Ampeg SVT-CL

[soundguruman]

FYI
Dumble modifies amps too.
Billy Gibbons thanked him, on stage, in front of 12,000 people.

[J M Fahey]

Dumble started modifying FENDER amps .... they eventually evolved into DUMBLE ones.
Later, he started building them from scratch , normally using FENDER iron and FENDER style chassis and cabinets.
And his power amps still are classic FENDER power stages.
And being modified/improved FENDER amps they are preferred by FUSION players.

He does not likeor have any interest on MARSHALL amps, not his thing.
At most, he might strip one, use chassis and iron and build a DUMBLE.
Which in that case would be a DUMBLE , period, not a Marshall Dumble.
But I wrote this only as an exercise, doubt he'll waste time doing that.

And he usually had a 2 to 4 YEARS backlog, doubt he had much time to repair anybody's Marshall.

I'd LOVE to see a YOUTUBE showing what you claim.

Otherwise I'll put it with all your opthers fantasy unsustained ridicule claims.

Only problem is that the big warehouse I rented is already bursting at the seams, a few more posts by you and I'll have to rent another one across the street.

Oh, I forgot your last fav disclaimer: "not everything is on the NET"

[J M Fahey]

Dumble started modifying FENDER amps .... they eventually evolved into DUMBLE ones.
Later, he started building them from scratch , normally using FENDER iron and FENDER style chassis and cabinets.
And his power amps still are classic FENDER power stages.
And being modified/improved FENDER amps they are preferred by FUSION players.

He does not likeor have any interest on MARSHALL amps, not his thing.
At most, he might strip one, use chassis and iron and build a DUMBLE.
Which in that case would be a DUMBLE , period, not a Marshall Dumble.
But I wrote this only as an exercise, doubt he'll waste time doing that.

And he usually had a 2 to 4 YEARS backlog, doubt he had much time to repair anybody's Marshall.

I'd LOVE to see a YOUTUBE showing what you claim.

Otherwise I'll put it with all your opthers fantasy unsustained ridicule claims.

Only problem is that the big warehouse I rented is already bursting at the seams, a few more posts by you and I'll have to rent another one across the street.

Oh, I forgot your last fav disclaimer: "not everything is on the NET"

[km6xz]

Once you are up to 600 on the cap of a 6146, 1200 is not that much more dangerous. It is like comparing the difference between hit by a train or a 18 wheeler, same result.

[km6xz]

Real endorsements deals run into 6-7 figures, not just some free strings or amps. Sure free amps come by the truckload but that is not why a major artist signs a deal, it is money, lots of it. A basketball player can get up to 9 figures, more than his playing contract.
If the money is attractive an artist would do one with Bugera and use it on stage. Why not, they can get their sound out of it or just about anything.
Remember, the music business is the Business of music. There are not that many ways of making money now, compared to before the record industry was taken over by lawyers and accountants as presidents mostly in the late 80s. it has not been profitable for all but a tiny number of celebrity stars. Until a new way to monetize music is developed, anyone will jump at a real paying endorsement contract

[bsco]

I figured money had to be involved....and like you said.....lots, and lots, and lots of it....

[soundguruman]

Dumble started modifying FENDER amps .... they eventually evolved into DUMBLE ones.
Later, he started building them from scratch , normally using FENDER iron and FENDER style chassis and cabinets.
And his power amps still are classic FENDER power stages.
And being modified/improved FENDER amps they are preferred by FUSION players.

He does not likeor have any interest on MARSHALL amps, not his thing.
At most, he might strip one, use chassis and iron and build a DUMBLE.
Which in that case would be a DUMBLE , period, not a Marshall Dumble.
But I wrote this only as an exercise, doubt he'll waste time doing that.

And he usually had a 2 to 4 YEARS backlog, doubt he had much time to repair anybody's Marshall.

I'd LOVE to see a YOUTUBE showing what you claim.

Otherwise I'll put it with all your opthers fantasy unsustained ridicule claims.

Only problem is that the big warehouse I rented is already bursting at the seams, a few more posts by you and I'll have to rent another one across the street.

Oh, I forgot your last fav disclaimer: "not everything is on the NET"

So obviously, Fahey is just blowing hot air again...
OF course it has to be "on he internet" for it to be true.
(everything in the world must be on the internet, right?)
At least that's what he imagines...

The Marshalls he modified for ZZ were tuned to sustain in harmony.
So for ZZ, that was at least 3 Marshall heads.
I saw and heard them at the Capitol Center in Landover Maryland.
That was what impressed me as such an amazing sound.
You really can't appreciate it unless you hear it live...

Here is some of the Marshalls Dumble modified, there are more:

Dumble ultraphonix Marshall 2 w/ D'Pergo strat - YouTube


And This:
http://www.marshallforum.com/marshal...mble-amps.html

[hodgy]

Real endorsements deals run into 6-7 figures, not just some free strings or amps. Sure free amps come by the truckload but that is not why a major artist signs a deal, it is money, lots of it. A basketball player can get up to 9 figures, more than his playing contract.
If the money is attractive an artist would do one with Bugera and use it on stage. Why not, they can get their sound out of it or just about anything.
Remember, the music business is the Business of music. There are not that many ways of making money now, compared to before the record industry was taken over by lawyers and accountants as presidents mostly in the late 80s. it has not been profitable for all but a tiny number of celebrity stars. Until a new way to monetize music is developed, anyone will jump at a real paying endorsement contract

I can guarantee this is not how Ampeg (and Crate, and Mackie) endorsements work. The endorsers play the gear because they WANT to play the gear.

[Justin Thomas]

Responding to the thread in general here, about why it doesn't make sense for ZZ Topp to leave their Marshalls amd use Crates on the road.

I would personally think that if ZZ Topp wanted to use Crates on the road, it's because they're cheap ($$$), easily replaced, and no-one will try to steal them except maybe crazy people who would put them on ebay as "used by ZZ Topp!"

I would take my 62 Concert & 67 Bassman if I went out on the road, because I don't have the money to replace my backline with "whatever is close enough." But my amp collection doesn't run into the tens of thousands of dollars like ZZ Topp's. I think THAT is why THEY don't take THEIR Marshalls out on the road. I can't blame them for not taking a retirement fund's worth of gear out on the road, either! And does anybody in the audience know the difference? Do they still SOUND "close enough for rock and roll?" If yes, who cares what they play? Most of the ZZ Topp fans I know don't go to their shows to hear the righteous guitar sound, they go to have a good time!

There's a guy locally who has a really nice Super Reverb, 72, I think. He leaves it in town when he goes out and brings along a reissue. Same reasons - easily replaced, nobody really knows the difference anyway.

My how we've drifted...

Justin

[soundguruman]

"I can guarantee this is not how Ampeg (and Crate, and Mackie) endorsements work. The endorsers play the gear because they WANT to play the gear."

Can you provide an internet LINK to prove that statement?
Everybody knows, unless it's on the internet...it MUST be untrue.

AND, unless you can provide an internet LINK, you must be lying.

(turnabout is fair play) hahahahahahahhahahhahahahahhahahhahahhahahahahahhahahaha hhaha!!!

[g1]

No one has asked you for internet links, many have asked you for proof. Any kind of proof as you are a pathological liar who cannot back up any of your statements.
You keep going on about " unless it's on the internet...it MUST be untrue" to try and switch the subject.
soundbaronmunchausen
go do your "bias amps in the dark" routine: turn up bias till amp explodes, then back it off a little.
You go on about being authorized for various brands, anyone can see you can not be authorized for anything working out of your kitchen.

[Mick Bailey]

According to Elwood Francis, Billy Gibbons uses JMP1 preamps and valvestate power amps;

"The Voodoo mods make these amps amazing. They sound so much better than they used to. We have two of them: the main one is setup for Billy's main dirty sound and goes to the Marshall 120-120 power amps,"

Interesting choice of power amp.

[Mick Bailey]

"I can guarantee this is not how Ampeg (and Crate, and Mackie) endorsements work. The endorsers play the gear because they WANT to play the gear."

Can you provide an internet LINK to prove that statement?
Everybody knows, unless it's on the internet...it MUST be untrue.

AND, unless you can provide an internet LINK, you must be lying.

(turnabout is fair play) hahahahahahahhahahhahahahahhahahhahahhahahahahahhahahaha hhaha!!!

I don't think he needs to. If you looked at his previous posts he works for them, so he ought to know.

[The Dude]

Billy Gibbons Rig Rundown

As the guitar player in a ZZ Top tribute band, it's my job to study Billy. I don't profess to know everything, but probably more than most. The above link is his current live rig. That said, he has played through modded Marshalls in the early days (the Rio Grande amps), Crates, several custom built boutique amps, old Gibsons, Fenders, Lab Series, etc., etc. The list goes on and on. I suspect he probably has had as many amps as he has guitars (not literally).

[bsco]

Hey Dude. had a look at the video...great...so he uses all kinds of gear....and you mentioned Lab Series...I have a 100 watt combo here that I had picked up years ago....correct me if I am wrong but wasn't Lab Series a joint venture between Gibson and Moog??
Cheers,
Bernie