Inside of the Adam Jones silverburst

M

marcus262

Member
Hi,

Just wanted to share this photo for all the fans. :)

Seems like he uses 500k volume pot on the bridge with ceramic tone caps.
 

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Those Allesandro pots are like 50 dollars a pop. Dan Druff installed those and replaced the tuners which he gave to my friend and he put on a BC Rich. I wish he gave me those tuners.
 
don't think that there is any difference tonewise with pots if they are the same value, maybe only different taper or build quality.

Always thought he would be using 300k volume pots, since they come stock in silverbursts, and some say jb humbucker sounds harsh with 500k volume pots.

Also, ceramic tone caps, no magic mojo.
 
marcus262":2lo2kvsy said:
don't think that there is any difference tonewise with pots if they are the same value, maybe only different taper or build quality.

Always thought he would be using 300k volume pots, since they come stock in silverbursts, and some say jb humbucker sounds harsh with 500k volume pots.

Also, ceramic tone caps, no magic mojo.
Click to expand...

Adam relies on his volume know to go from clean to dirty and all those spots in between, since he is not channel switching. Dan went through dozens of pots with Adam to see which one had the widest, most dynamic, sensitive sweeps. Stock pots would just come on too quick and only had a small or narrow area of sweep when he went from clean to dirty. The Alessandro's had the widest and most dynamic sweep. Hope that makes sense but if that's what you need this is why the Allesandros are the best.
 
EXPcustom":74qolqm6 said:
marcus262":74qolqm6 said:
don't think that there is any difference tonewise with pots if they are the same value, maybe only different taper or build quality.

Always thought he would be using 300k volume pots, since they come stock in silverbursts, and some say jb humbucker sounds harsh with 500k volume pots.

Also, ceramic tone caps, no magic mojo.
Click to expand...

Adam relies on his volume know to go from clean to dirty and all those spots in between, since he is not channel switching. Dan went through dozens of pots with Adam to see which one had the widest, most dynamic, sensitive sweeps. Stock pots would just come on too quick and only had a small or narrow area of sweep when he went from clean to dirty. The Alessandro's had the widest and most dynamic sweep. Hope that makes sense but if that's what you need this is why the Allesandros are the best.
Click to expand...

Interesting info. I learned something new today, thanks for posting!
 
Adam relies on his volume know to go from clean to dirty and all those spots in between, since he is not channel switching. Dan went through dozens of pots with Adam to see which one had the widest, most dynamic, sensitive sweeps. Stock pots would just come on too quick and only had a small or narrow area of sweep when he went from clean to dirty. The Alessandro's had the widest and most dynamic sweep. Hope that makes sense but if that's what you need this is why the Allesandros are the best.
Click to expand...
yes, makes sense. The sweep from clean to dirty.

How do you know about Adam and Dan that they went through dozens of pots, if I may ask?
 
marcus262":trr0gwpu said:
Adam relies on his volume know to go from clean to dirty and all those spots in between, since he is not channel switching. Dan went through dozens of pots with Adam to see which one had the widest, most dynamic, sensitive sweeps. Stock pots would just come on too quick and only had a small or narrow area of sweep when he went from clean to dirty. The Alessandro's had the widest and most dynamic sweep. Hope that makes sense but if that's what you need this is why the Allesandros are the best.
Click to expand...
yes, makes sense. The sweep from clean to dirty.

How do you know about Adam and Dan that they went through dozens of pots, if I may ask?
Click to expand...

I am friends with Dan's friends down in LA.
 
Do you have maybe any info on his Marshall, if it is not too much for me to ask?
Or the speakers in his Marshall cab?
 
marcus262":3e9x7vk7 said:
Do you have maybe any info on his Marshall, if it is not too much for me to ask?
Or the speakers in his Marshall cab?
Click to expand...

I do. His Marshall was a Super Bass. Modified to Super Lead spec. 0.022uF coupling caps in every stage. .68uF presence cap. 0.68uF cathode bypass caps in each stage. Other than that, typical Super Lead. Nothing magical about it. I forgot if the channels are jumped internally or not. The caps in the guitar pictured are typical stock caps found in Norlin-era LPs. Again, nothing magical.

Here's a photo of my '79 Silverburst. Look familiar?

d1zgb3m-0f235493-d4ad-49b6-aabf-3af984a51eb4.jpg
 
I do. His Marshall was a Super Bass. Modified to Super Lead spec. 0.022uF coupling caps in every stage. .68uF presence cap. 0.68uF cathode bypass caps in each stage. Other than that, typical Super Lead. Nothing magical about it. I forgot if the channels are jumped internally or not. The caps in the guitar pictured are typical stock caps found in Norlin-era LPs. Again, nothing magical.

Here's a photo of my '79 Silverburst. Look familiar?
Click to expand...

I built a clone with these specs (from Friedman), a 50w, but when I set the gain1 and gain2 the way he sets his gain (11 and 1 o'clock), there is just not enough to get that kind of saturation, I would have to set the volume pot to around 3 o'clock or more and just can't get this raw low/high mid sound like jcdobbs clip.
So maybe I was missing something.
 
marcus262":3etyx4mc said:
I do. His Marshall was a Super Bass. Modified to Super Lead spec. 0.022uF coupling caps in every stage. .68uF presence cap. 0.68uF cathode bypass caps in each stage. Other than that, typical Super Lead. Nothing magical about it. I forgot if the channels are jumped internally or not. The caps in the guitar pictured are typical stock caps found in Norlin-era LPs. Again, nothing magical.

Here's a photo of my '79 Silverburst. Look familiar?
Click to expand...

I built a clone with these specs (from Friedman), a 50w, but when I set the gain1 and gain2 the way he sets his gain (11 and 1 o'clock), there is just not enough to get that kind of saturation, I would have to set the volume pot to around 3 o'clock or more and just can't get this raw low/high mid sound like jcdobbs clip.
So maybe I was missing something.
Click to expand...

Ah. The JC Dobbs clip is interesting. I was talking about this with some folks a while back. I built a clone to these specs as well and it sounded pretty good. I don't pay attention to where the knobs are physically set. I just turn 'em until the amp sounds good. In any event, the guess is the amp in the JC Dobbs video is either a different amp or he's using a boost/distortion/overdrive/tube screamer. Throw a TS9 in front of your amp and see how it sounds.
 
Not much to add here, but just want to say threads like these really solidify Rig Talk as the best guitar forum. Always learning so much cool shit! Carry on...
 
marcus262":2gwfgwrs said:
Do you have maybe any info on his Marshall, if it is not too much for me to ask?
Or the speakers in his Marshall cab?
Click to expand...

Whatever Friedman posted is pretty accurate. Also all the techs working on 10,000 days had to sign NDAs to work on the album. Adam's brother is a lawyer so he does all that type of paperwork for the band. So some info I can't find out or if I do know I can't post about it without getting certain people in trouble. I would say 95% of the info is out there on the web.
 
Ah. The JC Dobbs clip is interesting. I was talking about this with some folks a while back. I built a clone to these specs as well and it sounded pretty good. I don't pay attention to where the knobs are physically set. I just turn 'em until the amp sounds good. In any event, the guess is the amp in the JC Dobbs video is either a different amp or he's using a boost/distortion/overdrive/tube screamer. Throw a TS9 in front of your amp and see how it sounds.
Click to expand...

the photo of his Marshall knob setup is of a later date, maybe he used different setup on JC Dobbs.

Whatever Friedman posted is pretty accurate. Also all the techs working on 10,000 days had to sign NDAs to work on the album. Adam's brother is a lawyer so he does all that type of paperwork for the band. So some info I can't find out or if I do know I can't post about it without getting certain people in trouble. I would say 95% of the info is out there on the web.
Click to expand...

ok, thanks for the info.
 
marcus262":22rknirr said:
I do. His Marshall was a Super Bass. Modified to Super Lead spec. 0.022uF coupling caps in every stage. .68uF presence cap. 0.68uF cathode bypass caps in each stage. Other than that, typical Super Lead. Nothing magical about it. I forgot if the channels are jumped internally or not. The caps in the guitar pictured are typical stock caps found in Norlin-era LPs. Again, nothing magical.

Here's a photo of my '79 Silverburst. Look familiar?
Click to expand...

I built a clone with these specs (from Friedman), a 50w, but when I set the gain1 and gain2 the way he sets his gain (11 and 1 o'clock), there is just not enough to get that kind of saturation, I would have to set the volume pot to around 3 o'clock or more and just can't get this raw low/high mid sound like jcdobbs clip.
So maybe I was missing something.
Click to expand...


The taper on modern pots (or even between different manufactures) are not necessarily the same as vintage pots.

One other thing you may have missed is he has the bias set way cold on the power tubes, probably around 20ma per tube.
 
CrazyNutz":3vi1rh5c said:
marcus262":3vi1rh5c said:
I do. His Marshall was a Super Bass. Modified to Super Lead spec. 0.022uF coupling caps in every stage. .68uF presence cap. 0.68uF cathode bypass caps in each stage. Other than that, typical Super Lead. Nothing magical about it. I forgot if the channels are jumped internally or not. The caps in the guitar pictured are typical stock caps found in Norlin-era LPs. Again, nothing magical.

Here's a photo of my '79 Silverburst. Look familiar?
Click to expand...

I built a clone with these specs (from Friedman), a 50w, but when I set the gain1 and gain2 the way he sets his gain (11 and 1 o'clock), there is just not enough to get that kind of saturation, I would have to set the volume pot to around 3 o'clock or more and just can't get this raw low/high mid sound like jcdobbs clip.
So maybe I was missing something.
Click to expand...


The taper on modern pots (or even between different manufactures) are not necessarily the same as vintage pots.

One other thing you may have missed is he has the bias set way cold on the power tubes, probably around 20ma per tube.
Click to expand...

That's why one shouldn't pay attention to where the knobs are set. Don't EQ an amp with your eyes. Turn the knobs until the thing sounds good :)
 
I'm sure this has been covered 10,000 time but what bridge pickup does he use?
Click to expand...

Sh4 jb humbucker

he taper on modern pots (or even between different manufactures) are not necessarily the same as vintage pots.

One other thing you may have missed is he has the bias set way cold on the power tubes, probably around 20ma per tube.
Click to expand...

didn't think of the different taper. thanks. :)
I have biased my amp cold 450V plate, 30ma. (el34)
Calculator gives me: cold 27.8 ma, 33.3 average, 38.9 max

That's why one shouldn't pay attention to where the knobs are set. Don't EQ an amp with your eyes. Turn the knobs until the thing sounds good :)
Click to expand...
you have a good point here, if we take into account different preamp and power tubes, pickup distance, speaker cabs etc.. :)
 
Also his volume pots may just be linear. Vintage Marshall's were notorious for subbing parts when they ran out.
 
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