Guitar 小师 Blues Saraceno 也很厉害！
他用音箱的
Dirty Boy Amplifiers
We have been getting a lot of inquiries regarding the "Dirty Boy Amplifier" that Blues has been using as his main amp. I hope this will answer most pertinent questions you may have. The "Dirty Boy Amplifier" was designed with Blues' style of playing in mind by Alex Saraceno, his manager as well as his father, out of frustration with readily available commercial amps. They just just seemed to scratch the surface and not go deep enough into the realm of extreme tone, nor attack. We were looking for the next level of performance instead of circling the established sound pallets that we had been spoon fed over the years.
The idea was to create an amp that did not have a specific sound of it's own, unlike Fender amps that sound like Fender amps, Marshall amps that sound like Marshall amps, Vox amps that sound like Vox amps and so on. Not that there is anything wrong with that, but you are stuck with that sound if you buy that amp. We wanted an amp that had such a broad sound scope that you could dial in whatever sound suited your playing, so that your sound could be individualistic.
Here is how we did it. This is very technical but you may find it interesting none the less. We designed our own transformers with our own combination of lamination ( M-6 and 26-M19 ) over building them so the output transformer ranges from 20hz to 20 Khz, the total range of the human ear (not just mids as most output tranformers favor). The power transformer when left on for days hardly gets warm, that's how thick the wires are (most transformers today are designed to be bare boned to save manufacturers money). Now to the fun stuff. We used a Variac to lower the plate voltage on the power tubes to create distortion from the power section (while keeping the heaters and the phase inverters and pre-amp unaffected) not only from the pre-amp section as all amps do today. Getting distortion from the power section is one of the key elements of the Dirty Boy amp. We also designed a phase inverter using a 12AT7 because of it's sweet sound, but since it did not have enough power to keep up to the norm, we followed it with at 12AX7, an unusual design to say the least. Then we hooked up a variable feedback loop with a potentiometer so you can decide if you would rather have a class A type sound or an AB/2 type. The Dirty Boy has 2 separate pre-amps one very distorted, one very clean. On the clean side, we installed a mid booster, so you can choose to increase the sustain but with a great amount of clarity (the bass notes will stay very tight). The amp uses 2 X5U4's as a dual rectifier to give you what players call the "Sag" or you may choose to place a solid state rectifier in its place if you a metallic monster. All the voltages on the clean side of the pre-amp have been lowered since it is our opinion that 12AX7's do not sound good at recommended voltages. Every component in the amp has been over built way beyond specification. The amp has an incredible filtering section on each side of the choke as to soak and store tons of energy so that the note will hold as never before. This system over all requires 7 transformers to operate. Even the chokes are hand build, hand wound to our specifications. The amp is full of tricks such as a dual presence, but enough about the technical stuff…
Where can you get a Dirty Boy Amp? Unfortunately you can't. We have tried unsuccessfully to approach amp manufacturers to make the cost realistic to the individual, but they seem to care about one thing and one thing only, the price point. As a matter of fact, they did not even listen to it! We are not in the amp manufacturing business. These amps take way too long to build. We did build 4 for our friend Chris Romano at Black Market Music in Los Angeles. He has been renting them to major acts, the most current one is Marilyn Manson.
We hope in the future someone will be brave enough to take on the line, but for now KEEP THE FAITH --TUBES FOREVER!!!!!!!!!VIVA LA TUBE!!!!!!!!!!!!!!!
Don't forget… You can hear the Dirty Boy on Blues' new album with his new band. Let us know what you think….
他用的效果器
MPX G2 Guitar Effects Processor
The MPX G2 is the only effects processor that lets you put effects anywhere you — want in front of your amp, in its effects loop, or both. Or use it for recording direct, with no amp at all! Analog and digital effects — 76 in all, as many as seven at once. Analog distortion and overdrive, and authentic recreations of vintage stomp boxes: Tube Screamer™, Uni Vybe™, Octavia™, Mu-tron III™, Cry Baby™, Phase 90™, Dyna Comp™, Space Echo™, and more*. Studio effects like JamMan(20-second delay looper), Intelligent Pitch Shifting, Tap Delay, Chorus, Flange, Rotary Speaker, Parameteric EQ and Lexicon Reverb and Ambience.
Built-in features like a "straight wire" analog bypass and an analog noise gate give you pure guitar tone when you want, and let you keep any high-gain amp totally under control. Other goodies include a tuner, a digital noise gate, dedicated analog tone controls and an analog Speaker Simulator, so you can record direct using the MPX G2 as a programmable stand-alone analog preamp with effects.
The MPX R1 MIDI Remote Controller, running V2.0 software, provides stomp box control of all MPX G2 effects.
All registered trademarks are the property of their respective manufacturers. JamMan is a trademark of Lexicon, Inc.
Standard Features
2 separate audio paths let you place effects in front of your amp or in the amp's effects loop.
Stomp box control with MPX R1
Multiple processor technology for uncompromised reverb at all times
Dynamic Gain™ — Lexicon's analog distortion technology provides screaming overdrive and distortion
Use without an amp as a stand-alone preamp with effects
Over 60 effects including Intelligent Pitch Shift, 20-second. Full-Bandwidth Delays, Chorus,Flanger, Sweep Filter, Detuner, Rotary Speaker, Parametric EQ, Tremolo and recreations of Uni-Vibe, Dyna-Comp, Vox and Cry Baby Wah.
用的 MIDI 踏板
MPX R1 MIDI Remote Controller
With the MPX G2 in the effects loop of your stage rig and an MPX R1 on the floor, you’re ready to take your favorite studio effects on the road. A single cable provides power and 2-way communication with the MPX G2 – dedicated stomp-box style buttons and LED’s give you complete access to the entire arsenal of MPX G2 effects. Don’t have an MPX G2 yet? Use the MPX R1 with a Lexicon MPX 1 or even as a stand-alone MIDI remote controller. Either way, you get all the great features you expect from Lexicon including:
Dual relays for remote switching of as many as 4 amp channels
MIDI program select and control
Programmable expression pedal with toe switch>
Dedicated footswitches for TAP tempo and MPX 1 A/B switching
All-metal chassis, pedal and switches
他现在使MUSICMAN的GUITAR了！
以前是YAMAHA的。
FX Setup
My wah pedal is a Jim Dunlop Crybaby, custom designed by Sam McRae based on an old pedal I had. It features true bypass and a gain boost. This goes directly into a Digital Music Ground Control, which is a great 8 loop switcher which was recommended to me by Josh Fiden. To switch settings on it, I use a Custom Audio Electronics RS10 designed by Bob Bradshaw. It gives direct access to each effect and features hard click metal switches. The effects I use are:
EFX 1 - Digitech Whammy pedal on my pedal board. Great for octave effects.
EFX 2 - Voodoo Labs Tremolo. In my opinion, the smoothest vintage tremolo made.
EFX 3 - Voodoo Labs Analog Chorus. The thickest of all choruses.
EFX 4 - Voodoo Labs Micro Vibe. For leslie type effects.
EFX 5 - Boss PS3 Digital Delay.
EFX 6 - MXR Flanger Gray.
EFX 7 - MXR Phase 90.
EFX 8 - Filterbank.
My amp is a custom made Dirty Boy which drives a 4X12 cabinet loaded with Celestion 25W Green backs. Ted Kienert provided me with a series of lightweight but durable SKB cases. The MXR pedals were furnished by Jim Dunlop. I did all of the wiring using Spectraflex cables.