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GUESS WHAT AMPS STRYPER PLAYED THROUGH LAST NIGHT....

5K views 36 replies 23 participants last post by  jl2556 
#1 ·
They were great as always.Oh, and get this..they were playing the line 6 DT50 bogner desined amps!! They ditched the mesa stuff(thank god,way too shrill last time they were here) and those new amps sounded insane!!I'm going to try to find one to try out...
Ayone else go last night?
 
#8 ·
they were playing the line 6 DT50 bogner desined amps!! They ditched the mesa stuff(thank god,way too shrill last time they were here) and those new amps sounded insane!!I'm going to try to find one to try out...
I don't know that I would go "insane" quite yet...

While I am a Line 6 guy, and play the L6/Bogner Spider Valves live quite a bit, I have heard that the DT50 has had some serious problems, especially in channel & "Topology" switching. Sometimes failing to switch all together, most other times having tremendous noise and such. I actually came across one review that related something like "the loud clicking and popping lets you know that its working" (paraphrased of course). Not sure what in the world that is all about. I guess I have different expectations of any amp.

Don't own one myself, but have started to do research on them as I thought this might be a cool idea. In reality, it kinda looks like the DT50 is almost twice the price, and not quite all of the amp that the Spidervalve Bogners are. Most that have played them have related a common theme of "please work out the bugs."

Might be great if they correct the issues - and drop the price so that it is nowhere near the cost of a Mesa. I think the 2x12 retails for $1500. That seems insane.

Rob
 
#19 ·
I thought they were huge Marshall guys back when?
Talk about nasal tone!
I mean it was their sound, so I guess if that's what they were after...
Mesa probably wasn't their bag as they are fuller sounding amps to begin with, to get it to sound like an a.m. radio is a feat.
 
#23 ·
Most endorsements pay nothing unless its signature gear with the artist name affixed to a model or design.. most endorsement deal are for reduced pricing (artist pricing on gear) or at the most free gear and some exposure via the company's literature and advertising/web presence. The artist endorses the gear.. the company doesn't endorse the artist.
 
#24 ·
I just know what Schecter and Seymour Duncan pay a few of my clients to play their guitars and pups, not to mention the mountains of free stuff they get. He prefers B.C. Rich and EMG, and thats what the albums are recorded with (that and an old LP Studio), but the credit goes to schecter and thats what he has to play at least 80% of the time live and in publicity photos.
 
#33 ·
i helped beta-test the DT-50, Tyler Variax, and HD500.

i gigged the DT-50 a lot for nearly a year -- it's a GREAT amp by itself - but it's AMAZING with the HD-500.

i never had any problems -- plus, it has upgradeable firmware, so as Line 6 improves the control software, you can download it and blow it into the amp, and you have the upgrades - simple, cheap, and fast.

I used the DT-50 1x12 combo -- and it sounded HUGE....it's a large format cab, about as big as the Mesa 1x12 rectifier cabs.

the "dream rig" of the FT-50/HD500/Tyler Variax is an AMAZING setup, it's like having 25 guitars and a Bradshaw rack system in three easy to set up pieces.

go try one out and hear it for yourselves.....
 
#37 ·
Here's some excerpts where Oz is talking about what gear he used on some of their albums...

"Let's start with my "Yellow and Black Attack" tone. I was hacking away at a Karl Sandoval creation.It was a Mighty Mite Explorer body with a Chavel neck...21 frets, unfinished.The body had only one humbucker pickup cutaway in which was placed a Seymore Duncan distortion humbucker. It had a stock strat tremolo bridge that never stayed in tune. I used a Modified 100 watt Marshall tube amplifier with an MXR 10 band graphic equilizer...I plugged my guitar into the EQ and the EQ into the front of the Marshall. On the EQ I boosted 10 to 15db at around 1K... (this causes a lot of noise because you're boosting more power than you should into the front of an amp that already has high sensitivity.) I would also drop a steep slope from 1K back to 100Hz where 100Hz would be set to -10 to -15db. This caused frequencies that would muddy up the distortion tone to be cut. Marshall amp settings were something like this---- master volume- 0, preamp volume- 10, presence- 10, bass- 0 to 3, mid- 8 to 10, treble- 10.

The master volume would become my main volume control. In some cases Marshalls go to 20. In that case the above settings should be doubled. This setup should work with most stock Marshall amps... any wattage. All of this was a basis for the rest of my tone search.

I used the same train of thought when I changed to Mesa Boogie amps for "Soldiers Under Command." I also switched from the MXR equilizer to a Furman PQ3 parametric equilizer preamp. This was a "LOW - MID - HIGH" section EQ with + or - 20db boosting or cutting. The low section would be set at a narrow bandwidth, 50 to 100hz at -20 db.......mid section at a narrow bandwidth, 1500 or 1.5Khz at +20db......high section at a wide bandwidth, 2000 or 2Khz at +20db. It had an input level control and I set it around 8. The rear input and output had a choice between -10db or +4db jacks. I used the -10db jacks.This setting would work with a Marshall as well.

My Mesa Boogie amp was a Mark-II-C long chasis head with a variable voltage transformer for traveling. For some reason this head sounded like no other Mk-II.Originally the Mesa Boogie Co. sent this head to Grover Jackson at his guitar plant in San Dimas for some of his artists to try. It was also said that this head in particular was the prototype to the Mk-III amp still in development at the time.It was obvious that I had to have this head so Mesa Boogie allowed me to buy it and they sent Jackson a Mk-III in it's place. Later on, when I test drove a Mk-III head, my Mk-II-C blew it away.............To this day I still have this head. This head like most Boogie heads has push-pull knobs to change the characteristics of its parameter.It had a lead mode with a pull knob to turn it on and adjust its level and a separate lead gain knob.

The lead gain would be set to around 8; lead volume to 10. Preamp volume on the head would be set to 8 or 9 and pulled out; treble around 9 or 10 and pulled out; midrange around 2 or 3 and pushed in; bass around 3 and pushed in. The master volume knob would be my volume control but I wouldn't go past 3- 1/2. The master volume also had a pull gain feature that I would use on occasion. This head also had a graphic EQ that I would set in a "V" shape, dropping out honking mids and boosting lows & highs to my tastes. These settings plus slamming the front end of the head with the Furman PQ3 helped to make that Stryper tone that buzzed through halls around the world and caused many treble controls on home audio systems to be turned off ! I used this setup for "Soldiers Under Command" and "To Hell with the Devil" albums.

On "In God We Trust" I replaced my Mk-II-C with a Mesa Boogie Quad preamp powered by a Mesa Boogie Strategy 400 power amp. Mesa Boogie founder Randall Smith personally modified my Strategy 400's to give me more bottom thump! He always took care of me...... Love ya Randy!

For "Against The Law" I decided to give the Furman PQ-3 a rest and just plugged straight in to my Mk-II-C! For that album I became a different kind of guitar player, and the extra preamp was too much gain for my new style.Yet when ever I want that tone again, I just plug it back in."
 
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