The troublesome EF-86 tube was replaced with a battery of ECC83 (12AX7) tubes.

Vox redesigning the initial preamp of the AC-30. No Master, No Presence, No Mid, No Bass, No Treble You can call it a drive control, like the Eq, that is between stage 1 and 2. It’s in between gain stages (2 to 3), so it does effect drive. The HF drive is a presence control, that boost/attenuate very high frequencies, comparing to other amplifiers. In other words, it cuts bass increasingly with each click clockwise. Most people, set it all the way to the left or one click to the right from that.The FAC control switches between different interstage coupling capacitors which will change the low frequency cutoff/rolloff point of the preamp. It is basically EQ settings from bassy all the way to the left and getting progressively thinner as you go to the right. Experiment with different settings for a variety of sounds. It is a mid-range sweep that offers many variations on the Orange sound. control stands for Frequency Analysing Control. Phase Inverter: Cathodyne type: 1/2 x 12ax7 Great for clean tones as well as rock tones Reference VideosĬontrols: FAC(mid range tone control by 6 pos switch) – Bass – Treble – H.F Drive(presence) – Gain It’s a bass-heavy amp –> Decreasing Bass could be a good tip.

High frequencies are increased due to an inter-stage high shelving filter This is your starting if you’re looking for that ‘beano’ tone.īrit J-45 NRM: The Normal channel is the mellower of the two, with less (as you’d expect) brightness and gain than the Bright channel.īrit J-45 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. Interesting side note: this is the exact same amplifier as the Marshall® “Bluesbreaker” that Eric Clapton made famous, but in head form, rather than housed in a 2×12” combo. Cranked through a closed-back 4×12” cab with Celestion® G12M “Greenback” speakers, this rig evokes the archetypal Brit-rock and blues-rock guitar tone. Hefty, high-quality British transformers and KT66 output tubes (a 6L6 equivalent, but with more power and punch) gave the JTM-45 a huge soundstage and a smoother overdrive tone than the later E元4-based Marshalls that more players are familiar with today. One of the earlier amps that, as mentioned above, found its inspiration in the tweed Fender®Bassman®, but nevertheless managed to sound like something quite different as it took on several constructional twists and design elements that marked the beginning transition from a mellower Fender like tone to the distinctive, bright “crunchy” sound of all Marshall® amps to follow.

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