Marshall Amplifiers Sayville NY

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.

Hot Rod Guitars
(631) 563-9565
56 Munson Ln
West Sayville, NY
Types of Instruments Sold
Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

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Noteworthy Pianos
(516) 458-3848
12 Tupelo Ln
East Islip, NY
Types of Instruments Sold
Acoustic Piano

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Fretboard Korner
(631) 588-4167
520 Hawkins Ave
Lake Ronkonkoma, NY
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments, Print Music

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Medford Music House
(631) 654-8449
197 Oak St
Medford, NY
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments, Print Music

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The Guitar Asylum
(631) 979-2990
369 Smithtown Byp
Hauppauge, NY
Types of Instruments Sold
Print Music

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Paisley Music Ctr
(631) 661-2965
38 Blackmore Ln
East Islip, NY
Types of Instruments Sold
Band & Orchestral, Drums & Percussion

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Arnold Meresca Piano Co
(631) 289-0017
1103 Waverly Ave
Holtsville, NY
Types of Instruments Sold
Acoustic Piano

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Budget Priced Fretware
(631) 234-2050
16 Stephens Ct
Hauppauge, NY
Types of Instruments Sold
Guitars & Fretted Instruments

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All Things Musical
(516) 445-9132
4 Symphony Dr
Lake Grove, NY
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments, DJ Equipment

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Family Melody Ctr
(631) 475-3210
77 S Ocean Ave
Patchogue, NY
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments, 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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