06 Oct Tone Tips And Tricks For The Marshall Super Lead (By David Szabados)
While I have NO idea who in the world David Szabados is, reading this was useful and made sense. Many things I knew already, others I didn’t. The more info the better, agreed?
Tone Tips And Tricks For The Marshall Super Lead
The following tips and tricks will enable you to get much more versatility out of the Super Lead. Some of these may even surprise you. One thing to note – NONE of these involve modification to the original Marshall circuit. Those looking for the true “Marshall” sound only need use an original, unmodified Super Lead.
Channel Switching and Linking
The Marshall Super Lead is a two channel amplifier with high and low sensitivity inputs for both channels. For those interested in taking advantage of both channels to employ a clean sound as well as a dirty one, you need only use an A/B box. Plug the guitar into the input of the A/B box and then plug the box’s A and B outputs into channels 1 and 2 of the Super Lead. By incorporating an overdrive or booster of some type to one of the channels, you’ll be able to effectively take advantage of the Super Lead’s dual channel characteristics.
The Super Lead’s channels can also be linked or patched together so that you can use both the high and low sensitivity channels at the same time. Since channel 1 is voiced for trebly “bite” and channel 2 features extended lows, this is a popular tone trick. Plug the guitar into channel 1’s high sensitivity input (top left). Then, using a patch cable, plug into channel one’s low sensitivity input (directly beneath), and plug the opposite end of the cable into channel 2’s high sensitivity input (directly to the right of channel 1’s high-sensitivity input). Using this technique, you’ll be able to take advantage of using both of the Super Lead’s channels at the same time. If interested in using multiple Marshall heads, Super Leads can also be linked together using this same technique.
Driving the Input voltage for maximum distortion and sustain
The 80’s were a time when many musicians opted for the hot-rodded Marshall sound (a.k.a. the “California sound”) spawned with the 80’s wave of metal – desiring a tone that was tight and responsive as the Marshall is naturally, but with added amounts of gain. Unfortunately as a result, many great vintage amps were destroyed by these extreme modification jobs. Some modifications sounded decent for getting the “California sound”, however there seemed to always be a compromise of some sort with many of these modifications. You could no longer get the amp to clean up; often there would be a greater amount of system noise and hiss; and inherently, reliability overall suffered because of increased wear on the tubes.
One clear way to expand the punch, sustain, and drive of the Super Lead is to increase the input voltage signal going into the amp. What does this mean? It means sending a “hotter” signal into the front end of the amp. This will allow the amp to really open up and respond even more dynamically. This does NOT mean, however to add all your distortion to the front-end of the amp. Adding too much distortion in front of a Marshall will produce a sound that is very compressed, with little dynamic character or touch response – in essence it will make the amp “feel” like a solid-state device. By sending a hotter signal to the front end or input stage of the amp, you can effectively achieve the “California Sound” without harming the originality of the amplifier or damaging any of the components.
High-output pickups are one way to help “drive” the Super Lead. The drawback is that the added windings and resistance inherent with high-output pickups tends to reduce much of the high-end presence and can give too much of a flatter, muddied sound and feel. However, some like this particular tone, others do not. That is why many still love the expressive sounds offered with standard Stratocaster and Gibson pickups – they only wish they could have more drive. One area that can help out with humbucking-style pickups is to use 500K or 1 Meg Ohm volume pot. These volume pots will help send as much of the signal as possible to the guitar’s cable. Stock Fender Stratocasters mainly use 250K volume pots and can be moved up to a 500K for a brighter and slightly punchier sound. As a general rule, pickups with higher resistance will benefit from the higher-valued volume pots; in effect, you’re opening up the signal and allowing the pickup’s electrons to flow more freely. Gibson Les Pauls obtain a much more open signal when using 1 Meg Ohm volume pots.
Another area that will dramatically increase the response and gain characteristics of the amp is to use an overdrive/distortion unit in the front end. However, the key is to use the unit for its volume boost characteristics and NOT primarily for its distortion. As a result, “metal” type of boxes that are high-gain won’t work well for this application (e.g. Boss’ Metalzone, DOD’s Grunge, ProCo’s Rat). Boxes that are suitable include any of Boss’ Overdrive/SuperOverdrive units or Distortion boxes, Tube Works’ “Real Tube” driver, Ibanez’s Tube Screamer, etc. To use these boxes properly with a Super Lead, start by thinking backwards and turn the box’s volume control all the way up and the distortion control to zero. Now turn the distortion control to a minimal level to where a good amount of boost is achieved when the pedal is turned on and off. You’ll notice the Super Lead really come alive with this technique. There are some pedals coming out soon that are actually designed specifically for this “clean boost” application, notably Fulltone’s Full Boost box. The technique works well for any amp really, especially so with the Marshall Master Volume series of amps. The end result is a sound that is lively, full, and retains its dynamic tube character. Try this technique before you decide to go out and buy the latest “super gain” amp – you’ll be surprised.
100 Watt to 50 Watt
This is a simple and effective way to reduce some of the output power to lower the overall volume of the Super Lead. First, open the back panel of your amp and then remove the outside two power tubes, leaving the two in the center. That’s basically it, but then there is one important thing to do – If you are using one 16 ohm cabinet, you’ll need to “halve” the ohm rating on your head and change it to 8 ohms. If you are using two 16 ohm cabinets, where your normal ohm setting is 8 ohms, you will need to set the head now to a 4 ohm load.
When running at 100 watts with all four tubes in the head, the rule of thumb to remember with impedance settings is that the amplifier’s ohm load must NOT exceed the load of the speaker cabinet. That is, don’t ever run a Super Lead head at 16 ohms into an 8 ohm cabinet as it puts a strain on the head and could damage it. It is quite o.k. however to do the opposite. An 8 ohm (or even a 4 ohm) head setting into a 16 ohm cabinet will just produce less output power but will not damage the head.
VARIACs and Attenuators
Eddie Van Halen was the famous user of the VARIAC. A VARIAC (think of “Variable A/C”) is a unit that changes the voltage coming out of the wall to a lower amount. A simple example of a VARIAC is a light dimmer. You plug your light dimmer into the wall socket, and then your light plugs into the dimmer itself. As you adjust the slide and the light dims, it does so because you are dropping the voltage present.
When a VARIAC is used in conjunction with a Super Lead, it can act loosely as a Master Volume. You can crank the volume controls up to ten on the Marshall and then bring down the overall sound using a VARIAC so it can be controlled. Varying accounts have been told regarding whether the use of VARIAC’s do indeed cause damage to an amp. Most technicians will agree that increasing the voltage of an amplifier beyond specifications will most certainly cause damage. There is debate however about whether damage can be caused when reducing the amplifier’s voltage. Undoubtedly, the tone will change somewhat as the bias of the power tubes will change corresponding with the reduction of voltage. My personal theory: all the parts within the Super Lead (or any other amp for that matter) are designed to operate at a given set voltage. Tampering excessively with that voltage will potentially wreak havoc with how the tubes, transformers and components all work together and respond together. The keyword I used was “excessively”. In some instances, especially with early plexi model Super Lead amplifiers built for export to the United States, the 120 volts of A/C current is a bit much and so the actual input voltage can be lowered by a few volts to allow the amp to run a bit more reliably. All said, exercise caution if you choose to play with a VARIAC. You’ve been warned!
An attenuator works quite differently from a VARIAC although some of the elements are similar. An attenuator dampens the signal volume from the head’s speaker output and sends the reduced signal to the cabinet. Attenuators can do this because they take the output signal load and absorb it (converting the signal to heat rather than sound)– the rest of the signal goes to the cabinet.
So how do attenuators sound? O.k., but they do change the signal and add some tonal coloration. Again, some don’t mind this change and others do. And another important fact: an attenuator will reduce the overall volume, but running a Super Lead on 10 and reducing the signal with an attenuator will still cause the tubes to wear out at a faster rate than if you set the volume on the amp to a lower setting. Marshall also produces its own attenuator called the Power Brake. Check it out and see if it is for you.
Speakers and Cabinets
Not all 4×12 (that’s four 12 inch speakers for those that didn’t know) Marshall cabinets were created equally and models do sound different primarily because of two reasons: 1) the speakers types within them, and 2) the grill cloth materials used.
Originally, Marshall speakers were made by Celestion and rated at 15 Watts and “broke up” fairly easily. Many players loved the sound of speaker distortion coupled with their power tube distortion from their Super Lead heads, but of course these cabinets were not designed to be used with 100 Watt heads since the four 15 watt speakers only added up to a collective 60 watts of power handling capability! Also, when a speaker is distorting, it is doing so because the voice coil has gotten too hot with excessive movement of the cone that is again technically, beyond its power handling rating. As a result, these lower-powered speakers often blew.
The famous 25 watt “Greenback” speaker was, and still is a favorite of many players. It does a better job handling the output of the Super Lead when put in a 4 x 12 cabinet and helps give the Super Lead that famous smooth Marshall crunch that many enjoy hearing.
Celestion speakers of various power ratings have been used throughout the years and the most common modern cabinet design uses four Celestion speakers rated at a power handling capacity of 75 watts each. Sonically, the 25 watt speakers will distort more easily, while the 75 watt models obviously handle power more efficiently and stay clean at louder volumes. Seems like a strike against the 75 watt speakers doesn’t it? However, one important area the 75 watt speakers do a better job of, besides better power handling, is to produce a better and stronger low frequency tone. For those that complain about Marshall’s lack of bottom (usually this comment is brought up about the Master Volume and JCM-800/900 series, not the Super Leads in any specific era), a 4 x 12 cabinet loaded with modern 75 watt Celestions may be the cure.
Often overlooked, but important nevertheless is the type of grill cloth used on Marshalls. Earlier Marshall cabinets used a basket weave style cloth material that didn’t let the full sound signal of the speaker go through. We call this characteristic “transparency” and the basket weave cabinets were not 100% transparent. The higher pitched sounds were the first to be absorbed by the cloth. Later cloth designs such as the checkerboard grill were nearly fully transparent. By the time the JCM 800 series cabinets and beyond were produced, the grill material was considered fully transparent. You may prefer the sound of the basket weave or checkerboard cabinets as many do, or go for the more acoustically accurate and transparent modern cabinet. As is the case with guitar tone, this is a personal judgment call.
SpellboundPosted at 23:48h, 23 June
I posted this on the Marshall forums, figured I could get an answer here too!
Does anyone know if it’s actually possible to add a toggle switch on to a Marshall so that you can jump from Super Lead to Super Bass (and vice versa) at the flick of a switch? Someone on the forums said it wasn’t possible to get a full switch due to certain differences not being “switchable”, and that you’d just get a different flavor of Super Lead. I did read somewhere on google that someone did manage to add the switch in.
Anyone able to chime in on this? 🙂
DriesPosted at 00:05h, 24 June
No it isn’t possible. A super bass is shared cathode of V1 and a super lead split cathode. Then there are the coupling caps to the power tubes. No, enormous work and dangerous imo.
But I would go super lead. A super bass for guitar sounds great playing alone, but in band format with 2 guitarists and a bass guitar, it quickly disappears in the mix.
SpellboundPosted at 03:23h, 25 June
Already have a Super Bass… It’s modded and sounds bad with guita (great for Lemmy-style bass though). Figured I could do the toggle switch and try to restore it back to stock as much as possible. Unless you’re meaning to convert it from a Super Bass to Super Lead? 🙂
DriesPosted at 09:00h, 25 June
It’s because of 3 major things;
– it’s shared cathode V1
– tonestack is different ( a resistor and 2 caps)
– bigger PI coupling caps
It all involves lifting the board, but it’s not that much work. I would try first make it split cathode with the superlead values. That would make it more gainier and less muddy.
DriesPosted at 09:01h, 25 June
Oh and another very simple thing; it is missing the bypass capacitor on bright chanel volume, put a 5000pf cap over it and it will surely get closer to a SL.
EL1959Posted at 00:20h, 03 May
While the rest of the repliers gave you the straight answer (which is negative) you can add a switch to toggle between a shared and a split V1 cathode which accounts for a considerable amount of the difference between the later (mid-’68 onwards) Superleads and Superbasses.
as has been said – this solution will still won’t change the coupling caps (which account for the Superbass’s much deeper bass) and the slope resistor which is responsible for the somewhat difference EQ shelving of the SL vs. SB.
here is a diagram from the MetroAmp forums on how to incorporate that switch, I did that in my Superlead build (1968 specs) and I can attest the added versatility is worth the extra mileage (periodically I’ll prefer one mode to the other).
I chose to implement it as a switch on the back panel to keep the wire length to a minimum (and I don’t like push/pull pots). I highly suggest only using the switch while in standby mode to reduce possibility of arcing and reducing the V1 tube’s life.
sellenPosted at 22:24h, 15 June
Gonna treat myself with a amp this summer.
Looking at marshall reissue series
Marshall 1959 slp HW
Marshall 1959 slp
Marshall 2203 JCM800
So i have read some stuff about all the amps, and i kinda think the Marshall 1959 SLP is the way to go(i got the aracom attenuater)
So there the 1959 SLP hw vs 1959 SLP
Anyone tried both?
It would be great with Opinions about any of the amps i listed
DriesPosted at 13:50h, 16 June
Forget them and go with a late 70’s super lead or 2203. You’ll be happier, it’s cheaper and resell value is larger too.
GuillotinePosted at 20:29h, 16 June
Where is a good place to find late 70’s JMP 2203s? Ebay? I want to get one, but I’m not sure where they usually sell at.
DriesPosted at 21:35h, 16 June
Where are you from? Ebay is indeed a good starting point. Or just locally listed sites. Wait until a bargain shows up, post it here and someone ( and me if I see it ) will tell you if it’s a good decision or not.
GuillotinePosted at 15:02h, 17 June
From NJ, so basically from the states. What is considered good deal for a 2203?
DriesPosted at 15:36h, 17 June
Don’t know exactly in NJ, but here in Europe a 2203/04 in good condition can be found for under 800 euros sometimes. You just need patience, and always ask for a picture of the internals. Certainly needs original transformers.
GuillotinePosted at 18:47h, 17 June
I’m not really even sure I want a 2203/4. It’s a really big amp, that is very loud, and I don’t think I would be able to get an Aracrom with it. Are there any good combo’s around the same price that would be good?
DriesPosted at 19:57h, 17 June
2203/04 have a very good master volume. Really, it works wonders. Good attenuator is a tad better, but even with the master down without an attenuator it’s one of the best vintage amps.
DriesPosted at 19:59h, 17 June
BTW: 2104 combo amp, is 2204 chassis in a combo version. If you’re lucky you even have 2 G12-65 speakers in it, a lot were shipped with them. They even go for a lower price than the head version. Strange, but true.
GuillotinePosted at 20:33h, 17 June
I’ve heard that the 2204 isn’t that good for acdc. I’m not as much of a tone catcher as some, so I’m wondering how close a 2204 is for getting it. I know playing is a big factor as well.
SoloDallasPosted at 20:39h, 17 June
It depends: are you going to record yourself trying to match your sound with the one on the album(s)? If so, 2204 will hardly cut it (2203 better). But if you are not going to do that – as I do on my videos, for example, but not live – then it’ll be great. A 2204 is an amazing amp.
I have both versions – head only and the combo that came in 1980 with just one speaker, a G12-65. It’s good stuff. So much that I have two! Go get yours.
DriesPosted at 21:20h, 17 June
There is indeed a difference between the two, but it’s not better or worse, just a little different. Tonal character is the same of course, 2203 has just a little more filtering and feels therefore a bit ‘stiffer’, opposed tho the 2204 that’s a bit looser.
GuillotinePosted at 21:43h, 17 June
I think I might stay with the 2203 or the combo then, when and if I get the money. What about cabs? I’m not sure if I’d need a 4×12. Are 2×12’s bad? I think I remember reading somewhere on here that the slant on a 4×12 makes it better.(btw, I won’t be recording, but I would like to be close to AC/DC. I am going to get TSR as well)
DriesPosted at 21:59h, 17 June
Don’t get us wrong: even a 2204 on a 2×12 cabinet will get very very close to acdc.
GuillotinePosted at 22:30h, 17 June
What are your opinion(s) on the Marshall class 5? This is what I would be looking at getting for now, as I only started 2 years ago and I don’t feel I am ready for a big 100w or 5w amp. It has ECC83’s, but it doesn’t have an EL34 it has an EL84. I’m not sure if I’d be able to switch them out(I would def let a tech do it because I don’t know much about amps) I would definitely be getting the TSR for it. I would also get the head version and get a decent 2×12.I think I saw fil say on the marshall forums awhile ago that he said it would be “good” for AC/DC, not sure if his opinion has changed.
GuillotinePosted at 22:32h, 17 June
This is a decent video of it. https://www.youtube.com/watch?v=91iEAsqPlHY it was the cab with a 1×12 extension. This was without TSR, so I would hope it would be even better with it.
GuillotinePosted at 22:50h, 17 June
Another good video of it. It’s more of the Zeppelin capabilities.
He’s a good player as well.
DriesPosted at 22:57h, 17 June
It’s not bad, but it’s really a whole other thing. Small amps stay small amps, and can’t be compared with big ones. Nonetheless they sound great, but maybe not ideal for ACDC ,which isn’t always a bad thing (!). late 70’s marshalls are BRIGHT, and that might surprise you when you first try it. Also consider the large resell value of the old ones compared to the class 5. It isn’t a bad investment !
DriesPosted at 22:59h, 17 June
BTW2: the class 5 has only a single volume and no master volume, and is also LOUD ! So not handy for practise.
GuillotinePosted at 23:26h, 17 June
Do you have any recommendations for lower priced amps then? $500 or less is what I would be aiming for.
DriesPosted at 00:01h, 18 June
Save a little more money and buy a early JCM800 combo or JMP combo. Really, it’s worth it. And your money is not lost.
GuillotinePosted at 00:08h, 18 June
I’ve wanted one of those 1×12 ones. I saw it in one of Fil’s videos. It’s in this video of his: https://www.youtube.com/watch?v=7SXXWWy7tEA. I can’t really find them though on the internet.
DriesPosted at 00:45h, 18 June
Have patience 🙂 they mostly go cheap
GuillotinePosted at 00:58h, 18 June
What is it called exactly? When I look for it, I search up Early JCM800 combo, but all the one’s I’ve seen have 2 speakers and don’t have the 2 vertical outputs.
DriesPosted at 10:04h, 18 June
I think there are more JMP combos around. Search for JMP combo , 2103 or 2104. Most are 50W 2104 though. But super great amps for the price. Even Malcolm played many gigs in 1979 with that combo !
SoloDallasPosted at 16:56h, 18 June
What Dries says here, multiply by two. PLEASE consider the “investment” subject. Any vintage (I mean, even 1970s vintage) amp you can re-sell the next day for the same amount (or more, if you bought wisely). You just will know that it will nail the sound you are looking for – if you did your homework here on solodallas.com. Want more sounds? More amps OR start tweaking, adding stuff to the chain (consider a TSR 😀 ). So, really, there are few arguments AGAINST old & big amps nowadays. Oh I do understand the Aracom issue (being expensive). Hijack towards a cheaper one, no problem. There’s many out there now – even second hand. Attenuators are your friends. SO much that I think OUR next project COULD be an Attenuator. Yep, you read it here first.
DriesPosted at 17:36h, 18 June
Not a bad idea, as the Aracom is pretty expensive. Not that much parts involved, beside a good transformer for the reactive load.
GuillotinePosted at 18:43h, 18 June
Alright, I think you’ve proven your credibility on the site. I’ll wait to invest in one of those combos. It’s going to take awhile but I think it will be very much worth it. How would I factor headphones into the equation? I don’t think they have a headphone jack on them.
SoloDallasPosted at 19:13h, 18 June
Kenny, for headphones work go to emulators. Silent as can be, lots of effects that work better on headphones (than speakers), can play along albums nicely etc. Comes to mind: Guitar rig, Eleven
GuillotinePosted at 20:11h, 18 June
Is there not a way to run an actual amp into something that would allow it to be listened to with headphones?
DriesPosted at 20:50h, 18 June
Not for the price of emulators.. You still need a loadbox, and then you need a speaker simulator too.
SoloDallasPosted at 20:51h, 18 June
Yep of course: you need a load box (attenuator) with a balanced/unbalanced line output. After that, you plug it into a cabinet emulator. A phone output direct on an amp sounds so bad that I’d rather play unplugged.
DriesPosted at 20:59h, 18 June
This. I actually practice a lot unplugged. Always playing a lot better on amps then 😉
GuillotinePosted at 00:16h, 19 June
Oh ok, didn’t know. I use Guitar Rig atm but I have no interface to plug it into before it goes into PC so I use a cable from this Guitar game called Rocksmith. There’s a lot of background fizz and buzz and the latency is like 20.1ms. Any recommendations for a guitar to PC interface? I saw the M-Audio Mobile Pre but I’m not sure if that’s any good.
SoloDallasPosted at 00:37h, 19 June
M-box is fine for it yep
sellenPosted at 00:00h, 17 June
Locally the marked is pretty dry, some at E-bay.
Musicradar.com states the 1959HW is better than the original in a review. Hard to believe …..
Anyway will have a little patients, and keep a look at my local sites, but i do feel a GAS Attack coming for a 1959 HW
sellenPosted at 19:35h, 18 June
So i guess i spend the money on fixing my JMP 2204. It died on me a while ago, not tube or fuse fault. Guess there might going a few $ there.
It’s 82 model with two vertical input, not the “super” AC-DC amp.
But a pretty cool sounding amp
DriesPosted at 19:45h, 18 June
Vertical inputs? Hell yeah it’s acdc !
sellenPosted at 16:45h, 19 June
Well it’s vertical but only 2 inputs. The Amp Is bright and Very Aggresive.
So i turned it in to the tech today, along with the Powerage Pickup set that’s going in my Angus Sig Sg. Hopefully A “kick Ass Package”
DriesPosted at 19:39h, 19 June
So? It’s a master volume then, best amps ever made. A superlead isn’t better, just different.
SoloDallasPosted at 19:53h, 19 June
Oh finally. It’s the same thing I keep repeating to my kids (because it’s the damn truth!).
It’s not “better or worse”. It really is just different. Let’s enjoy these differences!
AntPosted at 11:33h, 20 June
The grass is always “different” on the other side
DriesPosted at 13:13h, 20 June
Let’s say that it always SEEMS brighter 😉
mkstyleePosted at 23:01h, 13 May
I have just recieved a YJM100 SLP the Yngwie malmsteen head ,now i dont play that sort of music i play classic rock and blues but a 100 watt plexi,with auto bias,fx loop ,booster ,noise gate 100/50watt switch and attenuator all built in was too good an option to pass on. you can run it without all the gizmos and it’s a standard 1959slp, the ac/dc tone from it is mind blowing
it’s also huge as they put it in a marshall 200 major size box, i will update as i have only had it 3 days and will report back with my findings.
cheers fil keep rockin
jofal62Posted at 20:04h, 20 November
Hi, i use guitar rig 4 with Behringer guitar link. it’s perfect, almost no latency. Ne need to install asio 4all, the link has his own driver.
LemmiwinksPosted at 19:27h, 20 November
Did the young brothers jump their channels?
adam10603Posted at 00:47h, 22 April
Maybe Malcolm did it sometimes, but most of the time, they didn’t use this technique.
SpitfirePosted at 14:46h, 19 October
There’s a very simple mod, that can be done, where you just loosen one resister coming from the first valve and solder it onto the resister next to it. Cascading/one wire mod (beware if you touch that resistor, without draining the caps, you’ll get a massive electric shock!).
One channel will be hot and gainey, the second will still be stock. Then use an A/B Y box.
Also by removing the cap from the bright input jack (500pf) you’ll have both these channels sounding the same and then compensate with your eq.
These amps beg to be modded, Jim even put an extra valve in it, of which only one side used.
SGACEPosted at 16:32h, 06 October
“important nevertheless is the type of grill cloth used on Marshalls. Earlier Marshall cabinets used a basket weave style cloth material that didn’t let the full sound signal of the speaker go through. We call this characteristic “transparency” and the basket weave cabinets were not 100% transparent. The higher pitched sounds were the first to be absorbed by the cloth. Later cloth designs such as the checkerboard grill were nearly fully transparent. By the time the JCM 800 series cabinets and beyond were produced, the grill material was considered fully transparent.”
this is REALLY important thing.. 100% right…
SoloDallasPosted at 16:50h, 06 October
Hehe… I know! DId you know that Angus himself had stated that (some interview, years ago)? That’s why I never swapped my green backs from that cabinet. Because of the cloth (baske-weave). It’s instant “rock album” tone. What i am going to do though , is refurbish the outer cloth (the plastic). It’s green – if you saw the pictures – and it sucks racing green balls. Going to put black back on it.
SGACEPosted at 16:56h, 06 October
Do you mean the green tolex?…. Nah, leave as it is or sell it…
SoloDallasPosted at 17:04h, 06 October
Yep the green one. Not original. Original was black. But i bought it red (already badly refinished) 20 years ago. The changed it myself into green last year, but I did a terrible job lol. Sell it? The cab? Nah. It’s a 1969! And I need that cloth 😛
SGACEPosted at 17:07h, 06 October
ok then buy black elephant..
SGACEPosted at 17:09h, 06 October
1969 wood??? hahahhaha just leave it like this, is still nice naked…
SoloDallasPosted at 17:15h, 06 October
Yeah right, it didn’t seem like it was me speaking, was it? 😛 I usually go for crap looks… I wouldn’t care the scratches or even chips broken… it’s just that that green… maybe green economy? 😛
adam10603Posted at 13:38h, 06 October
HEEY thats a hungarian name 😀 It’s Dávid (not sure you have these letters on your keyboard). I’m from Hungary too 🙂 Useful info btw.
greetings from Hungary 🙂
adam10603Posted at 13:51h, 06 October
wish I had a super lead to try these 🙁
MickPosted at 15:37h, 06 October
MickPosted at 12:32h, 06 October
I have a question.When you use Guitar Rig 4 pro (or if you still do) do you plug your guitar right into your mac’s soundcard or do you use a Guitar Rig interface in between your guitar and mac.If you do use an interface would that act as a soundcard because when i try useing Guitar Rig 4 pro its all buzzy and bad quality and I know its my soundcard.I have a pc and was just wondering if a Guitar Rig interface would do the job and act as a soundcard so i can make recordings.Hope to hear from you soon 😀
adam10603Posted at 13:40h, 06 October
I think solodallas uses an M-audio interface. But you can use many kinds. eg. Line6 (like me), or gitar rig hardware, M-audio, etc… all will work with GR4
SoloDallasPosted at 14:33h, 06 October
HagusYoungPosted at 14:32h, 06 October
Did you install the ASIO4All driver? Because the next thing is the latence wich usually happens with a usual driver. You should invest in a Soundcard, thats my tip. Creative is on top of the “normal” users bussines for me.
SoloDallasPosted at 14:33h, 06 October
bananePosted at 15:02h, 06 October
The standard onboard sound cards in PCs aren’t made for high quality recording and cant handle the data rate going in and out at the same time.
I would go for an external usb sound card like the M-Audio Fast Track. Works perfectly here with Guitar Rig 4 and a big plus is, you have a nice little external box with volume and gain pots where you plug your guitar in.