EARLY SHADS AMPS IN DISCOGRAPHY ORDER??

[Gary Allen]

Hi Justin...Thanks for the reply....Gary

[Amanda]

Hi,

Regarding the tape vs disc question, as long as the head spacings and tape speed
on a tape machine and drum machine give the same delays per head as each other,
then the only factor that could affect the sound is the difference in magnetic properties
between the tape and drum coating.

Thinking about adjusting echo settings per number on tape / drum machines, it should be
theoretically possible to develop an add on unit using a micro computer to set the applicable
settings, i.e. head switching, levels and tape speed, thus giving Q20 type patch changes to
a tape / drum echo!

Sorry to have deviated from amps!

Amanda

[Mark Burton]

so when you modding my ESE with that then ???

[Amanda]

A look at the circuit diagrams would be interesting!

[Stratpicker]

So am I, Justin. This is how discussions and debates should go - exchange of views and info without resorting to hand grenades!!
I suspect that the "model" AC30 in my Ampworks is more AC30 Top Boost than AC30/4, so that is why I get too brittle a sound.
I have to say that the sound of your AC15 at Exeter was just marvellous and I've been playing with my Modeller ever since to try and get that tone without much success!!
cheers
ian

Ian try using the AC15 model with a twin speaker cab model that should mimic an AC30/4 but also need to understand how to use the tone controls on these modellers as often they have some quirks ... HTH

Hi Roger
That sounds pretty darned good on the Korg Ampworks!!
Must try that on the VT60 - if I ever get it out again!!
Tone controls on that set up seem a bit odd. Go for a Bass cut and the volume disappears! I've cureently got Treble 11oclock, Middle-MAX, Bass 10 oclock. To get a more modern sounding Hank I just turn up the Bass. Any better settings anyone??
Yes - Ecca, my happily curmudgeonly Hankie , tone and character changes as the vol is cranked. An AC30 gets a bit 'raucous' on anything over 2/3rds. So, I reckon to get the sweet "clean" sound in their recording the amps can't have been running at anything like high output. Any thought on this?
cheers
Stratpicker

[roger bayliss]

Definitely Ian as the volume on the amp and the guitar all come into play from one tune to the next. Cannot imagine that the amps would have been driven that hard on many early shads recordings as the microphones would have to be considered ! Turn up the volume and the amps drive harder and start distorting especially the ef86 and the sound fattens up too.

[roger bayliss]

Forgot to say Ian the modelled amps on Ampworks Tonelab Et Al are usually based on one of the amps channels not all of them - your manual explains this so it's never gonna be as good as the real thing.

[ecca]

I also think that the Meazzi would act as a preamp and could have overloaded the front end of the amps.
Is it Spring is nearly here that has the very distorted echoes ?
Distortion, at that time was anathema.......clarity was everything.
It wasn't until the Beatles starting deliberately distorting that it became accepted.

[fenderplucker]

Hi,

I've been reading Jim Elyea's Vox Amplifiers book again and put his information together with whatever else I could find and came up with the following. Note that some of this is at odds with The Vox Story which claims that Apache was recorded with an AC30/4. However, the Elyea book contains a publicity photo from JMI for the release of Apache which clearly shows an AC15! Surely they would have shown their latest amp and so it seems to me that an AC15 was indeed used for that tune. I have also indicated some other tunes that were recorded at the times of the use of the different amplifiers, though this doesn't guarantee that they were indeed used for the recordings for reasons mentioned in the earlier posts and I am sure that Justin would not agree with Wonderful Land being recorded with an AC30/6 top boost! Do we have any more evidence to clear up this vexing issue?
Regards,
Paul.

Prior to July 1959: Selmer

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July/Oct 1959: Jet purchased cream/brown AC15 (bolt-in chassis, 1st version circuit with 12AX7 input, Goodmans Audiom 60)

Oct 1959: Bruce purchased AC15 (same as above)

Nov 1959: Hank purchased AC15 (same as above)

Seen at May 9th Birmingham Town Hall, May 21st 1960 Cliff Richard Show. All used up to March 1960 Cliff Richard Show.

Living Doll (July 1959), Voice in the Wilderness (Jan 1960), Please Don’t Tease? (June 1960)
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June 1960: exchanged for two-tone AC15 (2nd version circuit with EF86 input, Goodmans Audiom 60)

Seen at June 1st London Palladium, July 30th 1960 Cliff Richard Show (simulated recording), Oct 16th 1960 Saturday Night at the London Palladium.

Apache (17 June 1960), FBI (13 Sept 1960), Man of Mystery, The Stranger (7 Oct 1960), Gonzales?? (26/10/60)

Please Don’t Tease (June 1960), Nine Times out of Ten (Sept 1960)
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After Oct 16th 1960, Swapped for 1st AC30/4 Twin (Fawn, TV front, Celestion Blue)

Seen at Dec 31st 1960 Val Palmer Spectacular, Dec 1960 Christmas Pudding Show, Feb 23rd 1961 Cliff Richard Show, March 2nd 1961 Cliff Richard Show, March 14th 1961 Cliff Richard Show.

Kon Tiki (27 Jan 1961), The Frightened City (18 Feb 1961), Blue Star (18 Feb 1961)

I Love You (Dec 1960), Theme for a Dream (Feb 1961)
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Jan 16th 1961, South African Tour: Gibson amps on loan.

Live recording of Shazam, Sleepwalk, FBI and Guitar Boogie

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March 1961 2nd AC30/6 (Split front, smooth black covering, no gold piping, leather handles, Top Boost add-on for Hank).

March 5th NME Pollwinners Concert (Wembly), March 1962 Paris Olympia. But Jet used a TV front amp on April 27th 1961 Crackerjack

Sleepwalk (20 April 1961), Wonderful Land (12 May 1961), The Savage, Peace Pipe (25 May 1961)

The Young Ones ( Jan 1962), Do You Want to Dance? ( May 1962)
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May 1962 3rd AC30/6 (smooth black with gold piping, leather handles, add-on Top Boost)

Used through to March 1963.

Atlantis (13 Dec 1962), Foot Tapper (8 Jan 1963)

It’ll Be Me ( Aug 1962), Summer Holiday ( Feb 1963)
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April 1963 4th AC30/6 (smooth black, piping, moulded SBU handles, add-in Top Boost)

Seen at April 21st NME Pollwinners Concert.

Shindig (9 Aug 1963), Theme for Young Lovers (1 Nov 1963)

Start of Burns era: Rise and Fall of Flingel Bunt (25 Feb 1964)

Lucky Lips (May 1963), I’m the Lonely One (Jan 1964)
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April 1964 5th AC30/6 (black basketweave, top boost integral to chassis

Seen in May 1964 at Paris, 1964 tour of Germany.

On the Beach (June 1964)
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Summer 1964 6th AC30/6 (Charcoal, plastic vents)

The Miracle ??(31 July 1964)

I Could Easily Fall in Love With You ?? ( Nov 1964)
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Late 1964 7th AC30/6 (black basketweave, grey control panel, grey Celestion)

Probably used up to breakup in 1968

In The Country ( Dec 1966)
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Two sets of amplifiers kept after 1962 (one for touring, one reserve) and also some overlap with different versions. Also borrowed amps from dealers for some overseas performances.

[AlanMcKillop]

Hi Paul,
A very similar timeline to what I posted on Charlie's site last February.