Newsgroup: it.arti.musica.strumenti.chitarra
Titolo: Vox o Marshall slp??

Tra un Vox ac30 tbx e un marshall slp 100w, quale scegliereste?
Ciao ;-)

 Ciao ;-)
 Non so, io gli ho tutti e due!
Ciao
Tav


Io personalmente il vox, perchè quello è un modello storico e suona
divinamente, molto però dipende da cosa ci vuoi o devi suonare: la
distorsione del vox è cremosa ma se vuoi suonarci l'hard non è adattissima

 ha scritto nel messaggio
news:lH406.145754$hk4.5...@news.infostrada.it...


 wrote in message
lH406.145754$hk4.5...@news.infostrada.it...

anche l'SLP è un modello storico.....

 wrote in message
MS406.145799$hk4.5...@news.infostrada.it...


per il suo pulito
anche il Marshall SLP ha un ottimo pulito, molto blues, te lo assicuro.
Pac

Tra un Vox ac30 tbx e un marshall slp 100w, quale scegliereste?
Mah... sarebbe come scegliere tra Cameron Diaz e Monica Bellucci!
Due cosine diverse ma entrambe... mi fermo qua :-)
bai bai
Pac

 wrote in message
h0806.147541$hk4.5...@news.infostrada.it...

Beh, insomma.....Non è che i Marshall siano famosi per il pulito....
Ciao
Tav


     <ICQ: 11129001>
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Ciao
quello che dici č vero, perň l'ho sentito piů volte (non suonato pero') e
mi č sembrato adatto. In fondo anche SRV lo usava!.
ciao
Pac

 mi è sembrato adatto. In fondo anche SRV lo usava!.
Mio caro Pacotim, Stevie Ray usava la strumentazione che sto per imitare
(appena trovo il dannato Line Selector);
Cioe' un Fender valvolare per i puliti, ed un Marshall sempre valvolare per
i distorti e crunch!
:-)))
 -----------------------------------------------------
                FENDERMAN
 
john_fr...@katamail.com
 
http://fenderman.go.to
             ICQ: #55996835
------------------------------------------------------

 i distorti e crunch!
mmmm
non lo so
secondo me li usava contemporaneamente(e non erano uno e uno, ma mooolti di
piů, fra cui un fender effetto simil leslie di cui non ricordo il nome))
assegnando al ts808 o 9 il compito di incattivire il suono alla bisogna....
BS

 assegnando al ts808 o 9 il compito di incattivire il suono alla
bisogna....
No. Usava un line selector, ne sono certissimo.
P.S. E finiscila co sto TubeScreamer... Dai! :-)))


 P.S. E finiscila co sto TubeScreamer... Dai! :-)))
scusa, trovami scritto line selector da qualche parte....::))
SRV EQUIPMENT SETUPS
If there's one thing that can be said about Stevie's on-stage and on-record
rig, it's that it changed almost as often as his solos! His amps are as
distinctively Fender as his guitars, but he also mixed-in several
interesting non-Fender pieces of equipment in that ultimate quest for The
Tone. Even so, you would never mistake his signature sound for anything but
Fender.
----------------------------------------------------------------------------
----
5.3.1 AMPS AND SUCH
Since Stevie's rig changed so often, we'll give some details by year. Before
we start, let's summarize some of the mods he made over the years.
A constant in Stevie's sound was a pair of sequentially numbered, 1x15"
Fender Vibroverbs, numbers 5 and 6. He obtained them in different years, and
was very proud of having such low serial numbers, and in sequence to boot.
It seems no matter what other amps were in his setup, the Vibroverbs were
always there.
Another pair of amps that regularly drifted in and out of Stevie's rig were
a pair of Fender Super Reverbs. While the Vibroverbs would give that much
desired "tube breakup" at relatively low volumes, the Supers were 40-watt
monster combo amps that would stay almost totally clean even at volumes that
would make your ears bleed! Stevie would blend these into the overall sound
for sheer power.
If that wasn't enough, Stevie also relied at various times on a couple of
plexi Marshalls: a 100-watt Super PA, and a 200-watt Major. These fed modded
Marshall "bathtub" cabinets, and another homemade cabinet. Early in his
career he even relied on a Marshall Town and Country Combo, another 200-watt
monster that (fortunately?) peaked-out at only 80 watts.
Later the Marshalls were generally retired in favor of a Howard Dumble Steel
String Singer. This Rolls-Royce of high-powered heads fed the same Marshall
speaker cabinets. He retired the Marshalls because he could not find the
proper tubes anymore.
Finally, he also possessed an oddity of a cabinet called a Fender Vibratone.
This is a Leslie-style speaker cabinet, but instead of a rotating speaker,
it had a slotted, rotating foam cylinder around the stationary speaker. The
effect is the same, though-- a rich, warbling sort of organ tone. This unit
is heard on "Cold Shot" and "The Things I Used to Do."
Some modifications he made to the amps include:
Fender Super Reverbs
Replaced speakers with 10-inch Electro-Voice EVMs
Baffle boards replaced with 3/4" plywood
American 6L6, Sylvania STR415, and Sylvania STR387 tubes
Fender Vibroverbs
Baffle boards replaced with 3/4" plywood
American 6L6, Sylvania STR415, and Sylvania STR387 tubes
Channel 1 disconnected from phase inverter tube
Tremelo circuit disconnected at trem intensity control
Home-made 4x12 cabinets, w/ 12" EVMs
Stevie played with a minimum of effects on stage, but also regularly
experimented in the studio to get particular sounds. His stomp-box gear
included a pair of old Ibanez TS808 Tube Screamers, a pair of Vox wah-wah
pedals, Octavias, Univibes, Fuzz Faces, and an Echoplex. His amp tech in the
later years, Cesar Diaz, modified the Fuzz Faces with matched germanium
transistors. Diaz also performed most of the mods to the amps, and was
regularly called upon to repair the amps that Stevie blew up. Stevie also
had at least two of everything because of the age and relative unreliability
of the effects. For instance, he once remarked that he rarely used the Fuzz
Faces outdoors because the heat from the sun would cause them to fail. He
did not use any rack-mount or digital gear.
One of Stevie's album experiments was to chain the two Tube Screamers,
giving a hugely loud and distorted tone. He later used the Fuzz Faces to do
this sort of thing. Another experiment was to connect two wahs inline, but
rock the pedals in opposite directions. This was first heard on "Say What!".
The pedals would cancel some frequencies and enhance others, giving a wild
phased type of tone. Every so often he would kick-in a Univibe or Octavia to
get a richer, doubled sort of tone.
----------------------------------------------------------------------------
----
5.3.2 RECORDING AND ON-STAGE RIGS BY YEAR
1981 THROUGH 1983
Marshall Combo 2x12 JBL (200 watt, but peaks at 80 watts)
Two Fender Vibroverbs 1x15
Y-cord into Marshall and one Vibroverb, then patch to other Vibroverb
Tube Screamer
Vox Wah
CIRCA 1984
Stacked 2 Vibroverbs with 2 Super Reverbs
Two Vibroverbs (#5 and #6 serials, bought in different times, different
places)
Super Reverb w/ 15" speaker, shorter cab, no midrange control
Fave setup was two Vibroverbs and two Supers, let Vibroverbs handle bottom
end, set one super clean, the other variable
Eventually retired Supers for Dumble Steel String Singers
Wah wah, Tube Screamer, Univibes
No straight distortion box, uses Tube Screamer for extra gain and break-up
"Cold Shot" played through Vibratone (10" speaker with rotating Styro cone
in front)
CIRCA 1985 THROUGH 1987
Two chained Vibroverbs, one driving a Vibratone cabinet
One or two Super Reverbs
Dumble Steel String Singer driving Marshall 8x10 cab
"Life Without You" used Tube Screamer plus two open wahs opposed (for solo
on record)
For "Say What!", sat on stool and used both feet to rock wahs in opposite
directions (on record). On stage, would sometimes duct-tape wahs together
for one-foot operation
1988 THROUGH 1990
Two Vibroverbs, one driving Vibratone
Two 4x10 Super Reverbs
Two Marshall heads driving Marshall cabinets
Dumble Steel String Singer driving Marshall 8x10" cabinet
One or two Tube Screamers for gain
Fuzz Face for distortion
Octavia, wah
RIG FOR RECORDING "IN STEP"
1959 Tweed Bassman 4x10"
2 Dumble 4x12" cabs
2 Marshall 4x12" cabs
1962 Twin Reverb
Marshall Major 200-watt Super PA into Marshall "bathtub" 4x15" cabinet
Marshall Major 200-watt Super Lead into 8x12" KTR88 cabinet JCM800 100 watt
half stack
1 "bathtub" Marshall cab w/ 4x12"
300 watt Dumble
150 watt Dumble
2 Super Reverbs
Mesa-Boogie Simul-Class running Fender Vibratone
Vibratone in separate room, with Variac controlling speed
Magnatone
Fender Harvard
Roland Jazz Chorus
Groove Tube preamp
Variacs to adjust and sync power requirements
Fuzz Face
Cry Baby
Echoplex
Cyclosonic "auto-panner" on Riviera Paradise
Liked Groove Tube feeding Roland, plus Marshall, plus Bassman
Tried Tube Screamer feeding another TS feeding Bassman
(These are the amps mentioned in various interviews)
----------------------------------------------------------------------------
----
5.3.3 GETTING "THAT TONE"
If you would like to "duplicate" Stevie's tone, first of all remember that
much of the tone was in Stevie's hands and fingers. In other words,
equipment is only part of the equation. His aggressive right hand attack and
strong left hand fingers made much of the sound. This section can get you
started in the right direction in setting up your rig.
EQUIPMENT SETUP
The first thing to do is to find a Strat or Strat copy that has single coil,
Fender-style pickups, a rosewood fingerboard, vibrato, the biggest strings
you can stand to use, and bigger frets to match the big strings. Like every
guitar, every amp is different in its response. Even amps in the same model
line may sound different. As a start, use a tube amp that you can dial-in to
slightly distort at your desired volume, preferably one with at least a
single 12" speaker, or two 10" speakers. Stevie's rig had a big bottom end
response, and you won't get that using an 8" or single 10". Keep in mind
that Stevie normally played at ear-splitting levels, even in a club setting,
with several amps. This all adds up to a lot of square inches of speaker
surface. Add a distortion pedal (or a Tube Screamer, to emulate Stevie),
compressor (so you can sustain at reasonable volumes), chorus or Dunlop
Rotovibe(to cheaply emulate a Vibratone), and wah. Add some reverb, and
you're on your way.
AMP SETUP
You'll have to play around with the amp to get a volume setting that just
breaks up a bit, but doesn't really fuzz-up. Stevie used multiple amps,
chained together, to get his sound, and unless you can do the same, you'll
have to dial-in your one amp to get close to the same sound. If your amp has
a Master / Preamp setup, set your guitar volume knob to ten, your preamp
knob to at least 5, and set a reasonable listening level on the Master knob.
Stevie pushed the power tubes and the speakers, and you'll be pushing the
preamp tubes only, so you won't get an identical breakup, but it will be
close. Plus, you won't go deaf in the process. If you are to play on stage,
these reasonable levels will be your stepping stone to the higher concert
levels. The guitar volume knob can now be played at 10 for the "greasy
breakup", or rolled-off a number or two to back-off on the distortion but
keep relatively the same volume.
Listen to something like "In The Beginning" while you dial-in a stage tone,
or "Couldn't Stand the Weather" for a consistent album tone. Start by either
setting all tone knobs to zero, and turn them up one at a time until you
like what you hear, or turn them all to ten and back them off one by one.
For you Bassman users, Stevie said in an interview that he liked the sound
of his Bassman with all the tone knobs turned almost all the way down. This
was around 1989, and not representative of his early years. For that early
tone, you might try setting treble to 9 or 10, the midrange to 6, and the
bass to 6 on the amp. The guitar tone knobs will then simply roll-off the
treble. Stevie constantly fiddled with the guitar tone and volume knobs
while he played, and this would allow you to do the same.
EFFECTS SETUP
After you have dialed-in the amp, you can get down to business on the
effects pedals. Stevie kept things really simple, so don't get too carried
away on the effects. The less you use them, the better off you'll be. The
more effects you add will tend to destroy that vintage Fender tone. Use to
your taste. We hope to give you a starting point here.
Start with the distortion pedal. Stevie used the Tube Screamer for more
gain, not distortion. In other words, he used the TS as a sort of
"pre"-preamp. Do the same with your pedal. We really don't have a specific
setting for Stevie's rig, but it would probably be close if you set the
Level to max, the distortion to maybe 2, and the tone to max. Now remember,
Stevie is playing on the edge already, and using the Tube Screamer this way
will simply provide a wall of volume with more power amp distortion. If you
can't turn up like he did (and I don't know who can!), use the distortion
control to give just a little more fuzz, and use the level to match the
volume like you normally would. It won't sound the same, since you're
introducing "imitation" distortion, but it will be at a more reasonable
level, and it will help sustain.
Stevie did use a Fuzz Face on some songs, especially later in his career,
and mostly in concert rather than on an album. Stevie used the Fuzz Face
specifically for distortion, while he used the Tube Screamer mostly for
added gain (make it louder). You can hear the Fuzz Face on "Leave My Girl
Alone" on IN STEP. Stevie turns the Fuzz Face on as he begins his solo. You
can hear how his tone becomes much more distorted at that time. You can set
your distortion box to this type of fuzz, too. It may not be as "smooth" as
a Fuzz Face, but it will produce the extra distortion.
Now, the compressor. Tube amps naturally introduce some compression, but
mainly when you drive them hard. A small amount of pedal compression will
help sustain, and smooth out the pops and thumps when you play hard, like
Stevie's attack. This will help a lot when you play at lower volumes. His
playing style had a lot of string pulls, finger plucks, and rakes, which
means the "volume" of the sound when you use these playing techniques will
greatly vary. The compressor will smooth these out. To the best of our
knowledge, Stevie never used a chorus unit, or a Rotovibe. Unless you can
afford a vintage Vibratone (the Leslie-style speaker cabinet), either of
these effects can approximate the shimmering sound found on songs like "Cold
Shot" and "Couldn't Stand the Weather". Set the depth to shallow, and the
speed to medium-fast, about 6 or 7 beats per second. You want just a hint of
an organ tone, not a full-out, phased and echoed goth-rock effect.
These tips are just a start. Your equipment, your fingers, and your style
will give you a tone all your own, even if you played with Stevie's own
gear. Even Stevie's tone changed through the years, so use this info as a
jumping-off point, and change it to introduce your own personality.

i distorti e crunch!
Mio caro Fenderman, qui nel NG mi sei sempre stato simpatico, ma dopo le
ultime tue risposte comincio a pensare che tu mi stia prendendo per il
culo.
Spero che non sia così.
A proposito, avevo mandato un post sul corpo della Strato ma non ho trovato
risposte, volevo chiederti, dato che hai una strato plus (o plus deluxe?),
se la tua chitarra ha gli scavi dei pickup fatti di misura oppure
l'orribile buco gigante sotto il battipenna.
Hai detto che la tua guit pesa di più di una AS giusto?
ciao e grazie
Pac

per il suo pulito
Confermo: per me i suoni puliti amplificati in classe a (come l'ac30)
hanno qualcosa di eccezionale! Con un booster o un distorsore ottieni
anche una distorsione mediosa alla B May
Se ti interessano i distorti con + *botta*, meno cremosi ma + grezzi
(sgranati), nel senso postivo del termine, allora slp. Sui puliti però
avrei da ridire...
Ah, slp ha il triplo di w...
-Borgiaz
*Vai e spalancaaa!* 
come mi disse una ragazza
fine come un mi 0.56 
Ciao

 scusa, trovami scritto line selector da qualche parte....::))
Non ricordo dove, ma che SRV usava il ls l'ho letto sicuramente...
Nulla impedisce che stiamo parlando di due periodi diversi della sua
carriera.
-----------------------------------------------------
                FENDERMAN
 
john_fr...@katamail.com
 
http://fenderman.go.to
             ICQ: #55996835
------------------------------------------------------
    "FeNdErMaN o' napulitano
                  onorario"
     Onoreficenza conferita da
      LewisBlues e [AnThRaX]
----------------------------------------------------

 Hai detto che la tua guit pesa di più di una AS giusto?
Pesa di piu' della AS, non so se per fori o (piu' probabilmente) per legni.
Cmq è una Deluxe Plus.
 -----------------------------------------------------
                FENDERMAN
 
john_fr...@katamail.com
 
http://fenderman.go.to
             ICQ: #55996835
------------------------------------------------------


 carriera.
evidentemente non hai letto il post...
erano solo 14 kb, potevi fare lo sforzo no?
c'erano soltanto elencati "tutti" gli strumenti e "tutti" gli ampli e
"tutti" i tubescreamer di "tutti" i periodi di "tutta" la sua carriera...
e neanche un line selector ;-PPPPPP
;-))))))))))
BS

Vox Ac30 senza dubbi
