![]() ![]() When you get the amp up to about 7 or 7.5, it’s just got the teeth because of the bright cap and it sounds great. That kind of makes it a one-trick pony – but it’s an amazing trick. “And I use it in the 4,700pF bright value, which is like what Marshall was doing from ’68 to about ’72. So it just goes between Off and then two different Bright values. “So he’s gonna hate me talking about this because he’ll get requests for these, I’m sure. ![]() “These are little mods that John did for me,” he says before smiling. Spotting some non-standard switches on its control panel, we ask Pete what everything does. The SL68 is, in fact, a prototype head that has some unique tricks up its sleeve. ![]() Pete Thorn uses a two-amp rig featuring a prototype Suhr SL68 head that is effectively a heavily modded ‘Plexi’ plus a 4x12 cabinet with Greenbacks in the top and Vintage 30s in the bottom for his dirty and crunch tones. But he just went, ‘Wow! Playing through amps again!’” “The three of us did Free Bird and Bobby’s been doing shows with Cliff Richard, using Kempers and everything. ![]() “We had a friend who used to play in the show, Bobby Harrison, who joined us on stage last night,” James says. But despite the technical demands of making analogue kit perform in a programmable way, both Pete and James believe the sonic payoff is worth it. That means the band’s rigs have to be a blend of old-school valve tone and sophisticated effects and routing gear to ensure they have the flexibility to cover a wide-ranging setlist. For James and Pete, a big part of getting the spirit of the music right, as well as the detail, is using real tube amps, rather than digital modelling. ![]()
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