![]() I'll get that pedalboard started this year, I swear.īut then OTOH, there's nearly always a certain "gain threshold" in the volume control of a good tube amp with a decent EQ, that adds some kind of extra "dimension" to the tone. I keep kidding myself that there's no need to turn it WAY up until I get the front of the chain sorted out. limited.Īll that said, while I like Neil's overall sound I've never really tried to go quite that LARGE. If You Could Get a channel switching amp to do three volume variations of a given base tone somewhere "tweedy" that would be a shortcut, but still kind of. etc.Īs Richard said earlier, master volumes are blasphemy here too. ![]() Amp wattage versus overdrive /gain thresholds, pre-amp tubes and /or boost.? Speakers. I've had to rethink a WHOLE lot of stuff. There's a definite brickwall threshold for how much Multiple fuzzes and octave you can ladel on before it all just starts to get more and more compressed sounding.Īlmost an opposite of what one might want to occur. ![]() Well, if there's one thing I HAVE learned in the past 20 something., Townshend are both noted users of the 3X12 tweed B/M Make friends with the Volume on the guitar. He still has a Firebird p/u in there, but it's a different one.Ī Tweed Bandmaster with the wee cranked out of it and a decent crusty sounding fuzzbox and spring reverb of some description should get you in the ballpark for recording at least. I'd do something very bad to get within a short hop of that kind of sound. He had pretty much the same rig on Arc/Weld Into The Black might be thee most heinous tone ever recorded. On the 70s Rust albums he had a vintage Firebird pickup on his modified LP, but it died sometime after. That stand needs to be set on a concrete floor to isolate it from stage volume. His reverb unit is another Frankensteinish thing, Power tubes upgraded from 6K6 to 6L6etc.(+hotter pre-amp?), and the spring is mounted on a mic stand. There's a pic of the red box on the cover of Ragged Glory. One of the fx is an old Tone Bender fuzz, most probably mk 1 or 2. The Red Box also controlled Whizzer settings if I remember right. He also had a big pedalboard called "The (Big ?) Red Box, with a couple of rehoused vintage fx units inside, and three/four switches up top for amp selection. TWEED BANDMASTER 5E7 PLUSPlus a custom made amp controller called "The Whizzer" that sits on top of the Deluxe and MANUALLY changes the Amp Volume ( and possibly a couple different tone settings too). More on those in a sec.Īnd probably an upgraded speaker, but don't quote me on that part.ĪND a Baldwin Exterminator. It goes to 12, apparently, and he has three or four different volume settings. Weber 10A125 speakers, Mercury Magnetics transformers, Jupiter Yellow capacitors, carbon composition resistors.Ol' Neil's live sound was a heady cocktail consisting of some / or all of the following Ī heavily modified 50s Tweed Deluxe, running 6L6s. Maybe it’s the output transformer, maybe it’s the unusual impedance, maybe it’s the way those three 10″ speakers interact, but in the end the Bandmaster is a very special amp. Something special happens with that oddball 3×10″ speaker configuration. But regular players owe it to themselves to give this amp a try. The tweed Bandmaster is one of the holy grail amps among collectors, in part because of its rarity. Leo re-used this design over and over for a good reason, and the Bandmaster is pretty close to tweed perfection delivering warmth, punch, beautiful cleans, and a satisfying grind when cranked up. The 5E7 Bandmaster combines this circuit with an unusual 3 x 10″ speaker configuration. The Bandmaster is part of a trio amps that were all based on the same basic circuit with small differences supporting different speaker configurations: The Super, Pro, and Bandmaster. ![]()
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