Showing posts with label marshall. Show all posts
Showing posts with label marshall. Show all posts

Friday, July 2, 2021

1990 A.D.

 


That year is now 31 years past.  But it’s one of the more eventful ones I can remember.

 New Year’s Eve, 1989-90.  I spent this in Paris, France.  There was a girl named Mo (short for Maureen?  I never found out – or her last name) who I met at GMU, spring break 1987, and in Paris at the Air Show in 1989, who invited me to celebrate with her sister, in her sister’s tiny apartment.  Nothing happened, and I barely even drank.  At six a.m. the sister claimed her BF would be showing up – he might have been a Marine, I don’t remember as I never met him – and I went home.  Except at that time the Paris Metro was closed.  So I had to walk, from St. Paul/Le Marais, all the way home.  I walked along Rue de Rivoli westbound as far as Place de la Concorde (guillotine long gone), took a right to the Madeleine (Catholic church designed like a huge Greek temple) and then went up Blvd. Malesherbes (est. 1861) to home.

 21.  When I got back to Maryland from Paris, I reached 21 years old, finally able to legally drink and use my driver’s license as my ID. 

 LSAT scores.  The equivalent of SATs, but for law school, is the LSAT.  Back then the top score was 48.  Coming back from Paris in late August 1989, to begin my senior year at UMCP, I didn’t have enough time to study for the September 1989 LSAT exam, so I had to take the December exam, doing my LSAT prep at White Flint Mall in October and November.  However, I was sending out my law school applications, to all the top tier law schools in the US, around the same time, so I was sending them without the benefit of knowing my LSAT score.  I returned to Paris after the semester break started, shortly before Christmas.   When I got back in mid-January, my mail was waiting for me: including my LSAT results.   37 out of 48, well below the 42 necessary to be competitive for top tier law schools, and no time to take it again (in any case they average the scores of multiple tests instead of taking the highest one). 

 So I started my spring semester of my senior year: Production Management, International Marketing, Business & Government, Business Policies, and Comparative (Economic) Systems.  By this point I had a single in Montgomery Hall, on campus at University of Maryland, College Park.  I got along fine with the other guys in my suite, for once.  I’ll spare everyone the litany of horrendous experiences, but suffice to say that living on campus among strangers gives you a form of education well beyond the classes themselves.    

 Marshall combo.  I purchased my Marshall 2554 Jubilee 1x12” 25/50 watt combo from Chuck Levin’s in Wheaton, Maryland.  Finally a decent amp to go with my Gibson SG and my Fender Stratocaster.  I still have it today, and it still sounds terrific:  a warm, full bodied overdrive.  The Jubilee series amps have a knockdown switch which makes it even nastier and hotter.  In fact, Guns N’Roses lead guitarist Slash liked the sound so much he had Marshall reissue them in his own signature series.  Later, Marshall reissued them again, the reissues recognizable as having only two front switches.  With our fixation on stacks, it’s easy to lose sight of the fact that combos (A) can be VERY loud, (B) can sound VERY nice, especially since the amp section is the same design as the one in the 50 and 100 watt heads, and (C) are considerably more practical if you’re playing at home.  Depending on your neighbors, even a 50 watt combo can get loud enough to elicit noise complaints. 

 Spring Break.   Not spent in Fort Lauderdale – in fact, none of them were.  Georgetown was the first law school to let me know I would not be attending in fall, politely wishing me luck…somewhere else.  I visited Chuck Levin’s again, and saw the newly issued 1976 Reissue Gibson Explorer (itself a reissue of the 1958 Explorer, though in a color other than korina): black, with a white pickguard and Dirty Fingers pickups; these high output, exposed coil humbuckers were another departure from the PAFs which a 1958 would have had.  NICE.  I couldn’t stop thinking about it.

 April.  As the rejections from Harvard, Duke, etc. continued to pour in, my father in his wisdom advised me to hedge my bets by applying to second-tier law schools:  George Mason (now Antonin Scalia), Catholic, and American.  Sure enough, I got into all three, but didn’t get into any of the top tier schools to which I had applied – not even GW or U. Maryland Law (in Baltimore).  I chose GMUSL, which had a corporate and securities specialty track, which was unique among law schools at the time. 

 May.  By this time I decided to buy the Explorer.  The I one wanted was sold out from under me, so the store simply ordered another one from Gibson, and it came two weeks later.   I still have it today, the oldest of my current arsenal.  Later on I replaced the white pickguard with a mirror pickguard, and the Gibson Dirty Fingers pickups with EMG81s – as per James Hetfield of Metallica, though by now he has his own signature pickups from EMG. 

 Classes ended around Memorial Day.  My buddy Phil and I took a road trip to Ocean City for the weekend, only to find it was raining – and would be for the entire weekend.  So we drove back, saw “Back to the Future III”, which had just came out that weekend, and then Honor Among Thieves at Hammerjacks in Baltimore. 

 June.  Back in fall 1986 I had purchased a Japanese made Fender Stratocaster (black, rosewood fretboard), to replace my Strat copy.  But later I decided to sell both and buy a US-made ’62 Vintage Reissue model (black, rosewood fretboard).  I handed both over to my guitar teacher in Paris, Joel, who sold them for me.  I used that money to buy the US Fender Stratocaster, also at Chuck Levin’s, that summer when my parents visited in town briefly.  In January 2000 I traded that in for my current Stratocaster, a Mexican model with a humbucker in the bridge position, black pickguard and pickup covers, rosewood fretboard, and large 70s style headstock.  I’ve since modified it with locking tuners, a DiMarzio zebra coil humbucker, and a V-Runner tremelo. 

 June-July.  Summer Session I.  COBOL and Money & Banking.  Normally my senior year would finish at Memorial Day, the end of the spring semester.  I was on a double degree track, 156 credits.  Part of that was accomplished by taking both summer sessions after my sophomore year in 1988, meaning that summer I did not go back to Paris.  The other part was doing two things.  First, I’d be highly selective in course choices, picking classes which satisfied multiple requirements.  Second, I frontloaded any classes which were prerequisites for later courses, and left dead end classes until last.  That was COBOL (the programming language used for payroll systems) and Money and Banking.  Had I not been so clever, I might have needed the fall semester of the fifth year to finish the 156 credit curriculum, putting law school off until fall 1991.  Again, the way things worked, I was able to finish college that summer and start law school in the fall. 

 I stayed on summer campus housing again, New Leonardtown – as I had during 1988 – but this time I only needed the first summer session. On July 14, I flew back, overnight, to Paris.  [July 14, 1989 I spent in Paris enjoying the bicentennial of Bastille Day].

 From 7/15 to 8/1, I was back in Paris for the last time.  I can’t recall much of what I did, aside from Roscoe’s, FNAC, the US Embassy, i.e. the usual places I’d go.  My father was finally being reassigned back to Washington, the Dept. of Commerce building on Fourteenth Street and Constitution Ave (Herbert Hoover Building, with the National Aquarium in the basement, which has since closed).  This was ending 11 years in Paris, since January 1979. 

 We still owned our family house in Montgomery Village, rented out to tenants that entire time despite several even-year visits back.  Since we were only visiting for six weeks every other summer, as my father noted it made no sense to kick tenants out for those brief periods of time when a house is rented on a yearly basis.  The flip side was that whoever was doing the property management all that time dropped the ball big time.  The house was a mess, a prime candidate for withholding the security deposit.  My family was due to return at the end of August, with the sea shipment of furniture to arrive in mid-September.  So I had a month to do my best, with my friend Phil’s enormous help, to undo the damage of 11 years of consistent neglect.  I recall sleeping on an air mattress during that time and had the entire house to myself.  I watched “Pink Floyd: Live at Pompeii” on VHS, rented from Erol’s.  The Village Mall had disappeared, turned into an outdoor strip mall.  And the lessons Phil learned with my experience helped him when his family moved to India but kept their house in Sterling, Virginia; he was able to act as property manager.    

 In 1984 my parents purchased a studio/efficiency in Rosslyn, on the Virginia side of Key Bridge from Georgetown, a four building co-op complex called River Place.  In 1986, our whole family stayed there – two adults, two teenage boys (my brother and I) and our 11 year old sister, in a one-room studio apartment.  Now it was time for me to live there myself.  Having lived on campus all four years of college, and at home up until that point (Maryland and Paris) this was my first place alone.  I stayed there from September 1990 to October 2004, when I moved to the place I live in now.  From 1994, when he returned from Memphis, TN until 1998, when he moved in with his wife in Chantilly, my brother Matt lived with me there too.   So for my entire adult life, I’ve lived in exactly two places outside home or college.

 River Place was nice – it had its own pool.  The Rosslyn Metro was just blocks away.  Key Bridge was likewise down the street, meaning Georgetown as well, if you didn’t mind a bit of walking.  In January 1996, I saw Motorhead at the Bayou, a club down under the Whitehurst Freeway.  When I walked to the show, the neighborhood was clear and dry.  When the show ended, the whole place was covered in 3 feet of snow.  No vehicle traffic at all, nor any snowplows.  Leaving aside snow, Rosslyn features I-66 coming in from Fairfax, Route 50, Route 29, and the GW Parkway, all in the same place.  Now I’ve seen pictures and drawings of Aqueduct Bridge, which Key Bridge replaced in 1923.  For a long time there was literally nothing at all in Rosslyn.  Then for some time from the 20s up to a few decades ago, Rosslyn was a rundown, dangerous red light district (gambling and prostitution, maybe some violent crime thrown in as well).  By the time I arrived it had cleaned up, and even featured Tom Sarris’ Steakhouse, now gone.  The Iwo Jima Memorial is right across Route 50 from River Place. 

 George Mason University began in the 1950s as the state university of Virginia in northern Virginia, University of Virginia (UVa) itself being down in Charlottesville, southwest of Richmond, and Virginia Tech being in Blacksburg, over on the I-81 corridor on the way to Roanoke.  It soon became a four year college, then a proper university, with graduate programs.  Around 1981 it acquired the International School of Law, and renamed it the George Mason University School of Law.  By 1990 it was in the former Kann’s Department store on Fairfax Drive in Arlington.  After I graduated, in 2000, it moved next door to a new, purpose-built building, with the old building fenced off, now being demolished to make way for another school building, presumably not with escalators. 

 Law school was a much more intense animal than college.   Everyone had to be an excellent student just to get in, whereas UMCP had quite a few slackers.  This hit me with a grading curve producing C’s, whereas B’s were rare for me at UMCP.  A fellow UMCP grad, Ira Mirsky, was there as well, though we weren’t close friends back at College Park.  A closer friend was John Greenside, who I knew from GMU undergrad, one of Phil’s best friends.  These days he’s married with children and is a successful attorney down in Virginia Beach.  Anyhow:  we had assigned seats, and the professor had a seating chart and would call on you by name.  None of this college business of disappearing in a crowded lecture hall.  First semester was Torts, Property, Contracts, Quantitative Methods, and Legal Writing.  I had Robert Bork for Constitutional Law in second year.  Welcome also the Socratic Method, wherein the professor gets us to examine cases and determine exactly WHY they were decided – what the material issues were in the case.  Regardless of what states we would eventually go off to practice in as attorneys after graduating and passing the bar, law school would teach us the basic principles which applied everywhere, and the basic thought processes and logic which lawyers would use as such.  It was far more than the mere black letter law, so to speak.  Anyone can open up a statute book and read a statute, or look up a case, either in the volumes, on LEXIS, or online these days.  It takes a lawyer to see the bigger picture, to spot the issues, to recognize the core issues involved in a particular situation.  This is what we learn in law school, why those three years and that J.D. are so important.

I might also add:  to practice law, you have to have a bar license.  To get a bar license, you have to pass the bar exam (except for Wisconsin).  To even TAKE the bar exam, you need a law degree from a reputable law school, or the foreign equivalent.  “Reading the law”, an apprenticeship arrangement, is a thing of the past.  We had paralegals at the law school who figured they might as well take the extra step and get that law degree and take the bar.  Some states allow attorneys who have passed other bar exams and practiced as an attorney to “waive in” without taking and passing their own bar exams.  I passed the Maryland and Virginia bar exams, and waived in to D.C. and New York.    

 In December 1990 I actually went back to College Park for my graduation ceremony from University of Maryland. I didn’t attend the general ceremony at Byrd Stadium, but did attend the college-specific ceremonies, both on the same day, at Cole Field House.  Technically I graduated on August 28, which was how I could start law school at GMUSL for the fall 1990 term. 

 Concerts.  The year started off with The Cult, on their Sonic Temple tour, at the Baltimore Arena on February 8.  That and Electric are my favorite albums.  Setlist Wiki does not have that particular show’s setlist.  Then it was Ace Frehley at Hammerjacks, in March, also in Baltimore.  In November, at the Cap Centre (Landover, Maryland), we saw AC/DC on The Razor’s Edge tour.  I seem to recall being in the bathroom when “Thunderstruck” opened the set.  Finally was seeing Hawkwind, with my buddy Dave, at the old 930 Club in DC, back when it was at 930 F Street and a fraction of its current size over on V Street.  Despite being closely after Xenon Codex, they didn’t play anything from that album, nor was there much focus on Lemmy era (Space Ritual) material, most of it being late 70s stuff I hadn’t yet heard by that point.    

Saturday, May 1, 2021

Amplifiers


It looks like I missed my self-imposed Friday deadline due to another case of writer’s block.  I had already written about Marshall amplifiers, and in so doing, also addressed the issues of tube vs. solid state, distortion, and the birth of the Marshall stack.   Moreover, until recently, I was only using Marshalls.

A few basic points I’ll address which apply to all amplifiers.  Most guitarists – and bassists – can acknowledge and recognize that a large percentage of their sound comes not from their instruments but from the amps they play through.  A $2000 Gibson Les Paul Custom isn’t going to sound nearly as good through a $100 solid state amp it will through a Marshall tube combo or half stack – or any of the competing amps of comparable quality.  And an amp cranked up loud enough will make single coil pickups, ostensibly thinner and less substantial than humbuckers, still sound thick and nasty, which is why Stratocasters and Telecasters, plus Gibson’s P90s, aren’t nearly as rare among guitarists playing hard rock and heavy metal, or even doom, as you might imagine. 

Getting back to the larger topic…

Recently I picked up a Laney combo – L20T-112.   Laney is famous for being the amp brand favored by Tony Iommi, the guitarist for Black Sabbath.  It's a 20 watt, 1x12" combo with delicious distortion and remarkably strong reverb.  The Dual Reverb doesn't seem to have much at all, despite its name.

Fender Twin Reverb.   Probably Fender's most famous amplifier, with a strong, distinctive reverb sound.  Originally 85 watts, then 135 watts - which was far too loud - and so they went back to 85 watts again.  It's a tube amp with 2 12" speakers.  The list of Twin Reverb players is like a who's who of famous guitarists.   Fortunately, Fender still sells them.  The original blackface (pre-CBS) '65 reissue is $1700 new, the subsequent CBS silverface '68 reissue is $1400 new, and now there's a solid state modeling version, the Tone Master (looks exactly like the '65) for $1000, supposedly half the weight of  real tube Twin Reverb.  With one exception, all the Twin Reverbs I've seen around were Tone Masters, though the local used guitar store has a vintage '66 blackface listed for....$3000.  The '65 reissue is probably the best deal, though I'm not in the position to add any more equipment to my existing arsenal.

Mesa-Boogie.   Randall Smith founded this company in 1969, with Santana as one of his first customers.  He hot-rodded Fender amps for more gain and distortion.   Some of the cooler combos have wicker grilles.  My first exposure to Black Sabbath was indirect, through Ozzy Osbourne's live album Speak of the Devil, intended to satisfy father-in-law Don Arden's contractual demand for a live album just days after Randy Rhoads died.  Brad Gillis, the replacement guitarist, blazed through Sabbath classics like "War Pigs" with a rich, full distortion:  Mesa Boogie Mark II's.  Unfortunately, these amps are extremely expensive, even 1x12" combos go for $2000.   Were I to collect amps, I'd add a Mesa Boogie to my collection.

Hiwatt.   Tube amps, I've seen Justin Hayward (Moody Blues, Isle of Wight) and David Gilmour (Pink Floyd) playing them, and the local used guitar shop has a few, along with Mesa Boogies and a whole room just for Marshalls.  Created in England in the early 60s by David Reeves.  However, I can't say I have much familiarity with these.   The company is still in operation today.

Orange.  The favorite amps for stoner rock bands, including Matt Pike & Sleep, with Wishbone Ash being the earliest band to be prominent users.  I have a small practice amp, not even a 1x12" combo.  

Ampeg.  Bass amp manufacturer, Bill Wyman of the Rolling Stones being one of the first to use them, and Al Cisneros of Sleep also being a more contemporary fan.   Not being a bassist, I can't comment too much except to say they're a popular brand.   Lemmy still preferred Marshalls.

Sunn.  An amp company which spawned the name of the droniest stoner rock band ever;  SunnO))) (Amps Left On Accidentally Record New Sunn O))) Album (thehardtimes.net)).  I can't say I have much experience with these amps.  I know Randy Holden of Blue Cheer is featured with them on the cover of his solo album Population II, switching from the Marshall stacks which were ubiquitous with him and Leigh Stephens back in the day.  

Vox.  Most famous amp is the AC30, played by the Beatles, the Stones, and Queen's Brian May.  They also make guitars and effects (e.g. wah-wah pedal); even drums.  They're now owned by Korg. 

We think of stacks as being the loudest, but a relatively small combo, with a single 12” speaker, can be extremely loud in a small, indoor location – and in a live situation, miked up to the club’s P.A. system.   Moreover, my experience has been that my tube amps, sitting in one place for years at a time, don’t need much maintenance, i.e. changing and biasing the tubes, and this minimal maintenance doesn’t rise to the level of being inconvenient – at least not to me.  

Friday, November 27, 2009

Marshall Amps



I mentioned earlier about Les Paul “inventing” the solid-body guitar, recognizing that since electric guitars depend on the pickups and amplifier (“amp”) for sound, a hollow body was no longer necessary.  Clearly, then, the amplifier is a crucial part of the guitar’s sound – you won’t have a sound without it.

 Since the mid-60s, the top choice of amplifiers among professional musicians is clearly Marshall.  Although Fender and Gibson make their own amps (Fender’s being more popular by far), as do many other companies – Laney, Mesa-Boogie, Orange, etc. - far and away the most popular are Marshall.  

Back in January 1990, I joined the ranks and bought my own, a humble little combo, the 25th Anniversary (1962-1987) Jubilee edition, 50 watts, with one 12” Celestion speaker and an overdrive switch.  This series was a favorite of Slash, of Guns N’Roses, so much so that his own signature series amp was modeled after this one.  

In April 2010, I finally managed to get a half-stack, a JCM900 100 watt Dual Reverb head with a 4x12" 1960AV slanted (top) cabinet with Celestion Vintage 30s.  It's VERY LOUD.

 The Stack.  In the mid 60s, Pete Townshend of The Who was looking for more power and bigger amps.  After his roadies bitched at him that the 8x12” cabinets Marshall made for him were too big and heavy, Marshall compromised by cutting the 8x12” cabinets in half, creating the stack: a separate “head” for the amplifier itself, and two cabinets, each with 4 12” speakers (4x12”).  Add more stacks for more power, and collect a wall of them.  Blue Cheer blew their advance from Phillips on their stacks; and KISS, when starting out, used empty cabinets to give the illusion of a full wall of amps. 
            By contrast, the Beatles had been using much smaller amps (Vox combos), without even a P.A., in huge stadiums – no wonder they couldn’t hear themselves play.  Maybe if they had invested in some quality ampage and power, and some decent monitors, they’d have enjoyed the live experience much more, and not have given up in 1966 to focus only on records.  Paul McCartney isn’t scraping by in concert these days with a single AC30 behind him – but since he switches from bass to guitar by song, he needs both types of amp.  Even so, he doesn’t have a full wall of amps the way most rock bands do, more like a few half-stacks (head with one 4x12” angled cabinet).

 Tubes vs. Solid-state. My first amp was a solid-state Peavey Studio Pro 50, a 1x12” combo, which came on immediately after being turned on, and had terrible distortion.  I had to use an MXR Distortion pedal to approximate a decent distortion sound.  When I got the all-tube Marshall, I was able to sell the pedal back to my guitar teacher, Joel, who had sold it to me at cost, and simply use a footswitch and the amp’s effects loop.  The tube distortion sound was warm, thick, with lots of body and midrange.  Joel explained that the “tube vs. solid-state” debate was “sound vs. reliability”, tube amps having the sound advantage and solid states having the edge on reliability, no pesky tubes to replace or burn out.  But in all the years I’ve had this Marshall, I’ve replaced the tubes and had them biased once.  Moreover, if reliability was such a huge factor, why do professional musicians – whose livelihoods depend on reliable amps and have to cart them from venue to venue, handled by clumsy roadies and suffering trucks and planes across continents - use tube Marshalls?  There’s the proof.  
 Having said that, Marshall does make solid-state and hybrid amps, and they cost much less than the full tube versions and sound almost the same.  And many other tube amps sound like a Marshall, more or less.  When I was looking for amps in January 1990, various salesmen steered me to other brands: Laney, Mesa-Boogie, etc., always promising that they were either “as good” or “almost as good” as a Marshall.  Well, if I could afford a Marshall, why not buy a Marshall?  And so I did. 
 By the way, despite being the most popular amp (or perhaps because it is) Marshall does not give away its amps to professionals for endorsements.  Jim Marshall’s reasoning: “if you’re professional enough to endorse the product, you can afford it.  Amateur musicians shouldn’t be subsidizing you.” 

 Distortion.  In the late 60s, guitarists were learning the limitations of the stock amps – as noted above with the Beatles.  What they also learned was that many amps when cranked up high enough, started distorting.  To most amp manufacturers, this was a BAD thing.  I recall asking Joel, way back when, why we couldn’t plug the guitar into a stereo.  He explained that stereos are designed to play back with high fidelity (“hi-fi”) and minimum distortion, whereas (knowing the kind of music I liked and was asking him to teach me) that what we want from amps is maximum distortion.  Tony Iommi recalls an amp company reacting with horror when he asked if they could make an amp with MORE distortion.  They didn’t get it.  And their ads – promising NO DISTORTION – showed how clueless they were, even Marshall (someone commented about such a Marshall ad, “thank God for false advertising!”).  Eventually Marshall, and later other companies, wised up, listened to the guitarists, and began designing amps with the appropriate “dirty” channels and putting in speakers which sounded good when distorted.     

 Models. Since 1962, Marshall has put out a bewildering array of models with confusing numbers, special editions, signature editions, etc. sometimes in blue, purple, red, or even silver.  The most common and important models, however, are: the original JTM45 100 watt heads, to go with the 4x12” cabinets in the stack; then the 1959 SLP (Super Lead Plexiglas, often just called the “Plexi”); followed by the JCM800 (2204 50 watt and 2203 100 watt) models.  More recently came the JCM900 (Master Volume and Dual Reverb), DSL (Dual Super Lead) and TSL (Triple Super Lead) models, and the Mode 4 350 watt head.