Amps that sound unique
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braintheory
Well-known member
Most of my favorite amps lol: Hermansson’s, Mark IIC+, early Recto’s, 1st Uber, Blueface and Gjika, Ronin, and ‘60’s DeArmond for non-high gain amps
I’d say the devil is in the details in that some amps can approximate many qualities of those amps, but none that I’ve tried really capture the same way what makes them special
I’d say the devil is in the details in that some amps can approximate many qualities of those amps, but none that I’ve tried really capture the same way what makes them special
angelspade
Well-known member
Nothing I have plugged into does a good job of capturing the tone and feel of my two main amps:
DeathbyButterslax
Well-known member
Hermansson and Carsten Grace,…total opposite ends of the spectrum for high gain though
Ventura
Well-known member
Jesus, this question is basically the DNA of the entire Rig-Talk evolution.
Too many to name, but after many years of many amps, my signature gives what works for me - as they're polar opposites to one another in a very complimentary way (Bogners and Diezels). And just because these don't get this parking spot often, I'm going to ONCE AGAIN mention Fryette D120 and Rivera KTre as definitely unique "off the usual spectrum" amps that kick all kinds of ass.
Too many to name, but after many years of many amps, my signature gives what works for me - as they're polar opposites to one another in a very complimentary way (Bogners and Diezels). And just because these don't get this parking spot often, I'm going to ONCE AGAIN mention Fryette D120 and Rivera KTre as definitely unique "off the usual spectrum" amps that kick all kinds of ass.
rottingcorpse
Well-known member
Ultralead. FBM. Gorilla.
boltzthrower
Active member
Agree with Ultralead and IIC+, or any Mark series for that matter.
7 Stringer
Well-known member
My UL.
All my other amps can match themselves, but they can't do the UL thing.
All my other amps can match themselves, but they can't do the UL thing.
hellzington
Well-known member
Said it on your FB thread but will say it here too:
- Carstens Grace
- Diezel VH4 Blueface Spec
- Friedman Naked
yeoldefortran
Member
Probably not exactly what you are looking for, but the vintage Matamp GT (and to a lesser degree Orange OR) sound is a particular one when driven to overdrive. Huge, fat, and totally blown out.
The Orange Dual Dark also comes to mind. I really want to spend the time to open mine up and examine it. I really enjoy mine, but the least flattering description of it might be “what if a metal zone was a big iron tube amp.” Can easily pick that one out by ear in a shoot out.
The old traynor TS amps are also very odd. IIRC they split the signal into separate signal paths for three EQ bands, gain stage them separately and merge them back in.
The Orange Dual Dark also comes to mind. I really want to spend the time to open mine up and examine it. I really enjoy mine, but the least flattering description of it might be “what if a metal zone was a big iron tube amp.” Can easily pick that one out by ear in a shoot out.
The old traynor TS amps are also very odd. IIRC they split the signal into separate signal paths for three EQ bands, gain stage them separately and merge them back in.
TotallyRadGuitars
Well-known member
Purely a tone that is unique?
Really unique:
Egnater Renegade. That thing had some weird tones in it, could mix the amount of 6L6 or EL34 in either channel, etc.
Were they my favorite tones? Not really, I sold it, and that's saying something because I barely sell anything.
ADA MP-1. Definitely unique, can pick it out of a crowd easily. The EQ on it is very odd, with gaps and imperfections in the frequencies it covers - some people mod this out, personally, I think it's one of the things that gives it such a unique character. Love this thing to death really.
Orange OR80/120. James-type tone stack, Cathodyne type phase inverter. Just super weird stuff compared to other amps. Modern Oranges are a bit different from this, still unique in their own ways (depending on model), but none like these old ones. Ampeg also did this James tone stack thing too in the same era (70s).
Mesa Mark IV. And by extension, all other Mark amps, at least the lead modes. Fender-style tone stack in front of the gain stages, means that how high you run the treble directly affects the amount of gain you get in the amp. Mark IV and earlier "Drive" control is a second gain control that controls the amount of gain through stages further down the path (this amount if fixed on the Mark V and VII, sadly). Bring back in the bass or mids however you like with the GEQ. Truly, no other amp like it for tonal shaping, and sounds different than just about anything else.
Sort of unique:
Carvin Legacy. Unique James-type tone stack - this is NOT a Marshall or Bogner clone like I've seen some claim. Presence control sits right after the tone stack in the preamp bleeding highs to ground, not in the power amp.... just very odd all around. Makes the amp seem extremely dark but if you dial with your ears and not your eyes (treble and presence 7 or higher!) it sounds absolutely killer.
Framus Cobra. Another James-type tone stack amp, can just make some really weird sounds. Love it.
VHT Pittbulls. Cathodyne type phase inverter too, like the old Oranges. Some hi-fi inspired stuff in there it looks like? Either way, I just love the way these amps sound, some of my all time favorites.
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Those are the ones that all do something weird in the design that gives them a particularly "unique" sound. There are lots of others I'd *like* to put on the list, such as the Marshall 2205/2210, Vintage Modern, or Silver Jubilee, but they aren't so different from a more standard Marshalls just with some extra little quirks/features to the circuit. I mean, every amp has its little design and tonal signatures which is why we are on this forum to begin with.
For sake of completeness because I'm bored:
Marshall 2205/2210 Later Circuit. Still has a 3-gain stage, cold clipper second stage.. it's a few steps away from a 2203/2204 but it's not like, unfathomably different. It's got a dual-gang gain pot, some clipping diodes and a bias diode, and no cathode follower tone stack.
Marshall 2205/2210 Early Circuit. Boost channel has the EQ right after the first gain stage, like a Mesa Mark, then there's 4 diodes off of a cathode follower right before the volume control, but the master volume is a dual-gang pot post-PI. Visually looks identically to the later circuit. I don't own one of these (yet) but that's a lot of differences, and probably why some people love these amps and some hate them, since if you aren't a technical "check the serial number" kind of player, you'd never know which version you played.
Marshall Vintage Modern. Signal gets split into parallel gain stages, like a jumpered plexi, but the amp has a single input. "detail" and "body" controls are simply the "high treble" and "normal" volume controls like a JTM/1987/1959 type amp. High dynamic range mode kicks in ANOTHER gain stage after those, then both parallel channels are mixed together for final output. Never seen anything else like it, but it's not THAT different from a JTM45 or some other 4-hole Marshall as to be "unique" (besides the dynamic range thing).
Marshall Silver Jubilee. Array of 5 diodes, two of which are LED's, on the lead channel, which is otherwise relatively low gain. No cold clipper like a 2203, no cathode follower tone stack. Can watch the LED's light and dim while you play if the amp is open. The weirdest thing to me is that the effects loop is located BEFORE the tone stack. That creates some weird stuff, for example if you put a delay in the loop and turn up the treble, you are increasing the treble for both your guitar signal AND the delay repeats.
Really unique:
Egnater Renegade. That thing had some weird tones in it, could mix the amount of 6L6 or EL34 in either channel, etc.
Were they my favorite tones? Not really, I sold it, and that's saying something because I barely sell anything.
ADA MP-1. Definitely unique, can pick it out of a crowd easily. The EQ on it is very odd, with gaps and imperfections in the frequencies it covers - some people mod this out, personally, I think it's one of the things that gives it such a unique character. Love this thing to death really.
Orange OR80/120. James-type tone stack, Cathodyne type phase inverter. Just super weird stuff compared to other amps. Modern Oranges are a bit different from this, still unique in their own ways (depending on model), but none like these old ones. Ampeg also did this James tone stack thing too in the same era (70s).
Mesa Mark IV. And by extension, all other Mark amps, at least the lead modes. Fender-style tone stack in front of the gain stages, means that how high you run the treble directly affects the amount of gain you get in the amp. Mark IV and earlier "Drive" control is a second gain control that controls the amount of gain through stages further down the path (this amount if fixed on the Mark V and VII, sadly). Bring back in the bass or mids however you like with the GEQ. Truly, no other amp like it for tonal shaping, and sounds different than just about anything else.
Sort of unique:
Carvin Legacy. Unique James-type tone stack - this is NOT a Marshall or Bogner clone like I've seen some claim. Presence control sits right after the tone stack in the preamp bleeding highs to ground, not in the power amp.... just very odd all around. Makes the amp seem extremely dark but if you dial with your ears and not your eyes (treble and presence 7 or higher!) it sounds absolutely killer.
Framus Cobra. Another James-type tone stack amp, can just make some really weird sounds. Love it.
VHT Pittbulls. Cathodyne type phase inverter too, like the old Oranges. Some hi-fi inspired stuff in there it looks like? Either way, I just love the way these amps sound, some of my all time favorites.
-----
Those are the ones that all do something weird in the design that gives them a particularly "unique" sound. There are lots of others I'd *like* to put on the list, such as the Marshall 2205/2210, Vintage Modern, or Silver Jubilee, but they aren't so different from a more standard Marshalls just with some extra little quirks/features to the circuit. I mean, every amp has its little design and tonal signatures which is why we are on this forum to begin with.
For sake of completeness because I'm bored:
Marshall 2205/2210 Later Circuit. Still has a 3-gain stage, cold clipper second stage.. it's a few steps away from a 2203/2204 but it's not like, unfathomably different. It's got a dual-gang gain pot, some clipping diodes and a bias diode, and no cathode follower tone stack.
Marshall 2205/2210 Early Circuit. Boost channel has the EQ right after the first gain stage, like a Mesa Mark, then there's 4 diodes off of a cathode follower right before the volume control, but the master volume is a dual-gang pot post-PI. Visually looks identically to the later circuit. I don't own one of these (yet) but that's a lot of differences, and probably why some people love these amps and some hate them, since if you aren't a technical "check the serial number" kind of player, you'd never know which version you played.
Marshall Vintage Modern. Signal gets split into parallel gain stages, like a jumpered plexi, but the amp has a single input. "detail" and "body" controls are simply the "high treble" and "normal" volume controls like a JTM/1987/1959 type amp. High dynamic range mode kicks in ANOTHER gain stage after those, then both parallel channels are mixed together for final output. Never seen anything else like it, but it's not THAT different from a JTM45 or some other 4-hole Marshall as to be "unique" (besides the dynamic range thing).
Marshall Silver Jubilee. Array of 5 diodes, two of which are LED's, on the lead channel, which is otherwise relatively low gain. No cold clipper like a 2203, no cathode follower tone stack. Can watch the LED's light and dim while you play if the amp is open. The weirdest thing to me is that the effects loop is located BEFORE the tone stack. That creates some weird stuff, for example if you put a delay in the loop and turn up the treble, you are increasing the treble for both your guitar signal AND the delay repeats.
5150 block letter
rectos
any diezel
jubilees
fryettes of any kind
uberschall
idk theres a lot
rectos
any diezel
jubilees
fryettes of any kind
uberschall
idk theres a lot