Showing 13–24 of 24 results
’69 MARSH PACK – 36 Profiles
When I think of my favorite overdrive tones, I always go to early 4-input Marshalls. They can sound smooth or angry depending on how you play them. I've gotten to play a couple of great old Plexis over the years and I own a '72 that I've profiled frequently. I got the opportunity thanks to good friends to profile this '69 beauty. It has been passed between friends from Nashville to L.A. and back. It has that crispy top end that I hear on early Van Halen records.
I wanted to capture some variety, and even though I usually use my fave 3P 212 cab, I profiled this with 4 different cabs: 3P 212 CL80, Marshall 412 w/25w Greenbacks, Marshall 412 w/30w Celestions, and my Guytron closed back 212 w/Vintage 30. I even got a few good clean sounds on top of the great overdrive tones. There are even a couple where I just rolled the knobs up and dialed the Variac down to brown it out a little. Hope you like 'em.
TWEEDY PACK – 31 Profiles
J KELLEY PACK – 39 Profiles
One of the early boutique amp builders, Jim Kelley created some amazing amps used by Vince Gill, Bonnie Raitt, Lee Ritenour, and others. There were only about 600 made so they're still pretty rare and though they don't fetch Dumble prices yet, they are amazing amps and built to last forever. I profiled this tan 210 combo.
With all the pull knobs and two channels and proprietary power attenuator, there are a lot of possible settings and I couldn't possibly get to them all, but I tried to get some great usable tones from clean to crunch to saturated solo sounds.
D WOOD PACK – 32 Profiles
As most of you know I play in a country band, and although I can muddle my way through a couple of different styles, playing metal is not something I'm intimately familiar with. That's why I did a little consulting/custom profiling with my buddy Paul. He sent me this beautiful oversized-lunchbox beast and I have to admit I had never heard of this amp. He sent me some suggested settings and beta-tested my results and I profiled some more.
I profiled with a couple of different speakers and tried different mics and combinations. I dialed in and refined the profiles using a Les Paul and a Knaggs Kenai. The profiles have a lot more gain and more edge than I'm used to and they aren't something I can use on my gig, but they are kinda addicting to play. Also included are 5 DI profiles. Check them out.
G TRON PACK – 39 Profiles
Although not widely known, these amps are loved by the few that stumble upon them, including Jon Herrington, from Steely Dan's band. They are truly unique in that they use two complete sets of power tubes (el84 & el34) in series. This gives the amp it's unique tone and lots of options for tone tailoring.
The two-channel amp has basic controls for each channel (gain, volume, and tone) and then the 100w el34 power section has an entire eq section, not just a master volume and presence knob. I highly recommend you check them out in person if you can. Graydon at Guytron was kind enough to get mine up and running after the 2010 Nashville flood to which it fell victim. I think it sounds better than ever now. I tried to get a variety of tones from shimmering cleans to over-saturated lead tones. Check them out.
800 PACK – 46 Profiles
M Britt 800 Pack is for the long-haired tones of the 80's when hair metal bands roamed the Earth. The earlier British metal-front amps turned into master volume monsters with preamp gain for days. These 800-series amps were some of the most recorded tones of the era and I got my hands on a few different specimens, including a 100w 2203 clone, wicker front 800, as well as an original 50w chrome faced Jubilee and his 100w reissue cousin. If you have an appetite for some kind of audio destruction or just want to rock your blues away, this may be the pack for you.
800 Pack requires 3.0 firmware or newer and while most amps were profiled using my trusty 3rd Power cabinet, the new separation algorithms make it easier to get more great sounds by switching to your favorite cabs as well. The Clips below were recording using ProTools 10 with a Propellerhead Balance interface with no plug-ins or eq or processing using a Gibson '58 Les Paul RI with vintage output humbuckers.
COLONIAL PACK – 35 Profiles
The Heritage Amp company sprang from the Heritage Guitar Company and was based in Brentwood, TN, just around the corner from where I live. Paul Cochrane, the designer and builder of the Tim and Timmy pedals (one of my faves if you haven't already noticed) was the amp designer and builder at Heritage amps and came up with some incredible-sounding amps. In an effort to put all of his favorite Marshall-type flavors into one amp, he came up with the Colonial.
With switches for changing the preamp section, tone stack, rectifier section, and a knob to change the negative feedback, he could accurately capture the sounds of a '59 Bassman, JTM45, Super Bass, and Plexi. I really don't know what took me so long to get one of these amps other than they're not on every corner. For the money, they are hands-down the best deal on the planet if you want amazing tone.
I've never been a huge fan of a Marshall clean sound but with the US/UK switches I was able to find amazing clean sounds that bridge the gap between American and British amps. Once you get it cranking and setting the switches to the Plexi mode it gets an amazing, creamy, bouncy, smooth overdrive. But this thing is LOUD. It is the loudest 50 watts I've ever heard and it's nice to be able to "tame" it by getting it into my Kemper. I included profiles using my trusty Timmy, Archer, and Red (Col. Angus) homemade od pedal as well as a few different cabs for some tonal variety. This amp is fast becoming one of my all-time favorites.
Colonial Pack requires 3.3 firmware and while most profiles were made using my trusty 3rd Power cabinet, the new separation algorithms make it easier to get more great sounds by switching to your favorite cabs as well. These clips were recording into ProTools 10 using a Propellerhead Balance interface with no plug-ins or processing using my red Tom Anderson Cobra with 3 P90s. Check out the soundclips below and as usual please excuse the sloppy playing...
HEAVY PACK – 50 Profiles
M Britt Heavy Pack is all about gain. From a Duo Recto to Eddie's 100w 3-channel to Merlin to Victor, these profiles try to cover your high gain needs, from hard rock to metal to chugga chugga goodness. These 36 studio profiles and 14 d.i. profiles were mostly voiced with humbuckers and should be tweakable enough to get where you need to go tonally. Some with done with my trusty 3P cab and some were done with traditional 412 cabs. I enlisted some professional help dialing tones on some of these since it's not my usual style of music, but who knows? The more I play them the more I feel empowered! Ha.
Heavy Pack requires 3.0 firmware or newer and while most amps were profiled using my trusty 3rd Power cabinet, the new separation algorithms make it easier to get more great sounds by switching to your favorite cabs as well.
These clips were recorded into ProTools 10 using a Propellerhead Balance interface and a Tom Anderson Cobra with a Duncan JB bridge pickup and 59 neck pickup.
D100 PACK – 29 Profiles
The Diaz CD100 is one of those amps you don't see every day. The CD100 is a 100w beast based (a little) on the high powered tweed twins but with added reverb and some pull knob options for getting unique higher gain tones. It stays bluesy no matter where it is (since Cesar Diaz was SRV's guitar tech), but can cover a great range of tones from country cleans to searing lead tones. You can see why this is one of Warren Haynes' go-to amps. I had a CD100 for many years on the road and eventually parted ways but I found another recently to bring those tones back to my KPA. These profiles cover many of the amp settings along with some gain pedals in front.
Diaz Pack requires 3.0 firmware and while most amps were profiled using my trusty 3rd Power cabinet, the new separation algorithms make it easier to get more great sounds by switching to your favorite cabs as well. These clips were recording into ProTools 10 using a Propellerhead Balance interface with no plug-ins or processing using my red Tom Anderson Cobra with 3 P90s (pictured above). Check out the soundclips below and as usual please excuse the sloppy playing...
RACK PACK – 58 Profiles
The Rack Pack consists of 58 Studio Profiles of a couple of classic 80's rack preamps, the ADA MP1 and the Mars JMP-1. These tube-based preamps bridged the gap between classic tube amps and early digital processors. Many classic recordings were done with these units and some artists still use these on tour.
The JMP-1 has a classic midrange growl, living up to its gold metal faceplate. The ADA has a creamier saturation and much more gain on tap. A buddy turned me on to a .pdf file that has suggested settings for a wide variety of tones using the MP1, so I made good use of those settings in these profiles. Many of the profiles are named using the initials of the guitarist the suggested settings was trying to mimic. I think some of them got pretty close. I also did a few of my own favorite settings as well.
The Rack Pack was creating using the latest 4.x firmware. Please forgive the playing in the audio samples as many of these weren't exactly in my wheelhouse. Thanks!
65 ACE30 PACK – 34 Profiles
It is a classic amp. The diamond grill cloth, the copper metal panel, the blue alnico speakers, the unique tone stack, lack of negative feedback, Class A el84 power section... A design that has been copied and recreated a thousand times but it's hard to beat the original. With its quick pick attack and clarity when playing softly to its creamy, saturated power tube overdrive when cranked, it has become a staple guitar tone for a long time.
I was lucky enough to get my hands on this beauty from 1965 and while mere profiles could never fully recreate the magic in this amp, I got 34 studio profiles of it that should please AC afficionados and help guitarists get close to capturing the original vintage tones created by the original beast.
I was most struck and impressed by the touch sensitivity. The clips below show how picking dynamics can really dictate how much the amp will overdrive. It makes it feel like a living, breathing machine instead of a computer-simulated model, however strange and ironic that is.
The 65 ACE30 Pack was creating using the latest 5.0 firmware. Most of the profiles incorporate the legacy delay but there are a couple that utilize the new expanded 5.0 delays. Please forgive the playing in the audio samples as many of these weren't exactly in my wheelhouse. Thanks!
5150 Pack – 36 Studio/35 Merged Profiles
The 5150 came out in 1992 and it marked a departure for Eddie from the Marshalls he had used for years. It was unlike any amp Peavey had made and had cascading gain stages that gave it more gain than any other amp on the market at the time. Its cold biasing kept it from blowing itself up from all the power and saturation on tap. Other high gain amps have come and gone over the years but there's still something really cool about these original models.
This particular specimen has seen a lot of work and probably melted a few faces in its lifetime. It just goes to show how bulletproof this little beasts can be. I profiled it my usual 3rd Power 212 cab as well as a matching, old 5150 412 with its original Sheffield speakers. The two cabs give a nice bit of variety. Not known for their clean tones, the 5150 is predominantly a rock beast. The Crunch channel has more than enough gain for rock rhythms while the Lead channel goes more into the super-saturated metal world. Even country(ish) guys like me can find some workable tones in it and it has a nice clarity that I've even used on some recordings already.
The 5150 Pack was creating using the latest 5.x firmware. Please forgive the playing in the audio samples as many of these weren't exactly in my wheelhouse. Thanks!