What Amp Did Warren DeMartini Use on Out Of The Cellar ?

[jabps]

Sorry, I probably should not have put those two together in terms of how loose they are. Mick is a tight drummer actually.. I just hate his choice of fills and the way he drums. I know there wasn't a lot of room for him in dokken but it is like he put zero thought into it. I have a hard time listening to him if I am honest.. that stupid Bonham triplet all the time and then the straight ahead minimal cymbals or hi hat accents. Drives me nuts. I think he played on Wicked Sensation didn't he? He was much better there. I didn't notice him as much and that's the way it should be when it comes to Brown

Yep both Lynch Mob albums. Most of my drummer friends were always complimentary of his skills but I get it, we all got guys we like and don't. I've never been a big fan Randy Castillo for example. Always feels like something is missing in his drumming. Something like No Rest could have been so much better to me with say Aldridge on drums.

 

[paulyc]

Man I think all the guys in Ratt are standout players, but I only saw them live a couple times

 

[Kapo_Polenton]

Yep both Lynch Mob albums. Most of my drummer friends were always complimentary of his skills but I get it, we all got guys we like and don't. I've never been a big fan Randy Castillo for example. Always feels like something is missing in his drumming. Something like No Rest could have been so much better to me with say Aldridge on drums.

Interesting how that is because you are right.. Castillo was a drummer with chops but it is like they made him play the simplest shit for two records. I think that might be my gripe as a guitar player and crappy drummer.. you have albums like the first two Ozzy albums with Lee Kerslake and the drums are active. They accentuate and punctuate parts of the song. Then you have so many of the late 80's guys just having no personality drums. But then you have Adler totally killing it on AFD. He's so important to that overall vibe. Letting the drums be an instrument with a voice is so important.

 

[splitendz]

The production should be better on Cellar.

What is amazing to me though is the EP, Ratt did on their own, yes it was remixed, remastered and re-released by Atlantic but it's pretty good for that era of pre home studio. My band at that time used to cover Back, You Think Your Tough and Wanted Man. We never covered Round n Round though, could never get it to sound good.

What was your band back then? Think we may have trampled the same area... Magruders, Danny's, Kings head, outer edge....?

 

[jabps]

What was your band back then? Think we may have trampled the same area... Magruders, Danny's, Kings head, outer edge....?

I never really played the Chatt area other than opening a few gigs for Alethea who one of the bands longtime members little brother ran with us. And your typical parties and hometown gigs. I guess that was '82 to '84ish. By that time I was off to college at UTK and didn't get serious about playing live again until I moved to Nashville after school.

 

[Navigator]

Interesting how that is because you are right.. Castillo was a drummer with chops but it is like they made him play the simplest shit for two records. I think that might be my gripe as a guitar player and crappy drummer.. you have albums like the first two Ozzy albums with Lee Kerslake and the drums are active. They accentuate and punctuate parts of the song. Then you have so many of the late 80's guys just having no personality drums. But then you have Adler totally killing it on AFD. He's so important to that overall vibe. Letting the drums be an instrument with a voice is so important.

Great points here. I'm not that familiar with Randy Castillo's work (although I am with Joey Castillo's with QOTSA, great stuff--but I digress). But a great hard rock drummer can really take a band to the next level, as you point out with Kerslake or Adler on AFD. Or the way that Tommy Aldridge contributed to the classic era of Pat Travers Band. Not to mention Bonzo and Zep.

 

[Kapo_Polenton]

Great points here. I'm not that familiar with Randy Castillo's work (although I am with Joey Castillo's with QOTSA, great stuff--but I digress). But a great hard rock drummer can really take a band to the next level, as you point out with Kerslake or Adler on AFD. Or the way that Tommy Aldridge contributed to the classic era of Pat Travers Band. Not to mention Bonzo and Zep.

Paice,Micky Dee, Snowy Shaw, Nicko...hell even Tommy Lee! He uses his open/closed hi hat on off beats and adds some snare color where needed.

 

[Navigator]

Paice,Micky Dee, Snowy Shaw, Nicko...hell even Tommy Lee! He uses his open/closed hi hat on off beats and adds some snare color where needed.

Yep. Other great examples for sure. And yes, Tommy Lee belongs in there as well. Those drummers have what the midi drum programs (which are amazing these days) don't have: Personality.

 

[311splawndude]

Yep. Other great examples for sure. And yes, Tommy Lee belongs in there as well. Those drummers have what the midi drum programs (which are amazing these days) don't have: Personality.

I think Tommy Lee is a fairly underrated drummer. Just like Mick is a fairly underrated guitarist. What both of them lacked in technical prowess, they made up for in tone and personality.

 

[the rossness]

I heard an interview where he said he used a Fender practice amp with a dirt pedal hooked up to a Marshall speaker.

 

[FormulaET]

George Lynch told the story of a Superlead that Warren had, that was magical...and George tried to steal/borrow it more than once lol...he said the plan was to somehow take it into Warren's bathroom while he was distracted and put it outside through the window haha. I'd bet that was the main amp used up till the SLO days.

Yeah thats what he used until he got Soldanos. I use a couple Germino Lead 55's now to record with for sure. It's a replica of a 1968 JMP Super Lead non master volume....and it gets thee Holy Grail tone. Until one plays through one full up with a JB, you are just spinning your wheels trying to achieve Edward or Warren's tone. It MUST be a late 60's non master volume.
With load boxes of today, we can use these type of amps for gigs... but it is wide open and you go through output tubes a lot sooner than modern day hi gain amps.
But I can see why George tried to snag it, LOL.
You really must try a real or replica of a 1968 spec JMP Super Lead 50 or 100 watt with a Duncan JB to really appreciate the sound Warren recorded with...
My hi gain amps are gathering dust ever since I got these two amps.

 

[itsme]

I heard it was an old one he had in his cellar that he brought out.

 

[lespaul6]

Jas is uploading his interviews from back in the day.. this one just came out.

 

[BlueParfait]

I heard an interview where he said he used a Fender practice amp with a dirt pedal hooked up to a Marshall speaker.

Heard that he did that for the leads

I think more of us are focused on his rhythm track amp tbh. I personally don't think the amp matters too much for the lead tone because there's so much you could do to make a usable lead tone sound good in a mix.

 

[Racerxrated]

Yeah thats what he used until he got Soldanos. I use a couple Germino Lead 55's now to record with for sure. It's a replica of a 1968 JMP Super Lead non master volume....and it gets thee Holy Grail tone. Until one plays through one full up with a JB, you are just spinning your wheels trying to achieve Edward or Warren's tone. It MUST be a late 60's non master volume.
With load boxes of today, we can use these type of amps for gigs... but it is wide open and you go through output tubes a lot sooner than modern day hi gain amps.
But I can see why George tried to snag it, LOL.
You really must try a real or replica of a 1968 spec JMP Super Lead 50 or 100 watt with a Duncan JB to really appreciate the sound Warren recorded with...
My hi gain amps are gathering dust ever since I got these two amps.

I've owned a 67 50T, and have both a 1972 50w and 100w. The 67 was slightly more '3D' than the 72s; and by changing the filtering in my 72 50 to mimic a 67/68 plus changing the right parts to equal Eds magic 68, I can get easily VHI/II gain levels. Not the exact tone since I prefer Siemens 34s to the Sylvania 6CA7s I have; plus variac-ing didn't really change much. But I'd definitely use a Duncan Custom over the JB for what I like; JBs are cool though and yes to Warren's tone.
I will say though, that none of my Marshalls sounded best dimed. The Sweet spots are at a much lower vol point.