Dumble's

RaceU4her said:
dude.. thats the best marshall tone ive ever heard. congrats. i think if i had the chance for him to build me something i would just tell him give me the best studio amp he would build for himself as well, do you still have them?
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Thank you so much!
And that's a non Master Volume Marshall, with the input volume at 5. It's my all time favorite "stock" type Marshall ever, and I do own a magical 65 JTM45 and a beastial 66 JTM100. This one smokes both.
That's what happened with the Showman Ultra-Phonix. I used to talk to him at least twice a week, for hours at time. That's what happens when I find someone else even more passionate about amps as me, and I told him my all time favorite Stratocaster tone, and told him to not me mad at me, because it wasn't a SRV or Hendrix tone, but Doyle Bramhall 2 on the album Welcome. He started laughing and told me Doyle used his personal Dual Showman with the Ultra-Phonix for the entire album. A few years later he offered to build me one, and I accepted it with no hesitation. It's the best clean tone, the best edge of break up, the best overdrive and the best pedal platform I've ever heard.
I'll own those amps until my last day on this planet.
 
RaceU4her said:
dude.. thats the best marshall tone ive ever heard. congrats. i think if i had the chance for him to build me something i would just tell him give me the best studio amp he would build for himself as well, do you still have them?
Click to expand...
This song is the main reason Dumble did the Ultra-Phonix for me. This is Doyle playing with a 64 Strat, tremolo is on the whole time, even when you don't hear it(one of Dumble's trick to help cut through the mix was the tremolo ducking when playing many notes, and swelling up of the tremolo during the sustain). Volume backed off during verses and chorus and all the way up during the bridges. He also turns on a Fuzz Face right before starting the solo, at the end of the last bridge.
Biggest, most musical, harmonically complex Strat tone I've heard. Trust me, when you're in the room with the amp, it sounds even bigger than on the record. Not just by the volume, but the low end is so massive that things fall from hanging on the wall. The guitar reacts in ways it never before interacting with the amp on the must musical feedback, and you'll hear things you've never before.
It moves so much air, and still don't hurt the ears at all, that is insane.
For those who really had the opportunity to try one in this situation, and who like that tone, of course, it's beyond magical.
That's why some would sell own organs for one.
 
Same amp, but in a more rock context. Doyle is on the right with his 64 Strat, fuzz face and Ultra-Phonix. On the left is Craig Ross with a 54 Strat and a Dumble modded Bassman.

 
All I can say, is I am fortunate to proclaim "ignorance is bliss". My dumb brain and ears just can't justify the $$ over every day amps. And that contract pricing is wild even by today's standards. For the ones who can hear and feel the difference, I envy you to a degree.

Great sounding amp from the context of YouTube? Well sure, but I guess you have to hear it in person to really get it.
 
I’ve got an older emerald pro that’s pretty cool. I’m a Marshall guy and for me it does a nice Allman Brothers thing. In the right hands it probably does the Robben Ford thing really well but that’s not how i play or hear things.

It can do real cool classic rock lead stuff but is too loose when you get into rhythm with gain. Emmys have a surprising amount of gain but it’s definitely more of a lead amp.
 
I was lucky to get to try once a '70's Dumble ODS 50. I still haven't tried another amp yet nearly on that level (haven't tried a real Trainwreck yet though). You could just play one high open e and be amazed at everything going on in the one simple note. With most amps once you hear the note come out of the speakers that's as good as the sound will be, but with that ODS it kept evolving and getting better, more detailed as it rang out. For other amps I'd call 3D, this was 5D. And the way notes connected to each other on leads would probably have made my iic+ sound sterile and disconnected like an UU if I had compared them lol (I hadn't). What amazed me too is that clearly it's not at all a metal or shred amp, so it seemed like there wasn't nearly enough gain or compression to play sweeps or shreddy type leads, yet it was glorious for that somehow. The notes somehow still all carried through with sustain and distinction. It doesn't make sense, but you just play it and it's there

My dad and others were there who didn't even play guitar were all blown away and I'm not a great player nor the "right" type of player for that amp either. It wasn't though that great until it got loud enough, kinda muffled, but once it was it was very obvious why the demand is there. This clip shows some hints of good stuff about it, but I think especially with special amps like this it doesn't even scratch the surface of what I heard with it (same IME with the Klon or best classical guitars I've tried). I didn't really get the hype from clips until I tried that one '70's ODS. Like Tiago said also, I've played lots of clones including Bludotone's, several 5 figure Two Rocks, Smarbelle, lots of Fuch's, etc. and if the Dumble is an orange or apple, the Bludotone would be a medicinal tasting orange candy or cough syrup. Sometimes I think you have to be as nuts as a guy like Dumble to create something exceptional. Some great artists are just very weird and Dumble I'd think clearly had to be an artist (whether he could play well or not), not just a great technician like many amp makers it seems
 
SBlue said:
one of Dumble's trick to help cut through the mix was the tremolo ducking when playing many notes, and swelling up of the tremolo during the sustain
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If I understand right, the Fryette Aether does the same thing. Something about flipping the direction of the wobble, so that at clipping levels the trem is pegged and can't wobble. Pretty nifty.
 
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Buddy of mine has an $8,000 Dumble ODS clone made with all NOS parts and it is indeed amazing


If I had to compare it to anything else I'd say It's basically like an old Fender Super Reverb that has enough gain built in to do hard rock/borderline metal
 
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