The service manager at Marshall may still have been Phil Wells, I think he still works for marshall in another department. He think he may know about your amp ant the mods. He's a really nice person to deal with, I know he has a note book with so much info so he might know. Give Marshall a call and ask to speak to him, if he's still there he may just have the information your looking for. Cheers Geoff Pugh Aston Electronics Ltd
If you two do get together with the 2 halves of Gary's old rig, please record & post it for us mortals!!
The center piece is Gary’s legendary 1972 Marshall Super Bass which had been painted purple by the previous owner, Gary restoring it to stock appearance. This 100 watt amp head was paired with two other Marshall Super Lead 100 watt heads. Each head had a Marshall 1960B cabinet loaded with UK Celestion G12-75 watt speakers. The third amp has two cabinets, to provide the necessary fullness to the sound. Before the guitar signal reaches the amps it runs through an Ibanez Tube Screamer, a Roland 555 Space Echo connected to a volume pedal, then into a Roland SDE-3000 Digital Delay, and from there into a Roland Dimension D, where the signal is split into the two stereo channels. Gary used Gallien Kruger solid state amps in the studio along with a Dean Markley amp. “On stage I prefer the Marshalls simply because the places we play are very big and only the Marshalls pack the power that I must have. Gary’s last rock album of that era was 1989’s “After The War.’ By this time Gary had acquired some further guitars With Greeny being temporarily retired from 1987 onwards Gary turned to a different version of a Les Paul built by the Heritage guitar company in the old fifties Gibson factory in Kalamazoo, Michigan, USA. Gary had a few different versions of the Heritage guitars including his main model the CM-150 which is featured on the cover of the “After The War”LP. This featured a mahogany body and set neck with a flamed maple top. Gary had fitted a P.J. Marx active humbucking pickup in the neck position and an EMG 81 active pickup in the bridge. Gary would use this guitar on the track Blood of Emeralds. Heritage would later build an extremely limited Gary Moore signature model guitar of two runs of 75 worldwide each. Gary continued to use Hamer guitars, having a Flying V appearing Vector K.K.Downing of Judas Priest model in blue with a single bridge humbucking pickup. Also in Gary’s collection were several Hamer Chapparal solid body guitars, Gary also possessed a Hamer Standard since 1984, this had a flamed maple top and headstock and is pictured in promo pictures from the 1984-5 era, Gary never using it live though. Also the long serving white Charvel guitar had it’s neck replaced with a rosewood finger boarded Jackson logoed Strat head version. Gary’s amp setup was similar adding the Marshall JCM 800 amps and cabs by this time. This is a rough draft and many guitars have deliberately been left off but will be addressed eventually. Emerald
He must've liked that model . He had at least one JCM 800 1959 when I was on the road with him ten years ago .He also had a JCM 2000 100w head up there
Hi sorry for the delay I have only just seen the new posts. I will upload some pics of the inside and I will look forward to seeing what you think, as I have no idea compared to a standard model. Thanks
Thanks for the info, I have had a conversation with Marshall via email, I haven't managed to get passed customer services, they confirmed the effects loop has been added but they don't have records dating back to that time. I would love to be able to speak to him, I will give it a try and keep you posted. Thank you.
Not forgotten, @dangerousbaz ... ...just badly tied up at the moment. Family funeral beginning of next week, just finished EoY accounts, and now trying to get paperwork together for a delivery trip of some guitars and stuff to France before Brexit - van, dog, missus and some woods in guitars all require a shed load of ass-covering etc... ...but we will meet up and make loud noise soon
I had that guitar in my hands 10 years ago. I liked it alot, but not $3M dollars worth of a-lot to me, like it is to others.
well it really looks like the one, I don't think he's kidding, must be the guy that took Hammett's money (for a good cause, no judgment here )
@dangerousbaz - haven't forgotten... ...just off the wall shit at the moment. Burying uncles, getting all kind of crap together for a trip through France in October buyng/selling, doing a few weeks of fairs in a week, and then some more end of September and start of October. Basically running fast just to stand still (joys of self employment). Will get together with you and your amp eventually...
