Posts by Frodebro

    Well didn't Jim Marshall copy fender ybassman in the beginning? Also the naming is still a lot better than ,"swollen pickle," or "way huge". When you play a Friedman, you will forgive the naming thing because his amps are really special. Check one out and you will know why he is who he is in the world of rock amps

    Pete Townshend brought his Fender Bassman into Marshall's guitar shop in the early 1960s and asked them if they could build him an amp that sounded like the Bassman, only louder. So yes, the first Marshalls were based on a Fender circuit, but Jim Marshall probably would have never even considered entering the manufacturing business if Townshend hadn't put him up to building that first amp.

    Yeah, he's only running through two speakers but if it works, it works. It is possible for the KPA to run at 4 ohms, but it's risky without an internal cooling fan. That's probably why bass players have largely avoided the PowerHead

    I run my power rack into the 16 ohm input of a 1960A, there should be no reason at all why it's not producing enough volume. My guess would be that gain staging somewhere in the KPA itself isn't optimized for full output if somebody isn't getting enough volume with 300 watts. A 100 watt Marshall tube amp into that same cab is going to be louder than snot, and pushed hard it's still "only" delivering upwards of around 180 watts.

    What made the JTM different from the Fender Bassman were the 12" speakers. To the best of my knowledge that's the only difference. Of course, more innovations came later. Likewise, Friedman has amps that are very different from typical "Marshall" offerings, such as the Butterslax.


    I don't think Friedman has ever tried to pretend he wasn't massively influenced by Marshall's or modded Marshall's. Like you said, even his aesthetic is very Plexi-like. But there's a difference, to me, in hat-tipping or wearing your origins on your sleeve vs stealing.


    There were differences in the output section as well, as 6L6s were harder to come by in England so EL34s were substituted. Another difference down the line was that Leo Fender was continually working on getting his amps cleaner and cleaner, and Marshall discovered that there was an untapped market for dirty, so subsequent (Marshall) models were designed with distortion as a goal.

    I've encountered the occasional hiccup here and there through the multiple updates I've done over the past four years, but to my recollection the issues I had were all related to parameters shifting a bit that needed to be restored to my settings. I noticed no change in my rigs with the latest update.

    Hi, this is my tribute Floyd band. All of the profiles are Mr.Brit ;)

    Thank you for posting this! I will normally listen to thirty seconds or so of a typical short video just to hear what the player has going on, but I watched the entire video this time. Great job by you and everybody in the ensemble!

    I spent about four years in a cover band back in the nineties and in that time I discovered that in most cases with a band, nailing the "right" tone and effects was pointless. A three-channel tube amp was all I needed to cover everything from classic country to Guns-N-Roses. The only effect I ever used was a wah pedal, and that was very rare.

    I have a rack mount graphic EQ stashed away, but there's really no reason to use it with the KPA. The EQs in the Kemper are plenty good enough on their own.

    Even the delay settings aren't that critical. For years 375ms was my preferred delay time. Now I just scroll until it sounds right and don't worry about what the numbers say.

    Fine tuning is generally unnecessary, though. If you're setting a bandpass frequency, for example, you're absolutely not going to hear any difference between 7kHz and 6,998hz.