Man!! You guys must have different SM than me:-)
I've "a/b" mine against my old bassman head a couple of dozen times. It's real similar to it just alot "bigger and somewhat meatier." I don't think I could get my SM to do an authentic Plexi/Superlead thing if I tried. I'm sure alot of it is just the way I run it---it's loud as all get out so I use a Barber Burn Unit (not very british sounding either) to overdrive it at a reasonable volume. Oh well, different folks hear different things. How many Marshalls of the same year have you ever put side by side and they sounded "identical"??? I don't think that's ever happened in my life time. Who cares anyway--we all know the real deal anyway!! E PLURIBUS BUDDA!!!! p.s. I heard a superdrive head last week for the first time (some garage band playing in a local bar) and I was NOT impressed--sounded like arse!! These amps will make you if you CAN play and BREAK YOU IF YOU CAN'T!!!

Willie,
I've always been able to run my Budda with the clean channel cranked. It's loud, but not as loud as the gain channel at max volume. Te gain channel seems to be a little smoother actually.
My clean channel has a beautiful high end cruch when it's pushed. With a Strat I'm getting some great OD tones, and with the volume rolled back I'm gettingt a beautiful chime. Identical to my TBIAC as milder gain settings.
I posted earlier in this thread that with a bridge humbucker I get the exact tone as the Bad Co song "movin on". Listen to the rythme guitar in tht song.
I got done with a set a few weeks ago, and when the juke box came on it was that song. If I didn't know any better I would have thought I was still playing.
In a perfect world we'd all be able to post sound clips to see what the differences are.

I don't hear that much if any Marshall comparisons for the SM. I definitely hear Vox though. On the Superdrive's high gain channel there is definitely that fire breathing Plexi sound. Like I said before though, these amps are SO versatile, so I can understand the differences in what others hear depending on their rigs and settings. I've been using my Superdrive 30 more lately because the SM 4x10 is just so friggin loud. I know for a fact that my 4x10 will eat a 50 watt Marshall Plexi reissue with a 4x12 cab for lunch.

You'd have to be pretty lame to make the Superdrive sound bad!

I forget all about the 3 position boost switch on the SM. I've never really played with it much, I always leave it in the boost 1 position. The other 2 give the amp a soft attack which I don't really care for. That might be where some of the Fender comparisons are coming from.

Hey Fellers,
Interesting idea, Laroo. I've never thougth of cranking the clean channel. While I do love the clean channel and think that it's 3-D chimeyness rivals many Fenders, I've developed an extreme sensitivity to treble/high frequency and have to be careful (in my old age--haha!) I might try that trick and stand back--like in the next county. I do agree with brownthingy on the vox comparison-there are some elements of the voxiness in the Budda stuff. And brown, I DIDN'T mean to diss on the Superdrive, heck I've thougth about getting one, but this doofass was playin' grungepuppy/greenday stuff with it and a Telecaster--oh,he had blue hair--that probably didn't help much either! So his suckysuckyness was in full mode that nite! Garage band with good gear--didn't help:-) Finally, Laroo, I USE the 3 way boost on the SM. I prefer the position "down" (the mid-boost). THEN that baby gets into R.F. territory and gets more growl. But I don't always do this, sometimes the middle (no boost) mode is just fine by me. Like I said, the VOLUME of this amp just about scares me, and I'm careful with it--it's a dang weapon!! Later guys!

Yep,
I run the clean channel at aout 2:30 pm. That's maximum volume. It just saturates the more you crank it from there. Dime the clean channel and the bass response actually muds a little. 2:20pm is a perfect volume or a great one, not for most small clubs though(or your ears)

I have a Budda Superdrive 18 1x12 combo. It's a fantastic little amp with a big sound. It has a very Vox-like clean channel, and a well-balanced, thick lead channel. The channels share an EQ, but this hasn't been a problem as the channels are voiced well together.

I do wish it had a little more headroom with my Les Paul, but, then again, I bought the 18 watt version. If I wanted headroom, I could have gotten the Superdrive 30, 45, or 80. (and I might!)

The amp is built like a tank and performed very well on the one gig I've taken it on.

My amp is a Budda Dual Stage 30 combo. The dualstages are also discontinued, which is a shame 'cause they're excellent. The twist with the dual stages is that they have a single preamp, but TWO footswitchable two output sections (2x6L6 or 4xEL84, both class A 30 watts). So, you can set up a reasonably clean sound with the 6L6's and then switch to the EL84's for really dynamic (powertube) crunch. It's very touchsensitive and is rectified by a 5U4G valve, which lends it a really singing quality.

I think it's so hard to put the Buddas in either the Marshall or the Fender camp because they're so sensitive to the way they're played. IMHO the DualStage sounds more british than american, think Hiwatt custom 50 and Vox AC30TB in one cabinet. Because I play a ES335, Epi Riviera and Casino (which feature medium-output pickups) I tried to clean up the response without losing clarity. Eventually I replaced the first 12AX7 with a NOS JAN Philips 12AT7 and that sent me straight to tone heaven. To me it's the ultimate balance between clarity, attack and warmth of tone.

I've gigged and recorded with my Budda and it has an almost 3D quality if played the right way. Then again, I agree with remarks made in earlier posts: if your playing sucks this amp will painfully make you aware of it. It sure made me try a lot harder!!

-Martijn-

Hey Tinus,
You got the model that first interested me in the Buddas to begin with. The Dual seems like the the perfect combo, 6L6's and EL-84s. I've yet to hear one, but can imagine it's pretty happening. I posted the remark that if your playing is lousy, this amp will show it and I think it's true. I heard Budda had to stop making the Dual Stage because Mesa/Boogie threatend them with a lawsuit/some sort of infringement on their rights. Did you see the LARGE P.O.S. tube overdrive box that Boogie put out after Budda discontinued the Dual?? It looked JUST like the Budda Phatman Overdrive box (except it was black)---gee, Mesa/Boogie, where ever did you get the idea for that one?? I've heard that Jeff and Scot from Budda got their start at Boogie, so I guess their amps are the "anti-mesa/boogie"---I've yet to hear a boogie that could even stay in the same room with a Budda--no comparison............

I am the WILLIEBUDDA!!!

Heya Williebudda,

You're right about Mesa Boogie, they threatened to sue because the poweramp/speaker switching circuit was allegedly already used in the Mesa simulclass amps. Probably this circuit was concieved by Jeff or Scot in the first place but the patent is probably Mesa so there u go. As a result only 50 DualStages ever saw the light as 4x10" and 2x12" combos.

I'd read a review of the 4x10" combo in a british guitar magazine but the quoted list price was ₤2000,- Then about a year ago two Buddas appeared at my local musicstore (Standby, Utrecht, the Netherlands b.t.w.). The shopkeeper told me he got them from another shop that never was able to sell them. I remembered the review and plugged into the DualStage when I went to pick up my guitar after a repair, and I knew within 3 secs I was gonna get it. Luckily the price had fallen to about $1300,- so it was a steal.

You are right about the "coincidental similarities" regarding Budda/Mesa gear. Still it seems both companies are now firmly following their own lead so let's hope it's all in the past. Anyway, Mesa's don't work for me either, never liked them and probably never will.

Did you know it's possible to footswitch between speaker outputs as well, seperately or combined with poweramp switching?? I tested this once, using a 4x10"cabinet for the 6L6 and the combo's 12"s for the EL84's. Awesome!! Because I rarely (ehhmm.. never to be honest) play 1000+ people venues I don't really use it much, but it is an excellent option. B.T.W. I also use a THD hotplate so I can drive the poweramps without totally overpowering anything else in the room. Still it's always more fun to play unprotected, as with many other things in life.

I am right now busy finishing a five-song demo with the band I play in so watch this space if u wanna know how my mistakes sound through a boutique amp. Our site is under construction but all songs will be offered to download as MP3's.

Keep on Buddaing,

-Martijn-

Hey Tinus!
Well for starters you are WAYYYYY across the big pond from me (I'm in the southern US). Glad to know that there are Budda users worldwide :-) Funny you should mention that the amp was having difficulty selling. That's how I got my Stringmaster, some guy's music store took a nose dive and he needed to get rid of it--amazing amp. I've not done the quirky cabnet/channel switching thing either, but I can see how people who like that kinda thing would dig it. I've not done any attenuator/hotplate thing, but am thinking I may need to, glad to know that works well.
I DESPISE MESA/BOOGIE!! Flame me, I'm entitled to my opinion. The most unmusical, buzzy, one dimensional sound ever--and expensive to boot. I can't be the only guitar player that hears and sees this... I honestly don't know why people play these things!! I've yet to hear one that a $250.00 Crate amp couldn't decimate. Lots of younger players use them around here and I just shake my head--pitiful sounding! I bet if more players heard the Budda stuff, they'd dump what they are playing. Congrats on the demo--post some tones, mon!!!

I am the WILLIEBUDDA!!!

Hey Williebudda,

Yesterday I was at the store where I bought my Budda and I asked them where it came from. It turned out it was a shop in a small town, that according to my source "..probably sells more accordions than guitars anyway.." They assembled some gear which is mostly budget stuff, and in-store testing is only allowed up to sub-whispering levels. Selling Buddas under these conditions is like trying to sell icecream to tonedeaf penguins on the northpole I guess. BTW the store in Utrecht where I bought it took one week to sell both of 'em, so that figures.

It's nice to be one of very few Budda-players over here, actually I never actually saw a gig where someone else used one. Somehow I always draw some attention whenever I gig it, mostly from guitarplayers or soundengineers. I think it's pretty strange that Budda itself is so unknown to most of the players (and engineers) over here. Over here, it's the obvious marshalls, fenders, Oranges and of course the mucho loved & praised brand of MESA

You're right about the blandness of most MESA designs, although it's also a matter of what you're looking for in a guitar sound. I know someone who's very satisfied with his Dual Rectifier set, and for what he does (very filthy sounding punk/hardcore) it is a suitable amp. However I tried it once and I wondered: why bother with all the valves if you wanna sound like a tranny amp? Then again I let him play the budda and he said it was to soggy and not "even" enough. So, what sounds bland and lacking dynamics to me is "even" to him.

However it remains mindboggling people pay MESA big bucks when there are such excellent alternatives for the same money, especially in the USA.

See ya, Martijn

BTW. I am both looking for a good treblebooster for solos and a replacement for my Roger Mayer Voodoo-Vibe that got stolen last year. Any suggestions anyone?

Hey Tinus,
Ahhhh, so glad that great minds think alike :-) The Mesa/Boogie attraction of most guitarists never seems to cease to astound me. Even some of the newer "modeling amps" (ie LINE 6) which do have some wonderful tones in them, most players opt for the "rectifier" sound--the worst sound in the whole amp--it sounds so neutered, so wimpy, I just don't understand it. Boogie players--take that $1600.00 and buy a Budda/Alessandro/Holland/KJL/TopHat/Demeter/Dr.Z/Kenrick/etc. do yourself and all us a favor!
I should be posting a review of a new KJL amp I recently got. Sort of in between a Budda and a Matchless. Very cool and surprisingly very affordable. Been using a class a, 1x10 combo at band practice and it pretty-well honks. As far as a good replacement for your Roger Mayer, I'd look closely at the Fulltone Deja Vibe. Robin Trower uses on and I've had mine for about 4 years--wouldn't trade it for anything. If you need "that sound" it does it excellently. Treble boosters I haven't fooled with much so ya might need to talk to someone else....Later mon!!

I am the WILLIEBUDDA!!!

quote:

---

Originally posted by Tinus:
BTW. I am both looking for a good treblebooster for solos and a replacement for my Roger Mayer Voodoo-Vibe that got stolen last year. Any suggestions anyone?

---

I would recommend the Sweet Sound Vibe by Bob Sweet. To me it was more "dead on" than the Fulltone when I A/B'ed them together. They are both great pedals though, so you can't REALLY go wrong with either. If you go Sweet Sound, hold out for the new Mojo Vibe.

I don't really use "treble boosters" per se, but I have been using the ZVEX Super Duper 2-in-1 (two channel-master volume Super Hard On). The Nine Volt Nirvana Bronto Boost plays well with my Buddas and it does the traditional treble booster thing a bit better. Rock on Budda!

Less Talk, More Rawk! brownthingy

It's good to know that the Brontboost sounds good.
I'e got one that should be here soon and I'm anxious to hear how it sounds.

Lawrence D.

Hi again,

THX for the advice Willie and Brownthingy. I managed to locate a nearby dealer/retailer over here in the Lowlands that is specialised in boutique (ie. actually usable and tasteful ) amps 'n pedals. He sells both the Deja'Vibe and the Sweet Sound Vibe, so luckily I can try both. I'll let you guys know what I think of 'em.

As for the boosters there are some interesting possibilities from the same dealer, so if any Buddist has comments on these I'd be grateful:

-Banzai New Rising Sun 2 (Japanese name, German pedal..."military grade"....Very scary indeed )
-Barber Electronics Tone-pump or Direct Drive (Willie??)
-Fulltone Fat Boost
-Zvex Hard-On / Super Hard-On / Super Duper 2-1 (Brownthingie? How do these sound??)
-Xotic RC Booster
-Crowther Audio HotCake (not a treble boost as such but might be useful)

What I'm looking for is a boost that enables me to get a clearer, "larger" (ehmm....) tone without shrillness or mucking up dynamics and harmonics. I have tried some cheaper options which didn't work, I use a TubeWorks 903 Tube Enhancer at this moment but I don't like it, it's either brash and thin or muddy and ill-defined.

My main guitar b.t.w. is a Epiphone Elite Riviera (MIJ), which is a ES335 with twin Gibson miniHB's.

Long live Buddaism!


-Martijn-

quote:

---

Originally posted by Tinus:
What I'm looking for is a boost that enables me to get a clearer, "larger" (ehmm....) tone without shrillness or mucking up dynamics and harmonics.

-Martijn-

---

I use a SHO with my Stringmaster and I never turn it off.it adds just enough drive to bring the amp to life and it adds presence which makes it chime like crazy when playing soft and clean.
I also use a Fatboost, and am equally happy with it. It gives your tone girth and authority without adding a lot of gain. I use it to goose an OD or the clean signal.

I'm not great with descriptions, but I would recommend that you try both of these pedals.

I really wish that I had the money for a 2-n-1.

Lawrence D.

The Super Duper with my Superdrive and Stringmaster sounds killer, especially with my strats. Humbuckers require less umpf from the pedal but is equally satisfying. I'm really bad at describing sounds with words, but I know when I hear something that I like. I know Laroosco has tried the strat and SHO combo with his Stringmaster head. (Maybe he can chime in) I have limited experience with miniHBs, but I suspect it will still do the trick. I leave my Super Duper on the non master channel constantly and then use the master goose everything during breaks and solos. I only really change channels on the Superdrive when I change guitars. Typically if I'm playing my Strat, I'll use the clean channel, and if I'm using a Gibson, I'll go to the plexi side set for slight breakup. Not to say that I NEVER use the LP on the clean channel, but you get the idea. The Super Duper only adds to an already versatile rig. I'm lovin it!



It looks as though L.D. was chiming in as I was chiming in. Good show!

Less Talk, More Rawk! brownthingy