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[img]http://i14.photobucket.com/albums/a309/tremspeed/mascismarshall.jpg[/img]
the ceriatone amps look pretty reasonably priced. with a cabinet (for the chassis, that is) you’re looking at like 900 bux, which is roughly what a used marshall plexi 50 watt reissue will cost you. actually the 100 watt super lead reissues are pretty much the same price as well. this is for the older version, not the current ‘handwired’ version that is thousands, and endorsed by J up above. everything i’ve read about ceriatone indicates they’re pretty reasonable, but bear in mind they’re made in malaysia. all of a sudden that part of the world seems to be the new place to make amplifiers: vox, celestion (speakers), fender, peavey are all making amps in china now. hell, i like $200 fender champs and stuff like the peavey windsor, a jcm-800 esque amp for $400 new, but i can’t say i don’t have issues with stuff that is produced so cheaply. not that i don’t have issues with what marshall is charging these days (across the line) but those handwired amps are THE SHIT – a store near me has the ltd hendrix full stack and it is a sight to behold.
if you have the technical ability and the time, there is a wealth of info online for diy’ing your own marshall amps. you should have some basic electronics knowledge as the voltages are extremely high- you could easily kill yourself by assembling an amp incorrectly. some of the kits have step by step, wire by wire instructions, but most are just a bag of parts. the ones with detailed instructions are the pricier ones. this is a major full time hobby for many marshall enthusiasts.. i know a dude whose built several marshall clones using premium parts and they come out great… but take forever.
as for used, you’re not going to find a true ‘plexi’ for less than a few grand these days – i played a 68 or 69 once, and i believe it was 3000 dollars, this was like 10 years ago. i just searched completed items on ebay and one in red tolex went for $7500. if you’re willing to live with 70s models with master volumes you can find something for around a thousand.
also, just consider if you can really use a plexi-style marshall in the first place. J has stated that he uses 15 watt amps like the Vox AC-15 for recording, and live he gets a distorted sound from a JMP-1 preamp, using the Major and Plexi(s) as power amps only. Very very few people are satisfied with the plexi sound out of the box at reasonable levels- most people use boost pedals or dummy loads (like hot plates) in order to tame these amps. most people aren’t aware how clean these amps truly are- they don’t distort until they are -hella- loud- i don’t mean kinda loud, i mean twice as loud as any band you’ve ever seen loud. these were designed for stadiums without PA systems, not smaller clubs and certainly not recording studios. if you’re the type of person who uses pedals for gain and shit you’ll probably like them – if you’re an amp-distortion (as in preamp distortion ala jcm-900s, mesa boogie) as i am, you won’t be immediately satisfied with these amps.
$1100 list price for an artist model would seem like an import to me. I could be wrong. If this streets for less than a thousand I’m so there.
vintage? it’s a 90s teese. i’m use he used an old crybaby or vox on the older albums however. i’ve always hated crybabies- so weak sounding.
geoff teese makes a bunch of models, some with extra controls, and he frequently makes custom stuff. the knobs are probably for q (resonance) and eq, maybe a built in boost.
you know, these writers always bitch about him, but what do they expect with like, multiple questions about nirvana and other stupid shit?
you can cheap out on the guitar if you want but to get a proper ‘wall of sound’ thing going you really need large and/or multiple amps, plus multiple delay and/or reverb pedals. if you’re going for a shoegaze sound you’d probably be alright with cheaper multieffect devices as the digitalness would probably work for you. the trick to the wall of sound is delay.
the big muff is definitely more the way to go if you’re looking for a j sound. the heavy parts and the solo in ‘the lung’ are yr standard big muff tone. big muffs are reallly cheap as well.
the guild foxey lady is a quite rare licensed copy of the mosrite fuzz-rite, the original fuzz pedal as used on satisfaction. it’s at least 5 years older than the big muff. fuzz-rites, and their tonal successors, the fuzz face pedals – are really spitty and brittle sounding, lots of treble. the big muff will have more bass and be a much bigger fuzz sound, a little more suitable for playing chords, i guess.
i’m going to guess that the mascis JM will retail for 1500-2000, assuming it’s made in the usa.
one one hand, they can’t charge too much for it because dinosaur fans that are guitar players that would be crazy enough to buy a purple guitar are not huge in number. incidentally this, i believe, would be the reason to limit the models to 30 a month and charge what the market will bear. unlike many of the artist models they make, there’s nothing outstanding about the customization of this jazzmaster- the finish is perhaps the strangest thing about it. it’s not like THAT much more labor needs to be invested than does for any other US jazzmaster.
on the other hand, it’s a jazzmaster, and they will most likely charge a premium because its a special model. and then theres whatever they pay mascis for the licensing.
theres always the possibility that it could be considered a ‘master built’ model (based on the one guy making them comment). that would be kind of a foolish move for them, as a 2500-4000+ selling price would definitely ensure they can’t sell any of these.
IF it actually gets made.
i think it would be pretty difficult to differentiate between a fuzz probe and factory just hearing it.
i think they may have mixed up the microphone answers- when asked about kick drum mics he says ‘diamond jet 47’ which isn’t anything i’ve ever heard of, and then when asked about vocal mics he names a pretty standard kick drum mic. so either they goofed or j is just being funny. i think he mumbled ‘neumann fet 47’ in reality.
i don’t know -all- the shure models but i’ve never heard of a sm-87 i don’t think: its more likely angello threw up a u87 (another neumann) to go along with the sennheiser and shure dynamics on the guitar cab.
