I really appreciate your reviews because I’ve found that the sound reflects what I hear at home when I’ve purchased equipment you have demoed. I’m not saying other reviewers are dishonest, but some have their cabinet mic’d in another room, playing at volumes that are clearly not practical anywhere else than on stage or in a studio (why are they isolating their cabinet if it’s not being played super loud?) and being processed with gating, compression and reverb to the point that makes it sound more like a recording than a person playing in their living room. Your set up, despite using really nice amps and guitars, translate well to what I hear at home. Thank you for keeping it simple resisting the temptation to get too over produced.
I feel the same when it's a fractal etc amp sim->IR->DI chain for the demo. I'm not hating, but to my ears there's an inherently "processed" sound to the digital sim stuff, like it's already had an amount of studio treatment right out the gate. I think there is an argument that for recording quickly and efficiently for playback, that's going to produce a "better" sound than an untreated analouge amp in a room and remove a ton of (potentially not ideal) variables; but I don't have a sim, I have a big noisey Marshall, so that ain't much use to me when trying to find out if it's gonna work for me or not 🤣. Like I say, I'm not hating, if I made my money playing live/doing YT demos rather than mixing live I'd almost definitely be on a sim with IEMs, but that level of production isn't a worthwhile investment for me when I can just chuck my amp in a room and chop away with a drummer
I had a 1484 Twin Twelve piggyback amp in the late 60's. It was paired with a 1961 Epiphone Coronet. Sadly, my parents sold then both when I went off to college, I guess to pay my tuition. What I would give to have both of those back, if nothing more than for the nostalgia.
A good friend had one in the 60s and my band used it for two guitars and a mike when I was in middle school. One thing is that the amp had no gain control. Brings back so many memories.
Way back in 1990 I bought a 1484 Silver tone twin 12 head for $20 at a consignment shop. Channel one didnt work. I was new to tube amps so I plugged in the wrong speaker and blew the output transformer. Fast forward to 2 years ago I found a cabinet w irig speakers on C L for $400 so I decided to buy a repro transformer and put the amp back together with new tubes. The old ones being lone gone lost. The amp sounds awesome. Total 60s garage rock.
This pedal shines when I plug it into the effects return of of my carvin v3 combo. Its just like the sears model, but at pretty much any volume. Handles effects really well too
With the gain pushed, it has an almost "fuzz" nastiness. Am I wrong? That sounds so velcro/broken. What a great little detail I haven't heard on other emulations. I heard it most on the Ozark and P90 sections.
Awesome job as always man! Lotta dynamics in that tone....badass pedal and I wonder how it compares to the JHS twin twelve pedal....both amp in a box versions of the old silvertones...very unique vibe and I'd love to play thru one🤘😁🎸🎶
@@PetePohjanniemi are you defending or trying to justify sucky comments? “Better than whining” is a very low bar for a qualifier and a very sad attempt at passive aggression.
If this recording were straight from the pedal that would be worth doing. You are going to get the sound of the pedal through the Fender amp with reverb, then being played through your amp. Distortion after reverb..
Amazing review as always, sadly an amp like that is very difficult to recreate, Dano/silvertone engineers seems accidentally across kindy accidentally trying to save up production costs with an amp that sound so unique with a quirky tiny output trannie, baxandall eq and cathodyne phase inverter with an unusual tube, just a very weird design in comparison to the typical classic amps designs and instead or just copying a classic (think marshall copy fender bassman) they just end up with a quite unique weird amp that it’s straight tone just bark in such a way when cranked that nothing else, this pedal don’t even come close but at least they tried with the enclosure 😂, maybe the baxandall eq is there but emulate the cathodyne 6CG7 raunchily falling apart smashing that buzz on some 6l6 pair smashing a poor tiny output transformer driving sole jensens and the sag of a double coil voltage doubler power trannie… not really even close to what a cheap parts putting together point to point a unique monster, even clone amps kit companies didn’t even put attention to the small filtering cap can creating a loose boomy spongy dynamics that only the real thing have, if jackson would put cavernous reverb and sweet trem as the original would at least worth the money and get bit closer
Im surprised one of the big brands hasn't bought the silovertone name and reintroduced it, like they did with magnatone and supro etc. there cant be many "cool" old brand names left to rehash
I agree with you on the reissues. The problem I have with pre-amp pedals designed to sound like classic amps is the fact that those reviewing them use amps with really great pre amps to demo them (Fender Pro Reverb in John's review) I would like to hear this through a power engine type amp like the Supro or Valvetrain models designed with no pre amp for pedal usage or as digital amp platforms.(like Fractal or line 6 models for example.)
The term "transparent overdrive" is widely misunderstood; it has always simply meant that the guitar's clean signal is blended in with the overdriven signal in the pedal (a design feature - and sonic signature - made particularly famous by the Klon Centaur). The overdrive, thus, in such a set-up, acts akin to a transparency (or "transparent overlay), of the type commonly used on overhead machines in classrooms once upon a time (before computers largely replaced them). Somehow unable to derive the term's obvious meaning (despite Klon, who ostensibly coined the term, publicizing this aspect of its pedal in all of its advertizing), pedal-video makers on RUclips racked their brains trying to puzzle out what "transparent" could mean with regard to overdrive - eventually settling by consensus (as well as nere parroting of one another) on the idea that it must mean the thing doesn't "change the tone of one's amp" (an obvious impossibility, incidentally) and spread this myth far and wide so that it has become "received wisdom," unchallenged and incoherent dogma recited even by esteemed pedal-makers and other so-called experts.
@@simonjenkin Thanks Simon. One warning, the tone control on this is right under your right hand, so I am always accidently turning it down or up... that drives me a bit crazy, so you may want to test drive first
Does anyone know why I keep seeing fantastic pro players wear there guitar straps the wrong way round. You can see the pad only just fits on the shoulder ?
Thanks for the kind words. I wear my guitars pretty high, (it's a tad nerdish but helps me play). This strap was just too long with that little guitar to get it around the other way.
So JHS stopped making the Twin Twelve pedal a while ago... And now we have this. Okay. So maybe this was an undiscussed reason why JHS stpped making the Twin Twelve pedal. Hmm. One wonders.
It was discussed, he said on his show it didn't sell well at all even though it was in his words an exact replication of the circuit, minus the tubes of course
Not like the original, which had a big sounding spring reverb tank that was great. You could get that surfer sound if you turned it up & like a Fender when the reverb is turned down. This is just an overdrive pedal.
John what I'm saying is the reverb gave it it's sound. No one played a Silvertone with the reverb turned off. Reverb is what helped make the Silvertone sound. This is just an over drive, not the original sound
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I really appreciate your reviews because I’ve found that the sound reflects what I hear at home when I’ve purchased equipment you have demoed. I’m not saying other reviewers are dishonest, but some have their cabinet mic’d in another room, playing at volumes that are clearly not practical anywhere else than on stage or in a studio (why are they isolating their cabinet if it’s not being played super loud?) and being processed with gating, compression and reverb to the point that makes it sound more like a recording than a person playing in their living room. Your set up, despite using really nice amps and guitars, translate well to what I hear at home. Thank you for keeping it simple resisting the temptation to get too over produced.
Thanks. I try to make it like we are just hanging out in my living room, listening. We're all in this together.
One of the best demo channels for that reason alone.
I feel the same when it's a fractal etc amp sim->IR->DI chain for the demo. I'm not hating, but to my ears there's an inherently "processed" sound to the digital sim stuff, like it's already had an amount of studio treatment right out the gate. I think there is an argument that for recording quickly and efficiently for playback, that's going to produce a "better" sound than an untreated analouge amp in a room and remove a ton of (potentially not ideal) variables; but I don't have a sim, I have a big noisey Marshall, so that ain't much use to me when trying to find out if it's gonna work for me or not 🤣. Like I say, I'm not hating, if I made my money playing live/doing YT demos rather than mixing live I'd almost definitely be on a sim with IEMs, but that level of production isn't a worthwhile investment for me when I can just chuck my amp in a room and chop away with a drummer
I still have my original Silvertone 1484 from 1966.
To get intelligent biblical donkeys like you to comment I suppose.
I had a 1484 Twin Twelve piggyback amp in the late 60's. It was paired with a 1961 Epiphone Coronet. Sadly, my parents sold then both when I went off to college, I guess to pay my tuition. What I would give to have both of those back, if nothing more than for the nostalgia.
That sound like a killa rig my friend
Anything that sounds like it’s self-destructing is ultra cool. I’m a high gain fan, but these tones are REALLY juicy.
I'm with ya ....I love tones that sound "broken" :)
A good friend had one in the 60s and my band used it for two guitars and a mike when I was in middle school. One thing is that the amp had no gain control. Brings back so many memories.
*mic
Whoa. That is freakishly accurate
Absolutely love, love,love this pedal.
Not that anyone asked but Jason Stollsteimer of The Von Bondies played a Silvertone with his mid 60s Eko Condor
Excellent playing!
Waiting for comparison videos with this and JHS Twin Twelve (which I already own). Feels like the difference isn't huge.
I own both. The difference is huge. I love JHS, but the Jackson is so much better.
Damn! When you cranked the gain and switched to the bridge on that '54 - shoo-wee that was a sweet, sweet sound!
Way back in 1990 I bought a 1484 Silver tone twin 12 head for $20 at a consignment shop. Channel one didnt work. I was new to tube amps so I plugged in the wrong speaker and blew the output transformer. Fast forward to 2 years ago I found a cabinet w irig speakers on C L for $400 so I decided to buy a repro transformer and put the amp back together with new tubes. The old ones being lone gone lost. The amp sounds awesome. Total 60s garage rock.
This pedal shines when I plug it into the effects return of of my carvin v3 combo. Its just like the sears model, but at pretty much any volume. Handles effects really well too
Loved the demo, thanks! I haven’t seen a player yet who doesn’t like this pedal. Might have to invest.
Saw this on insta and I just had to find the full video 🤘🏼
Are you the John Bollinger that played an Alembic bass on 1978 in Vienna Virginia? I took beginning bass lessons from this person back then…. ??
With the gain pushed, it has an almost "fuzz" nastiness. Am I wrong? That sounds so velcro/broken. What a great little detail I haven't heard on other emulations. I heard it most on the Ozark and P90 sections.
i love this guys energy
When running an amp in a box into the front of an amp, which amp dominates?
Man, why not put the tremolo in it. Great sounding, but missed the mark not putting the trem in it.
Awesome job as always man! Lotta dynamics in that tone....badass pedal and I wonder how it compares to the JHS twin twelve pedal....both amp in a box versions of the old silvertones...very unique vibe and I'd love to play thru one🤘😁🎸🎶
This one is better (because it’s not JHS and) because this one is a Silvertone collaboration.
Honestly I prefer the sound of the jhs from all demos of each pedal
I need to run this into the main power amp inputs on my JC-120.
This is a RUclips comment section, not your to-do list
@@brianbjur4796 to do is better than whining
@@PetePohjanniemi are you defending or trying to justify sucky comments? “Better than whining” is a very low bar for a qualifier and a very sad attempt at passive aggression.
If this recording were straight from the pedal that would be worth doing. You are going to get the sound of the pedal through the Fender amp with reverb, then being played through your amp. Distortion after reverb..
@@brianbjur4796 I've seen worse now.
That GT man!
My first amp and loved it !
My 1st was the Sears "Amp in a Case". This was my 2cnd Amp
Cool t-shirt John, least said about the jeans the better though 😉
Not sure this is a dumb question but could u used this in studio use? Let’s say to run a mix through to enhance the bottom end just Alil bit ?
Hey John that sounds cool with your baritone. Does that baritone have a b-bender? Sounds good- thanks
yes, it does. It's a total weirdo guitar.
Very delicious tones.
Any idea what would it sound like through a modelling amp like the katana?
Amazing review as always, sadly an amp like that is very difficult to recreate, Dano/silvertone engineers seems accidentally across kindy accidentally trying to save up production costs with an amp that sound so unique with a quirky tiny output trannie, baxandall eq and cathodyne phase inverter with an unusual tube, just a very weird design in comparison to the typical classic amps designs and instead or just copying a classic (think marshall copy fender bassman) they just end up with a quite unique weird amp that it’s straight tone just bark in such a way when cranked that nothing else, this pedal don’t even come close but at least they tried with the enclosure 😂, maybe the baxandall eq is there but emulate the cathodyne 6CG7 raunchily falling apart smashing that buzz on some 6l6 pair smashing a poor tiny output transformer driving sole jensens and the sag of a double coil voltage doubler power trannie… not really even close to what a cheap parts putting together point to point a unique monster, even clone amps kit companies didn’t even put attention to the small filtering cap can creating a loose boomy spongy dynamics that only the real thing have, if jackson would put cavernous reverb and sweet trem as the original would at least worth the money and get bit closer
fortunately the amps arent that much more expensive than the pedal (in vintage gear price terms)
Im surprised one of the big brands hasn't bought the silovertone name and reintroduced it, like they did with magnatone and supro etc. there cant be many "cool" old brand names left to rehash
To some degree we're hearing a silverface fender. Its cool, but youre stacking preamps. If you go into a power amp and crank it...
can a company like eastwood not buy them out and reissue the amps for real?!?!?!
I agree with you on the reissues. The problem I have with pre-amp pedals designed to sound like classic amps is the fact that those reviewing them use amps with really great pre amps to demo them (Fender Pro Reverb in John's review) I would like to hear this through a power engine type amp like the Supro or Valvetrain models designed with no pre amp for pedal usage or as digital amp platforms.(like Fractal or line 6 models for example.)
@@TommySprocket my thoughts exactly. This should be addressed during any review.
Mojotone did a reissue or clone of the amp this is based on.
@@mendamp1715 i grew up on a 1484. Better than any Klon
You can get the amps for like 600$ No one can produce them for that cheap
I had one and it only had volume , bass , treble , no gain my first amp till I blow it up lol.
Ha ha ha. I bet it sounded good before it blew up They usually do
The term "transparent overdrive" is widely misunderstood; it has always simply meant that the guitar's clean signal is blended in with the overdriven signal in the pedal (a design feature - and sonic signature - made particularly famous by the Klon Centaur). The overdrive, thus, in such a set-up, acts akin to a transparency (or "transparent overlay), of the type commonly used on overhead machines in classrooms once upon a time (before computers largely replaced them).
Somehow unable to derive the term's obvious meaning (despite Klon, who ostensibly coined the term, publicizing this aspect of its pedal in all of its advertizing), pedal-video makers on RUclips racked their brains trying to puzzle out what "transparent" could mean with regard to overdrive - eventually settling by consensus (as well as nere parroting of one another) on the idea that it must mean the thing doesn't "change the tone of one's amp" (an obvious impossibility, incidentally) and spread this myth far and wide so that it has become "received wisdom," unchallenged and incoherent dogma recited even by esteemed pedal-makers and other so-called experts.
That is… chewy!
Prettay, prettay, prettay groovy.
*what* is that white guitar? i need one
A supro Ozark.
@@johnbohlinger4868 well i think a supro might be my next guitar purchase. really digging the reviews, you're a great presenter
@@simonjenkin Thanks Simon. One warning, the tone control on this is right under your right hand, so I am always accidently turning it down or up... that drives me a bit crazy, so you may want to test drive first
@@johnbohlinger that's great advice, thank you!
For a second, I thought Billy Bob Thorton finally found some musical talent.
🤘👍🏿
Does anyone know why I keep seeing fantastic pro players wear there guitar straps the wrong way round. You can see the pad only just fits on the shoulder ?
Thanks for the kind words. I wear my guitars pretty high, (it's a tad nerdish but helps me play). This strap was just too long with that little guitar to get it around the other way.
..well what would happen if you plugged that 1484 peddle into a 1484 amplifier?🤷
So JHS stopped making the Twin Twelve pedal a while ago...
And now we have this.
Okay. So maybe this was an undiscussed reason why JHS stpped making the Twin Twelve pedal. Hmm. One wonders.
It was discussed, he said on his show it didn't sell well at all even though it was in his words an exact replication of the circuit, minus the tubes of course
@@benjaminfowler4513 I'm sure Jackson Audio did as well a job or even better I saw the 50 dollar Black Friday price drop and went for it
@@paulcowart3174 that thing seems pretty gnarly, I'd definitely have one if I could, Hope you enjoy it!
Sounds like jack white
Not like the original, which had a big sounding spring reverb tank that was great. You could get that surfer sound if you turned it up & like a Fender when the reverb is turned down. This is just an overdrive pedal.
You mean that cardboard reverb that broke when the amp was sneezed on? Yeah, they were great.....
...being played through an amp with reverb. How can we evaluate just the pedal?
John what I'm saying is the reverb gave it it's sound. No one played a Silvertone with the reverb turned off. Reverb is what helped make the Silvertone sound. This is just an over drive, not the original sound
@@solomonsanchez1897 exactly I had one and never used that channel because it sucked
in my neck of the woods you can knab a real living breathing 1484 head for $300-$400, this is frickin’ silliness
It’s all gear sales, and cheap amps. Dude, get 2 full stacks with 2 100 watt heads. You don’t need pedals.
sounds lifeless
Too much breakup , 4 me , sounds like a silverstone amp 💩