• Amp troubleshooting

    Every guitarist’s biggest fear is that you turn up at a gig and the rig you’ve borrowed is either complete shit or stone dead. The frustration and desperation flows through your head and veins as you try your best to think of a solution. Nothing kills your inspiration more but there are ways to solve this and get a decent tone for the performance.

    Every week I’ll present a little tip that’ll hopefully help improve your tone and technique. Please feel to comment and share your experience on the topic.

    A few weeks ago I did a show with my band Airbag. Months ahead, we sent a rider with specific requests. Knowing that few venues carry Hiwatts or Reeves, I always ask for a Mesa/Boogie Rectifier with a matching 4×12” speaker cabinet. A common choice and a very versatile amp that can produce anything from super clean to snarling metal. If this modest request can’t be met, I can settle for a Fender Bassman (stack or combo), Fender Showman or Marshall JCM800. All of these are well within what I would call acceptable Gilmourish.

    Smashing up amp

    Now, you may ask “why not just bring your own amp?” A good question indeed but try bringing a two ton heavy Reeves head and a 4×12 speaker cab with you on a commercial air plane and you’d be paying extra fees ‘til you drop. After all, most of us aren’t blessed with tour busses and semi-trailers to carry all the stuff. Anyway, bringing your own amps on a weekend tour is usually more hassle than you’d want to experience.

    Usually this is no problem. Most venues are more than willing to accommodate any demand. However, this time turned out to be quite a challenge. It started out very promising. We entered the venue right before sound check and there, as requested, stood a Hiwatt right in my corner of the stage. Spot on! However, this was a two channel solid state Maxwatt G200 head. I’m no snob but I’m sure I looked rather displeased. At a closer look, the amp was beaten to death and sure enough, the foot switch didn’t work, which meant that the overdrive channel couldn’t be switched off. It didn’t sound all too bad with just the clean signal from the guitar but it was too aggressive with all the pedals.

    Hastily and furious, I marched over to the guy in charge and demanded an answer to this outrage. He quickly apologized and like a proud magician, presented a Marshall JCM800. Although a bit too aggressive for my taste, this classic will always deliver. Naturally, I was more than surprised when the amp sounded like it had a severe and deadly cold. Useless…

    Richie Blackmoore California Jamming

    Realizing that the show was hanging by a thread I began to look for the exit and a getaway car but once again, the magician turned up, this time with a Fender Twin. Far from one of my favourite amps but a decent choice nevertheless. Its bright tone and fairly aggressive character demanded some heavy tweaking of my pedals but a good hour later and a pissed off sound technician, I was ready to play.

    Now, this was far from being a crisis. The show went really well and I was fairly pleased with my tone, although I had to make constant adjustments along the way. It would have been worse if the guitar went dead during a song or if I’d been electrocuted due to poor grounding. As long as things work you can always tweak your way out of the problem.

    The best way to approach an unfamiliar amp is to stay calm. Don’t freak out but take your time getting to know its tone and features. Obviously, different models will sounds different to each other but an amp identical to what you’re used to may sound quite different as well. Hidden modifications, different tubes, worn out circuits or broken speakers… there could be a number of reasons why you need to make sure that the amp is working properly. And, easy to overlook, the fact that you’re playing at an unfamiliar venue will make your guitar and tone sound different to what you’re used to. The size of the stage, its construction, the layout of the whole venue etc will have an impact on your tone. Again, get to know the amp and how it behaves in the specific environment and make the needed adjustments before you dismiss it as being faulty. Read more about how to set up for a show in this feature.

    Broken amp

    I always start off by plugging the guitar straight into the amp and set it up identical to what I normally use – bass 50%, mids 40%, treble 35%, presence 40% and the master at about 1/3 of the normal volume. This will tell you whether the amp suits your pedals or not. If this sounds similar to what you’re used to, then plug the guitar into the pedal board and test your tones.

    Having a typical Gilmour tone and setup in mind, a Marshall JCM800 will probably force you to roll down the gain on your overdrives and distortions. The amp has a lot of headroom but its overall more aggressive character, compared to a Hiwatt, will add to your pedals. A more modern Marshall may also have much more mid range, which can be a challenge for your fuzz and Big Muffs, so you might need to roll down the gain on these and adjust the mids and treble on the amp.

    A Fender Bassman, combo or stack, has tons of headroom, so you’re set on the gain. However, the amp is fairly dark, so contrary to a Hiwatt, you might need to increase the treble just a hair. A Fender Showman would require just the opposite. I’ve always found Fender Twins, Vox AC30 and similar, challenging because they have so much character on their own. In most cases I end up using a slightly more versatile setup consisting of RAT, Tube Screamer, OCD etc, rather than the usual fuzz, Muff and Powerboost. Still, taming the treble and mids on the amp and the gain from your pedals, usually does the job.

    If you have to settle with an amp without the needed headroom, or worse, one with a broken channel selector forcing you to use internal gain, then use the amp’s loop channel. This is something I normally advice against, as explained in this feature, but running your modulations and delays through an overdrive channel is not a good idea. This might require some rearranging of your pedal board but a couple of extra cables long enough to reach the amp (which you ALWAYS need to carry), should do the job. Send the first modulation to the amp and return to the last delay.

    My best tip for touring is to always bring spare pedals – both for the unlikely event of your favourite Big Muff going silent and for situations were the amp just can’t handle the more demanding pedals like a Big Muff, Tube Driver or vintage fuzz. Perhaps not the most exciting pedals, but a RAT, Tube Screamer, Fulltone OCD, Boss BD2 and similar will always deliver and give you the least amount of hassle. Read more about how prepare for a show or tour in this feature.

    You’re allowed to slap the rider in the sound tech’s face and stamp your feet while cursing like mad, after all you’re the lead guitarist and the star of the band but keep in mind that people have paid hard earned money to see you and you owe them you’re best performance. This means that no matter how much your rig stinks, you need to make the best of it. You’re your own worst critic and most of the people in the audience doesn’t even hear the difference between a Fender and Hiwatt or Big Muff or RAT… unless there’s a fellow Gilmourish in the audience :)

    Feel free to share your own similar experience or troubleshooting tips!

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29 Responsesso far.

  1. Eddy says:

    Hi. I have always enjoyed your wisdom on Gilmourish and listening to Airbag. I have a Peavey Classic 30 and MIM Fender Stratocaster with Fender Custom 69 pickups. Do you have suggestions for different sounding tubes? I have always replaced the tubes with the original stock models.
    For pedals, I use a Boss BD-2->Electronic Orange Pig Hoof Red->MXR Carbon Copy Delay->Amp

    • Bjorn says:

      I use JJ Electronic in all my tube applications and obviously, the same value as any stock tubes. The JJs are, in my ears anyway, smoother and more dynamic than brands like TAD, EHX etc. Airbag’s rhythm guitarist uses a Classic 30 and we’ve fitted it with JJs. It sounds very good :)

  2. David Contesini says:

    Hi Bjorn!
    Since I was a beginner, I always tend to use my gear as Mr. Gilmour did. I plug my pedalboard on a 50w 6L6 super clean head (Meteoro, brazilan brand), with a rich and full sound, very good and reliable.
    So, one day I went to play in a party – there was that open stage, no walls around, and I knew that there was a 100w Marshall JCM900 head up there. So, despite the lack of bottom end, I decided to play with the Marshall instead my Meteoro head. Well… at the moment I pluged in, I discovered that the Marshall head was in a very poor condition: its tone stack was not operating, its 4×12 had ruined speakers and I was caught in a trap. And as if it were not enough, the sound tech swear by God that there was only 110v at the wall sockets, and I burned my power supply. Nevertheless, I had to play, smile and do the show with a ruined amp and two pedals borrowed from the rhytm guitarrist.
    That’s it: one day you have the glory; next day you have to fight – AND WIN THE FIGHT.
    Bjorn, congrats for you beautiful work!
    Best regards from your friend in Brazil!
    David Guilherme Contesini.

  3. Cem says:

    Hi Bjorn
    I have a Lionheart 20w combo and when I play with gain effects turned on, the power tubes rattle. It’s not that bothering with low volume or low gain, but when I play with a Muff combined with a delay or reverb, it starts affecting my tone. Usually the Big Muff should sound smooth with the settings I have, but it sounds like the sound is sizzling and the delay makes it even worse. Mind you, this does not happen when I play clean or when the guitar is unplugged. What would you suggest I do?

    [Take the amp to a tech and have him check the tubes and the tube sockets. Something might be lose or needs to be adjusted. – Bjorn]

  4. Kez says:

    I would like to reccomend different solution (not for everybody i know but still)
    Use clean tube preamp at the end of your signal chain so you can use only power amp via loop return connection. This way you won’t have to worry about broken chanell switch, too agressive character of amp (usually preamp is responsible for that) . I know that it’s another piece to carry but for a a clean sound preamp can be very small.
    I use one with 6111 subminiature tubes so it fits to memory man size enclosure (or even smaller)
    Friend of mine called me one day if i can bring it to some club concert where amp was broken a we were able to set a good sound using it connected to a home made speaker sim and club active monitor.

    [Thanks for sharing your tip! – Bjorn]

  5. Rafael Sena says:

    Hey Bjorn, how are you doing?
    First of all, I’d like to say thanks for all the times you replied me, always very helpful.

    It’s probably one of the most silly questions you’ll ever receive, but, apart of the sound, how do you know when a tube is spoiled?

    Tks a lot!

    [There are no silly questions :) A power tube that doesn’t work will usually blow the fuse. If this happen, I recommend that you replace both (50w) or all four (100w) at the same time in matching pairs. This to ensure correct bias and a balanced tone. A pre-amp tube that doesn’t work usually goes microphonic. This is recognized by a vague high pitched ringing from the amp, even if the guitar is unplugged. Tap gently on the tubes with a wooden stick to determine which tube you need to replace. Dying tubes can also be recognized by a blue glow, very bright yellow/red glow, white frosting inside the tube and a generally weaker tone with flat bass response and volume drop. Mind though, that this can also be signs of something far more severe. Hope this helps! – Bjorn]

  6. David says:

    Thx Björn !!! ;)

    [Good luck with your tone :) – Bjorn]

  7. David says:

    Hi Bjorn !
    One’s again, i got a small question for you :) !
    I’m seriously considering changing the speaker of my laney cub12r and i recently found some very interesting models (if i trust people on web forum …) like Eminence “the wizard”, “the gorvenor” or “the tonespotter”. I also check the celestion models and maybe the “Vintage 30” will do the job.
    What do you suggest me in order to reach the “gilmour sound” as near as possible ;)
    Thx in advance,


    [I don’t have that much experience with Eminence speakers so I can’t really tell. I think the key to David’s tones is the transparent and fairly bright tone that he gets from the speakers. The old Fanes sounded very natural and honest and had very little mid range. The high wattage also provided lots of headroom. From what I can see, I think most of the Eminence speakers you mentioned has a more American flavor, which perhaps isn’t the best choice for David’s tones… I could be wrong. The Celestion Vintage 30 is a classic but I don’t think it would do much difference in the Laney, since the low wattage could make the amp distort too early. Try getting at least 60w. I’m using Weber Thames 80w ceramic, which is about as close as you’ll get to the old Fane Crescendo speakers WEM, HiWatt and Sound City used in the late 60s and early 70s. Check out the Fane Axa 12 as well. – Bjorn]

  8. bruno sallès says:

    hi Bjorn
    thanks for your answer.
    i know you did wrote about the lapsteel (and it’s quite good as usual) but i was thinking about features on the wish you were here side , on the meddle side etc…
    i have never seen feature about this way.
    that’s just an idea.
    i’ll wait for the features about the acoustics..
    take care!
    cheers Bruno

    [Thanks for the tip, Bruno! – Bjorn]

  9. bruno sallès says:

    hi Bjorn
    many thanks for all the tricks you gave to us once more.
    i’ve got 2 wishes as roger could say:
    what about a very deep article about David Gilmour’s acoustic guitars(pick up, cables, avalon, etc..) and the same for his lap steel(this astonished shine on part 6 lap steel slide really deserves it, don’t you think?)
    hope everything is good for you and Airbag.
    all the best to you

    [Thanks Bruno! A feature on the acoustics is on the to do list :) I’ve already written one about the slides. Check it out here. – Bjorn]

  10. Keith Clarke says:

    Sure glad the unexploded ordinance in David’s house was found, and didn’t injure anyone. I would be griefstricken had anything happend to DG. Rick Wright went way too soon, and is so sorely missed. I’m sick of losing my musical heroes, the memories they leave us with, make them almost like a close friend, or family member. Thanks to God for keeping David safe, and thank you Bjorn, for your help, support, and most of all, for providing this forum!
    Peace be with you all, Keith

  11. Gabriel says:

    Wow, they found a WWII bomb in his house… wait! WWII bomb????? Anyone else thinking about Roger???


    Sorry about the offtopic, Bjorn.

    [Ha ha! Cheers! – Bjorn]

  12. Marcus says:

    Great article as always, thanks for sharing you ideas and advice. Haven’t done any work on the road regularily myself for years now but one thing I always used to do was bring some sort of rack preamp that could be run straight into a mixer board or some power amp on the way. It doesn’t sound great and won’t work really well for all types of music but it beats showing up at the venue only to find out that AC30 they said was gonna be there is in fact a 20W solid state amp. Plus it’s very easy to transport, just put it in your luggage!

  13. Jane says:

    A very enjoyable read indeed, thanks

    I’m using an equalizer pedal (Boss- G7) at the end of the chain of effects in the amp effects loop, I’m basically replacing the pre-amp for him. This method appreciated very timbre of the guitar, making it more natural and pleasant for me .

    Do you have any tips for regulating Boss G-7 with characteristics of an scooped mids tone amp?

    [I rarely use EQ but try rolling off the mids around 500-600hz and increase the top around 5k. Make small adjustments and see how that goes. – Bjorn]

  14. Alan says:

    Lets just say that it could’ve been a lot better…

  15. ruodi says:

    Hi, your self-assessment of being a nit-picky sound-geek is not very convincing to me. However, you could prove me wrong with another bulletin of your next gig in Helmond! Things I´d expect (for my money) to read from you as a guitar-gourmet are:

    “As promised, Bart helped me out with his Hiwatt DR504 and 4×12 cab. I didn´t like the sound, though (seemed to me as if he didn´t use matched goldpin NOS Mullards in his amp), and asked Bart to bring me ANOTHER Hiwatt DR504 just to please my own sublime demands for that
    evening. You can imagine that Bart reacted a bit offended, however, he took away his Hiwatt DR504, and came back with ANOTHER Hiwatt DR504 after a few minutes. I plugged in my guitar, played a few chords, and then I said: `Well … it´s still the same amp!´”

    [Ha ha! Yeah, when we play Albert Hall, I’ll do just that! – Bjorn]

  16. Stevie says:

    I had a bad amp experience about 10 years ago. I don’t remember all the circumstances but we were playing with 4 or 5 other bands, and to make things easier the venue was providing the drum kit and amps, the amps being supplied by Crate who were sponsoring the event, and meant we couldn’t bring our own gear.
    At the time my main rig was a Mesa Nomad 2×12 combo (I used the amps drive with delays and Line 6 MM-4 in the loop), so figured one of the amps on offer would have a usable sound, and they all featured effects loops, so shouldn’t have been a problem.
    Listening to the other bands during sound check I noticed the amp the lead guitarists were all using, and the one on my side of the stage meaning I’d be using it too, sounded a bit bright for my taste, but each player was using different stuff into the clean side : some using pedals, others using digital units, so when our turn came I got up on stage I had a chat with one of the guys running the event who was also a guitar player, and told him I needed/wanted to use the loop and would need the amps footswitch so I could use the clean and drive sounds on the amp. Finding the footswitch was an issue, but one was located, so before concerning myself with connecting my effects I plugged my guitar in and got to know the amp, my first impression was that it was very Marshall-y, but with more warmth and a much more usable EQ. I then connected my effects, and the loop didn’t work!!! there were switches for adjusting levels to and from the amp and nothing made any difference, so another amp head was located for me to try, this one was a 2 channel transistor model, not as warm sounding but everything worked and with some EQing I was able to get a surprisingly decent distorted sound, and a bland but usable clean sound, since we were only playing for about 30 minutes I was happy that I could get my job done.
    A couple of hours later the gig started, we were in the middle of the bill so I was able to watch some of the other bands and I was really enjoying the show. Our turn came, and despite the chaos of one band going on as another was coming off, the whole atmosphere was really nice, all the players making a real effort to be helpful to each other. I got the amp head swapped to the one I’d be using, and got the pedals plugged in and played a few chords and everything sounded good, I then tested my various pedals quickly, the wah was fine, the effects loop stuff however wasn’t so I started checking connections (there was an issue getting the bass DI’d so I was able to deal with this without being spotted in tone geek mode), everything was fine, no loose plugs and all the pedals powered up, they just didn’t add anything to the sound, so remembering I was there to do a job, I got on with it and played the set with no effects.
    I doubt anyone in the audience, or even the band, knew the difference.

    [Thanks for sharing! – Bjorn]

  17. Alex says:

    My current solution (or attempt) is a Tech21 Leeds on the pedal board. This one is my actual (pre) amp and from there I can go into the FX return of whatever amp or power amp there might be (still preferably with tubes) or even directly into the mixing desk with the speaker simu applied, with more or less constant results. Works quite well imo, the pedals don’t need to *get used* to different amps all the time and it’s still 100% analog :) It even handles my muff and the Tube Driver…

  18. Brian says:

    Great article!

    One suggestion to add is that if you are stuck using an unfamiliar amplifier and need to devise a tonal solution quick, make the adjustments during a full band soundcheck instead of trying to tweak it on your own. The couple of times I’ve been saddled with an unfamiliar amp (which in all cases except for one have been inferior to what I normally play) I’ve found that I would’ve never come up with the settings that ended up sounding the best if I had tried them on my normal rig.

    [Agree. I always start with getting familiar with the amp and getting to know it behaves with my guitar and pedals but the final setup is done with the band. As goes for my own setup as well. You always need to tweak the amp and pedals to match the band – both because each venue demands something different but also since the band tend to sound different depending on the venue, the crowd etc. – Bjorn]

  19. Alan says:

    Sounds like quite the story haha, great article as always! The only event I can think of that is remotely similar that happened to me is when my band was performing without our own amps and then my amp cut out in the MIDDLE of the performance. Having no other option and a guitar solo later in the song, we had to stop the performance (tears in my eyes) and get the amp working again. A terrible show if you ask me but what can you do.

    [Ouch… that is a bummer. Hope it ended well :) – Bjorn]

  20. Stephen Ford says:

    Great article Bjorn! I appreciate your taking the time away from fathering to share your thoughts. Wish I had this article 20+ years ago…would have saved me the long learning curve. Back up pedals, so over looked but truly a life saver!

    [Indeed! Cheers, Stephen! – Bjorn]

  21. Hugo Martinez says:

    Hi Bjorn. Excellent Article!!! I thought in share one of my experiences while playing in a Bar here:

    The gig started with my amp blowing a fuse.. I thought that I was doomed and will need to use one of the amps of the other bands (it was a Floyd tribute gig with 4 local bands playing).. basically use either a JC-120, a Fender Frontman 212R or a Line6 amp.. since all my pedals are oriented to playing with my trusty Mesa/Boogie F50 amp.. I thought I was screwed.. maybe use the OCD instead of the muff… maybe. Fortunately my bassist was able to find a replacement fuse and the amp went on … greeeat…

    We take our own mics to the gig too.. but I couldn’t use mine since the bar had a wireless mic for the frontman singer.. bum.. ok .. I can handle the mic.. try to pic the mic from its stand and it fells since the mic holder didn’t belong to the mic in use so it was a setup like “look and don’t touch” probably not a problem for bands with a dedicated singer but for me, I was worried to not touch the stand or the mic will probably flight to the ground…

    The engineer schedule us to made the soundcheck at 6pm and he arrived at 7:30.. started to set everything up and SURPRISE!! there weren’t enough mics!! so I had to lend him my sm-57 to mic my amp. Also, not enough channels on the PA system…

    Then, the sound on stage.. the subwoofers in that place are below the stage and all I could hear was the mic’ed drums.. we needed to turn really really up the amps for us to hear on-stage… and..the noise appear..the hum from my amp was very loud. I had to be constantly worried about the noise of my rig, particularly for the solos, I didn’t use the compressor either.

    Let me say that I’ve never ever have had any issues with noise or hum from my strat. The truth is that I’ve never played before in a bar with all this electronic equipment (lights, tv’s..) also.

    Then…when the time came to sing.. my monitor didn’t worked.. I couldn’t hear myself on stage…

    We had a terrific fun and enjoyed a lot to play there after all, we were the band with better results with the audience also.

    Things learned:
    Always bring your equipment..mics, cables, amp..you don’t know if you are going to need it but its better to be safe.

    This IS one of the most “nicest” bar in town.. when the Hard Rock Cafe closed this is one of the bar that fills the void, its in the “lower range” if you know what I mean but still is a good bar. Two amps blowed during the gig.. both the JC-120 and the Fender Frontman stop from working..add the blowed fuse on my amp at the beginning and something really wrong is happening in that place with the electrical installation. I’ve played in more low-budget places and never have an issue.

    That was my experience…it seems that everything happened on that night..here is a link to one song..you can clearly hear the hum from my strat when the solo starts… http://www.youtube.com/watch?v=ihxg_Movxz0&feature=youtu.be

    cheers and sorry for the long post…

    [Thanks for sharing, Hugo! Bars are usually a nightmare, because they’re not designed for live music. All the lights, TVs, unshielded circuits etc is really hell for the band. These places also doesn’t have the best backline so you’re pretty much left to your self. Glad the show turned out well. Having a pedal board that can handle different situations is a good idea. I ended up using a combo of the Tube Driver and OCD for all my Big Muff solos. The Big Muff sounded too wild on the Twin. – Bjorn]

  22. Joel Signoretti says:

    Dear Bjorn,

    Great article!! My problem with my amp is. Or my main concern is that on my OD channel on my amp. I can get David’s lead sounds from 77-present ,but i can’t seem to find a good boost and i have to turn the channel up just little bit to get it to sound right. Can you recommend some good ideas to help me with this. My amp is a Crate rfx 200s.


    [What’s your pedal setup? I recommend using a booster or overdrive to boost the cleans and distortions rather than using the amp for this. For a Gilmour setup I recommend a transparent booster like the Boss BD-2, Colorsound Powerboost, ThroBak Overdriveboost, Way Huge Pork Lion etc. – Bjorn]

  23. gdkzen says:

    How about carrying around digital equipment like and HD500 as backup for these situations. Different venues may have varying degrees of quality amplifiers, but almost all should have good PA equipment (assuming a lot here). You can plug directly into the mixer and run an output into one of the stage amps to use for monitoring.

    Just an idea.

    I really have no road experience, only studio work (totally different discipline, I know, but alot of studio stuff is finally making it to the road).


    [Hi Gabe. Indeed, that is an option but I rely on my pedals and I’ve yet to find a digital processor that can replicate those tones. – Bjorn]

  24. Bart says:

    Hey Björn, If I had known that the folks in Hel(l)mond gave you such a hard time (amp-wise), I’ve would have given you my Hiwatt DR504 and 4×12 cab for the night… I only live 20 mins away from there. Next time you come over, contact me and you can use it. How did the HOOK work out for you in Zoetermeer? I’ve got a 80w 6L6 version of that baby too, sounds fantastic. But SO LOUD!!
    Congrats on the Marillion support slot by the way! Good stuff…

    [Hi Bart! Thanks for the offer! I’m sure we’ll be back so I might pick you up on that :) Don’t get me wrong. The guys at Helmond did their best to help me out but they weren’t quite prepared for such a tone geek like me :) The HOOK was amazing! I’ve never tried it before but it really did the job. Reminded me of a mix between a Hiwatt and Mesa although with a bit more warmth. I need to check those out more. Cheers! – Bjorn]

  25. Toni says:

    Large and interesting display of info, as usual. Thanks once again.
    My main live amp is a Blackstar Series One 45, 100% tube amp, 45 watts, which has accomplished my expectations. It’s got presence and resonance controls, besides the usual ones treble, mid, bass and also an interesting ISF control which interacts in a pleasant way between a british or an american sort of tone.
    Ok, just two questions, you suggest this set up: “…bass 50%, mids 40%, treble 35%, presence 40% and the master at about 1/3 of the normal volume… ”.
    1/ What would be your suggested set up for the RESONANCE control?
    2/ As a good Gilmourish Reader ; ) I made up my mind to use the clean channel (and it was a hard decision ‘cause the amp delivers amazing tones on the crunch channel, though being honest, those are more appropiate for hard rock than for Pink Floyd), so the question: what about the GAIN control in this clean channel? I keep it in the edge of breaking… a bit “brown”… hard to explain, hope it’s unterstandable… (does this word exist in English…? ; )
    And besides interesting as usual, this post was also funny to read, the funniest was when you mention those sort of “Gilmourish ones “ at the audience, those who complain just because there was one bending which didn’t hit the right note… LOL
    By the way, my regards from Barcelona to every pissed off sound technician out there. Nice post Björn!

    [Sorry for my late reply. I’ve never tried this amp so I can’t really tell about the settings. I would assume that the resonance feature is some kind of presence control perhaps controlling the mid range? A neutral setting is usually the best approach. Keep the gain as low as possible. Try to match the volume and gain for a powerful, warm clean tone with as much headroom as possible. – Bjorn]

  26. Eric Nyberg says:

    Hey Bjorn, great article, sorry to hear you had problems with the Marshall and the Fender before your gig, not fun. I have a 65 Deluxe Reverb and to get more headroom out of it, I replaced the AX7’s with AT7’s in the normal and vibrato channels and replaced the junk Groove Tubes with JJ’s. The end result is a higher headroom DR that has a sweet spot closer to around 7 than 4 and it makes a big difference. http://www.fenderguru.com has more information on that mod. Brace yourself I’ve got a LONG email coming to you in the next couple of weeks, I’m getting ready to start a website and release an EP :). Hope you’re doing well.

    [Thanks for the input, Eric. Looking forward to your mail! – Bjorn]

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