Monday, August 16, 2004
THE MARSHALL PLAN
I always wanted a Marshall stack. So many of my favorite guitar players used them, and I felt incomplete without one. last year I was fortunate enough to be able to purchase a Marshall head. A friend sold me his Slash model, a limited edition combo 50/100 watt. It's everything I ever dreamed of and more. I can get the classic seventies Marshall 50 watt sound a la Michael Schenker and the classic Angus Young 100 watt feel as well. My argument to myself was that it would be a hit with clients, and I was right. It makes guitar players drool upon sight. This weekend we had a session, and Bob Riverdinera of Formula One (www.formulaonemusic.com) asked if we could get him that "Iron Maiden" tone. I was pleased as punch to be able to say; "Why, yes Bob, we most certainly can." And we did. I don't much care for the recent Marshalls. You need to push them all the way to get that tone, and that's just too loud for our little studio. Our Slash model enables you to get that 'breaking up' tone at a lesser volume, and that's clutch. What's more, is that it's very user friendly in that it doesn't have eight thousand knobs to get lost in. Our studio is also outfitted with a number of Fender amps, among others, which give our clients a full range of options. My Marshall, however, makes the package complete, and me along with it.
I always wanted a Marshall stack. So many of my favorite guitar players used them, and I felt incomplete without one. last year I was fortunate enough to be able to purchase a Marshall head. A friend sold me his Slash model, a limited edition combo 50/100 watt. It's everything I ever dreamed of and more. I can get the classic seventies Marshall 50 watt sound a la Michael Schenker and the classic Angus Young 100 watt feel as well. My argument to myself was that it would be a hit with clients, and I was right. It makes guitar players drool upon sight. This weekend we had a session, and Bob Riverdinera of Formula One (www.formulaonemusic.com) asked if we could get him that "Iron Maiden" tone. I was pleased as punch to be able to say; "Why, yes Bob, we most certainly can." And we did. I don't much care for the recent Marshalls. You need to push them all the way to get that tone, and that's just too loud for our little studio. Our Slash model enables you to get that 'breaking up' tone at a lesser volume, and that's clutch. What's more, is that it's very user friendly in that it doesn't have eight thousand knobs to get lost in. Our studio is also outfitted with a number of Fender amps, among others, which give our clients a full range of options. My Marshall, however, makes the package complete, and me along with it.
Comments:
All you need is the second cabinet of four twelves so you're forced to actually raise your arm and hand above shoulder height to adjust the knobs. That was always the best reason to get the full stack set up. That, and being able to hide your on stage drug use behind your amp stack...
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