Clip 1 - Jazz PRS
Clip 2 - MA34 sample
Clip 3 - PRS Clean
Clip 4 - Country Clean
King Street Clips
Clip 1 - King Street (Master @ 5, Volume @ 5, Gain @ 7)
Clip 2 - King Street Blue Mix
Clip 3 - King Street (No gain, Master @ 8, Volume @ 2)
Clip 4 - King Street (Master @ 8, Volume @ 2, No gain)
C7 Valve Comparison Tests
Clip 1: KT88. Volume at 1 O'clock. Attack at 1 O'clock. Equalization at 12 O'clock.
Clip 2: As above. Both clips 1 and 2 are played on a Strat switched to the bridge humbucker. Guitar volume up full.
Clip 3: Settings as before but now played on a Les Paul Custom/bridge pickup. Guitar volume up full.
Clip 4: All Knobs cranked full on. Les Paul/bridge pickup. Guitar volume up full.
Clip 5: Clean. Volume at 10 O'clock. Att at 10 O'clock. Eq is at 12 O'clock. Les Paul. Neck pickup.
Clip 6: Settings as above.
Clip 7: Settings as above but Played with the Strat. Neck pickup.
Clip 8: As above. Fender Strat. Neck Pickup.
Speaker Comparison Test
For this test, I recorded five guitar tracks straight into the computer, then out into a C7 with a 6CA7 valve, and switched between speakers. The settings are as follows: volume at 10 o'clock, eq at 12, rev at 7 and attack fully off.
Matamp C7 clips
For this clip I have set the volume at about 2:30 (pm), attack at 3, reverb at 7 and eq at 12. This pushes the amp into a nice creamy overdrive. Here I am playing through a Harry Joyce, closed back, 4/12 loaded with the only four exact replicas of the classical fane speakers in existence. The guitar is a PRS hollowbody. C7fane 4/12od2-30
Here I have the volume set at 9:30 (am) (roll off the guitar volume for a cleaner sound). The Reverb is off and eq flat (12 Oclock). Attack is at 11. This is the negative feedback option on a rotary pot. This setting lends itself to a clean and sustained sound. I am playing through a 1/12-sloped front and open back cab, loaded with a Celestion G12H30. The guitar is a PRS hollowbody. C7G12H30clean
This is the Fane 4/12 again with the volume of the C7 at 11 Oclock, reverb at 7, full negative feedback (attack turned down) and all else at 12. The result is a warm, clean and defined sound. PRS again. C7fane 4/12clean11vol
I simply had to try the Harry Joyce Custom 100 watt head through the matching Fane 4/12. I plugged the PRS into the normal channel and found it so very clean, clear and loud. Loud it need not be. HJ100cust/fane4/12norm
Back to the C7 and the 1/12, G12 H30 cab. Volume is at about 10 am. I used a touch of reverb and the attack down. All else is at midday. PRS. soloG12H30/C7noatt
With the volume set at 11 Oclock, reverb at 6, eq at 12, and attack off, one can achieve a very dynamic clean sound that isacoustic in temperament. This setting may well suit the classical and jazz player while the rhythm guitarist may enjoy strumming without the bloom of some amps. PRS. C7noattnoverb
I wanted to try the C7 in the
studio with just a line in. Panned left I cranked the amp to around 2:30pm,
while the solo line in the foreground right is maximum volume. I laid down
a soft chordal groove and then went and wired in my effects into the send
and return and added an ambient track. I wanted to see how the amp responded
to being driven hard without the deafness!
I must say that for the best result one should mic up the cab as well. Mind you, I will be using the line in for my ambient rig as the feedback goes nuts. I used a 40th anniversary custom strat on this one.C7 line in cool mix
Here I have recorded a 1224 on the right and a C7 on the left. The 1224 is in Class A mode with 1 6CA7 and a GEC 6550 with master up full and gain as vol. The C7 is running an EL34 with a volume pedal and delay between a dual splitter and amp input. The 1224 is clean with a touch of reverb. Dual Mono
Matamp 1224 Clips
For a vintage jazz tone, simply select one tube in class A, set the Master to full and then use the gain as the volume. Try Master at 3 O'clock, reverb at 7 O'clock, and gain at 8 O'clock. Roll of the guitar volume to suit and/or lessen bloom. Increasing the Master will add more grain into the sound. Track 1
In order to set the reverb level, set the master at 3 O'clock and, with the gain at zero, turn the reverb pot while playing. This way you will only hear the reverb. Once set, simply increase the gain for your guitar and mix to taste. Note how the valve driven reverb leaves the note attack clean and responds naturally. Track 4
Two valves in class A for a warmer sound with less grain. With the master set at around 2 O'clock and gain an 11 you get more dynamic headroom, suited to the classical touch, country, clean blues and contemporary jazz. Recorded using the PRS hollow body humbucker at neck position and voice switch on two to lose some of the bass as the guitar volume is on full. Track 5 Track 6 Track 7 Track 8
All four valves in A/B mode give more of a smokey and warm sound with greater headroom capabilities for the big clean tone. Great for fast solo lines and rhythm playing. Here the notes tend to blend on fast rolling arpeggios creating a wash effect. This contrasts well with the amp set on one valve and the overdrive pushed in. Track 10
For more of a modern overdrive and distortion, try all valves in A/B mode and max out both gain stages with the master at zero (thus avoiding deafness). Bring up the master to set the volume and/or feedback. Track 3