Eddie Van Halen on VH’s classic first five albums? Plexi. Jimi Hendrix in full flow on Band of Gypsys? Plexi. Listen to the Marshall Bluesbreaker 1962 for UAD-2 and UA interfaces and hear for yourself the range of sultry, rich tube tones. Ultimately, the Bluesbreaker thrives in any situation a rounder, more burnished brand of low-to-medium gain Marshall fury is required. By jumping the the inputs with a patch cable, you’re able mix the darker and brighter channels together for all kinds of tonal variations. The Bluesbreaker features two channels: Normal (for a darker tone) and High Treble (for a much brighter sound), with a total of four inputs. This gives the Bluesbreaker its organic, smooth output-stage compression, and lovely “bloom” on sustained notes. The low-wattage Celestion alnico speakers also add their own compression and breakup characteristics, especially when the amp is cranked.Īlso noteworthy is the Bluesbreaker’s GZ34 tube rectifier, rather than the solid-state rectifier found on Marshalls from 1966 on. For starters, its open-backed cabinet yields a less directional sound without the low-end knock of iconic 4x12 setups, and the dual KT66 power tubes yield a slightly more bell-like top end, and a clearer, less rabid midrange bark as later E元4-equipped Marshalls. The alarming aggressiveness and snarling sustain Clapton conjured from his Les Paul Standard/Marshall setup was startling, and became ground zero for god-like rock guitar tone.Įssentially an early JTM 45 head - created by Ken Bran and Dudley Craven - with an added tremolo circuit, the “Bluesbreaker” as it became known, sports all of the Marshall calling cards singing sustain, punchy and present lower mids, and biting, yet smooth treble roll off.īut the Bluesbreaker is a different beast than more modern Marshall designs. Introduced in 1964, the Model 1962 combo was forever immortalized on the strength of one album - John Mayall’s Blues Breakers Featuring Eric Clapton.
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