It's really good and makes a great case for the Fender. Honestly at this point, I see slaved all day long. Variac'd and cranked sounds awesome but it isn't "that" sound. Slaving is.
all very interesting info and i remember VH talking about how great his bandmaster sounded for use warming up backstage.
i think ossie did a beter job blending in the direct signal and his di sound was better too. the result of his experiment was more convincing, but this guy plays vh way better.
again if this DI theory is part of the equation then it needs to be integrated into the amp like an onboard parallel di blend knob/circuit you can mix into the sound. the thought of needing an amp 1 to load and run into amp 2 and taking a DI into yet another path for me is just so impractical for anything other than cobbling together for home enjoyment.
which is sad because when done right, a tone that cool should be used live and on big records!
Wolf’s effort was noble but that song he did with his dad’s amp and gtr should have NAILED the old VH tone. how sick would that have been? he still has time…
Wolf has enough coin to hire Friedman, Gausted, Ossie, Suhr, Matt Bruck, James Brown, Metropoulos, James Santiago and Pete Thorn for a week, lock’em in 5150 with dad’s 12301 and their respective amps, and design a one stop solution to all this madness. call it the Wolfgang Amplifier.
bypassable “pre-preamp” fx loop with ep3 preamp, flanger, phaser,
cranked/attenuated/variaced core amp with graphic eq and di blend in parallel mix circuit to a dry cab out,
and a wet line out with built in sunset sound reverb, micropitch and ep3/sde-3000 delay options.
he has 4 years to get it ready to release for the 50th anniversary
of the VH I release!