I'm not sure; but you're probably right. I'd be interesting to see if the T code is the same for the newer post 91 8 ohm vintage (if out there), as my 80s versions -T3896.
Do you also have an 80s 412 with them?
I didn’t know this. How dare you.
Yeah I don’t care for it and rarely ever use it…sometimes for 7 string stuff, but that is about it.Everyone on RT knows that this is exactly why I don't like rectos
I prefer my gear to be relatively balanced or mild EQ wise, honestly that makes it more versatile and easier to dial in, in a rig full of other gear with its own idiosyncrasies
In the early 90’s we were at an open jam type deal in a local club. Someone had brought a Rectifier amp for the guitar players to use. First time I ever saw one, no idea what it was, but that one sounded good. A few years later at GIT they had one on the main stage, it was terrible. Hated getting stuck on that one. But they also had a Tremoverb combo that was great for fusion. No idea what mine is, but it isn’t very useful.
What? Whoa guy!! BRO!!!
In my experience, playing them as loud as possible helps
In my opinion, the difference between the 80s Marshall V and the post 91 HAS to be a different cone formula. It's way too pronounced, obvious esp when you play the 90s versions. They are way brighter, more aggressive if you will. I don't care what Marshall or Celestion say....and it's not the 'worn well' speaker theory either....both of my cabs sound EXACTLY the same; one is an 89 slant and the other a 92 blue anniversary B cab with Vintages from 87.
Old Marshalls for me are typically Presence 4, bass 2, mid 8, treble 8 and Vol I 6-8 no boosts. But I am talking the 1959 type circuit. 2203, 2210 etc more standard stuff is fine.Even on stock old Marshalls, my EQ is generally right around 5-4-6 for BMT, whether it's a trem, PA, lead, bass, major, JMP, 800, 2205, whatever
I generally have the gain around noon too, depending on the pickups, and then goose it with boosts - generally a klone, OG Koko boost, sparkle drive, TC pre clone, a rat clone, or a hm2 clone, depending on what I'm doing musically with the amp
Even modded marshall/marshall family ultra high gain stuff I've used; Larry, my JMP Moab+, Steavens Poundcake...it's always very close to these 5-4-6 or 5-5-6 BMT settings, just without a boost most of the time because they all have gobs of gain, and don't need one except for specific situations
I guess I feel like I take what the amp is designed to do, and work with/around it, instead of trying to force it to be something it isn't designed to be
If I wanted the tone stack to be so extreme, I would have bought another amp that sounds closer with the controls on noon
Amps like krank, late period rectos (the only early ones I've played were much more SLO sounding to me, still loose, but much easier to get along with and better clarity) or modern omega/Revvs/driftwood/etc seem to be uncertain of what they're supposed to BE and therefore unintuitive to dial in and use
Yes that is what I do. They are not darker than a v30…very scooped. This is strictly recording close mic’d. In the room may be different, but I am not using them that way.
It’s both factors combined. The 3 transformer output taps sound and react differently as well as the slight difference in the 8/16 ohms speakers themselves. For a Marshall type amp I prefer the 8 ohm tap, so I use two 16 ohm cabs. It focuses the mids, tightens bottom and shaves off a little sizzle on top compared to 16 ohm tap. Some people illogically complain about such setups, saying, “but then you’re not using the full windings of the transformer. Only the 16 ohm tap uses the full windings”. To that I say so what? I’m not using all the gain, volume, or treble capabilities of the amp circuit either. However, I don’t like the 4 ohm tap with Marshall ish amps. Robs too much low end, can get harsh and sounds comparatively one dimensional.
Another thing is that the changing T codes usually meant a design difference. But sometimes T code désignations were changed for other reasons. One amp manufacturer would have an OEM model made exclusively for them so it got badged with its own T code. But then another company wanted that same model for their own products. So Celestion, in order to avoid a legal mess with company 1 would put out the same speaker with a new T number and label for company 2. It’s basically the Steve Freyette/VHT story but I‘ve read here and there about other accounts of this too.