Favorite Bogner powered Albums

  • Thread starter Thread starter zakk99
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there are much better simple possible mods for the xtc
if you tweak the first 2 stages to Fish specs, for example, you'll get more bite and upper mids in a more natural sounding way than messing with the third stage, like the cameron/2004 mods (which are similar to a Suhr/CAE stage)

the marvel mod won't convert a 100b into a 101b
it affects one part of the circuit that has nothing to do with the differences between the 100b and the 101b
 
zakk99":2ja4r1nh said:
This subject might have been broached before, but being new to the site, I don't know.

I am assuming that given the knowledge about tone I have seen on this site, Audley Freed is no stranger. But for those of you who haven't been acquainted with Audley, I would like to suggest you check out his work with "Cry of Love" .... The second disk "Diamonds and Debris" is IMO a great example of a Bogner XTC 101B in the hands of a truly gifted guitarist. The entire D&D album's overdriven tones were done with an XTC 101B, the cleans were a Fender Tone King and the Leslie was driven by Matchless Chieftain. I remember when Audley started college here, the buzz about some kid from Burgaw (little town 20 miles away) that could really play was instant .... I first saw him play with a band called "Sleeper" .... and have followed his impressive career since .... a truly nice guy and a fantastic player!

so, that's mine ....



Note: The amp Audley used was Stu's owner of "Fat Sound Guitars" in Carry NC. (where the picture was taken)
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I had no idea he played an XTC on that...what about the first one? I have both those and the ep on my ipod...That guy just smokes. The whole band was awesome, like Brother Cane was.
 
Audley used a metal panel JMP MK2 from the early 70's and, I believe a bit of Silver Jubilee from 1986 as well as a Fender Super for any clean stuff on "Brother". But you are right, there were a few bands in that time frame that should have hit ... Brother Cain as you said ... and I always thought that the Screamin' Cheetah Wheelies would take off too.
 
REVERY's "Avarice & Absolution" is almost all 101B.

Injected was awesome!
 
Got my garage finished and finally moved all my stuff out of a climate controlled (PA needed it) storage unit I've had since 98' .... I have boxes and boxes of guitar magazines ... so I was looking thru a 91' issue of GW at an interview with Jerry Cantrell and he said he did "Facelift" with a little Marshall combo. And that now he was using a Bogner with a VHT power amp .... anybody know any different?
 

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Deconstruction. Dave Navarro used a lot of PRS Guitars and a Bogner Ecstasy on this one; I always loved to sound of this album.
 
zakk99":1k1hdytv said:
Got my garage finished and finally moved all my stuff out of a climate controlled (PA needed it) storage unit I've had since 98' .... I have boxes and boxes of guitar magazines ... so I was looking thru a 91' issue of GW at an interview with Jerry Cantrell and he said he did "Facelift" with a little Marshall combo. And that now he was using a Bogner with a VHT power amp .... anybody know any different?
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the amp he used was a 50w Bogner modded Marshall JCM 800 combo version of the 2204
it didn't belong to Jerry
not sure if Bogner converted it into a head or the owner did that later

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SNORKLER":1k1hdytv said:
Hello Fellas!Normally i dont do the forum thing but i have some interesting info to share.My name is Ronnie Champagne im a Producer/Engineer/Guitarist,i was in the Hollywood studio game from 1984 to 1998.I recorded Janes Addiction's "NOTHINGS SHOCKING"and 'RITUAL DE LO HABITUAL",as well as Dave Navarro and Eric Avery's "DECONSTRUCTION" for Rick Rubin.I also recorded ALICE IN CHAINS "FACELIFT" as well as SOCIAL DISTORTION and MY SISTERS MACHINE's "DIVA" and a few hundred more around the world as well as touring europe and africa and canada and the u.s.I just wanted to clarify what msr.Bogner has on his web site about the Fish and Jerry Cantrell.But lets backtrack a little.When i was recording "nothings shocking" i was using my own amps,a black face fender bassman 50,a late 70's,early 80's marshall jcm 800 50 and a silverface twin loaded with greenbacks.plus a 60's marshall 4x12 with greenies...i was getting great tones using a modified r.k.butler tube driver to hit my amps hard...anyways back in the day ANDY BRAUER RENTALS had some great gear so i used them all the time for extra tones,well we finished nothings shocking and i was listening to how un satisfied i was with the tones(they still rock though)so i got it by the grapevine that steve and joe and eddie had these mods done by this new guy,msr B.,when it came time to start preproduction on janes "ritual" i was told there was a modded marshall at brauers that i should check out...i did...and i wouldnt give it back!!!it was a jcm 800 just like the one i owned.So i took mine over to Brauers where Bogner was now working before he got funding for his own line...i asked him if he would do to mine exactly what he had done to this rental...he said no...i said you dont get this one back...i finally pleaded with him telling him that it was in his best interest considering i knew what was in the pipeline and i think we paid him double,hehe!any ways thats when the SNORKLER was born.it was originally a combo that i bought in canada in '83,used.Actually i traded a half stack for it and some dosh as i was moving to los angeles and didnt want to lug a half stack around...well the rest is history as they say...everyone who got to use my baby wanted to buy it from me.i think Jerry offered me 5 grand at one point a couple years after facelift went platinum because he couldnt get the tone from the bog's he got...my favorite tone is using a drop d tuning telecaster thru the snorkler and two 4x12's....its the voice of god!we used that combo alot on Facelift doubled with Jerry's G & L 's...my 69 les paul custom fucking kills it and my es 135 sounds like butter with fangs!!!Contrary to popular belief i always went straight into the snorkler and then mic into neve 1073 into la-2a direct to tape(studer a-800 16 track tw0 inch.)i used the fender bassman for clean tracks and slightly raunchy brown tones then left the solos for the SNORKLER.I recorded most of Jerry's solos and Lanes vocals at Capitol Studios hollywood studio "a".I put my 4x12 greenies in a stairwell,which made everyone go crazy!!!thats my style....and recorded the natural ambience so it sounded fucking real and HUGE...dont know if they will let me do that trick ever again!!!but hey i want to sell millions of records so they can suck it up,cuz i pay their wages!!!Anyways thats pretty much the set up i have used since 1990 or so...
So as far as the Fish pre amp goes,well thats not what we used,ever...I think my snorkler is one of the 6 best sounding amps ever made and they all were modded by rheinhold...hes a fucking genius.Its priceless to me,made me and others a lot of money just trying to crush some fucking skulls via ROCK GUITAR!!!...any questions?
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rockerjt":37yd7px4 said:
Deconstruction. Dave Navarro used a lot of PRS Guitars and a Bogner Ecstasy on this one; I always loved to sound of this album.
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THAT is an awesome album. :thumbsup:
 
Totally agree with Injected "Burn it Black" and Vai's "Alien Love Secrets" being the purest, most awesome recorded Bogner tone. Cantrell was usually mixing amps, definitely on Dirt (which was mostly Dual Rectifier).

Vai's "Passion and Warfare" was most certainly not a Bogner. Pretty sure I recall that it was a JCM900 (not sure if it was modded or not).
 
EWSEthan":gvv0uj0x said:
Vai's "Passion and Warfare" was most certainly not a Bogner. Pretty sure I recall that it was a JCM900 (not sure if it was modded or not).
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I think he used the Carvin X100B on that recording. :confused:
 
Being a HUGE fan of the chewy tightness of Bogner amps, and being a future owner of a Bogner Ecstasy (within the next 3-6 months), I figured I spout a few words to add in. Cheers fellas!

I never knew JC was using an ecstasy, though we all know he's a big shiva/uberschall guy..good call!
But let me add in, by many accounts seemingly, there was in fact a Mesa Dual Rec prototype in a lot of the Dirt album and Fish preamp in Facelift. Honestly, I was never a big fan of Dirt's overall sound (mostly due to the drums..they sounded like an electronic kit saved from 1989) save for Them Bones, Would and Damn That River. I'm more of a Facelift and Tripod fan as far as JC tones go. Tripod EASILY has the best drum sound by far. Anyways, Jerry has a strong affinity for mixing amps and his rig changes SUPER QUICK, so its never easy to track anything he does with 100% certainty.

As for Vai, I don't know of him using Bogner until his middle period (Fire Garden/ALS/G3). For PAW though, he goes into great detail about his gear used to record the album. Also, remember a good portion of PAW's guitar parts were recorded bit by bit LOOONG before it was released. He was working on that album in between all his hired gun stuff throughout the mid and late 80's. In the official PAW tab book (the one with a HUGE forward by Vai and rundown of all the trials and tribulations and gear talk surrounding the album) he talks of Marshall 100w heads modded by Jose Arrendondo some Carvin preamps, an ADA, fenders and various others. No Bogner whatsoever. Shoot...not even his trusty X100B is listed in the rundown although we know he used it for the DEMO of Blue Powder.

So far my favorite album featuring the Ecstasy has to be the Wicked Underground album (George Lynch/Jeff Pilson) there's some sweeet tones on that album. Also Injected's album..chock full of great Ecstasy tones, although I never liked the band's lyrics. Still, their sound for modern hard rock bands, is unmatched to this day. I've never heard that kind of clarity and guts at the same time in a setting like that, for American bands anyways. Japan, forget it. TONS of tone heaven. But thats neither here nor there, as most of those guys are using H&k Triamps. But, Listen to most hard rock/metal albums in the last 5 years..its all overly compressed and the guitars often sound really due to overuse of gates, compressors etc etc. I cant even listen to modern rock anymore because of the horrible production. No dynamics. Take that global compression down a few notches!

Someone will flame me, but honestly I'd rather listen to modern pop than listen to modern heavy bands. And for good reason--the backing musicians are always top notch studio guys with (generally speaking) awesome tone.
 
The "Brother" album is in my Top 10 albums of all time. I live about an hour north of Nashville where Audley resides now. He was touring with Frampton for awhile after the Black Crowes. You should checkout the video's of him performing with Mike Ferris (Farris). A truely gifted singer at the Mercy Lounge. I've not met Audley myself. I hope to. I'm going to Namm next month. So I hope he's there.
zakk99":1tv4qc78 said:
This subject might have been broached before, but being new to the site, I don't know.

I am assuming that given the knowledge about tone I have seen on this site, Audley Freed is no stranger. But for those of you who haven't been acquainted with Audley, I would like to suggest you check out his work with "Cry of Love" .... The second disk "Diamonds and Debris" is IMO a great example of a Bogner XTC 101B in the hands of a truly gifted guitarist. The entire D&D album's overdriven tones were done with an XTC 101B, the cleans were a Fender Tone King and the Leslie was driven by Matchless Chieftain. I remember when Audley started college here, the buzz about some kid from Burgaw (little town 20 miles away) that could really play was instant .... I first saw him play with a band called "Sleeper" .... and have followed his impressive career since .... a truly nice guy and a fantastic player!

so, that's mine ....



Note: The amp Audley used was Stu's owner of "Fat Sound Guitars" in Carry NC. (where the picture was taken)
Click to expand...
 
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