Warren Demartini's amp(s) during 1989-1991?

  • Thread starter Thread starter Paksu-aku
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lespaul6 said:
exactly... you can hear the difference when he went all SLO on the self titled album.... doesnt sound anything like detonator... that plexi was also used for the last time on the single nobody rides for free.... my all time favorite tone is what they got on dance.. 1986!
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It’s so funny, I hated the tone on Dance at the time (after Cellar and Invasion), but I grew to really love it later on, now it’s one of my all time favorite tones.

Edit: along with Norum and Billy White's tones on Don Dokken's Up From The Ashes. They sound similar to Dancing Undercover to me.
 
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Rdodson said:
Ah, you young guys. :)

After Clapton toured with Mark Knopfler and he went to Soldano ('88), then Eddie did...everyone had to have one. Ed was pissed about how 0U812 sounded (really an issue with Landee not 12301). Eddie was a Clapton freak, like many of us my vintage were about Ed. Ed's SLO (probably his 2nd) is dated August 30, 1990. Let me see if I can find the receipt for the Ostrich (I believe his first)...yeah March 7, 1990.

Anyway, when 5150 came out and the 910 was so evident (it was on everything after VH1), the Ed guys wanted that as well.

Warren used superleads, although that first album is most probably a Paul Rivera Fender. Detonator is for sure SLO. The controversy is Reach for the Sky. The song to listen to is "No Surprise". Man, it could go either way. Sounds Marshall to me. However, "I Want To Love You Tonight" sounds SLO. But it is definitely different that the absolutely no doubt about it Detonator.

The one thing we can all agree on is Reach for the Sky, regardless of equipment, is just a great tone. "Way Cool Jr." was the hit, and you can hear Eventide all over that thing.
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What effect is the Eventide doing exactly, considering it does EVERYTHING
 
paulyc said:
It’s so funny, I hated the tone on Dance at the time (after Cellar and Invasion), but I grew to really love it later on, now it’s one of my all time favorite tones.
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Agreed, Dancing Undercover has my fave tone of all the albums. I also love his tone on the '99 self titled, which initially I hated.
 
paulyc said:
What effect is the Eventide doing exactly, considering it does EVERYTHING
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Detune/micro-pitch shift. Listen to the solo and it sounds kinda like a room reverb with chorus on it, but way more refined? That's the Eventide. Intro solo to "Lovin' You Is A Dirty Job" same thing. "Best of Me" off of Infestation has it as well.
 
On a show called "Rock papalace" He had a backdrop of Laney Pro tube AOR 100 watters and his tone was
screaming.
 
Paksu-aku said:
That thick yet articulate sound. Sounds amazing especially on the drop D tuning. Any info on what amp(s) he utiziled back then?

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He should have just continued to play that lick starting at 3:11 for the rest of the show non-stop
 
charvelstrat81 said:
On a show called "Rock papalace" He had a backdrop of Laney Pro tube AOR 100 watters and his tone was
screaming.
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is this the one? Good tone but not amazing. Tons of chorus. I'd say his phrasing and attack are a big factor. I had one of the 6 knobbers, good but not great. Better with 2204 circuit in it with a few tweaks.
 
Kapo_Polenton said:
is this the one? Good tone but not amazing. Tons of chorus. I'd say his phrasing and attack are a big factor. I had one of the 6 knobbers, good but not great. Better with 2204 circuit in it with a few tweaks.
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The chorus is lexicon PCM 41 or 42
 
Somebody mentioned the self-titled RATT album (1999) as being unadulterated SLO tone...yes. For sure. Listen to the main rhythm riff on "Breakdown". That is for sure "in the room" SLO.

All these other anecdotes are interesting for sure. Been a good thread! I was wrong on a couple of details...now I need to go listen to all this stuff again. Y'all keep mentioning "Dancing Undercover"...man "Slip of the Lip" just smokes tone-wise. That train bend to begin the solo is so good as he starts a very Clapton-esque vibrato while bent...not your typical 80s "metal guitarist" thing at all.
 
Warren's tone for Lay It Down on the original record is played through a Soldano SLO 100. In the video you posted, his effects are a chorus and delay.
I saw Ratt when they were mostly unknown, as an opening band for Hughes/Thrall at Wolf & Rissmiller's Country Club (later to become Chuck Landis' Country Club) in Reseda, California, in 1981. Back then, Ratt only played through Marshall's.
Warren prefers Marshall and Soldano amplifiers, and Boss OD-1.
BTW, one of the guys here commented that Ratt were not huge because in his opinion, Ratt needed a better lead vocalist; NEWSFLASH: I was a full time pro musician throughout the 1980's, and Ratt were HUGE, regardless of whether anyone liked their singer or not.
 
Steve Rebel Son said:
Warren's tone for Lay It Down on the original record is played through a Soldano SLO 100. In the video you posted, his effects are a chorus and delay.
I saw Ratt when they were mostly unknown, as an opening band for Hughes/Thrall at Wolf & Rissmiller's Country Club (later to become Chuck Landis' Country Club) in Reseda, California, in 1981. Back then, Ratt only played through Marshall's.
Warren prefers Marshall and Soldano amplifiers, and Boss OD-1.
BTW, one of the guys here commented that Ratt were not huge because in his opinion, Ratt needed a better lead vocalist; NEWSFLASH: I was a full time pro musician throughout the 1980's, and Ratt were HUGE, regardless of whether anyone liked their singer or not.
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Lay it Down was released in '85, the SLO didn't arrive until two years later.
 
Samhain said:
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I knew Frank for a short time.
We had some good talks.
He's gone now RIP and those schematics were in his head, not copied anywhere.
Some try and come close but only Frank knew those circuits.
He would spend a long time with one amp getting it just right.
He was a very humble guy who got his start about the same time Randall Smith did in the 60's.
Frank said he was disapointed Marshall UK didn't even try to contact him during thier "AFD" [appetite for dollars] Saul amp project.
Frank Levi is responsible for some of the most iconic & famous rock tones ever recorded.
Truly a pioneer and expert.
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Out of cellar were Frank’s Marshall’s ?
 
My all time favorite Warren town is from the Donator album. Shame Shame Shame and Loving You is a Dirty Job are just tits. If I could figure out how to make a plexi sound like that... that's all I would play..lol!
 
Steve Rebel Son said:
Warren's tone for Lay It Down on the original record is played through a Soldano SLO 100. In the video you posted, his effects are a chorus and delay.
I saw Ratt when they were mostly unknown, as an opening band for Hughes/Thrall at Wolf & Rissmiller's Country Club (later to become Chuck Landis' Country Club) in Reseda, California, in 1981. Back then, Ratt only played through Marshall's.
Warren prefers Marshall and Soldano amplifiers, and Boss OD-1.
BTW, one of the guys here commented that Ratt were not huge because in his opinion, Ratt needed a better lead vocalist; NEWSFLASH: I was a full time pro musician throughout the 1980's, and Ratt were HUGE, regardless of whether anyone liked their singer or not.
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OD-1 surprises me. Not because it wasn't wide spread at that time but I always figured him more for a rack EQ boosting or slaving one amp into another or just modded Marshall. OD-1 is perfect with old Marshalls though. SD-1 is great too.
 
Kapo_Polenton said:
OD-1 surprises me. Not because it wasn't wide spread at that time but I always figured him more for a rack EQ boosting or slaving one amp into another or just modded Marshall. OD-1 is perfect with old Marshalls though. SD-1 is great too.
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SD-1 with Modded Marshall even better :)
 
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