JMP + 1960b JCM

Jenovaslegacy · 10-18-2009, 08:58 AM

Picked up a JCM 900 1960b cab to compliment my JMP 50w yesterday, but on initial appraissal there seems to be a great deal of treble no matter how much I adjust the presence, mid-range and treble. Still need to have the back off to check I've not been sold a duffer, but I was told that these are generally good on the low end, which is why I was surprised to hear so much high end coming out of it.

Any thoughts anyone?

American Viking · 10-18-2009, 02:10 PM

There is a mod you can do which is clipping the bright caps. This is common with older NMV's because some people don't like the harshness of these treble heavy amps. I have always liked the sound, but the mod is pretty simple from what I understand. I don't have any resources to give you right off hand but you can check it out in a google search sometime. On all my Marshall's I always have the Presence set to 0 at all times and the Treble control either at 4 or 7 depending on which guitar I'm using.

The bottom cabinets will generally hold more low end than an angled cabinet but in the same breath, a 50w Marshall does not have the low end definition that a 100w head has. They can be inherently slightly more harsh.

Jenovaslegacy · 10-18-2009, 03:21 PM

Yeah thats not far off what I've been doing. No presence, treble at about three, bass full and mid range zero (I play quite a metal rhythm style so often need a chunky sound), so its a bit of a head scratcher as to why its so damned trebly.

Wilder Amplification · 10-18-2009, 03:50 PM

I'd take the back off the cabinet and have a look. Something tells me that something may be miswired inside (speaker possibly out of phase).

janarn · 10-18-2009, 03:51 PM

Bring the middle up to eight,
and that bass down to zero.

That will give you the right sound from the amp.
The sound of an old Marshall like that is in the middle.

American Viking · 10-18-2009, 05:42 PM

Middle on ZERO??? holy mother of god. I play in a black metal band and my mids are always cranked. On an old Marshall like that you are going to get a real fizzy sound with the mids down like that. Keep the treble down, roll the bass back a little and push the mids up. That's where all of your good gain is going to come from anyway. Sometimes EQ's can also have strong relations to the other knobs, IE, turning the middle to zero will make the treble control become more dominant and vice versa. If you're playing metal, what style and are you using any effects?

+1 on checking the cab as well. It never hurts to verify if everything is correct on the inside. I would also suggest getting a multimeter to be able to verify that the impedance is correct on the cabinet, also you can use the meter to check if a speaker is bad or not.

Wilder Amplification · 10-18-2009, 05:50 PM

Quote:

Originally Posted by American Viking

Middle on ZERO??? holy mother of god. I play in a black metal band and my mids are always cranked. On an old Marshall like that you are going to get a real fizzy sound with the mids down like that. Keep the treble down, roll the bass back a little and push the mids up. That's where all of your good gain is going to come from anyway. Sometimes EQ's can also have strong relations to the other knobs, IE, turning the middle to zero will make the treble control become more dominant and vice versa. If you're playing metal, what style and are you using any effects?

+1 on checking the cab as well. It never hurts to verify if everything is correct on the inside. I would also suggest getting a multimeter to be able to verify that the impedance is correct on the cabinet, also you can use the meter to check if a speaker is bad or not.

I never did understand the whole "scoop the mids" theory. One thing I've noticed is that some people do this in their bedroom because it's just them...there's no bass player to fill in the lows so they subconciously do this to compensate for what's not there.

However, on stage this doesn't work. The guitar ends up fighting the bassist and once he starts playing, all the guitarist hears are the highs and thinks he needs to turn up. Once this happens, volume wars ensues and the guitarist and bassist try to compete to be heard.

On top of that most guitars with the scooped mids sound paper thin and have the "ice-pickey" highs which gets flat out annoying.

But the one frequency range that WILL NOT fight the bass is the mids. Guitar is a midrange instrument anyway...why would anyone take the mids completely out? Listen to Slayer...their mids are flat cranked. Listen to Jerry Cantrell...again, mids cranked. This is one thing valves are known for is excellent mids. That's the "warmth" you hear.

American Viking · 10-18-2009, 05:59 PM

Quote:

Originally Posted by Wilder Amplification

I never did understand the whole "scoop the mids" theory. One thing I've noticed is that some people do this in their bedroom because it's just them...there's no bass player to fill in the lows so they subconciously do this to compensate for what's not there.

However, on stage this doesn't work. The guitar ends up fighting the bassist and once he starts playing, all the guitarist hears are the highs and thinks he needs to turn up. Once this happens, volume wars ensues and the guitarist and bassist try to compete to be heard.

On top of that most guitars with the scooped mids sound paper thin and have the "ice-pickey" highs which gets flat out annoying.

But the one frequency range that WILL NOT fight the bass is the mids. Guitar is a midrange instrument anyway...why would anyone take the mids completely out? Listen to Slayer...their mids are flat cranked. Listen to Jerry Cantrell...again, mids cranked. This is one thing valves are known for is excellent mids. That's the "warmth" you hear.

+1

...That's the way I've always approached this. The bass player is there for the lows, if you don't marry the guitar and the bass together you will not have a good sound no matter what. The bass is a rhythym instrument and should be used as such to back up the guitar and when necessary be perceived as one. Scooped mids on a guitar leads to mud on stage. There are so many bands that all their material turns to mush on stage and always sounds horrible out in the crowd, but you can't convince them to crank the mids because then they think it's not "heavy enough", or in most cases, it's an unforgiving tone and will not hide your mistakes.

Wilder Amplification · 10-18-2009, 06:21 PM

Quote:

Originally Posted by American Viking

+1

...That's the way I've always approached this. The bass player is there for the lows, if you don't marry the guitar and the bass together you will not have a good sound no matter what. The bass is a rhythym instrument and should be used as such to back up the guitar and when necessary be perceived as one. Scooped mids on a guitar leads to mud on stage. There are so many bands that all their material turns to mush on stage and always sounds horrible out in the crowd, but you can't convince them to crank the mids because then they think it's not "heavy enough", or in most cases, it's an unforgiving tone and will not hide your mistakes.

Which proves that guitar is a midrange instrument.

And another thing that's VERY unforgiving is cranked valvee amps (I'm talking amp flat out cranked either soaked or unsoaked). As soon as I got away from pedals and started playing through cranked Super Leads, I realized how bad of a player I was and had to really clean it up to make it work. Instead of masking shit like overdrive pedals do, cranked tube amps/distorted output valves AMPLIFY EVERYTHING! But in the end, it makes you a much better player.

Every instrument on stage has a place. I say stop trying to make the bass into a guitar and the guitar into a bass...it doesn't work. Each instrument was created to fufill a purpose on stage for a reason. The bass was created to fill in the frequency range that the guitar can't.

And if you want "heavy" guitar, what you hear as "heavy guitar" on the albums is usually a guitarist and a bassist who are tight with each other and can play the same notes together perfectly in sync. This is what they mean by the band "getting it down tight".

Listen to Rage Against The Machine...the drums, bass and guitar all sound like they could be 1 instrument because of how tight they are.

American Viking · 10-18-2009, 08:06 PM

Quote:

Originally Posted by Wilder Amplification

Which proves that guitar is a midrange instrument.

And another thing that's VERY unforgiving is cranked valvee amps (I'm talking amp flat out cranked either soaked or unsoaked). As soon as I got away from pedals and started playing through cranked Super Leads, I realized how bad of a player I was and had to really clean it up to make it work. Instead of masking shit like overdrive pedals do, cranked tube amps/distorted output valves AMPLIFY EVERYTHING! But in the end, it makes you a much better player.

Every instrument on stage has a place. I say stop trying to make the bass into a guitar and the guitar into a bass...it doesn't work. Each instrument was created to fufill a purpose on stage for a reason. The bass was created to fill in the frequency range that the guitar can't.

And if you want "heavy" guitar, what you hear as "heavy guitar" on the albums is usually a guitarist and a bassist who are tight with each other and can play the same notes together perfectly in sync. This is what they mean by the band "getting it down tight".

Listen to Rage Against The Machine...the drums, bass and guitar all sound like they could be 1 instrument because of how tight they are.

Ahh, I hate that example but you are right. The guitar player used a JCM800 with Treble 0, Middle 10, Bass 0 for most of the older tones. I hate that band but they've had great production on the records.

Lemmy is another one who used Middle on 10 with most other tone controls at 0, even though he's a bassist. Those 15's he's pushing help keep the bottom end of his instrument anyway.

My current setup on my 50w 800 is Treb 6 Middle 10 Bass 6. Pretty much the same for my 100w only I have the Treble rolled back a bit because with my 100w I boost it with a TS9 which has a lot of top end. I also cut the 16K on a 10 band EQ out a bit too so the distortion stays clear and not fizzy. Too much can make it harsh on the ears. On the 50w, I use nothing but a wah, no EQ, no effects.

Wilder Amplification · 10-18-2009, 09:00 PM

Quote:

Originally Posted by American Viking

Ahh, I hate that example but you are right. The guitar player used a JCM800 with Treble 0, Middle 10, Bass 0 for most of the older tones. I hate that band but they've had great production on the records.

Lemmy is another one who used Middle on 10 with most other tone controls at 0, even though he's a bassist. Those 15's he's pushing help keep the bottom end of his instrument anyway.

My current setup on my 50w 800 is Treb 6 Middle 10 Bass 6. Pretty much the same for my 100w only I have the Treble rolled back a bit because with my 100w I boost it with a TS9 which has a lot of top end. I also cut the 16K on a 10 band EQ out a bit too so the distortion stays clear and not fizzy. Too much can make it harsh on the ears. On the 50w, I use nothing but a wah, no EQ, no effects.

I realize RATM isn't for everyone, but there's a lot people need to realize about how different tones work on stage along with the fact that every instrument has an intended use, and their playing melded so well with each other I figured they'd be a perfect example of how it's done. Another thing people don't realize is that playing "in time/tempo" with everyone isn't the same as playing WITH everyone. You'll find that if the guitar and the bass both follow the drummer's playing and place their notes right on top of his drum hits..and I mean RIGHT ON TOP OF THEM (i.e. match your picking up with the drummer's drum hits)...they'll find that the band tightens right up, everything melds together and their sound will have MUCH more impact.

The way you dial in your tone is pretty much exactly how I've dialed my tone in over the years believe it or not. Still retains the "chunk" when you palm mute, but when you hit open chords and let the strings ring it sounds HUGE!!! Big, huge and clear without harshness all at the same time. The "scooped" tone is NOT the "Marshall" tone and if you're into that sort of thing, maybe the Mesa sound is more what you're after.

Everyone's all about this "we wanna be different" but there are some things that should not be changed and the purpose that each instrument is made to serve is not one of those things. People say "well we do it because it's never been done" when they don't stop to think "maybe someone tried it and in the end decided NOT to do it for a reason". Just because something is unique doesn't mean it's useful.

Jesstaa · 10-19-2009, 04:59 AM

Uber high mids = pure bliss (Think Megadeth from 88 - 90, and some of their musical influences, that kinda high mid crunch)

You can't expect a good tone, especially not with a JMP 50watter, with no mids xD

Jenovaslegacy · 10-19-2009, 08:53 AM

Whoa, I've created a monster!

Okey dokey. This is probably make my stock drop through the floor but heres my explanation. My band play a metal/punk/classic rock crossover. Our lead guitarist plays a crappy combo amp that has a lot of high end and if we combine similar settings (which we have tried) then you can't tell one guitar apart from another. I've been playing the JMP through basically one big speaker, not even a proper cab and the sound has melded together quite well because theres a lot more bass response on the settings I've been using. So in short, rather than trying to sound the same we have set up so as one compliments the other. Its not perfect but it works for us. The bass does cut through okay but can get lost in the faster parts.

Cranking the mid range is no doubt going to turn me into a feedback farm for one thing. I run a Zoom G2 effects box from guitar to amp so as to get that extra level of crunch and distortion that I'm looking for. It may turn out that this kind of classic setup isn't ideally suited for the amount of roar I am looking for from my rig, but I find it quite surprising the level of difference there is when having run my head through the studios' cab (an MG412 box with greenbacks, a nice deep growl) to what I am getting out of the head and this JCM900 (a tinnier thinner sound, palm muting almost incomprehensible, the dude who sold it to me said they were original G75's [sic]). This may seem a dumb question but surely if I crank the mid range I am going to get an even shriller sound?

I am going to have the back off it and check the wiring and whatnot because I'm not sure whether its a dispersal issue, but the treble I am getting is not going to fit in with what we've got going on in the band. Are you guys telling me there is possibly no way of rectifying this?

Wilder Amplification · 10-19-2009, 12:18 PM

Quote:

Originally Posted by Jenovaslegacy

Whoa, I've created a monster!

Okey dokey. This is probably make my stock drop through the floor but heres my explanation. My band play a metal/punk/classic rock crossover. Our lead guitarist plays a crappy combo amp that has a lot of high end and if we combine similar settings (which we have tried) then you can't tell one guitar apart from another. I've been playing the JMP through basically one big speaker, not even a proper cab and the sound has melded together quite well because theres a lot more bass response on the settings I've been using. So in short, rather than trying to sound the same we have set up so as one compliments the other. Its not perfect but it works for us. The bass does cut through okay but can get lost in the faster parts.

Cranking the mid range is no doubt going to turn me into a feedback farm for one thing. I run a Zoom G2 effects box from guitar to amp so as to get that extra level of crunch and distortion that I'm looking for. It may turn out that this kind of classic setup isn't ideally suited for the amount of roar I am looking for from my rig, but I find it quite surprising the level of difference there is when having run my head through the studios' cab (an MG412 box with greenbacks, a nice deep growl) to what I am getting out of the head and this JCM900 (a tinnier thinner sound, palm muting almost incomprehensible, the dude who sold it to me said they were original G75's [sic]). This may seem a dumb question but surely if I crank the mid range I am going to get an even shriller sound?

I am going to have the back off it and check the wiring and whatnot because I'm not sure whether its a dispersal issue, but the treble I am getting is not going to fit in with what we've got going on in the band. Are you guys telling me there is possibly no way of rectifying this?

OK it all depends on what frequency the mid pot is wired to affect when boosted.

Typically the low mids are what you want. The shrill mids sound more like Presence to me.

Can you explain your rig to us in regards to amp type/pedal types/how they're all patched together?

Rockbert · 10-19-2009, 03:17 PM

Quote:

Originally Posted by Jenovaslegacy

I run a Zoom G2 effects box from guitar to amp so as to get that extra level of crunch and distortion that I'm looking for.

And here we have one important little detail

You might want to not worry about the amp setting or speaker or anything else yet... because this may be why your tone is not happy...no offense but that's a cheap digital pedal that samples and digitizes your guitar, manipulates the digital bits, and then converts it back to an analog signal. Not going to give the same kind of results as an all tube head, or even as pedals that have an analog signal path (like most typical non-DSP pedals). IMHO this is one of those "less is more" type situations - find a pedal that does exactly what you need with no other fluff, and it will be great. The JMP head is one of the finest classic amps ever made, and it takes pedals as well as anything out there, so you should be able to get great tone with that rig.

Wilder Amplification · 10-19-2009, 03:30 PM

Quote:

Originally Posted by Rockbert

The JMP head is one of the finest classic amps ever made, and it takes pedals as well as anything out there, so you should be able to get great tone with that rig.

X2!!!

Why ruin your tone by using digital nonsense when running a valve amp? That's the main reason why we run valve amps...to get that pure, organic, natural sound. Digital tone shaping effects throws that all out the window.

Jenovaslegacy · 10-19-2009, 03:33 PM

Quote:

Originally Posted by Rockbert

And here we have one important little detail

You might want to not worry about the amp setting or speaker or anything else yet... because this may be why your tone is not happy...no offense but that's a cheap digital pedal that samples and digitizes your guitar, manipulates the digital bits, and then converts it back to an analog signal. Not going to give the same kind of results as an all tube head, or even as pedals that have an analog signal path (like most typical non-DSP pedals). IMHO this is one of those "less is more" type situations - find a pedal that does exactly what you need with no other fluff, and it will be great. The JMP head is one of the finest classic amps ever made, and it takes pedals as well as anything out there, so you should be able to get great tone with that rig.

To be fair, you are right, its a bit of an all in one job. It was something I got with my first amp and never really gave up with. I have been tinkering around with my settings this evening and have cranked the mid range to 10, bass down to 8 and trable to 2. Presence is at 0 and its better, not perfect, but better. Its because of the speaker unit I was using before probably didn't like the mid range and liked to squeal the house down when you even touched it, hence why mid range was always an 'avoid' situation for me. Still need to fiddle but I'm getting there.

But yeah, a decent marshall pedal is probably the next purchase!

Frankie · 10-20-2009, 03:00 PM

No offense, but that's an awful cabinet to pair with a JMP. G12T-75's, especially the later 90's ones, are pretty brittle and thin sounding speakers. I'd gut that cabinet and install some Greenback-type speakers.

Jenovaslegacy · 10-21-2009, 06:28 AM

Quote:

Originally Posted by Frankie

No offense, but that's an awful cabinet to pair with a JMP. G12T-75's, especially the later 90's ones, are pretty brittle and thin sounding speakers. I'd gut that cabinet and install some Greenback-type speakers.

???

This is exactly what I thought when I first plugged in, couldn't believe the rattly tinny sound that came through it. Have adjusted the levels to the point where its better, manageable, but in all honesty I'm a bit disappointed, I thought it would be a much more lush, thicker sound, as a lot of people had said that these are very low end responsive, which so far is exactly what it isn't.

Frankie · 10-21-2009, 11:50 AM

Quote:

Originally Posted by Jenovaslegacy

???

This is exactly what I thought when I first plugged in, couldn't believe the rattly tinny sound that came through it. Have adjusted the levels to the point where its better, manageable, but in all honesty I'm a bit disappointed, I thought it would be a much more lush, thicker sound, as a lot of people had said that these are very low end responsive, which so far is exactly what it isn't.

Well, most people are used to dealing with modern-type Marshalls. IME the JCM 900 and onward are much darker voiced amps, so plugging them into G12T-75's actually doesn't sound too terrible. The G12T-75 actually isn't a bad speaker at all in terms of guitar speakers in general, but out of the Celestion line, definitely not at the top. I plug my '68 spec Metroamp in to a couple of Vintage Modern cabinets, which are loaded with G12C-25's. It's a world of difference compared to my JCM 900 2x12 when it had G12T-75's. Also, my pop has an '87 JCM 800 1960B and even that's a world of difference when compared to the JCM 900 and onward G12T speakers.

This is just a suggestion, not gospel, but I'd just sell that 1960 cabinet and put the money either towards a Marshall 425 cabinet or maybe even an Avatar cabinet or something like that loaded with G12H's. Just to endorse the product, I am beyond happy with how good my 425 cabinets sound, so it was totally worth the pretty hefty pricetag.

Also, even though I am totally against modding vintage marshalls, you could modify the amp slightly. If you cut the bright cap off the high input channel (assuming this is a lead spec amp), you'll drop a drastic amount of treble. You could also change the value, but with 75's you probably don't want it at all. That's the first thing I would try, if you wanted to go that way, but I still say leave it original and get a cabinet with different speakers.

Wilder Amplification · 10-21-2009, 02:45 PM

Quote:

Originally Posted by Frankie

If you cut the bright cap off the high input channel (assuming this is a lead spec amp), you'll drop a drastic amount of treble. You could also change the value, but with 75's you probably don't want it at all.

If you're referring to the one on the volume control, that one gets shunted out of the circuit when Volume I is flat out cranked and in that situation that cap would make no difference.

However, you may have been referring to the bright cap on one of the 470K mixer resistors (Yellow/Purple/Yellow) on the board that you can clip off (again assuming this is a lead spec amp). Other tricks for warming the bright channel up some are -

If there's a 0.68uF cap on the 820 ohm resistor that's connected to pin 3 of V2, you can clip this as well. This will also affect the Normal channel.

Removing or increasing the value of the 0.68uF cap on the 2.7K resistor (Red/Purple/Red) on V1 (removing this cap will reduce gain though so I suggest increasing the value of it)

Increasing the value of the bright channel coupling cap from a 0.0022uF to a 0.022uF

Increasing the value of the treble cap in the tone stack from a 470pF to something like a 0.0022uF will phatten up the mids a bit. But this will affect it globally on both the Normal and Bright channels

Frankie · 10-22-2009, 11:07 AM

Yeah, running on zero mids is insane too, that might be your problem. G12T-75's have a mid scoop already, so scooping more mids out is just gonna sound thin. In my amp I've actually stuck a 10k resistor inline with ground on the mids pot to get MORE mids, and I play through 8 Greenbacks. My rig is mid city, and lemme assure you, it cuts without being annoying. In fact, with some of my hotter wound single coil guitars it's quite honkey.

j2112c · 10-30-2009, 03:43 PM

Ha ha ha its the Devil from your other thread... I have a solution to your tone problems... just in case you get the urge: jclark@uku.co.uk you know where I am mate if you ever decide to sell the head.

10-18-2009, 02:10 PM	#2 (permalink)
American Viking Senior Member Join Date: Jan 2009 Location: RICHMOND, VIRGINIA Posts: 1,510	Re: JMP + 1960b JCM There is a mod you can do which is clipping the bright caps. This is common with older NMV's because some people don't like the harshness of these treble heavy amps. I have always liked the sound, but the mod is pretty simple from what I understand. I don't have any resources to give you right off hand but you can check it out in a google search sometime. On all my Marshall's I always have the Presence set to 0 at all times and the Treble control either at 4 or 7 depending on which guitar I'm using. The bottom cabinets will generally hold more low end than an angled cabinet but in the same breath, a 50w Marshall does not have the low end definition that a 100w head has. They can be inherently slightly more harsh. __________________ -I'd rather be a good liver than have one...

10-18-2009, 03:21 PM	#3 (permalink)
Jenovaslegacy Member Join Date: Sep 2009 Location: Midlands, UK Posts: 45	Re: JMP + 1960b JCM Yeah thats not far off what I've been doing. No presence, treble at about three, bass full and mid range zero (I play quite a metal rhythm style so often need a chunky sound), so its a bit of a head scratcher as to why its so damned trebly. __________________ 1971 JMP 50w 1960b 4x12 Cab Zoom G2 FX Westfield E4000 Les Paul Solid Body

10-18-2009, 03:51 PM	#5 (permalink)
janarn Senior Member Join Date: Aug 2008 Posts: 408	Re: JMP + 1960b JCM Bring the middle up to eight, and that bass down to zero. That will give you the right sound from the amp. The sound of an old Marshall like that is in the middle.

10-18-2009, 05:42 PM	#6 (permalink)
American Viking Senior Member Join Date: Jan 2009 Location: RICHMOND, VIRGINIA Posts: 1,510	Re: JMP + 1960b JCM Middle on ZERO??? holy mother of god. I play in a black metal band and my mids are always cranked. On an old Marshall like that you are going to get a real fizzy sound with the mids down like that. Keep the treble down, roll the bass back a little and push the mids up. That's where all of your good gain is going to come from anyway. Sometimes EQ's can also have strong relations to the other knobs, IE, turning the middle to zero will make the treble control become more dominant and vice versa. If you're playing metal, what style and are you using any effects? +1 on checking the cab as well. It never hurts to verify if everything is correct on the inside. I would also suggest getting a multimeter to be able to verify that the impedance is correct on the cabinet, also you can use the meter to check if a speaker is bad or not. __________________ -I'd rather be a good liver than have one...

10-19-2009, 04:59 AM	#12 (permalink)
Jesstaa Senior Member Join Date: Apr 2009 Location: Gippsland, Vic, Australia. Posts: 799	Re: JMP + 1960b JCM Uber high mids = pure bliss (Think Megadeth from 88 - 90, and some of their musical influences, that kinda high mid crunch) You can't expect a good tone, especially not with a JMP 50watter, with no mids xD __________________ GEAR LIST Marshall JCM900 4100 (6L6) (1995) Marshall Valvestate 1965A cab (????) Cort VX-2V (2008) TUBES/SPEAKERS Power: Groove Tube 6L6GCB Phase Inverter: Sovtek 7025 Pre: V1 - N.O.S Mullard ECC83. V2 National 12AX7A Speakers: Celestion G10L-35 Marshall forever My tube amp & Real Music appreciation forum

10-19-2009, 08:53 AM	#13 (permalink)
Jenovaslegacy Member Join Date: Sep 2009 Location: Midlands, UK Posts: 45	Re: JMP + 1960b JCM Whoa, I've created a monster! Okey dokey. This is probably make my stock drop through the floor but heres my explanation. My band play a metal/punk/classic rock crossover. Our lead guitarist plays a crappy combo amp that has a lot of high end and if we combine similar settings (which we have tried) then you can't tell one guitar apart from another. I've been playing the JMP through basically one big speaker, not even a proper cab and the sound has melded together quite well because theres a lot more bass response on the settings I've been using. So in short, rather than trying to sound the same we have set up so as one compliments the other. Its not perfect but it works for us. The bass does cut through okay but can get lost in the faster parts. Cranking the mid range is no doubt going to turn me into a feedback farm for one thing. I run a Zoom G2 effects box from guitar to amp so as to get that extra level of crunch and distortion that I'm looking for. It may turn out that this kind of classic setup isn't ideally suited for the amount of roar I am looking for from my rig, but I find it quite surprising the level of difference there is when having run my head through the studios' cab (an MG412 box with greenbacks, a nice deep growl) to what I am getting out of the head and this JCM900 (a tinnier thinner sound, palm muting almost incomprehensible, the dude who sold it to me said they were original G75's [sic]). This may seem a dumb question but surely if I crank the mid range I am going to get an even shriller sound? I am going to have the back off it and check the wiring and whatnot because I'm not sure whether its a dispersal issue, but the treble I am getting is not going to fit in with what we've got going on in the band. Are you guys telling me there is possibly no way of rectifying this? __________________ 1971 JMP 50w 1960b 4x12 Cab Zoom G2 FX Westfield E4000 Les Paul Solid Body

10-20-2009, 03:00 PM	#18 (permalink)
Frankie Senior Member Join Date: Sep 2007 Location: Clearwater, FL Posts: 362	Re: JMP + 1960b JCM No offense, but that's an awful cabinet to pair with a JMP. G12T-75's, especially the later 90's ones, are pretty brittle and thin sounding speakers. I'd gut that cabinet and install some Greenback-type speakers. __________________ w w w . c o w b o y m a f i a . n e t Myspace.com \| YouTube \| Facebook

10-22-2009, 11:07 AM	#22 (permalink)
Frankie Senior Member Join Date: Sep 2007 Location: Clearwater, FL Posts: 362	Re: JMP + 1960b JCM Yeah, running on zero mids is insane too, that might be your problem. G12T-75's have a mid scoop already, so scooping more mids out is just gonna sound thin. In my amp I've actually stuck a 10k resistor inline with ground on the mids pot to get MORE mids, and I play through 8 Greenbacks. My rig is mid city, and lemme assure you, it cuts without being annoying. In fact, with some of my hotter wound single coil guitars it's quite honkey. __________________ w w w . c o w b o y m a f i a . n e t Myspace.com \| YouTube \| Facebook

10-30-2009, 03:43 PM	#23 (permalink)
j2112c Junior Member Join Date: Oct 2009 Posts: 17	Re: JMP + 1960b JCM Ha ha ha its the Devil from your other thread... I have a solution to your tone problems... just in case you get the urge: jclark@uku.co.uk you know where I am mate if you ever decide to sell the head.

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