Separate names with a comma.
Discussion in 'Marshall Amps' started by Michael Mueller, Nov 26, 2020.
Green channel cranked with an OD or treble booster... There's your old Maiden tone ..
Where would you set gain on the channel? What OD pedal (e.g., TS9, SD1) settings do you recommend? Why do you think it is important to crank the green channel volume (i.e., what is the sonic benefit of that)? Do you believe classic Maiden tone is more power amp distortion, rather than preamp distortion (I've heard different opinions on this from guys with experience)?
Just to clarify, I only max out the bass if I'm playing through the built-in speaker in my DSL15C or DSL20CR. Due to the semi-open-back construction of the combos, much of the low end both escapes through the back and gets canceled out. If I'm playing through a closed-back cab at home, I usually find that setting bass to about 2 is already enough in a small room to get the same result as though the combo's built-in speaker.
Now, since the DSL40CR is bigger and has more bottom end than its smaller cousins, the original poster may not need to pin his bass at ten, but it would probably need to however somewhere close to that due to (1) low volume used at home and (2) open-back construction.
the green channel mimics the Plexi “type” tone, then push the signal with an OD or Treble Booster... that’s as close as you can get for a classic Maiden tone with the DSL....
But the green channel has barely any gain. Correct me if I’m wrong, but it seems to me that pushing it with a clean boost is unlikely to produce the amount of gain needed.
Stock Plexi amps aren't gainy at all, that's why they push the front end with an OD or treble booster especially for late 70's - 80's tone...
Can you specify what you consider classic Maiden tone? Would you clean-boost the channel with the channel gain maxed, or rather aim at some combination of some channel gain and some gain from the pedal?
The trick they use was push their amp into overdrive and boost the signal further with whichever distortion/OD available at the time, plus an EQ pedal to shape their overall tone... For me, the classic Maiden tone is the Number of the Beast album... It has the right amount of distortion that still keeps the note clarity...
As far as the DSL green channel, it only replicate the "cranked Plexi" tone, but not the actual voicing of a cranked stock Plexi.....
@purpleplexi Check out the video below. Notice just how thick Dave's tone is in the intro as well as on the rest of the song. There is no way that tone can be obtained with middle-of-the road EQ settings and volume. There is a ton of girth to that tone, allowing the guitars to hold their own in the mix.
And here's the same song recorded by me with the following settings on my DSL15C. Recorded with an SM57, halfway between center and surround of the speaker, on-axis, on the grille, so, basically, in a very thick position on the speaker. Despite all that, note how my tone is still significantly thinner than Dave's.
I think it is a common misconception that Maiden used plexis all the way to Piece of Mind and Powerslave. If you watch the "Flight of Icarus" video, recorded in the studio during the Piece of Mind sessions, you will notice JCM800's. It is a bit hard to make them out, but I have studied the video frame by frame, and it is definitely a JCM800 Super Lead.
The video below just got posted a day ago. It's Adrian in his home studio. If you slow down the video, you can see his gear and some of his settings. For example, the current settings on his JCM800 are
Treble ca. 2
Presence hard to tell from the video, probably 5 (he keeps it around 4.5 on his JVM410, for what it's worth)
Master just above 2
He's almost certainly pushing the JCM800 with the TS808 shown in the video (I was unable to make out the settings).
Here are my updated Piece of Mind settings for closed-back cabs.
For open-cab, feel free to crank the bass, as recommended in my previous posts.
For anyone who wants to mic up the sound, surround works really well (an inch off the grille), unless you have a nice LDC for room miking.
Looks like he’s plugged into the JVM, no?
**edit: I see what you’re saying. You just commented on the settings and ts9 not that he was using for this track.
I was surprised to see him use a TSL. I don't recall seeing the amp listed on any of his gear lists for Maiden albums or concerts.
By the way, below are his JVM410H settings.
JVM 410 Setting by Seventh Son posted Feb 19, 2020 at 8:04 AM
I've also finally figured out a way to get those tones on recordings. The trick is to point the mic (SM57, in my case) at the surround, an inch off the grille. A look at the resulting curve confirms that the curve has the same deep notch just past 1kHz as do Martin Birch's tracks. This suggests to me that whatever Martin Birch did, he did not spot/close mic, but rather tried to capture the off-axis, amp-in-the room sound. It is possible that he mixed in a close mic, but the room mic is probably responsible for the bulk of the sound. Using the surround miking technique (with the settings Bass 2–3, Middle 7, Treble 3, Presence 8), I get some killer Piece of Mind tones on recordings and it sounds just like in the room.