MRSH SL100 1969 QC Expansion DI

IMPORTANT! Please follow my both accounts on Quad Cortex for the quickest and smoothest delivery of captures: amalgamaudio and amalgamaudio2

DISCLAIMER! Our DI capture sets come in the following variations:
- Essential DI - For very simple one channel amps with just a tone control there will be only an Essential DI set.
- Core DI - clean, edge, crunch, dimed, drive and lead gain levels with EQ settings close to the amps sweet spot - includes BRI, BAL, WRM settings. Includes close mic'd IR's. This is where to start, if you are not sure, if you want all the tones from a particular amp.
- Expansion DI - clean, edge, crunch, dimed, drive and lead gain levels with EQ the more unusual settings (which often are spectacular sounding with particular playing styles, genres, guitars or pickups) - includes THN, FAT, SCP settings. Include's IR's with baked in room sound that are intended to be used with an external IR loader that allows long files - up to 2 seconds and that are meant to be mixed together with the close mic'd IR's from the Core DI set. The Expansion DI set is meant to be purchased as an addition to the Core DI set, not as a standalone.
 
Well, this is it - the ultimate Plexi set of an original 1969 MRSH Plexi SL wit whopping 36 captures included that range from Clean to face melting lead tones and everything in between.
 
Practically every big hitter band played one of these during the 60's and 70's. Led Zeppelin, Jimi Hendrix, Free, ZZ-Top, Robin Trower just to name a few of the biggest bands of the era. They burned some of the most iconic rock tones into our brains and ever since this particular year of the Plexi has been associated with "The" sound of Rock and has been played until this day by too many artists to list, but some that spring to mind are EVH, Yngwie Malmsteen, Eric Johnson, J Mascis, Matt Bellamy, George Lynch. 
 
If you want to learn what most people mean when they say the word "Plexi" - this is basically it. 
 
The amp is 100% original and stock, including the big 5000pF bright cap, which i deliberately did not unsolder, as this is just a part of this unique amp design and it's tone. It has the typical upper midrange emphasis of lead spec MRSH amps. It can do the screechy top-end thing and there are captures included, which do that, but it also can be easily tamed to a mid focussed, but rather balanced, warm, dynamic tone with the right amount of compression. 
 
To get good clean and edge of breakup tones, the channels NEED to be jumpered and then it is time for fishing for the right sweet-spots. When there, it does also beautiful clean and edge of breakup tones, with it's characteristic peak in the mids. 
 
With pedals it behaves differently than any other amp i have tried. Due to the monstrous bright cap, it is hard to get an overdrive tone out of it - it either sounds not that great or has to be cranked up more, where the bright cap has less or no effect and the tone fills out beautifully. At that point the amp will be in proper high gain lead territory, even with mild overdrive pedals in front at tame settings. This amp just wants to rock, to put it in other words. The pedal platform capture that is included in the set works great with a Tube Screamer and a Bluesbreaker for example, but some pedals can sound dreadful. It is a trial and error thing. Once you find one that works well with it, it sounds great. For lead levels of overdrive, you can try any of the fuller sounding crunch and dimed captures for good results.
 
Along with the FNDR BFDLX this is a larger than usual set for the Essentials format - this is due to the high expectations, many epplications and genres and versatility of the amp. 
 
The amp was tracked through the an original 1968 MRSH 1960A cab with G12M25 75Hz Pulsonic coned speakers, the mics used are 2X Royer R121, 1X Beyerdynamic M160 and 1X Neumann U87.
 
The set includes 24 DI captures ranging from clean to Lead and 2 Cab in the Room IR's. Please refer to the table under the product pics for detailed info on each capture.