I don't like Fender Tweed Amps at ALL

[jerryjg]

I don't like Tweeds amps. I HATE the Champ, I do not like the Deluxe at all, and I really am not fond of the Bassman. Ive never tried the Twin or the Super, however I doubt they would do it for me either.
MY main issue is Volume, not Tone. If I cannot hear myself, then I am not going to produce my best sound.
Before you dismiss this , please know that I have been down the road and heavily payed my dues both in terms of Cost , and trouble.
I had a Clark Deluxe, and it sounded great, but wouldn't reach the volume I wanted even with a Red Fang very sensitive speaker and tilted up.
I also bought a Mojo Bassman.4x10's and don't know the watts, but shit fire, neither could that peel the paint off the walls.
To be fair, I don't even think I could stand a 50 watt Marshall.
I am a died in the wool self professed 100 watt Marshall guy.
I can crank that amp up to the perfect volume level , and no, not one that entails any hearing loss.
Its been awhile since I've been provacative to the point of absurdity, but here i go again.
Actually, I think maybe a couple or three Bassmans may have done it for me, or a banks of Deluxes. I cannot at this time try that, so its me and my 100 watt Marshall through a 4x12.
I think one needs at least 60 watts through a open backed cabinet in my personal opinion. Also, I think one needs at least a 4x10 cabinet. I should qualify this; my little 30 watt el34 Carslbro combo amp is plenty loud enough with just the one 12" V30 in the closed back cabinet. Also, my buddies "18 watt Marshall" through a closed back 4x10 is loud enough, so I am not sure whats going on, but i guess its all about open versus closed back speaker cabinets at this point.
I'm of the Eddie Van Halen School I guess; Crank a 100 watt Marshall in the studio and let the engineer worry about it!
This post happened by me reading Cygnus signature.

[cwilliamrose]

I can't imagine Jerry. I have about 35 watts and it's beyond loud. I never get it past 3. I'd love to have something smaller........Bill

[boobtube21]

Good, more tweeds for the rest of us!

BTW I'll melt your Marshall's face off with my 135w UL Twin through one of those 2x15 cabs Chucko gave me. But I'll be wearing earplugs and a helmet!!

Other than that, give me low wattage any day.

[chuckocaster]

horses for courses. i don't like single ended amps. we all have out likes and dislikes.

[jerryjg]

I can't imagine Jerry. I have about 35 watts and it's beyond loud. I never get it past 3. I'd love to have something smaller........Bill

Yeah, Clean watts are way louder than distorted watts in effect. I guess because the clean sound is brighter and more present?
I still think 60 watts is perfect, even for open back cabinets..as in the 4x10 Fender Hot Rod Deville. Great clean sounding amp..too bad its a P.O.S

[phantomman]

MY main issue is Volume, not Tone.

You ever play a big-box 4 x 5881 tweed Twin, son?

If you think that ain't loud then I submit that you're already deaf and in serious need of a "Miracle Ear".

[jerryjg]

You ever play a big-box 4 x 5881 tweed Twin, son?

If you think that ain't loud then I submit that you're already deaf and in serious need of a "Miracle Ear".

No, like I said Ive never played a Tweed Super nor a Twin, but I had no idea they were that powerful. Dag, yo! No wonder Clapton likes the Tweed Twin. Yep, I would say that 4x5881 would do it!

[phantomman]

Clapton's current rig(s) are built around the small-box 2 x 5881 Twin. He used a pair for the Cream reunion concerts (plus a Leslie 147). Keef is also a big fan of the tweed twin.

[elicross]

Obviously a lot depends on what kind of music you're most into -- and what you consider "loud enough." If you'd rather listen to Eddie than Eric, then yeah -- you may never have a taste for a tweed.

And if you consider any tube amp under 60 watts -- and anything that doesn't "peel the paint off the walls" -- as not loud enough, then yeah -- most tweeds aren't going to cut it for you.

(Also, your hearing may well be shot, so subtleties of tone may be beyond your ability to discern. Hey, you said yourself your main thing is volume, not tone. )

The good news is that you don't HAVE to like tweed amps. You don't even have to like Fenders. You're free to like what you like and say so. And at least you said "I don't like Fender Tweed amps" this time, rather than saying they all suck. You're making progress.

[phantomman]

I have to confess, I'm not much of a tweed fan either. But in my case it's more of a problem with the ergonomics of "the beast" rather than being tone- or volume-related. My eyesight is not as keen as it once was (what baby-boomer's is?), thus I find it impossible to decipher a tweed amp's control panel, reading it upside down on a darkened stage. Which, as some have commented regarding my amp herd, is why I have no Fender tweed specimens. I did own an original 5F6-A Bassman "back in the day" and I must say, it was plenty loud and offered a lot of sonic flexibility.

In my current situation I find Fender's black-face amps to be an acceptable compromise for all the genres of music I play. If I need a "That'll Be The Day" rockabilly tone, I play the amp relatively clean and dial in some slap-back delay and a little reverb. For something grittier like Eddie Floyd's R&B classic "Knock On Wood", I'll step on it a bit -- add in some dirty OD and I'm there. And when it's time to wail on something honkin' and heavy like "Sweet Child O' Mine" I'll just dime the whole mess and pray that I finish my solo before the cops get there.

The tweeds are great -- legendary, even. A lotta great music has been recorded with them. But for stage versatility, I don't think the BF amps can be beat. And with platforms available from 22 watts to 85, I can select the rig that's most appropriate for the size of the venue.

[Cygnus X1]

Between a Tweed Deluxe and a Deluxe Reverb is plenty loud for me.
And although I'm a fairly recent convert-the 5E3 has tone for days.
I design my own amps around Marshall though.
I'm not really looking for pristine clean.
For me it's the tone, certainly not the volume.

[Stonefreefuzz1]

Clapton's current rig(s) are built around the small-box 2 x 5881 Twin. He used a pair for the Cream reunion concerts (plus a Leslie 147). Keef is also a big fan of the tweed twin.

I was fortunate to see the Cream reunion show in NYC and the shows the Stones recorded "Shine a light", 2 of my favorite tones right there (both tweed twins I believe), totally blew me away. I've always wanted a tweed twin.

http://www.youtube.com/watch?v=LfSe6...eature=related

[Kap'n]

Tweed amps have soul. They detect pointy bodies and floyd roses being fed through the cord as food poisoning, and respond in kind.

[Rickenjangle]

Tweed amps have soul. They detect pointy bodies and floyd roses being fed through the cord as food poisoning, and respond in kind.

LOL!

[Stonefreefuzz1]

[rudutch]

in sheer volume the top 2 I have played

1978 Hiwatt dr103
2000 TRRI

both will cause tinnitus when dimed
I know of no application where it would be useful
but if you want loud, those will get you there

[Doc W]

jerry, I completely understand what you are saying. This is especially true at outdoor gigs. There is nothing quite like a 100w head and a couple of 4x12 cabs. It is huge and the guitar sounds and responds totally differently than with a smaller rig.

On the other hand, people who play tweeds are not looking for that and, of course, there is not only one sound or one style of playing. When I play mid 50s Muddy Waters style, there is nothing, nothing like a tweed Deluxe. And that is but one example among many.

f you branch out into other styles of playing, you will discover a lot of different amps, each with a unique and delicious sound.

Just for the record, I don't think that even a tweed Twin would do it for you. Both the Super and the Twin are nice, but not what you seek. I can't see EVH using a tweed Super.

[NTBluesGuitar]

Tweed amps have soul. They detect pointy bodies and floyd roses being fed through the cord as food poisoning, and respond in kind.

You ever play a big-box 4 x 5881 tweed Twin, son?

If you think that ain't loud then I submit that you're already deaf and in serious need of a "Miracle Ear".

[Gris]

I hear what you are saying. I built one tweed amp after another right on up the scale before realizing you can't turn them up anywhere near all the way or they compress and turn to mush (except for the Bassman) - AND - you have to tweak them with tube swaps, caps, speakers, transformers, etc. to even get 'the sound' even at lower volumes. I ended up abandoning them all for my own slightly different versions, which have to be miced up. And, I sue an entirely different style amp for cleaner tones. However, I do disagree COMPLETELY that a truly good tweed Bassman is not plenty loud. Part of the problem is the Fender RI stuff is not even half what an approp tweaked good homemade one is.... :-)

[jerryjg]

S...L..Muther effin' O!

Picks up Where a Marshall JMP left off and stops where the Diezel Pitbull and Bogner Uberschal pick up. Probabaly just about the best amp in the world IMO.Bogners knocked for being the Lhamborghinis of the amp world- too exotic and will blow and require maintenaince.
clips.
Diezels I dont know, but they are one trick pony gain monsters I think. Thse hi gaoin amps are constantly slammed by many tone Gurus for being sterile.
The SLO will do Marshall JTM/JCM and most of the Super hi gain any mortal would likely ever need, but nevcer loses tone, and stops short of being uber high gain antiseptic sound.

[Don]

Jerry, I think you're an orange lover who's complaining about apples! Most players either like an old fashioned rig or something modern.

I'm fortunate that I like them both. I find my 5E3 clone, Vibrolux Reverb and Mesa/Boogie all very satisfying.

[jerryjg]

Jerry, I think you're an orange lover who's complaining about apples! Most players either like an old fashioned rig or something modern.

I'm fortunate that I like them both. I find my 5E3 clone, Vibrolux Reverb and Mesa/Boogie all very satisfying.

I've never heard an Orange..LOL, no i see your point. I wanted to love Tweeds. God knows I tried. The tone of course is glorious.The Tweed SPL's just never worked for me. ( again, I havent played a 4x5881 Twin). Also, it may be like Gris says that the aftermarket Tweeds do not pump out the same sound pressure level, but that isn't the feeling i get from other posters who have tried Tweeds._OH , I forgot Boogie! How could ?? Hell Yeah! Ive always wanted a Boogie. From the venerable and untouchable classic, the MKIV, to the Stilleto Ace, I believe brother..OH how I believe! The Dual and Triple Rectos from Boogie are more like the high gain Bogners and Diezels if I am not mistaken, but the MKIV is like The Soldano- brutally heavy metal like Metallica and I think nice cleans? Your a lucky man to own one.
Good Bless I want a Boogie!
( The current production Boogie "Stilleto Ace" head seems to be a great multi-purpose design that takes you all the way from MKIV'ish sound to The Dual Recto Grind, and with fantastic cleans? )

[Cygnus X1]

Perhaps it's also like this...like me.
I have come to the conclusion that I prefer heads/cabs to combo amps.

Sure there are some combos that are ok-but nowhere near the depth as a good cab driven by a head.

Edit-response to my own thoughts....sure I love the SLO, have tried them out and sound very good for what they do even at "lower" volumes.
Not tried a Bogner, but I've seen plenty of opinions on them.

I usually run the 5E3 (when it's working right) and the Deluxe Reverb through a '67 closed back 2x12.
Everything else I run through the 5150 4x12 slant cab.

Back to me-I have toyed with the idea of building an SLO but fugg....100 watts?
Certainly not for me.
I stick with what is working-the high gain single ended 7 watt amps.
Amazingly loud for what they are, efficient, and the tone I want.
Run through the 4x12 is where it shines.

[boobtube21]

A closed back cab yields a different sound for sure. I like both but have been on a combo kick the last few years.

I started building two 1x12 cabs for my Twin, mostly so it would be easier to lift, but also to try a closed back sound with pedal steel. Then I decided to just do one 2x12. Now that I'm almost done I've decided to abandon the project, lol. Having more shit to lug to a gig is the last thing I need.

[boobtube21]

This guy is your kind of steel player Jerry:

[Mesotech]

I only own one "tweed" amp, the 5e3 clone from Weber, and I really do like it, but it is not suited for all styles of music. Though, there are styles of music where it excels, and more often than not, those styles don't require bleeding ears to be appreciated.

I also have a Boogie MkII combo, but it's more like a souped up bassman than anything like a modern Boogie. The other guitar player in my band uses a Boogie Dual Rectumfrier, and while it is high gain and has a nice smooth sound, it lacks the definition to cut through the mix on leads. Either one of my Marshalls blow it away in that respect. If it were up to me, I'd classify the Boogie Dual Rec as a rhythm only amp because it seems to fill the sonic spaces nicely. It simply doesn't have the balls to push past a Marshall when needed.

Now the Marshalls I have at my disposal are both mean machines. The JCM2000 DSL 100 has a great cut to it, but sounds pretty pathetic on its own. It sits perfectly in a band situation though, not muddying the water for the other instruments. The new JVM 410h that I have takes over where the DSL 100 leaves off in terms of high gain, but still cuts through the mix like only a Marshall can. It still sounds anemic on its own, but sits in the sonic mix right where it should. Knock it down into one of the more vintage channels and it'll punch like a Plexi, plus channel 1 is even voiced like a Fender and it gets some very convincing Twin tones. And loud? Yes, very. Loud enough to cause a drummer (or anyone else) to not be able to hear his drums or cymbals. I've only pushed it that far once, just to see how loud it'll get. Way TOO loud.

My Ampeg VL1002 (Lee Jackson designed) sits between the JCM 2000 and the JVM 410h in terms of gain, but it's still more gain than most can tolerate for extended periods of time. Better cleans than any Boogie Dual or Triple Rec can dream of, but no where near a Fender clean. The EQ on this amp allows selections between a Fender, Marshall, and Boogie tone stack, as well as two additional configurations that are unique to the amp. When I use the amp, I put it in the Marshall mode and pretend it's a souped up JCM 2000.

That's it for my "high gain" weapons. I tend to lean more towards the Fender Blackface and vintage Marshall tones in way of personal preference. For the stuff I "like" to play, I don't need all that stinkin gain, but I don't always play just what I like.

My current workhorse amp is the JVM because it covers a lot of ground (like having 12 amps in 1 head). It has a line out that I can run direct to the board instead of using a mic (meaning I can adjust the master volumes (2 of them) to set my stage volume without affecting the sound going to the board).

Even still, I use nearly all of my amps in different contexts because they each have unique qualities. That's why all amps are different to begin with. The Tweeds do their thing, and that's that. If "that thing" ain't "your thing" then it's not the right amp for you. Nothing wrong with that.

[jerryjg]

This guy is your kind of steel player Jerry:

Boss, but I don't think he'll get much work , unless of course Red Rider makes a comeback and hires him. See 2.23 into the clip;
http://www.google.com/url?sa=t&sourc...caJeSTi6NskFaw

Those Scmaltzy 80's Videos are really a gas.

[Cygnus X1]

And thus epitomizes the difference between us garage guys and a gigging musician.
That's the first question to ask, and I am in the first category!

[jerryjg]

I only own one "tweed" amp, the 5e3 clone from Weber, and I really do like it, but it is not suited for all styles of music. Though, there are styles of music where it excels, and more often than not, those styles don't require bleeding ears to be appreciated.

I also have a Boogie MkII combo, but it's more like a souped up bassman than anything like a modern Boogie. The other guitar player in my band uses a Boogie Dual Rectumfrier, and while it is high gain and has a nice smooth sound, it lacks the definition to cut through the mix on leads. Either one of my Marshalls blow it away in that respect. If it were up to me, I'd classify the Boogie Dual Rec as a rhythm only amp because it seems to fill the sonic spaces nicely. It simply doesn't have the balls to push past a Marshall when needed.

Now the Marshalls I have at my disposal are both mean machines. The JCM2000 DSL 100 has a great cut to it, but sounds pretty pathetic on its own. It sits perfectly in a band situation though, not muddying the water for the other instruments. The new JVM 410h that I have takes over where the DSL 100 leaves off in terms of high gain, but still cuts through the mix like only a Marshall can. It still sounds anemic on its own, but sits in the sonic mix right where it should. Knock it down into one of the more vintage channels and it'll punch like a Plexi, plus channel 1 is even voiced like a Fender and it gets some very convincing Twin tones. And loud? Yes, very. Loud enough to cause a drummer (or anyone else) to not be able to hear his drums or cymbals. I've only pushed it that far once, just to see how loud it'll get. Way TOO loud.

My Ampeg VL1002 (Lee Jackson designed) sits between the JCM 2000 and the JVM 410h in terms of gain, but it's still more gain than most can tolerate for extended periods of time. Better cleans than any Boogie Dual or Triple Rec can dream of, but no where near a Fender clean. The EQ on this amp allows selections between a Fender, Marshall, and Boogie tone stack, as well as two additional configurations that are unique to the amp. When I use the amp, I put it in the Marshall mode and pretend it's a souped up JCM 2000.

That's it for my "high gain" weapons. I tend to lean more towards the Fender Blackface and vintage Marshall tones in way of personal preference. For the stuff I "like" to play, I don't need all that stinkin gain, but I don't always play just what I like.

My current workhorse amp is the JVM because it covers a lot of ground (like having 12 amps in 1 head). It has a line out that I can run direct to the board instead of using a mic (meaning I can adjust the master volumes (2 of them) to set my stage volume without affecting the sound going to the board).

Even still, I use nearly all of my amps in different contexts because they each have unique qualities. That's why all amps are different to begin with. The Tweeds do their thing, and that's that. If "that thing" ain't "your thing" then it's not the right amp for you. Nothing wrong with that.

Thats a very illuminating review. Ive heard that JVM is just abut the next best thing to a Soldano SLO> It appears as if its very versatile, going form Plexi'ish to all out metal assault.
The Dual Triple Rectos are to my understanding true high gain Monsters, so I don;lt really understand how they wont cut through a mix, but I don't know.
I have a Lee Jackson Crate 4x6l6 tube combo , and its a bargain amp, as are most Lee Jackson designed amps. It does the hot rod Marshall sound very well.I know those Ampegs have gerat cleans. From waht i understand they are bitch willies to work on?
I agree, nothing can take the place of my old '77 JMP MKII 100 watt. Ive put together several cabinets for it; all 4x12's. I havea vintage G12-65 cab,, and a new G12H-30/V30 cross in an old cab, as well as a Cab with two G12-20 Heritage reissues( the only ever reissue of the prohibitively expensive original 60's 20 watt Celestion Greenback- which has some of the mojo of he original speaker captured from all reports)crossed with two G12m-25 newer British Greenbacks ( they are made in China now, but lets not open that can of worms). I also have a 2x12 ported EV12l cabinet that has a very lush organic midbass tone fro MArshall style amps.. I want to put together a 4x12 Weber Silver bell cabinet, but thats a ways off( although I have the cabinet and one speaker already!) I really believe in the power of the speaker cabinet as much as the amplifier!
The Marshall '77JMP wants to see the G1265 or the G12h30 /V30 Cabinet. MY Blackface Bassman loves the old Marshall G12m-25 blackback Celestion Cabinet and the reisue JCM G12-20/25 loaded cabinet.
I still have the correct cabinet for my JMP , which is the Cjheckerboard G12h30, but its only got two original G12h30's and they are very hard to come by and very expensive, so hopefully one day I can complete it, and it can complete me! lol.
All those cabinets I have are going to be paired up with amps I already have , once they are recapped, which are custom made Tweed style JTM45's or Plexi style amps like Traynor Bassmaster.

[Kap'n]

Boss, but I don't think he'll get much work , unless of course Red Rider makes a comeback and hires him.

Uh, Red Ryder is a third rate knockoff of Pink Floyd, Jerry.

Wasn't an SLO the amp that Clapton used to make all his nasty 80's records with Phil Collins?

[Mesotech]

The issue with the Boogie isn't volume, cause they do get loud. It's that the harmonics generated with the high gain are just as loud as the fundamental frequency. This does a few things sonically. First, the amp expends a lot of energy reproducing frequencies that are ultimately undesirable. Secondly, the increased volume of the harmonics masks the fundamental. This is what makes the distortion sound "smooth" but kills the single note performance.

When you think about it, in a PA system, you don't want all of your sound coming from one set of speakers, you want to employ crossovers to direct the spectrum into different speakers designed to be effecient for those specific ranges. You get less wasted energy by reducing the speaker's attempt to reproduce what it's not meant to reproduce. The Boogie does exactly the opposite. It trys to push everything into one set of speakers and things get mushy, energy is wasted, and the increased saturation increases the overall noise floor, leaving the fundamental frequency (note you're trying to push out in a solo) lost somewhere in the mayhem.

The Marshalls sound unconvincing in a stand alone environment, because they're EQ'd to not waste the energy. But in a band context, they sit right where you would expect the guitar to be, and get heard with no problem.

The Boogie Dual Rec is still a fine amp, undeniably so when it's the only guitar amp in a band. They were the "cat's meow" of the 90's music where guitar solo's were seemingly non-existant. More often than not, when you heard a band in the 90's with a solo in their song, it was a Marshall playing the leads and a Boogie on the ryhthm. There are always exceptions, so someone will come along and demonstrate it's not always the case.

[jerryjg]

Uh, Red Ryder is a third rate knockoff of Pink Floyd, Jerry.

Wasn't an SLO the amp that Clapton used to make all his nasty 80's records with Phil Collins?

Floyd used a Pedal Steel? Really?Wow.
I dont think Soldano SLO's were around in the 80's, but Soldano was probably actively modding amps by that time, so its very possible.
As far as knock offs, Pink Floyd ( also Queen) is a knock off to a degree of the original greatest band Jefferson Starship, 'Paul Kantner' specifically, who were the true Pioneers of everything that came to be built upon at a later date. Listen to 'Blows Against the Empire' sometime and you'll here almost exact knockoff by Queen( 'Another one bites the Dust" "borrowed" from an original Jack Cassidy bassline and partial lyrics directly stolen) and Pink Floyd who much later( and of course in a more sophisticated fashion) made liberal almost freakishly note for note kind of use of the "Blows" album with their' Wish you were Here' album during the machine sequence sound part of their album.

[jerryjg]

The Boogie Dual Rec is still a fine amp, undeniably so when it's the only guitar amp in a band. They were the "cat's meow" of the 90's music where guitar solo's were seemingly non-existant. More often than not, when you heard a band in the 90's with a solo in their song, it was a Marshall playing the leads and a Boogie on the ryhthm. There are always exceptions, so someone will come along and demonstrate it's not always the case.

Actually,now that you mention it, isn't that exactly pretty much what Metallica did?

[Kap'n]

Floyd used a Pedal Steel? Really?Wow.

http://www.youtube.com/watch?v=fx6iIp-PvnY

I dont think Soldano SLO's were around in the 80's

You can see one at ~6:00, among other places

http://www.youtube.com/watch?v=66uVjlSxfSg

As far as knock offs, Pink Floyd ( also Queen) is a knock off to a degree of the original greatest band Jefferson Starship

Uh, I don't even know how to respond to this. Sure Garcia played atmospheric steel on that album, but to say Floyd is a ripoff of a Paul Kantner solo project is, uh, bewildering at best.

Saying Queen ripped off Jack Cassady is a pretty harsh judgment of one of the best bass players of the 60's.

[jerryjg]

http://www.youtube.com/watch?v=fx6iIp-PvnY




You can see one at ~6:00, among other places

http://www.youtube.com/watch?v=66uVjlSxfSg





Uh, I don't even know how to respond to this. Sure Garcia played atmospheric steel on that album, but to say Floyd is a ripoff of a Paul Kantner solo project is, uh, bewildering at best.

Saying Queen ripped off Jack Cassady is a pretty harsh judgment of one of the best bass players of the 60's.

First of all, whos that old bald guy playing the steel guitar, and where is Roger Walker?
Second, Shiela E! Awesome! .
Thirdly, I didn't know Clapton had George Benson playing bass, or is it Chick Corea?
No, thats not an SLO< I mean, I don;t know for sure, but i bet its an early Marshall Hot Rod style modified Marshall Soldano I guess.
Anyway, I'd have to show you what I mean about Queens' Another one Bites the Dust", and where in the album its clearly unmistakably lifted from the Cassady Bass line and even lyrics.
The Whole segment of "The Machine" of Floyds Wish you Were here LP, as well as some stuff off "Dark Side"is pretty basic transcription of stuff lifted off the "Blows against the Empire" Kantner album.
Point is, its not some solo project, and I know you may not have meant that, ...its one of the greatest albums of all time and the archetype of much if not all fundamental rock music that came after.
I've got a disclaimer here. I know Floyd was into real heavy sh*t very early on, I've got a few of their old works ( Atom Heart Mother, Umna Gumma,Obscured by Clouds.. others) so I don't know how much of that freaky sound was intially invented by Floyd vs. some selected weird stuff on Kantners album that sounds so similar in structure to the Floyd stuff. I'd probably have to point it out to you. Its very obscure.

[Kap'n]

First of all, whos that old bald guy playing the steel guitar, and where is Roger Walker?
Second, Shiela E! Awesome! .
Thirdly, I didn't know Clapton had George Benson playing bass, or is it Chick Corea?
No, thats not an SLO< I mean, I don;t know for sure, but i bet its an early Marshall Hot Rod style modified Marshall Soldano I guess.
Anyway, I'd have to show you what I mean about Queens' Another one Bites the Dust", and where in the album its clearly unmistakably lifted from the Cassady Bass line and even lyrics.
The Whole segment of "The Machine" of Floyds Wish you Were here LP, as well as some stuff off "Dark Side"is pretty basic transcription of stuff lifted off the "Blows against the Empire" Kantner album.
Point is, its not some solo project, and I know you may not have meant that, ...its one of the greatest albums of all time and the archetype of much if not all fundamental rock music that came after.
I've got a disclaimer here. I know Floyd was into real heavy sh*t very early on, I've got a few of their old works ( Atom Heart Mother, Umna Gumma,Obscured by Clouds.. others) so I don't know how much of that freaky sound was intially invented by Floyd vs. some selected weird stuff on Kantners album that sounds so similar in structure to the Floyd stuff. I'd probably have to point it out to you. Its very obscure.

Roger Waters

Nathan East

Eric Clapton and Mark Knopfler purchased the SLO when first released in 1987.

http://en.wikipedia.org/wiki/Soldano

Blows Against the Empire, a concept album by Paul Kantner

http://en.wikipedia.org/wiki/Blows_Against_the_Empire

You may not believe it Jerry, but I'm familiar with the bestselling music created by The Classic Rock Superheroes.

[yankeerob]

I think Jerry's issue with tweeds is the lack of headroom inherent in their design (which some of us love for that very reason) more than any possible knowledge about amplifiers - as far I can make out the problem with running tweeds in the modern world is the ever dwindling supply of decent glass... EC and Keef can afford and are more than happy to pay for decent bottles in their amps - whatever they might be. I have posted some decent solutions to this problem but can't be arsed to find them and point him in their direction as I really don't think he is that bothered anway. If he's happy with his 77 JMP why the hell post it here? The same reason he posts anything - to start an argument.

Further... this is not meant to be a flame and an opportunity for the moderators to send me to 'the naughty step' but the plain fact of the matter is that in all the time I have participated in this forum I've yet to read anything that could vaguely be construed as contributary in his posts... just random agumentative whimsy interlaced with occasional admissions of having had too much to drink and an obvious lack of anything better to do...

I remember being shot down in flames for loving my HRDv when I first joined - it smarted a bit but guess what - the damned thing blew up three weeks later - since then I learned a hell of a lot from both the guys here and the places they pointed me at to learn more...

What I can't for the life of me figure out is why anyone responds to this guy - his tagline says it all for me - why in hell's name would any of you want to throw any more wood on this guy's fire? It beat's me

[elicross]

Heh. Roger Walker.

Is it possible Jerry's spent too much time tonight with Roger Walker's cousin Johnny?

[Kap'n]

I think Jerry's issue with tweeds is the lack of headroom inherent in their design

I dunno Rob. It's not like a 2203 Marshall has a whole lot of headroom either. In the power amp, sure, but the preamp compresses in an ugly way. It does sound buzzy like 80's records, though, if that's what floats your boat.

I'm just reminded of the quote by the unknown great who said

It is better to keep your mouth closed and be thought a fool, than to open it and remove all doubt.

It was probably the guy at the fortune cookie factory.

[Kap'n]

Unfortunately both he and I spelled Jack Casady's name wrong.

I remember when I was a kid, and this guy died, and I was bummed about Hot Tuna for a day or two.