BE 100 Gen 1 vs Gen 2 Observations +
- Thread starter NewReligion
- Start date
BrentSP
Active member
RACKSYSTEMS":25qp71f5 said:
This is cool info. So with that said, did you end up removing a few 500p caps off the plates that were filtering out the highs since you went to Synergy caps? Or maybe by going to the 4 ohm tap made up for it.
Also I haven't seen this discussed in detail........what change was done to the Voicing switch for the recent revision? I know the older version was a .68uf on the cathode switching in and out a 450uf in parallel.
NewWorldMan
Well-known member
Well, I owned a Marsha for a while back in the day, had an original BE-100 (dual input), bought a new 2014 BE-100, and also had a late 2015 BE-100 (right before the 2016 updates). I now have a 2017 BE-100 on the way, so we'll see how it goes... 
NewReligion
Active member
NewWorldMan":1gi4yumv said:Well, I owned a Marsha for a while back in the day, had an original BE-100 (dual input), bought a new 2014 BE-100, and also had a late 2015 BE-100 (right before the 2016 updates). I now have a 2017 BE-100 on the way, so we'll see how it goes...
I have 2013 Gen 1 (?) and 2014 Gen 2 (?) BE 100's. They are great and very road worthy but I just acquired a killer 1976 SLP Friedman Kitchen Sink. (Marshall before removing LL?) Holy smokes this thing is open and killer. Live I will use this and my Cameron Cantrell non cathode follower One Off (One off due to tone stack).
Huge difference between the factory BE 100's and the modded SLP. Both are great. The BE 100's are smoother but the SLP KS just has the perfect raw sizzle to it, not fizz but growling sizzle...
I installed a Metro Zero loss in it as the 1976 SLP had the 2 extra UL required speaker jacks and the loop mated up for that layout. My 1980 JMP 2203 had less distance between speaker jacks.
CrazyNutz
Well-known member
NewReligion":1w860e14 said:NewWorldMan":1w860e14 said:Well, I owned a Marsha for a while back in the day, had an original BE-100 (dual input), bought a new 2014 BE-100, and also had a late 2015 BE-100 (right before the 2016 updates). I now have a 2017 BE-100 on the way, so we'll see how it goes...
I have 2013 Gen 1 (?) and 2014 Gen 2 (?) BE 100's. They are great and very road worthy but I just acquired a killer 1976 SLP Friedman Kitchen Sink. (Marshall before removing LL?) Holy smokes this thing is open and killer. Live I will use this and my Cameron Cantrell non cathode follower One Off (One off due to tone stack).
Huge difference between the factory BE 100's and the modded SLP. Both are great. The BE 100's are smoother but the SLP KS just has the perfect raw sizzle to it, not fizz but growling sizzle...
I installed a Metro Zero loss in it as the 1976 SLP had the 2 extra UL required speaker jacks and the loop mated up for that layout. My 1980 JMP 2203 had less distance between speaker jacks.
That year SLP would have more filtering, closer to what the current BE100 has. Also a different choke that would be more aggressive.
NewReligion
Active member
Just picked up a 1976 Marshall SL Friedman Kitchen Sink. I had to correct the SAT mod and Install a Metro Zero Loss Loop as it fits right in the two extra speaker jacks at 1.5" on center. I prefer it over my 2013 and 2014 BE 100's even though it is a single channel amps. Great mid's but a bit more raw with greater highs and lows...
Don't get me wrong I will not part with any of the three but the KS or Marsha what ever it is to be known as just cries and blooms where the factory BE 100's do not. ♫
Don't get me wrong I will not part with any of the three but the KS or Marsha what ever it is to be known as just cries and blooms where the factory BE 100's do not. ♫
NewReligion
Active member
BrentSP":3qmfkqhf said:
NFB is 47K. VX Plate has a 500PF paralleled over the 220k in series with a 100k instead of the usual 100pf paralleled with the 500pf in series with a 220k.
I dont think that is enough to make this difference. This does not have the 220k off the wiper of the Treble to a 1meg like my stock Friedman BE100's do. I would look more closely at that IMO. I use that mod to darken and smooth out some ratty amps I have worked.
Keep me in the loop.
MantraSky
Member
David, I can tell you that I just "Love" my BE100 (2015 modified) in this photo side by side with my sons SLO even he stated that he thought the BE100 sounded better for the "Modified Marshall" meets Fender clean, and I still love the SLO. I still own a Marshall 50w that was modified by J. Arrendondo (from way back in the '80s) just haven't let it go, it's a bit noisy. I had a 100w Marshall modded by Cameron it was good for a certain sound as he tried to copy Jose's design but I felt it was centered around "One Certain Tone" and it didn't remind me of any of the Great Marshall tones that I love, as Jose seemed to modified it with more Gain, tighter lows and Not trying to copy "Someone else's" like so many try to copy EVH (early days) even Ed after a couple of albums didn't like "His Tone" which is funny because I loved his playing first then his tone? I felt that my Cameron nailed DOKKEN - UNCHAIN THE NIGHT tone but that's George's Tone! (which is awesome) Unfortunately it wasn't versatile enough to get much else. My BE100 can get the EVH/Lynch and so much more and what I love the most I can find "My Tone" what's awesome I can do Pat Metheny, Allan Holdsworth, EJ, G. Moore, to early R. Blackmore MIJ live plexi-tone "WOW", it's so genuinely versatile with the great Marshall/Fender heritage, love it!
NewReligion
Active member
MantraSky":di7hoqwb said:David, I can tell you that I just "Love" my BE100 (2015 modified) in this photo side by side with my sons SLO even he stated that he thought the BE100 sounded better for the "Modified Marshall" meets Fender clean, and I still love the SLO. I still own a Marshall 50w that was modified by J. Arrendondo (from way back in the '80s) just haven't let it go, it's a bit noisy. I had a 100w Marshall modded by Cameron it was good for a certain sound as he tried to copy Jose's design but I felt it was centered around "One Certain Tone" and it didn't remind me of any of the Great Marshall tones that I love, as Jose seemed to modified it with more Gain, tighter lows and Not trying to copy "Someone else's" like so many try to copy EVH (early days) even Ed after a couple of albums didn't like "His Tone" which is funny because I loved his playing first then his tone? I felt that my Cameron nailed DOKKEN - UNCHAIN THE NIGHT tone but that's George's Tone! (which is awesome) Unfortunately it wasn't versatile enough to get much else. My BE100 can get the EVH/Lynch and so much more and what I love the most I can find "My Tone" what's awesome I can do Pat Metheny, Allan Holdsworth, EJ, G. Moore, to early R. Blackmore MIJ live plexi-tone "WOW", it's so genuinely versatile with the great Marshall/Fender heritage, love it!
Well damn lol...looks like I will now need a 2015 BE 100 to go with my 2013, 2014 and 1976 Friedman KS HBE SL 100. Stepping off track for a minute Mark Cameron has been really good to me as an individual. I have reverse engineered most of his work. It is obvious to me that he aims to please the ear of the customer. I have a 50 watt Cantrell non CF with a unique tone stack (one off) that just sings when it is not crying. The Cameron Jose/Atomica is the EVH all around tone to my ear. I can hear the zener's...It allows the clarity of low gain with amazing amounts of smooth clipping. Not really a fan of the Aldrich/Old Bitch as due to the way the signal feeds into V2 (a bit fizzy were the 3 I owned).
The BE 100 HBE (+ or- the SAT & C45) is cool but deviations on the theme of a 4 stage non CF with traditional TS is incredible once you learn how to stabilize the oscillation and noise. I feel fortunate to know enough to work on these circuits. Just my $.02...I will make a point to locate a 2015,2016, and 2017 BE 100 and try them out but my 1976 Friedman HBE KS spanks the 2013 and 2014 hands down as a single channel amp. Peace...♫
MantraSky
Member
David I completely understand what your saying! I'm really more of a session player these days than when I was touring with the Marshall's (all modified of course) so I don't know all there is to the technical details specifically, though I do know "Great Tone" I own more amps than I can speak of though I'm more of a player than collector.
I knew Mark Cameron when he was working with Reinhold Bogner, I would stop in the shop and we would talk (ask Mark about the orange FullDrive origin), Mark's also a good guitarist and has a good ear for tone although like I said his amps have a "Particular" sound for a particular period that has that "Nasal-Like Tone?" (semi-opened wah pedal-like) whereas his Modified Marshall's sound way better to me.
My BE100 has been over at Dave's a few times getting modified, more to what I like but Dave is so skilled at having a great ear and knowledge of musical gear, he just knows what's the best balance in a "Great" sounding Modified Marshall and it's variations than most! I also own Bogner, Soldano, Suhr, Fryette (VHT), Mesa, Modified Marshall's and original JTM45, 1959 SLP etc. Wonderful amps. Being in studios everyday I need versatility my BE100 is "My Top Performer" and in serious recording situations, it's what I choose (I also have Modelers and IR), now if it's "Metal" my son's "Fortin Natas" (he also owns an SLO) kills everything in front of it, it sounds Huge & Destructive with great tone (a bit much for me but I like It).
\../
I knew Mark Cameron when he was working with Reinhold Bogner, I would stop in the shop and we would talk (ask Mark about the orange FullDrive origin), Mark's also a good guitarist and has a good ear for tone although like I said his amps have a "Particular" sound for a particular period that has that "Nasal-Like Tone?" (semi-opened wah pedal-like) whereas his Modified Marshall's sound way better to me.
My BE100 has been over at Dave's a few times getting modified, more to what I like but Dave is so skilled at having a great ear and knowledge of musical gear, he just knows what's the best balance in a "Great" sounding Modified Marshall and it's variations than most! I also own Bogner, Soldano, Suhr, Fryette (VHT), Mesa, Modified Marshall's and original JTM45, 1959 SLP etc. Wonderful amps. Being in studios everyday I need versatility my BE100 is "My Top Performer" and in serious recording situations, it's what I choose (I also have Modelers and IR), now if it's "Metal" my son's "Fortin Natas" (he also owns an SLO) kills everything in front of it, it sounds Huge & Destructive with great tone (a bit much for me but I like It).
\../
MantraSky
Member
I had my BE100 Clean Channel Converted to the SS100 and I really like it! Originally the BE clean sounded good sort of "Vox-Like" which is a great clean but I "Much Prefer" the Fender tones similar to the Twin & Deluxe (for me) I'm more of a Strat Type player (HSS/HSH) than Les Paul. The Gain sounds a lot better since Dave changed the Synergy Caps & Negative Feedback modifications. This is definitely my favorite EL34 Marshall Inspired amp, I also own a Bogner XTC 100b, 101b, Classic and Shiva and VHT Pittbull Classic, and a CAA PT100 their all EL34 but the BE100 for tone & function is awesome! I love the fact that I can go Metheny, Carlton, Johnson Clean to SRV, Clapton, Beck Mid-Gain Blues/Rock to EVH, Lynch, Blackmore, Schenker Rock/Metal with authority, seriously great amps!