How my amp sounds: my 2001 Super Triple Super Lead, with some of my favorite stomps...

Vesperado

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**This USB mic is good for voice over work, not so much for mic'ing a cab as it colors the tone (and stutters here and there). If I get more time I will redo everything with my guitar cab mics and an ADC.**

At any rate, this is my Super Triple Super Lead amp, modified to the hilt, and set up for a "live rock'n'roll" tone. I am not reshaping the tone controls to suite recording work, I like to feel bass when I palm mute and pick hard (who doesn't?), and tbo the Marantz emphasises the bass a bit much, as well as scooping some mids and rolling some highs, but its better than my tablet's mic. It's offset from center, facing the paper cone head on, low-left spkr.

Volume is just above bedroom level at what I call basement level. It's still under house volume level, and just under "1" on the knob. 35W operation. The mids are there, you just don't hear much of them over the USB Mic. Recorded 16bit to wav.

Signal flow: Guitar > Treble Boosters > Buffer > Volume pedal > EQ > Maxon/Ibanez > Amp. See description and clips below for stomp(s) employed. You will hear me say Lo-Z because everything but the TBs get a Lo-Z signal, moreover the amp only sees Lo-Z irrespective of the stomp employed, even when dry is it Lo-Z: you are getting my live tone, no post processing, and this is how I go about it.

The Lead channel is 2204 spec. Amp is "set and forget" throughout all the following clips.

Dunlop 3mm pic > DR HT Nickle-wound 10-52 > 2008 PRS SC250 w/ MusicLily Ceramic Bridge Humbucker on full vol. in Std. tuning > CMatMods Buffer @ 12V > EB VP JR, backed off a hair > 2001 Marshall TSL-100 Lead Channel, dry > 2001 Marshall 1960A w/ stock T75 UK > Marantz MPM-2000u[sb] > USBAudioPlayerPro > Android 11R rooted w/ Magisk v24.3 > sndup.net


w/ Strange Master Clone (Throbak)


w/ GMR Spares BC Dallas (Dallas Range Master)


w/ Yamaha GE-100 Equalizer for Guitar


w/ Maxon VOP-9 Vintage Overdrive Pro


w/ Ibanez TS-9 Tube Screamer (Maxon made version)


w/ the same stomp, in mod mode


w/ GMR Spares BC Dallas on Low Cap


w/ Strange Master clone, other FET


w/ GMR Spares BC Dallas on Hi Cap


w/ Strange Master clone on first FET into Yamaha GE-100


w/ GMR Spares BC Dallas on Lo Cap into Yamaha GE-100


w/ Yamaha GE-100 into Maxon VOP-9


w/ Yamaha GE-100 into Ibanez TS-9 mod mode


w/ Yamaha GE-100 into Ibanez TS-9 stock


The Crunch Channel is spec'd off the 1959 circuit. You need a pedal to tighten up the flub...observe. All pedals are set the same as above, they were left alone. On that note, the pedals are tweeked to color the tone, not push the amp, and that's how I like 'em ;)

Dunlop 3mm pic > DR HT Nickle-wound 10-52 > 2008 PRS SC250 w/ MusicLily Ceramic Bridge Humbucker in Std. > CMatMods Buffer @ 12V > EB VP JR, backed off a hair > 2001 Marshall TSL-100 Crunch Channel, Tone Shift engaged, dry > 2001 Marshall 1960A w/ stock T75 UK > Marantz MPM-2000u[sb] > USBAudioPlayerPro > Android 11R rooted w/ Magisk v24.3 > sndup.net


w/ Strange Master Clone


w/ GMR Spares BC Dallas on Lo Cap


w/ Yamaha GE-100


w/ Maxon VOP-9


w/ Ibanez TS-9 in mod mode


w/ Ibanezz TS-9 stock


w/ GMR Spares BC Dallas


w/ GMR Spares BC Dallas on Hi Cap


w/ Strange Master Clone on other FET


Enjoy!
 
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paul-e-mann

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**This USB mic is good for voice over work, not so much for mic'ing a cab as it colors the tone (and stutters here and there). If I get more time I will redo everything with my guitar cab mics and an ADC.**

At any rate, this is my Super Triple Super Lead amp, modified to the hilt, and set up for a "live rock'n'roll" tone. I am not reshaping the tone controls to suite recording work, I like to feel bass when I palm mute and pick hard (who doesn't?), and tbo the Marantz emphasises the bass a bit much, as well as scooping some mids and rolling some highs, but its better than my tablet's mic. It's offset from center, facing the paper cone head on, low-left spkr.

Volume is just above bedroom level at what I call basement level. It's still under house volume level, and just under "1" on the knob. 35W operation. The mids are there, you just don't hear much of them over the USB Mic. Recorded 16bit to wav.

Signal flow: Guitar > Treble Boosters > Buffer > Volume pedal > EQ > Maxon/Ibanez > Amp. See description and clips below for stomp(s) employed. You will hear me say Lo-Z because everything but the TBs get a Lo-Z signal, moreover the amp only sees Lo-Z irrespective of the stomp employed, even when dry is it Lo-Z: you are getting my live tone, no post processing, and this is how I go about it.

The Lead channel is 2204 spec. Amp is "set and forget" throughout all the following clips.

Dunlop 3mm pic > DR HT Nickle-wound 10-52 > 2008 PRS SC250 w/ MusicLily Ceramic Bridge Humbucker on full vol. in Std. tuning > CMatMods Buffer @ 12V > EB VP JR, backed off a hair > 2001 Marshall TSL-100 Lead Channel, dry > 2001 Marshall 1960A w/ stock T75 UK > Marantz MPM-2000u[sb] > USBAudioPlayerPro > Android 11R rooted w/ Magisk v24.3 > sndup.net


w/ Strange Master Clone (Throbak)


w/ GMR Spares BC Dallas (Dallas Range Master)


w/ Yamaha GE-100 Equalizer for Guitar


w/ Maxon VOP-9 Vintage Overdrive Pro


w/ Ibanez TS-9 Tube Screamer (Maxon made version)


w/ the same stomp, in mod mode


w/ GMR Spares BC Dallas on Low Cap


w/ Strange Master clone, other FET


w/ GMR Spares BC Dallas on Hi Cap


w/ Strange Master clone on first FET into Yamaha GE-100


w/ GMR Spares BC Dallas on Lo Cap into Yamaha GE-100


w/ Yamaha GE-100 into Maxon VOP-9


w/ Yamaha GE-100 into Ibanez TS-9 mod mode


w/ Yamaha GE-100 into Ibanez TS-9 stock


The Crunch Channel is spec'd off the 1959 circuit. You need a pedal to tighten up the flub...observe. All pedals are set the same as above, they were left alone. On that note, the pedals are tweeked to color the tone, not push the amp, and that's how I like 'em ;)

Dunlop 3mm pic > DR HT Nickle-wound 10-52 > 2008 PRS SC250 w/ MusicLily Ceramic Bridge Humbucker in Std. > CMatMods Buffer @ 12V > EB VP JR, backed off a hair > 2001 Marshall TSL-100 Crunch Channel, dry > 2001 Marshall 1960A w/ stock T75 UK > Marantz MPM-2000u[sb] > USBAudioPlayerPro > Android 11R rooted w/ Magisk v24.3 > sndup.net


w/ Strange Master Clone


w/ GMR Spares BC Dallas on Lo Cap


w/ Yamaha GE-100


w/ Maxon VOP-9


w/ Ibanez TS-9 in mod mode


w/ Ibanezz TS-9 stock


w/ GMR Spares BC Dallas


w/ GMR Spares BC Dallas on Hi Cap


w/ Strange Master Clone on other FET


Enjoy!
Dont these amps have lots of gain on their own, no pedals necessary?
 

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I have the same amp, but the dual super lead, it's stock. I bypass the preamp and use digital effects to the return with an EQ, I just can't get a sound I like if I don't.
 

Mitchell Pearrow

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**This USB mic is good for voice over work, not so much for mic'ing a cab as it colors the tone (and stutters here and there). If I get more time I will redo everything with my guitar cab mics and an ADC.**

At any rate, this is my Super Triple Super Lead amp, modified to the hilt, and set up for a "live rock'n'roll" tone. I am not reshaping the tone controls to suite recording work, I like to feel bass when I palm mute and pick hard (who doesn't?), and tbo the Marantz emphasises the bass a bit much, as well as scooping some mids and rolling some highs, but its better than my tablet's mic. It's offset from center, facing the paper cone head on, low-left spkr.

Volume is just above bedroom level at what I call basement level. It's still under house volume level, and just under "1" on the knob. 35W operation. The mids are there, you just don't hear much of them over the USB Mic. Recorded 16bit to wav.

Signal flow: Guitar > Treble Boosters > Buffer > Volume pedal > EQ > Maxon/Ibanez > Amp. See description and clips below for stomp(s) employed. You will hear me say Lo-Z because everything but the TBs get a Lo-Z signal, moreover the amp only sees Lo-Z irrespective of the stomp employed, even when dry is it Lo-Z: you are getting my live tone, no post processing, and this is how I go about it.

The Lead channel is 2204 spec. Amp is "set and forget" throughout all the following clips.

Dunlop 3mm pic > DR HT Nickle-wound 10-52 > 2008 PRS SC250 w/ MusicLily Ceramic Bridge Humbucker on full vol. in Std. tuning > CMatMods Buffer @ 12V > EB VP JR, backed off a hair > 2001 Marshall TSL-100 Lead Channel, dry > 2001 Marshall 1960A w/ stock T75 UK > Marantz MPM-2000u[sb] > USBAudioPlayerPro > Android 11R rooted w/ Magisk v24.3 > sndup.net


w/ Strange Master Clone (Throbak)


w/ GMR Spares BC Dallas (Dallas Range Master)


w/ Yamaha GE-100 Equalizer for Guitar


w/ Maxon VOP-9 Vintage Overdrive Pro


w/ Ibanez TS-9 Tube Screamer (Maxon made version)


w/ the same stomp, in mod mode


w/ GMR Spares BC Dallas on Low Cap


w/ Strange Master clone, other FET


w/ GMR Spares BC Dallas on Hi Cap


w/ Strange Master clone on first FET into Yamaha GE-100


w/ GMR Spares BC Dallas on Lo Cap into Yamaha GE-100


w/ Yamaha GE-100 into Maxon VOP-9


w/ Yamaha GE-100 into Ibanez TS-9 mod mode


w/ Yamaha GE-100 into Ibanez TS-9 stock


The Crunch Channel is spec'd off the 1959 circuit. You need a pedal to tighten up the flub...observe. All pedals are set the same as above, they were left alone. On that note, the pedals are tweeked to color the tone, not push the amp, and that's how I like 'em ;)

Dunlop 3mm pic > DR HT Nickle-wound 10-52 > 2008 PRS SC250 w/ MusicLily Ceramic Bridge Humbucker in Std. > CMatMods Buffer @ 12V > EB VP JR, backed off a hair > 2001 Marshall TSL-100 Crunch Channel, Tone Shift engaged, dry > 2001 Marshall 1960A w/ stock T75 UK > Marantz MPM-2000u[sb] > USBAudioPlayerPro > Android 11R rooted w/ Magisk v24.3 > sndup.net


w/ Strange Master Clone


w/ GMR Spares BC Dallas on Lo Cap


w/ Yamaha GE-100


w/ Maxon VOP-9


w/ Ibanez TS-9 in mod mode


w/ Ibanezz TS-9 stock


w/ GMR Spares BC Dallas


w/ GMR Spares BC Dallas on Hi Cap


w/ Strange Master Clone on other FET


Enjoy!
Thanks for sharing brother
I think it sounds great have to give a little more time to listen to all of them,, but what I have heard sounds great
 

Vesperado

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I have the same amp, but the dual super lead, it's stock. I bypass the preamp and use digital effects to the return with an EQ, I just can't get a sound I like if I don't.
Well, the TSL is not very useable stock, tbo, and I remembered preferring the DSL over it after making the purchase, but without the option to return it it just sat for a while (a few years) in storage, and I almost sold it to GC in Carlsbad, CA for some cash, but my heart couldn't bring me to do it. Then 15 months or so back I got my amp back from storage, and having plugged into it, I didn't like it whatsoever. So I began replacing components, and tweeking, A/Bing, and then rebuilding, until I got it working to my liking. Throughout the process I learned that there were many inherent issues with the amp, all which Marshall left unaddressed, so I had to make many "corrections" and improvements on power supply, HT line, filament filtering, tone circuit, preamp, etc. etc. Finally, after 15 months of patient R&R, and with a little help from some of the members on this forum, too, the amp performs like, well, a Marshall. I had published much of what I did to it, but soon realized although that might have helped a few owners, it mainly benefited the banditos who frequent the forum who turn around and charge owners for MY upgrades/improvements. They are thieves, lets call them what they are. I consider myself a member of a community of Marshall owners, not a salesman or profiteer, if that makes sense. So if people are wondering why I removed all my content from a few of my threads, that is the main reason.

If you are a DSL owner looking for help with his amp, just PM me, I would be glad to clue you in on what can potentially improve the amp. Another person who could help is Matt over at Atomium Amps, on Tumblr, used to be Anchor States. He is in Penn. if you happen to be out that way. He helped me immensely, and I am grateful for his help. It wouldn't be a far stretch of the imagination to obtain a rockin' DSL on its own...
 

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Well, the TSL is not very useable stock, tbo, and I remembered preferring the DSL over it after making the purchase, but without the option to return it it just sat for a while (a few years) in storage, and I almost sold it to GC in Carlsbad, CA for some cash, but my heart couldn't bring me to do it. Then 15 months or so back I got my amp back from storage, and having plugged into it, I didn't like it whatsoever. So I began replacing components, and tweeking, A/Bing, and then rebuilding, until I got it working to my liking. Throughout the process I learned that there were many inherent issues with the amp, all which Marshall left unaddressed, so I had to make many "corrections" and improvements on power supply, HT line, filament filtering, tone circuit, preamp, etc. etc. Finally, after 15 months of patient R&R, and with a little help from some of the members on this forum, too, the amp performs like, well, a Marshall. I had published much of what I did to it, but soon realized although that might have helped a few owners, it mainly benefited the banditos who frequent the forum who turn around and charge owners for MY upgrades/improvements. They are thieves, lets call them what they are. I consider myself a member of a community of Marshall owners, not a salesman or profiteer, if that makes sense. So if people are wondering why I removed all my content from a few of my threads, that is the main reason.

If you are a DSL owner looking for help with his amp, just PM me, I would be glad to clue you in on what can potentially improve the amp. Another person who could help is Matt over at Atomium Amps, on Tumblr, used to be Anchor States. He is in Penn. if you happen to be out that way. He helped me immensely, and I am grateful for his help. It wouldn't be a far stretch of the imagination to obtain a rockin' DSL on its own...
Thank you, I surely will....dang, you've done some serious upgrades. I do have two Metroamp clones I built but didn't put effects loops in them. 2204 and 1969 Super lead. I've just got lazy and it was so brain busting in the first place as I'm a noob anyway. have a 6505 in the closet growing dust......really just collected too much for what I do to be honest
 

Mitchell Pearrow

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Thank you, I surely will....dang, you've done some serious upgrades. I do have two Metroamp clones I built but didn't put effects loops in them. 2204 and 1969 Super lead. I've just got lazy and it was so brain busting in the first place as I'm a noob anyway. have a 6505 in the closet growing dust......really just collected too much for what I do to be honest
:welcome:
To The Forum

Mitch
 

Vesperado

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I realigned the USB mic to capture a better image off of the speaker. There is a bit of coil tamber and presence picked up, but atleast its not as boomy anymore.

MusicLily Ceramic Bridge used throughout. Same deal as before, expect I slightly adjusted the tone on the Amber channel (Tone Shift engaged) and pulled out some gain on the Maxons to better fit the realignment. Changes were less than 1/100 of the dials where adjusted. In person the tone is rich with harmonics and the amp breathes very well. Palm mutes permeate the chest with authority and Marshall "hair" sizzles its brilliance upon the skin. I could play for hours...

Everything is Lo-Z following the Treble boosters (including the channel, dry).

Amber Dry, Volume pedal pulled back, take one:

Amber Dry, Volume pedal pulled back, take two:

Amber, Ibanez TS-9, stock, Accutronics Reverb.

Amber, Maxon VOP-9, Volume Pedal almost full tilt. Mic gain reduced to avoid clipping. This combination reminds me of a Bogner Ubershall Half Stack I once plugged into.

Amber, Maxon VOP-9, Volume pedal pulled back. Much harmonic content in the air.

Amber, Strange Master clone (Throbak), Volume pedal pulled back. Strait Rock'n'Roll.

Amber, GMR Spares BC Dallas, Lo Cap, Accutronics Reverb, Volume pedal pulled back. Brutal yet tight.
 
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