The preamp is similar to a stripped down 5E8-A, but the power section softens the response and adds creaminess to the overdriven tones.
The 5E7 uses a single 5U4G rectifier with a pair of 6L6 tubes for around 20-35W, depending on your selection of output and rectifier tubes. This amplifier was made in the ‘50s, and was available as a 3x10” combo.
The Ceriatone 5E7 amplifier is based on the tweed-covered amplifier of the same designation. Never seen one for sale that I can recall.The classic American amplifiers of the ‘50s and ‘60s inspired us to create the, errrrr, American Classic series. If I'm not mistaken there's a couple of admirers / previous owners of the Vox AC 50 round these parts too. If only it was half as easy to make it sound like the sky's collapsing, at neighbour friendly volume. If that's the right description? Even if it's only the natural reverberation aspect of the room that the amps in.Īnd then add BIG spring reverb, Echoplex, extra amps, like Mr. I'll get that pedalboard started this year, I swear.īut then OTOH, there's nearly always a certain "gain threshold" in the volume control of a good tube amp with a decent EQ, that adds some kind of extra "dimension" to the tone. I keep kidding myself that there's no need to turn it WAY up until I get the front of the chain sorted out. limited.Īll that said, while I like Neil's overall sound I've never really tried to go quite that LARGE. If You Could Get a channel switching amp to do three volume variations of a given base tone somewhere "tweedy" that would be a shortcut, but still kind of. etc.Īs Richard said earlier, master volumes are blasphemy here too. Amp wattage versus overdrive /gain thresholds, pre-amp tubes and /or boost.? Speakers. I've had to rethink a WHOLE lot of stuff. There's a definite brickwall threshold for how much Multiple fuzzes and octave you can ladel on before it all just starts to get more and more compressed sounding.Īlmost an opposite of what one might want to occur. Well, if there's one thing I HAVE learned in the past 20 something., Townshend are both noted users of the 3X12 tweed B/M Make friends with the Volume on the guitar. He still has a Firebird p/u in there, but it's a different one.Ī Tweed Bandmaster with the wee cranked out of it and a decent crusty sounding fuzzbox and spring reverb of some description should get you in the ballpark for recording at least. I'd do something very bad to get within a short hop of that kind of sound.
He had pretty much the same rig on Arc/Weld Into The Black might be thee most heinous tone ever recorded. On the 70s Rust albums he had a vintage Firebird pickup on his modified LP, but it died sometime after. That stand needs to be set on a concrete floor to isolate it from stage volume. His reverb unit is another Frankensteinish thing, Power tubes upgraded from 6K6 to 6L6etc.(+hotter pre-amp?), and the spring is mounted on a mic stand.
There's a pic of the red box on the cover of Ragged Glory. One of the fx is an old Tone Bender fuzz, most probably mk 1 or 2. The Red Box also controlled Whizzer settings if I remember right. He also had a big pedalboard called "The (Big ?) Red Box, with a couple of rehoused vintage fx units inside, and three/four switches up top for amp selection.
#TWEED BANDMASTER 5E7 PLUS#
Plus a custom made amp controller called "The Whizzer" that sits on top of the Deluxe and MANUALLY changes the Amp Volume ( and possibly a couple different tone settings too). More on those in a sec.Īnd probably an upgraded speaker, but don't quote me on that part.ĪND a Baldwin Exterminator. It goes to 12, apparently, and he has three or four different volume settings. Ol' Neil's live sound was a heady cocktail consisting of some / or all of the following Ī heavily modified 50s Tweed Deluxe, running 6L6s.
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