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That’s what several people have told me. 😂

The Dig is special. I get why you kept it. I’ve since gotten rid of my El Cap but I still have the Dig for now. I’m getting into early digital delay units. I have a Free The Tone Future Factory that I keep wired up on a stereo board. The Dig does the 80s early digital delay thing on my mono board.

The Violet / Midnight Vibe are both great. I especially love the most recent version Rick is making. I still own the Midnight Vibe and the Sabbadius Tiny Vibe 68. They get swapped around between my boards depending on the available space.

@@tonecast1 Great feedback. Any opinions on the Jam Pedals Retrovibe ? A lot of great players love it and the reviews are pretty good.

That first riff is an instrumental song by Andy Timmons called EWF; which is sort of an homage to Earth Wind And Fire’s, Shining Star. My guess is that Foals was also influenced by Earth Wind and Fire.

@@tonecast1 i think you're actually onto something. foals started as an art rock band with math rock influences but gradually became more and more funk driven as they went. and what's more funk than EWF right?

The Valvetronix amps were interesting (I owned a VTX decades ago) but very different from a 60’s AC30 circuit.

I think it was obvious that the limited run of Shadows JMI30s just had a different cosmetics from the standard JMI30 they were selling at the time. I wasn’t in the UK at the time they were being sold so I can’t speak to how they marketed to buyers. I wouldn’t be surprised if they were marketed as something more special than the standard models given Music Grounds questionable business practices. I’m sure The Shadows could’ve used any amps they wanted to for their reunion tour. They were likely given the JMI amps or paid to feature the JMIs on stage. Steve and I did not talk specifically about Hank Marvin and JMI so thanks for the comment sharing those insights.

Thanks for the recommendation. I’ll keep an eye for the Subdecay Quasar v4. And thanks for watching too!

Glad it helped! I knew someone else would eventually have the same problem and be looking for an easier solution.

How much did it set you back and when did you buy it? They’re great amps.

I remember that appearance. Yet another great example of this specific tone. A lot of artists’ live tones didn’t always translate on SN but this specific one did.

You’re welcome! I’m glad you found the video helpful. Thanks for taking a moment to comment and let me know.

*Pete Townshend circle 197 0 live

Pedalboards are great. That said, there’s definitely magic to embracing the guitar and amp alone. Great reference in Pete Townsend’s early work with the Who. He’s a great example of that. Thanks for the insightful comment!

I’d say $2,000-$2,500 but someone else may feel differently. Thanks for watching!

@@marclouis-boyard there’s another video about JMI on my channel if you want to learn the story behind the 2000s owners of the brand and how this the amp was made.

@@tonecast1 oh thanks that is precious. Link saved, will watch tonight without fail

Thanks!

If you’re seriously on the hunt - they show up every now and then; just be patient. Thanks for commenting and watching.

The new pickups are definitely brighter. IIRC, the amp setting were the same between tests.

AFL is great but I don’t think Clapton was trying to replicate his sound. Hence why he hired AFL at this time. No need to emulate the guy when he’s on stage with you. Clapton was trying to replicate his heroes like Buddy Guy, Lowell Fulson, Muddy Waters, Freddie King, etc…

@@tonecast1 Clapton did indeed admire those greats and he clearly took his inspiration from them throughout his career but if you look at how he went about recreating their sounds and styles, AFL (who was already a far more accomplished guitarist IMO) was his guide and tutor. I recall having a few chats with some very well informed people within the industry at the time, who knew both Clapton and AFL and they had already identified the effect of AFL had had on Clapton for some time. I must confess some bias here, as Clapton, despite his commitment to the British Blues scene, has never been high in my estimation and I always find the other guy of more interest eg. Danny Kirwan vs Peter Green.

I’m glad I’m not alone in this opinion. I just wanted to share breakdown of what it was. It was essentially the man’s hands, a great vintage guitar, and a killer 50s low powered Fender Tweed Twin. A very pure signal path.

I haven’t had the chance to play one in person but I thought the clips of it online sounded great. It’s around the same price as the R Weaver FX offerings IIRC.

The Matchless recorded much better than I expected. It sounds great here but I’m with you in preferring the other amp. I was never really happy with how the JMI sounded in this video, so much that I made a video exclusively about that amp. That video sounded more like that amp in the room than it did in this video. The EF86 channel on the Matchless is pretty magical with single coil bridge pickups but I found it a bit muddy and with other pickup positions and humbuckers. Thanks for watching.

@@TorrieSeager Easily one of my fav Instrumental ballads of all time. Also not easy to play.

@@WowIndescribable Thanks for watching!

I sold this amp to a friend to explore other Marshall circuits. The Bass circuit offers a lot of shades between clean and mean but always left me wanting a little more in the aggressive end of the spectrum. Didn’t know Page used a Hiwatt for III. Thanks for sharing!

Thanks! Glad you found it helpful.

“Kicking, squealing, Gucci little piggy”

@@tonecast1 ❤

Thanks for the kind words. This video got a copyright claim for use of the Clapton footage but I don’t know how else to reference a specific guitar tone without letting viewers hear it. Apparently it’s blocked from playing in certain countries. All that said, I’m glad you found the video a worthwhile watch. Thanks for letting me know.

Nah, it’s not a big deal. Just be sure to remove and reinstall the next screws by hand. A lot of older and reissue Fenders require taking the neck off to adjust the truss rod. It’s a pretty common procedure. Just look up a Stew Mac video about taking the neck off a Fender if you want to see what that looks like and tips on how to do it correctly.

Oh I bet it was great! I’d love to find a JMI10 Twin like that.

He is no longer building amps or making pedals.

@@tonecast1 Bummer!

Definitely not Adam Neely.

I think I’d like to get my hands on the AC-10 twin copy too.

The old pickups were stock. A band was supposed to autograph the guitar as the prize for the contest my sister won - so we told em just send the guitar bc we didn’t care about the autographs.

That’s unfortunate but that can happen on a lot of amps. How old were the tubes in it at the time? One could also argue that the cabinet design of the JMI is to blame. It doesn’t vent the heat very well.

Do you happen to have the JMI badge still tho?? Great video too!

Sage told me you were the guy who bought it. That’s awesome! Glad you’re enjoying it! Email me via my “about” tab and let’s chat.

PSA: I also have a pair of UK made Celestion Alnico Blues if you’re interested. I bought them when I got the amp thinking I’d swap out the Fanes but the Fanes kind of won me over. I did try running the amp into an external Vox cab with Celestion Blues and it was definitely more of the traditional Vox thing.

The Pedal Pawn is on my hit list. It just happened to be the odd vibe out for me through no fault of its own. I simply lacked the funds to try every high end vibe on the market. These were all purchased by me (no loaners or gifts). In hindsight, I wish I could’ve tried the Gypsy Vibe in place of the Kingtone vibe but hindsight is 20/20.

The JMI30 is great AC30 circuit build. I can’t speak for the other models, but I’d love to try their AC10 twin.

You’re welcome. I figured it would only help.

Thanks for commenting and watching!

Glad you found the demo helpful. Thanks for the kind words.

To my ear, this particular Zexcoil set has a bright sound. Now that some time has passed I’ve found that they are hard for me to get along with tonally bc I also have a bright touch. I may try a different set from them to see if I can find a better match for my touch. In my experience I’ve found that that noiseless single coils are just as valued in the studio as they are among players performing live. Players everywhere appreciate quieter pickups as long as they still sound great. Some viewers like the sound of these. Others have preferred the stock pickups. It’s interesting to see how everyone’s preferences are truly different. Thanks for the comment.

One of the best skills in life is being able to assess new information and change your mind based off that new info. I’m glad the video helped you determine that the JHS series 3 phaser was a better fit for you. Thanks for letting me know.

I've not played one this one. I'll keep an eye out for these. Thanks for the recommendation and thanks for taking a moment to watch and comment.