Marshall Amplifiers Bessemer AL

Although The Remedy Head Is based on the classic Marshall plexi circuit, Dr. Z’s Mike Zaite hasn’t just cloned an old and proven classic. Instead he has turned the classic plexi recipe on its ear by using four 6V6 power tubes instead of the more common British equivalent, the EL84. Zaite has also added a half-power switch that cuts the wattage from 40 to 20. But perhaps the hippest feature of the Remedy is its “pre-jumpered” channel scheme, which allows you to mix the amp’s High and Low Volume controls.

Gear 1 Music
(205) 481-9800
1829 13Th Ave N
Bessemer, AL
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Recording Equipment, Guitars & Fretted Instruments, Print Music

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Burning Bush Music
(205) 822-8588
211 Lorna Sq
Birmingham, AL
Types of Instruments Sold
Guitars & Fretted Instruments, Print Music

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Ala Music Center
(205) 822-0974
1954 Shades Crest Rd
Birmingham, AL
Types of Instruments Sold
Band & Orchestral

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Birmingham Percussion Center
(205) 823-9911
1615 Montgomery Hwy
Birmingham, AL
Types of Instruments Sold
Sound Reinforcement

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Alans Discount Music
(205) 408-4132
1407 Montgomery Hwy C
Birmingham, AL
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

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Lorna Music
(205) 823-9399
3241 Lorna Rd
Birmingham, AL
Types of Instruments Sold
Sound Reinforcement, Guitars & Fretted Instruments, Print Music

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Affordable Sound & Light I
(205) 251-7635
243 Distribution Dr
Birmingham, AL
Types of Instruments Sold
Drums & Percussion, Sound Reinforcement

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Homewood Musical Instrumen
(205) 879-4868
3027 Central Ave
Homewood, AL
Types of Instruments Sold
Band & Orchestral, Guitars & Fretted Instruments

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Fretted Instruments
(205) 879-6489
2906 Linden Ave
Birmingham, AL
Types of Instruments Sold
Guitars & Fretted Instruments, Print Music

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Ellis Piano
(205) 979-4463
1550 Montgomery Highway
Birmingham, AL
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Organs, Drums & Percussion, Print Music

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Marshall Dr. Z Amplifier

gp0510_gear0308ALTHOUGH THE REMEDY HEAD IS based on the classic Marshall plexi circuit, Dr. Z’s Mike Zaite hasn’t just cloned an old and proven classic. Instead he has turned the classic plexi recipe on its ear by using four 6V6 power tubes instead of the more common British equivalent, the EL84. Zaite has also added a half-power switch that cuts the wattage from 40 to 20. But perhaps the hippest feature of the Remedy is its “pre-jumpered” channel scheme, which allows you to mix the amp’s High and Low Volume controls. This eliminates the need to physically connect a jumper cable between channel 1 and channel 2, as Marshall players have done for decades to be able to blend the different-sounding channels.

Inside the Remedy we find the pots, jacks, tube sockets, and switches all sturdily mounted to the folded brushedaluminum chassis. A single fiberglass board highlights the clean-as-a-whistle turret board circuit layout, while the amp’s birch-ply cabinet, cleanly applied Tolex covering, and white piping give the Remedy an air of vintage U.K style. Well done, old boy!

1.0000gp_edpickI tested the Remedy through an openback 2x12 Fender cabinet loaded with Naylor Special Design 50s, and a Marshall 4x12 loaded with Celestion Vintage 30s. Running my Fender Telecaster, I put all of the Remedy’s tone controls at 12 o’ clock, and set out to find if could get killer tones using just the High Volume control. Whoa baby, could I! The Remedy’s string-to-string clarity is flat-out remarkable. At low volume settings, the slicing jangle and sweet top-end complexity are breathtaking. In fact, the amp’s preponderance of juicy top-end slice damn near turned my Gibson SG into a jangle machine. No matter what guitar I used, whether I was screaming on the rear pickup for lead lines or comping coolly on the front pickup, the Remedy’s unbelievably musical treble response never disappointed, and the blooming bass response and chewy mids made for an unbelievably satisfying bedroom volume experience.

As I cranked the High Volume well past apartment volume standards, molten, super-dynamic Brit-esque grind began creeping in with a rich, fang-laden top end that stayed clear and present, never harsh or spitty. And with a simple twist of my guitar’s volume knob, I was back in the clean zone. Sustaining single-note lines are easily attained without any pedals, and roaring power chords are par for the course as simple EQ adjustments dialed in every instrument with out fail. The Remedy also has great dynamic response. Lay into it and it will bark and moan, lighten up, and it’ll whisper sweet, toneful nothings into your ear.

gp0510_gear0309Compared to the High Volume, the Low Volume control yields a much huskier tone, with a stout midrange, beefier bass response, and more burnished treble frequencies. The Remedy’s EQ is voiced so brilliantly, however, that you can still dial in what you need with the simple twist of the Treble knob. The Remedy’s raison d’être is its blendable Volume controls, and with my Telecaste...

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