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Verdict: once again the redplate demonstrates it can live on its own without any extra pedals. The fx loop offers extra options with further sculpting of the pre amps or an adjustable boost. However, I imagine the amp’s controls could probably achieve similar results.
Maybe the new strings were the cause. I changed to regulars. Same problem.
Then I remembered:
After getting the fretboard fixed on my white strat, I couldn’t stop playing it: so smooth, so responsive. My other cream strat sat unplayed at home.
I put new strings on the cream strat, plugged in to the Redplate and the amp came alive again.
I have never heard such a stark difference in interaction between two strats before on an amp. Both were built by a friend, the white one more late 60s, the cream early 60s: alnico v vs iii.
The white sings tings with my superlead and soundmaster; the cream sings with all.
So, a lesson to one and all: maybe amp disappointments aren’t simply down to the amp or to the guitar but rather their incompatibility.
any suggestions? I had considered a 15” but the fuss of making a new baffle has put me off.
Today, I picked up the cream Strat again, and all the goodness of the Redplate came to life, once again proving that however much I tweak the pickups on the white to draw out the vocality of each PU setting, the cream guitar with its lower output is the right guitar for this amp. The blackface sounded wonderful, the tweed as rough and warm and throaty as Keith Richards. the mid boost brought out the on the edge of breakup on both channels, but the drive channel still proved problematic.
My idea of drive is the classic vintage non-master amp sound of a marshall plexi: throaty, spiky and slim rather than thick or thin. The best I was getting out of the drive channel was 'a little bit extra drive on top' of the clean, much what the mid boost was doing. Otherwise, it just came out way too driven however much I moved the Gain and drive around.
Then there was a eureka moment.
I assumed the Gain and Drive and Level was an act of balance. I always ended up having the Gain and Drive more or less matched, with the level adjusted to unity. So I experimented:
Gain and Drive at minimum, Level at maximum to reach unity: it sounded more or less like the original signal.
Instead, I pushed Gain to 10 maximum, Drive at 2 minimum, and Level at 9 to reach just over unity and my, did it sound great. I pulled out the drive pot to use the extra drive but it started getting creamy and mushy, not my idea of drive. For me, overdrive is open but driven, the vintage marshall driven but not pushed into high gain.
I had mistakenly considered the Gain pot as how much input signal before it is is driven. Instead, the Gain alone produces the overdrive I like, the Drive pot provides the creamy saturation that I'm not crazy about. Drive set below 2 cancels the channel, so it's necessary to give some volume and add a touch of smoke. It's the Gain and the Level that are important for the likes of me. I guess if you're more into modern players, whether it's larry Carlton or your metalheads, then the Drive is necessary. I thought Gain would provide saturation whereas it's the Drive.
Any other Redplate owners with a similar drive circuit should give my setting a whirl. Incredible.
I didn't try Gain at minimum and Drive at max, but I assume it won't be to my liking.
Each triode will overdrive quite a lot if you max the pot prior. Indeed also the main clean volume and tone shaping also has an influence on how much v2a will break up.
I always liked a 5751 in v2 for a lower gain, but I still reckon the better Marshall sounds will be had from the clean channel with a good Amp In A Box pedal. I love my three Menatone pedals for exactly that job (JTM, JCM800 and hot rodded plexi)
In other words, Gain = Pushed/Driven amp, Drive = Distortion, Level = Pre output.
Can I swap a 5751 for a AY7? Similar gain (70%), no?
Would an EQ section specifically for the drive channel have been helpful? Reducing the bass while maintaining the mids and highs. I wonder whether, as suggested by another member, an EQ in the FX loop might help.
Regarding pedals, this amp is particular. Other than modulation, pedals are a little superfluous and really don't have the impact here that I find with other amps. The tweed and blackface are exceptional. I use a compressor or a Klone with my other amps for a clean, whereas there is no audible tonal difference with the Redplate. The quality and quantity of available tonal options makes other tone pedals a little redundant. Reverb is already included. I never use echo. Tremolo and leslie sound great. Fuzz is more compressed and manageable with the master control than my other non-master amps that have huge headroom. This could also be down to the 1x12 V30.
I can get elements of Hendrix, but this is much more suited to an all round SRV amp, from first to last album, at least the way I play it. And all through that little foot pedal.
Because the Redplates mostly have a proper buffered loop you could always stick an eq pedal like the Source Audio programmable one in there.
Didn't you use to have a Redplate? I remember your name in regards to them when I was researching mine.
With the Gain still almost dimed, I decided, for a laugh, to increase the Drive. I pulled out the pot for the extra girth. Crazy pick sensitive drive, too much for me so I reduced the volume on the guitar.
Rolled back to 8, I recovered the original drive I had had with only the Gain dimed without any tone loss. As I rolled up the volume I had full control over all the stages of extra drive and sustain and feedback, all with the amp's Master Volume barely on.
I do the same with Fuzz, volume rolled down to clean and increased for fuzz madness. I usually just play the amp on the edge of breakup, which is probably why I've always suffered tone loss when rolling back the guitar volume. I usually play to just above bedroom levels; perhaps this issue isn't relevant once the master volume is open. Perhaps it's time to try out the amp at a rehearsal room.
In conclusion, the drive circuit has opened up more options than I expected. This amp continues to surprise me.
the double trouble from honey bee amps.
A match made in heaven.
https://imgur.com/a/K0VwoQ0