I think these to be the best seventies bootlegs of the Stones soundwise. But what amps did they use on it??? Did Mick Taylor and Keith use the same brand of amplifier?

I think Brussels Affair is played through Ampegs, whereas Handsome Girls is played through Mesa Boogies. Am I right or wrong?? And through which type of amps did they play?

That sounds about right--certainly Keith used Boogies in the late seventies. Listened to Handsome Girls last nite--the tone on that boot is just about the coolest guitar tone ever. Slightly overdriven, great sustain, but still clean enough to hear individual notes.

I agree with the person in a different post who wrote that they preferred the sound in '72 to the sound in '73.

1972: both Taylor and Richards played 350 watt Ampeg SVT heads wih 8*10 cabinets.
1973: both Taylor and Richards played 350 watt Ampeg V9 (the guitar version of the SVT) heads wih 8*10 cabinets.
1978: both Wood and Richards played 100 watt Mesa/Boogie mark I amps, slaved through a 350 watt Ampeg SVT heads and 8*10 cabinet.

Mathijs

Question, Mathijs--when you say "slaved" through another amp, what does that mean--is one amp running as a sort of pre-amp to another or is it something else?

Always wondered about this...

Was the Ampeg SVT a bass amp?

Glass Slide Wrote:
-------------------------------------------------------
> Question, Mathijs--when you say "slaved" through
> another amp, what does that mean--is one amp
> running as a sort of pre-amp to another or is it
> something else?

slaving in this way means you use the Boogie as the main amp, but you amplify the sound of the Boogie through a larger Ampeg SVT. It simply means that even though a Boogie mark amp is very loud, an one 12" speaker combo is just too limited to sue on a big stage (stepping aside next to it means you won't hear it, even though it's blasting at 115 d. So you use the as a kind of monitor, just to spreak the sound. As the Ampeg is a very warm sounding amp, it also takes some of the treble away from the Boogie. Personnaly I find the sound on the '78 tour to be brilliant, it is my favourite Stones sound.

>
> Always wondered about this...
>
> Was the Ampeg SVT a bass amp?

Yes it was. When it came out in 1968 it was a bass amp. After the Stones started using it as guitar amps in 1969, some alteration on the pre-amp secion were made in order to make it sound better for guitar. But it doesn't matter much. The famous Fender Bassman and even the Twin were all suited for bass and guitar.

Mathijs

Thank you Mathijs--always wanted to know precisely how that worked--makes total sense.

And,I agree, the guitar tones on the '78 tour were the best. One of the reasons I much prefer '78 to '81, cause the guitar sounds are pretty different---too much effects in '81, less crunch, not as aggressive a sound.

Have a friend who has a Fender Bassman amp that he bought at a garage sale (of all places) yrs ago, plays it through a Fender cabinet and gets a good Stones sound out of it.

So--if I understand you correctly, when you slave, you are getting sound from both amps, right?



Edited 1 time(s). Last edit at 2007-03-03 19:40 by Glass Slide.

I've got a late 60s bassman and can vouch that you get a great stones sound from it.

I tried out an old Ampeg SVT head into an 8 x 10 recently. In order ot get anywhere near decent sound you need to crank it up real loud. I don't think I have ever experienced sound that loud before - even right next to a jumbo jet engine! You should have seen the faces of the people in the shop as I cranked it right up and played the intro riff to brown sugar!

How exactly do you slave an amp through another? Where do you put what cable?

Handsome Girls is the greatest Stones recording of all time. When someone asks me why I like the Stones I just put it on and watch their minds get blown. The ancient art of weaving was perfected in 1978.

Brussels is great but IMHO it doesn't hold a candle to Handsome Girls.

As far as amps go, its all about the tubes.

-Drake

Glass Slide Wrote:
-------------------------------------------------------
> So--if I understand you correctly, when you slave,
> you are getting sound from both amps, right?

Yes. You take the line from the Boogie's "slave out" to the Ampeg's "power in" jack socket. You must have a load on the Boogie's output transformer, so it will be connected to the speaker. If you turn down master volume on the Boogie the "slave out" level will also drop. So, there will be sound from the Boogie. Ofcourse, with specific attenuators you can kill this sound as well. If you use the "power amp" line of an old Ampeg, all the controls are bypassed so the amp acts as one big loud ampifier always amplifying on full throtle. The volume of the Ampeg then is regulated by the "line level" knob of the Boogie.

Personally I really like this sound, but I also love the way Keith sounded in 1981. He didn't use many effects aside from a MXR Phase 100. I think Hampton 81 is one of Keith's best ever sounds, together with the '81 tour. The only problem is that on many soundboards we have, al guitars are recorded dry, and that makes his guitar sound thin and fizzy.

Mathijs

Mathijs Wrote:
-------------------------------------------------------
> 1972: both Taylor and Richards played 350 watt
> Ampeg SVT heads wih 8*10 cabinets.
> 1973: both Taylor and Richards played 350 watt
> Ampeg V9 (the guitar version of the SVT) heads wih
> 8*10 cabinets.
> 1978: both Wood and Richards played 100 watt
> Mesa/Boogie mark I amps, slaved through a 350 watt
> Ampeg SVT heads and 8*10 cabinet.
>
> Mathijs


Mathijs, what does 'slaved' mean? Dank u!

Menace, if you read up a little further, Mathijs already explained how the process works.


Just a Phaser? I have not listened to Still Life in a while (only '81 I own...presently) but I seem to remember hearing what sure sounded like a chorus
on some songs and possibly a delay. I also thought Ronnie's playing was considerably better in '78, though my sample size of '81 is not great.I have seen you state that Hampton '81 is your favorite, something I will definitely check out.

hampton 81 is also a great boot for the wonderful Bass that Wyman played for them. It is bold and tight.