higher then that and your right, it gets thin and bright. I have a stereo cab - one side has vintage the other 30?
speakers in it (my idea) either way they are different and give me recording options I dig.Good thinking Jay, I would choose any 800 over any 900 or 2000. Rather then pull a pair of power tubes I figured I'd look around and find another one in a month or two.Also, there is a book called the "history of Marshall" or something like that and it has a lot of good info on up to the 900's, including S/N's. Well, the next ones I saw had insane (IMHO) pricetags on them.Like, has anyone seen the UPS racing commercial with Joe Walsh? Collecting a few different distortion pedals is easy. Having a 1/2 dozen around can really open up some options while overdubbing. It works best as a front end to an amp, it kinda sucks as a direct recording source.He's playing a Les Paul through a Line 6 and it sounds like crap. So, are there amps out there with the Matamp label on them? I'm always on the lookout for bargins and finding a cheap Orange would be great. I'm going to paint my live room this week and guess what color I got? Also - a golden eared guitar chum who has been through all the Line6 stuff reckons that the Distortion Modeler is actually worth having.. I dunno if I can be f***ked to collect all the distortion pedals ever made.. rollz I don't know about that Line 6 distortion thing. i know a place where you can get Orange OD120 heads for 0 including air freight. but they are labelled [BLUE, GREEN, RED, BLACK, POTLEAF] i would dig a blue and a black one. Jules, I tried the Line 6 distortion modeler and was pretty disappointed. I'm a big fan of the delay and modulation modelers though.