The 101B is just one of the best " ultra hot roded Marshall type " amp head there is . I got mine through a friend of Reinhold Bogner in 1996 and write " one of " and not " the best " as, of course, I didn't try every amp of that kind available on the planet. But it's just fantastic ! ( I specify the year as I don't know if the model is exactly the same today.) You can read about it here : => http://www.vigier.fr/forum/message.php?id_question=664&page=2 [ I try a translation: ] If you know Steve Vai's " Alien Love Secrets " album, that's how the 101B's sounds. S.V. also used some other machines to track it, but describing the Bogner's sound that way is the best possible r?sum?, IMHO, with " Tender Surrender " a great demonstration of all 3 channels through the build up of the piece ( " 1 "' / "yellow" / clean, " 2 " / "blue" / creamy , " 3 " / "red" / distorsion ). Also, you can listen to another of the first models on Dokken's " Dysfunctional " album - but take care here, there are two masters available, and one of them " sucks " (as they say in the US). This is the correct one : => http://www.dokken.net/albums/dok.html ( this is the one to forget : http://www.dokken.net/albums/dys.html, as least as to our concern of the Bogner sound ) More infos from George Lynch himself: => http://www.georgelynch.com/rigs/studiorigs/dysfunctionalstudio.html Now, this head sounds that way. And only that way. You'll never get a Class A sound like the one of a Matchless HC30, or the ultra-creamy one of a Dumble type Two-Rock Custom Reverb Signature. Best regards MSBen wrote:I'm insterested in the Ecstasy, specifically the 101B, as well. I'm in the market for a Marshall voiced hot rod amp. I tried the Splawn Quickrod EL34 and absolutely LOVED it, but every clip I've heard of the Ecstasy sounds utterly breathtaking as well. I want to try one and then make my decision between the two. The Splawn is much cheaper though, so I'll probably go with it.
Oups ... Sorry Patrice : I changed the pseudo to my full name today ( it's more logical, isn't it ? ). Last time we played on it, we put the tubes on fire, remember ? ( of course ! ) MS / " Mitch "Ben wrote:Ben you can PM Michel Sigwalt, he knows these amps very wellMichel S. is his pseudo
You're welcome .Ben wrote:Thanks Michel
I've not played on one of those yet. So I I won't be very helpful here. But listening to the samples on Diamond Amps home site, yes they seem to be loaded with killer tones !Ben wrote: Thank for your reply, I am still no closer to making a decision on which amp I should get - I am also keen on the Diamond amps as well...
Hum... ... I think I've read about those guitars somewhere ...Ben wrote: guitars for me is simple, Vigier, Vigier, Vigier!!
It can be a frustrating or a fascinating or/and an entrancing quest. As you know, the fact is: we won't get every imaginable sounds with only one amp. Once convinced by this, this quest will more easily come to an end. The good news: there really are some fabulous amps " out there " ! The bad news: cost ! ( One amp for a first palette of sound, later a second one, ... ) Best regards MSBen wrote:Amps is a different story though, it is much more difficult to find exactly what I am looking for.
Ben wrote:The Shiva is more like a earthy traditional Marshall style distortion and Fender style clean, super big headroom!!! It's very good for traditional rock, but you have to crank the volume up enough to get a smooth saturated solo tone. That's the problem for me cause I can't play too loud here, so XTC and Engls are better on this issue.
I completely agree, I love the Shiva for its warm, organic, dark, British voicing. It is the best possible evolution of a Marshall. I give it more credit than you do as a metal machine, though. It can be really brutal with the right effects. The fact that it takes pedals so well makes it a really great platform. If I were playing metal, I would actually prefer a Shiva to a Mesa or 6505 (controversial statement, I know) just because I hate tight and fizzy, I need a warm openness and I value that more than a percussive low end.