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To my knowledge nothing happens in the power section. It´s probably a misunderstanding coming from the talk of cathode bias, which in this case refers to the input stage and not the output tubes. Basically if the first stage is Fender-, Marshall- or Soldano-style.

I think you´ll have a real hard time unless you hit the issue a bit more methodically. You need to start with the simplest possible chain and add the complexity piece by piece to see where issues turn up, that´s the only way to find what´s really going on and pinpoint solutions. There really...

Hi guys, I´m looking for one of these, the non-IR version. I´m in Sweden and can do bank transfer or Paypal, just PM me and we´ll talk some more about getting a deal done. Thanks for looking! /David

No reason to spend the extra cash on a Soldano if you primarily want the exact 2203 sound, but the SLO crunch channel can cover for a 800 pretty well if the fatter Soldano sound and/or the OD channel is your main thing. It´s a point of view thing, I guess. The less bitey voicing actually makes...

That is way too expensive, but I have to say my no-stripe III+ is my favorite out of all the Boogies I´ve had.

I´ve always had a JB around in at least one guitar, probably for 25 years running. Is it the best for everything or the only pickup I would want to use, no, but in the original context of more or less stock JMPs or 800s with the occasional Tubescreamer it´s pure rock/gold.

The SHR1N is the Hot Rails model, seems like an easy mistake.

I´m definitely getting to the point where it´s easy to refrain from buying more amps. Most stuff would just be more of basically the same. I don´t think I´ll ever stop buying guitars, just because I love them, but amps seem to be settling in for the long haul.

Yeah, John himself is the guy for these if he still wants to work on them. Unless you´re in Europe, where Bruno is kinda the guy instead. But if it´s just maintenance or something any decent tech can do it, these aren´t exactly complicated pieces.

For me the oldest are a Mark III no-stripe (which I currently have) and a Marshall 1987 from the JCM800 era, both from 1985. Never had any really old stuff, but on the other hand 1985 is 39 years ago now :eek:

W/D/W as it eventually became, that is with zero dry in the wet cabs, is often fairly simple. It doesn´t lend itself very well to the cascading series-parallel FX units of the big stereo rigs, since the routing becomes a big headache without the dry signal coming out at the end and you end up...

He did some variation of it for Jet City, IIRC, don´t know how many made it out the door in the end or how it sounded.

Has to be ten years or more since they packed it up, seems like they started tapering off right after the Roadhouse series was released in 2010 or so.

Sounds great, like everything Ossie does. I have one of his José builds, and it´s great to see he´s still doing these one-offs after 3 Monkeys stopped doing amps.

Yeah, I had one of those for a bit, years ago. You see them around from time to time if you´re not in a hurry, but I guess they might be unusual enough to not be found at the drop of a hat.

"24 bit audio conversion", per the manual.

Haven´t played the Suhr SE, but I have had several of its closest SE siblings and still have the Custom Audio OD100 SE+. Very saturated, a ton of low end, not the typical Marshall peaky mids, a bit sizzly up top in the best possible way. That circuit was originally designed in 1993, and that...

EQ in front won´t replace the onboard graphic, pre- and post-gain EQ are very different things in guitar amps. As for EQ in the loop, I can´t really say, I never tried to replicate the onboard with something running in the loop. I would suspect you could at least get in the general ball park...

The IIB is a monster amp on its own, but in this case it depends on what you´re looking for. This doesn´t have the graphic EQ, so it can´t do that scoopy Metallica or John Sykes thing, but the IIB with or without the EQ was a smash hit for Mesa for many years and was on tons of recordings in...

I normally arrange and voice different parts with different sounds instead of multitracking the exact same part, some of which might even end up on keys instead of guitar, but when I multitrack something straight up it´s almost always a cleaner track tucked underneath a distorted rhythm part...