Which to Build for JMH - The Dilemma

[Lefty Lou]

The "tube eater!" or Marshall Muncher! lol

[yladrd61]

My 1970 Shared Cathode Super Lead B+ is around 512 VDC, 508 on the screens. It sounds very much like Jimi at Woodstock.

[mightymike]

The "tube eater!" or Marshall Muncher! lol

I turned on my Jtm 45/100 in for just a sec without a load and blew my Valve Art kt66.. There is no forgiveness at 525 volts

[Lefty Lou]

The "tube eater!" or Marshall Muncher! lol

I turned on my Jtm 45/100 in for just a sec without a load and blew my Valve Art kt66.. There is no forgiveness at 525 volts

Can you imagine what you'd have been doing if they were MO Valve KT66s?

[youtube]http://www.youtube.com/watch?v=QnDxPG3KrtA[/youtube]

[spaceace76]

Just to clear up the speaker question, there were no higher powered speakers at this time. He either used 25 or 30 watt speakers. Knowing production at the time, even if you found someone who opened a cab to check what speakers were there, the labels were probably wrong... Meaning your guess is as good as anyone else's. Best to try many types and use what you like.

And just to put my $0.02 in for fuzz:
After a while Jimi did try out the silicon version of the Fuzz Face circuit, but he also used a Roger Mayer made fuzz which was based off of a studio console input driver circuit. This circuit was also the basis for the original Octavia, and was used heavily as it's own fuzz throughout Jimi's later years. It is commonly referred to as the "Axis Fuzz". Remnants of it still exist in two of Roger's production units. You can buy a kit from BYOC that has a switch to disable the octave effect so you have two pedals in one.

User OhMyGodTheyKilledKenny put his own clone together with fantastic results. There are many times where listening closely to live shows you can clearly hear it's not a germanium fuzz, but it doesn't sound characteristically harsh the way a silicon FF does either. It doesn't always seem to be a function of Eddie Kramer's production techniques, which by the way I personally attribute to the special tone on BOG. It seems to respond to Jimi in a different way than the normal FF feedback circuit, it has a slightly less aggressive feel to it. So if you hear silicon but it doesn't sound harsh and cutting the way a silicon FF will, chances are it's the Axis you're listening to

[Lefty Lou]

Just to clear up the speaker question, there were no higher powered speakers at this time.

Check again.

http://books.google.com/books?id=fpUuXZ ... in&f=false" onclick="window.open(this.href);return false;

He either used 25 or 30 watt speakers.

Those weren't the only speakers he used.

Knowing production at the time, even if you found someone who opened a cab to check what speakers were there, the labels were probably wrong... Meaning your guess is as good as anyone else's. Best to try many types and use what you like.

And just to put my $0.02 in for fuzz:
After a while Jimi did try out the silicon version of the Fuzz Face circuit, but he also used a Roger Mayer made fuzz which was based off of a studio console input driver circuit. This circuit was also the basis for the original Octavia, and was used heavily as it's own fuzz throughout Jimi's later years. It is commonly referred to as the "Axis Fuzz". Remnants of it still exist in two of Roger's production units. You can buy a kit from BYOC that has a switch to disable the octave effect so you have two pedals in one.

User OhMyGodTheyKilledKenny put his own clone together with fantastic results. There are many times where listening closely to live shows you can clearly hear it's not a germanium fuzz, but it doesn't sound characteristically harsh the way a silicon FF does either. It doesn't always seem to be a function of Eddie Kramer's production techniques, which by the way I personally attribute to the special tone on BOG. It seems to respond to Jimi in a different way than the normal FF feedback circuit, it has a slightly less aggressive feel to it. So if you hear silicon but it doesn't sound harsh and cutting the way a silicon FF will, chances are it's the Axis you're listening to[/quote]

[Fuzznut]

Hiya there

Marshall Super Bass 100w amps clips:

http://www.mikseri.net/artists/indigo-r ... war/94435/

[Fuzznut]

Too long for a WahWah pedal,
just realised few years I've actually used one.

This any good:?
http://wah-wah.co.uk/

we had a vintage Italian Voxthat was sweet ^^;

[Lefty Lou]

Hiya there

Marshall Super Bass 100w amps clips:

http://www.mikseri.net/artists/indigo-r ... war/94435/

Good audio clip, which just goes to affirm what I already believed. Other than the Marshall JTM45/100 heads that Hendrix was known to utilize, he would most likely have preferred Super Bass amps (or Super Leads that would be modified to shared cathode) because they would be: 1) more pedal friendly 2) a much smoother sounding amp than the Super Lead which would go a long way in smoothing the harshness of a silicon based fuzz face pedal(s).

Listen to Oceres on You Tube, he utilizes a Super Bass amp also for Hendrix tunes. There's also numerous references to other guitar players who have preferred Super Bass to Super Lead amps such as Gary Moore, and Duane Allman for example.

[Fuzznut]

Old clip but hey I am Oceres by the way.

Could not afford Super Leads at the time and those Super Basses were great I miss them.

I like the JTM tone stack and shared cathode. Would like to try a SL someday though, especially for Woodstock type tones.

The Dilemma for shure

[Lefty Lou]

Old clip but hey I am Oceres by the way.

Could not afford Super Leads at the time and those Super Basses were great I miss them.

I like the JTM tone stack and shared cathode. Would like to try a SL someday though, especially for Woodstock type tones.

The Dilemma for shure

Well then, it's no darn wonder! LOL I'd say your sound (then) went a long way towards proving the "Hendrix" connection to the Super Bass or a modified early Super Lead amp because the BOG sound is there in every respect.

I have a JTM45/50 that was built by Jack McCallister @ Mouradian Amps before he decided to go "off the range" so to speak. He used a Heyboer JTM45 PT and a MM JTM50/JMP50 OT with the shared cathode input. I originally had Groove Tube Saratov KT66s in the amp (and they did sound great) although later I installed some NOS Groove Tube EL34 Siemens duet with Groove Tube 12AX7 Mullard reissues and a NOS Mullard GZ34 for the rectifier tube. All parts are original parts a used by Marshall per that era. Absolutely lovin' it.

BTW, what was the output tube complement that you were using with your Super Bass head? EL34 or 6550? BTW, I'm impressed with the construction and parts used by D.A.M. in the link you provided. No doubt the wah fuzz sounds good, it appears very professionally made.

[Lefty Lou]

Fuzznut, I had to mention what originally turned me on to your video of Hendrix's "Message To Love" was your reference Don Mare pickups in your Tokai strat. I have Don's Zep Live Tele pup set in a Jimmy Page repro tele.

[stef]

1959 12xxx
Woodstock: Hi Bright input (low bright is fine too)
BOG (or JTM-like tones) - jump the channels and blend to taste

[Tone Slinger]

I agree. Most any 4 input super lead is gonna be ballpark with a good strat. BOG can be had very closely with a standard 1959,but a shared cathode SB or jtm 45/100 have more of that darker,bottom heavy 'wobble' of the Baggy's/BOG's performances, no channel jumping required.

From the spring '69 to his death though,I hear stock super leads of that era ('69/'70),with the 6550 tube upgrade(excepting BOG's & 'maybe' Woodstock)). I was more a fan of his tone with his fuzz face OFF at this point(blue sillicon FFaces ). '69 was a peak tone year for me regarding Hendrix. I think he used that Red Fuzz Face with the strat knobs almost exclusivly in '69. I'm of the opinion that this particular unit housed a Roger Mayer circuit (Axis Fuzz ?).

[Lefty Lou]

The OP stated that he is after the (BOG/Royal Albert Hall) era Marshall sound, and that's what this thread has evolved around.