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Agreed! It’s like a tighter, British SLO.

Excuse me, can you stop using big words like "intelligible" because I have to google them to find out what they mean and that takes away from my viewing time. Thank y0u

@@jakebenigni yes same settings

While not the same circuit and layout, Friedman BE100 Deluxe has a Plexi channel, 3 gain stage BE channel and 4 gain stage HBE channel. Great amp!

@@jamescassidy4045 1976 to 1979 was black face for UK and small check for USA models for those years. From 1980 all were black face, UK and USA.

@@BPToneReview Right okay, thanks dude! Appreciate the help! Did all the UK's from 76 to 79 also have the plastic corners for sure? That was the other thing I was specifically trying to figure out.

@@jamescassidy4045 yes

@@BPToneReview Thanks man! So, may I ask one more thing. I'm sure it's possible it could vary like anything Marshall back then, but do you know, between 76-79 for the UK Black Grills what year they specifically went to Blackbacks? Also, after the switch, was it possible that they would still ship certain ones with Greenbacks? Or was it random throughout 76-79, and after the main switch, there would just be some throughout those years with Greenbacks maybe?

@@jamescassidy4045 There was a period during the early 1970s when occasionally Celestion would run out of green to make the rear cans for the G12M and G12H speakers. Back then, the significance of the “green back” wasn’t yet fully realized, so they’d use whatever color came to hand. At various times Celestion produced the Blackback, the Greyback and sometimes the Creamback colors. Whatever the color of the can, physically and tonally the speakers were actually always Greenbacks, same identical speaker at that time period. What changed before the color of the can was the cone manufacture. Early 70s Celestion changed from Pulsonic to Kurt Mueller cones. That changed the tone ever so slightly from the 60s version of the greenback to the what we have now.

@@deadinside0586 thank you 🙏🏼 Duncan 78

@@BPToneReview I thank u. Is old the Custom Shop, or from the new line?

@@deadinside0586 it’s the same pickup but from the regular production

@@BPToneReview This was my question. hahahaha I'm from Brazil, and i have the Custom Shop 78. I also had the Evenly Voiced Harmonics, which is suposed the same pup with another name. But, since the things here are too expansive, I haven't tested the new version of 78 yet. Do you have both?

@@deadinside0586 The regular production 78 sounds great.

Absolutely there’s a jump in volume to modern. It removes the NFB which makes it more aggressive and also changes the tone stack to a different value which is why it can sometimes pop.

I used my Yamaha SPX90 on the Pitch C preset just for the cleans. I don’t have the TS any longer. A Suhr guitar came available that I had been eying for a long time and had to sell something to help fund it. It’s a great amp just was least played of them all. Gain levels it has just as much as the BE and Smallbox but it’s a fatter and thicker type of gain and is perceived as less but it’s not. It definitely excels at that low to mid gain styles due to how it’s gain structure and felt it needed a boost for any thing like 80s hair metal. Although it worked well for 90s grunge, Soundgarden, STP etc. I had the DS also and it had the exact voicing and level of gain as the TS. Had the mini DS to and voicing was similar but had more overall gain.

Thanks Jeremy! Very happy with the amp. A little redundant with the Friedman’s I already have but as you already pointed out, it’s a little darker with that audio taper for the treble pot. Also, that particular clean circuit is no where to be found in the friedman line except the SS amps.

With effects, but just 1 effect. Yamaha SPX90 using the Symphonic preset. Same unit and preset Zakk Wylde used.

@@BPToneReview , Thx

Agree 100%

@@Frehley2012 no doubt. Sounds great to me too ( better than the iconic line) I got a great deal and couldn’t refuse

Hardly...LOL...The Marsh had more midrange "bite"

Thanks a lot!

Not sure tbh, it was 7yrs ago. Depending on what guitar I was using (I can’t see it) it may have been a Duncan Antiquity, Duncan Custom or JB.

If I remember correctly it was my EVH 412 with the 20 watt EVH heritage greenbacks. It can be a bright amp indeed. Doesn’t work with 212s very well due to this in my opinion. I ended up selling it but was a great amp.

Thanks, I've got the same speakers, can't go wrong

Thank you 🙏🏼

Yamaha SPX90 Pitch preset at -9/+9

Very nice! Best way to describe the two is T1221 is more Eddie and T1511 is more Angus! Enjoy!

Bogner 212 with V30/CB65

Thanks so much for the input. I’m on a search for a good amp and cab. I currently have a small box 50 but to me the difference is too much between the two channels. When you switch from the plexi side cleanish to the second channel it changes the EQ way too much. Being that there is shared EQ controls it’s a bit of a pickle. I’ve been reading about the Twin sister or Dirty Shirley and it may be something I’m interested in. I’m seeing a lot of common theme where people like other amps better than Bogner but prefer their cabs. Anyways, I had another question. Did you really have to back off the master volume control to get that much gain crunch sound ? - on the Smallbox 50 if I backed off the master on either channel it would take a lot more effort to get a higher volume the way it sounds you are achieving.

@@joshuadillon4396 Hey Josh, I have a SB50 now and sold both the DS and TS. Great amps, it's just the SB50 suites me better plus this one came with the SAT mod done by Dave. I'm not understanding your question regarding the MV. MV doesn't affect gain, just the overall volume of the amp. Now, tonally as you increase the volume it does change some and have to adjust the eq for that particular MV setting.

Hey there. Thanks again so much for these responses on an older thread. So, it’s funny because you say master volume doesn’t affect gain but then say it kinda does affect tone. Tone can then affect gain a bit. Just like sometimes the more gain you may need to back off treble or vice versa/. The more EQ in of treble can actually make you hear more gain. Anyways. I am simply commenting on and trying to understand because it seems like in this video you are trying to absolutely maximize gain . You have the gain slammed And an overdrive in front. But then you have the master slammed all the at back. friedmans master volumes are quite impressive but they still like any - are not perfect. But main question is just was there a reason you had to slam that master all the way back and how on earth did you even get such volume then just by the mic maybe and pushing volume up after recording ?

I just set the volume to taste for the room. My room is 15ft x 20ft with wood/tile flooring so it’s lively.

Thank you. The mod definitely made it more versatile for a wider range of playing styles.

Thanks, it's a much improved sounding and more versatile recto IMO. 2 channel Rev G with a boost is still the holy grail of recto tones though.

😂 Looks like from the poll I posted, XTC is next on the list 😉