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the
The Zen of Z
Hes baaaack!
Ten years after his first
ToneQuest cover story
Dr. Z
returns with another
classic dose
of the Zen of Z.
Inside
The Z Wreck
inspired by
Brad Paisley
&
Ken Fischer
9
The inside
story on
the
Remedy
Our review
of the ultimate cure
for broken tone
The Dr. Z
Remedy
Report
TM
The Zen of Z
No pedal in the world is going to give you a clean tone. Dr. Z
Its been nearly 12 years since we first became acquainted with Dr. Z in preparation for his July
2000 cover story. The prelude to that adventure was getting to know one of our favorite guitarists
of all time, Texan Buddy Whittington, who had embraced Dr. Zs mighty MAZ38 on tour with John
Mayall. We drove up to Cleveland to meet Z at his shop and Buddy, who was in town playing
with Mayall and the Bluesbreakers at a club in The Flats. We can recall walking into the dressing
room above the club and meeting Mayall for the first time as he and drummer Joe Yuele systematically deposited every scrap of food and drink into collapsible cooler bags to be consumed further
on down the road.
11
Introducing
3rd Power
Amplification
The ToneQuest
interview
with 3rd Power founder
Jamie Scott
14
Our review
of the
3rd Power
British Dream 1x12
16
Cheap & Good
A meaner
SG Classic
We optimize
an 07 Gibson USA SG
18
Brian Wamplers
Paisley Drive
Overdrive
Review
18
Power Cord Review
Courtesy
Gil Divine, Divine Noise
Nonetheless, Buddy graciously offered one of Mayalls dressing room beers before he and Yuele
could get them all packed away. Having driven six hours for this soir, three icy Hudepohl 14Ks
were discretely set aside by yours truly on a window sill, and idle conversation led to a question
about whether or not John had ever considered playing harp through an amp. This seemed to
light a spark that momentarily distracted him from ruthlessly scavenging the dressing room of
www.tonequest.com
cover story
every last carrot
stick and potato
chip in sight,
and he replied
that he had not,
preferring to use
a PA.Strange
as his answer
seemed (Jeezus,
John, have you
not heard of
Little Walter?),
we let it go,
and the conversation turned to a logistical problem With
the tour just beginning Mayall had arrived with a large box
full of t-shirts to be sold, but since the band traveled in two
rented Cadillacs with no support staff, who was going to sell
them? The moment the question was raised Mayall turned,
one eyebrow arched for effect, fixing a questioning gaze
upon the guest from Atlanta. All in the room remained silent,
as if the chief magistrate of the court of the blues had just
pronounced sentence. Pausing for effect, the guest reflected
on the memory of a bi-sexual-leaning-more-toward-gay bass
player in a former band who, since he was the best looking
of us all by far, would routinely be asked out by the coke
whores working promotion for record companies, who also
possessed the power to dictate the opening acts for the bands
on their labels. The memory of the glum, hangdog expression
that darkened the bass players face every time we insisted
that he take one for the band now suddenly seemed too
familiar, but we betrayed no such sour emotion in response to
Mayalls challenging stare. Finally, the Godfather of British
Blues broke the awkward silence by adding, Ill give you a
free t-shirt, and the entire room erupted in laughter having
fully gotten the joke. At the end of the night John received
an empty box, $600 in cash, and the guest was awarded
a Bluesbreaker t-shirt from a Bangladesh sweat shop that
unraveled at the seams after the first washing.
This is just one of a few Z
stories, although we must
add that Buddy murdered
em on stage in The Flats
that night with his Strat and
MAZ38. Hearing him live
for the first time was and
remains one of our fondest
memories, and a testament
to the stage-worthy character and magnificent tone of
the MAZ38.
another rare and revealing visit with Dr. Z, who can now be
counted among the most successful builders of custom booteek amplifiers since custom booteek amplifiers have been
built, and a credit to the long tradition of American manufacturing that has defined the great immigrant city of Cleveland,
Ohio. Enjoy
TQR:
Yeah, 30 or 40 watt
amps are considered to be big
amps by todays
standards, and the
description or definition of a stage
amp has really
changed in the past
ten years. A good,
strong 18 watt
or 38 watt amp is usually more than enough to fill a small
venue. Our MAZ18 could be considered the de facto Deluxe
Reverb of 2010. The assault of pedals is another thing. Every
15 minutes there is a new pedal coming out, so everyone
kinda needs an amp that can give them some nice clean
headroom. You need power to do that, and then push it with a
pedal to get all the variations in colors and tones that players
want without being viciously loud like you would by just
turning up a tube amp. You can take a nice clean dual 6V6 or
6L6 amp and if you build it correctly with the correct front
end architecture, pedals can push it really nice and it becomes
very useful. I see guys playing today with $3,000 worth of
pedals in front of them and Im amazed! Oh, shit, look at
that, and you only paid a grand for your amp. (laughing)
TQR:
You are so right. Overdrive, boost and fuzz pedals always sound better so much better rammed
through a clean amp that has some clarity and
headroom. Distortion on distortion usually doesnt
work.
cover story
is no pedal in the world that is going to give you a clean tone.
You gotta have that from base and then you can layer on top of
that. If you dont have a good, rich harmonic clean tone, there
is no pedal in the world that is going to give you that.
TQR:
Steve Miller
is playing
Zs now, too,
and Walter
Becker.
Right now
Joe Walsh is
on tour with
a MAZ38
Steve Miller Zs
2x10 and
a Twin Reverb. Becker is playing a Mazerati GT and he just
ordered a Z Wreck to take to New Zealand, but Im not going
to post all of this stuff, because its here today gone tomorrow. These guys are so fickle that by the time I got something
typed up theyd be playing another amp. I also try to allow
them their privacy. I dont steal a feather from their pillow.
I dont try to say, Oh, Billy Gibbons is playing one of my
amps! So Billy Gibbons bought an amp? He has bought a lot
of things. Yeah, he liked it well enough to buy an amp and he
talked to me and that was a thrill, but its not like Im going to
put together a list and post it on our web site.
TQR:
cover story
get the sound of a
guitar amplifier. A
great example is the
original Marshall
Bluesbreaker amp.
One of the things
that made that amp
so unique was that
it has such an odd impedance on the output transformer from
those surplus spares that Jim Marshall picked up. Kenny had
that same approach. He helped me pick these impedances that
led the way for a couple of new amp designs like the EZG-50,
which is a dual 6L6 amp with kind of my spin on a blackface
design, but I used a very unique impedance in the output
tranny that gives the amp this incredibly rich, full, warm
sound that is not quite as hollow as a Schumacher blackface
output transformer. Same thing with the Z Wreck When we
were trying to design this amp for Brad Paisley, Kenny kind
of opened up the book and said build the output transformer
like this. And I did, and oh my God did it open up the amp.
Everybody will tell you that the output transformer is the heart
and soul of a tube amp, and its true, but there are a lot of little
subtleties involved, like how Kenny would stack the laminates.
You would
see like 3
going one
way and
3 on top
of them
going the
other way,
and you
could tell
by the color on the edge alternating from lighter to darker, almost like stripes. Thats a little secret that he did, and Stancor
was probably the first company to do that. A lot of this stuff is
just about being open to all different kinds of designs, seeing
how they work and analyzing them, and then remembering
them and using them in actual practice. Thats what Kens
genius was all about. I gave his specs to Heyboer and they
exactly knew what I was talking about and they nailed it. It
is pretty difficult to add that extra 5 or 6 percent When it
sounds so good, how are you going to make it sound better?
TQR:
Kenny really dug Brad Paisley, Ken was a Tele player, and he
cover story
circuit changes. Im reading this and I began to think about
building another amp based on Kens notes. So I built a couple
of replacement amps for Brad, and then began working on
this new design using Kens notes, and one of the things I did
was use multiple taps for the power transformer with a power
switch so you could switch between two different plate voltages. When I finished it I got the amp to Brad and I asked him
which setting he liked the best and of course he said both.
So we left the toggled switch on the final version of the Z
Wreck. It wasnt long after that before Ken passed away, and I
let two years pass having only built Z Wrecks for Brad. I just
didnt feel compelled to put them out for a while. Although
Ken named the amp, I didnt want people to feel as if I was
trying to cash in on his name, because no one would know the
whole story.
TQR:
TQR:
And its a great story. Who knew? Thanks for telling it here. Now what inspired this utterly gorgeous
sounding Remedy you sent for review?
TQR:
Believe me.
So the amp is running on two or four power
tubes
Yes, and
I played
the game
with the
output
transformer
and split
the difference between the 8K and the 4K ohms so it works
very well with 4K and with 2K. Thats the problem when you
go to half power. Like in a Twin, if you pull two tubes you
should actually increase the speaker impedance load by half.
The same thing with a Marshall, but my amp does that internally. So I built the Remedy and we had Z Fest and thats what
Z Fest is for it enables me to run things up the flag pole
and get opinions from people I trust. The whole thing is, you
have to be innovative, because I dont do clones, but lets
remember that this is 50s technology. There isnt anything
really new that hasnt been done. You just have to learn how to
season the gumbo.
TQR:
cover story
shop a couple of times, and all I can say in describing his playing
is smooth and fluid. The thing about Anson is true about Joe
Walsh, and I told him this when he was at the shop. Ive seen Joe
play oh 20 or 25 times, whatever. But Joe would be on stage with
someone like Ringo Starrs All-Stars all these great fing musicians, and Joe would be in the center of it and you wouldnt even
know that Joe was there, and then all of a sudden hed unleash
this hair-raising solo, and then come right back into the pocket.
Thats the thing that Joe always did. He just knew how to do arrangements, and how to be a bandmate. Thats why people loved
playing with him, and the same thing is true about Anson. His
sole purpose is not to show you what he can do, but how he can
contribute to the song, and to me, thats a true musician.
Now back to
the MAZ 38
Its actually in
its third generation. The first
was the MAZ
that we called
the Senior and
the Junior.
The Invasion
was the 2x12
version. The Studio Deluxe was the little 1x12 that Buddy
Whittington made famous on so many John Mayall records. I
had a Bluesman that was a 4x10 and a Studio Lead that was a
head. My thought at the time was to be Leo Fender, and have
one chassis and all these different configurations and models.
It was designed in 1988, and the way you can identify it is
by the presence control, which tells you that there is negative
feedback, because thats how the presence control works off
the negative feedback and the output transformer. It has a
long-tail phase inverter, a presence control, and the MAZ was
a little bit cleaner, because negative feedback makes whats
coming out of the amp sound more like whats going into the
amp. By controlling the amount of presence and the amount
of negative feedback, it made it more of a relatively cleaner,
Fender-sounding amp. Guys liked it, and especially guys like
Anson because it wasnt as toothy. Blackface Fenders are wonderful sounding amps, but when you try to push them a little
bit sometimes they kind of show their bite. EL-84s are a little
different more compressed with that midrange chewiness to
them. Then all of a sudden you get a guy who has been playing a scooped blackface Fender who has gotten into the habit
of being kind of careful with his treble strings, put him into a
MAZ with the same type of tone stack, and now the back end
is four EL-84s and they smooth everything out.
Another thing you may not know is that Anson never liked 12
inch speakers until he played the Invasion. He was always a 10
inch guy until then and I can remember him telling me, Ah
never thought Id ever like 12s Dr. Z. (laughing)
TQR:
Yeah. You
cant go
wrong. The
sad thing
is that in
their 70th
anniversary
year Celestion made
them, and
then they
stopped and I kind of pleaded with them to make that speaker
again. The second version didnt sound quite the same as the
original 70th Anniversary speakers according to my memory,
but they still sound pretty good.
TQR:
cover story
knife through butter And the 70th
Anniversary with its
beautifully balanced
tone and musical
response Or the
Alnico Blue with
that brilliance that
just screams the first
Beatle records I
just couldnt get that
in any one speaker
without building two or three, and I just decided to screw it
and stick with Celestion. You know, instead of fighting it
Im the kind of guy that will write things down and if they
dont make sense, Ill walk away. Some guys are so fing hardheaded. Im going to be right, dammit. Life is too short.
Enjoy your successes, learn from your failures and move on.
TQR:
Its kind of
in between
the PC
board versions that
are built
now and
the vintage
ones. Like
you, I have
access to a lot of vintage gear, and there is a dealer here that
had three really nice Fender reverb units from the early 60s
that I used as a benchmark, and I designed what I did using
some modern techniques. Its grounded properly so you dont
get any hum or ground loops, but I built it close to an original. I
used a smaller 3-spring, long delay reverb pan with the original
Dwell, Mix and Tone controls. It certainly produces the kind of
Dick Dale-approved boing, and Brad Paisley uses one with his
Z Wreck and loves it. But you know, there isnt a huge margin
in them because they cost as much to make as an amplifier.
People look at it and they think its only a little box, but its got
a power supply and a rectifier, tubes, pots and knobs Its not
a big sell for me, but another nice thing about it is that Ive got
a couple of junior builders here that do other things in the shop
and they can put one of those
together. I taught them how to
do it and they can put one together in a day. Its like an Air
Brake, a simpler kind of device
compared to the more complex
and sophisticated stuff that
more experienced guys have
to build. How do guys get
experience? So I dont make a
million dollars building reverb
units, but it serves a purpose
for me as a manufacturer more
so than it does as a product, and they are pretty cool. Somewhere there is a Youtube video of Brad playing his Z Wreck
with the reverb unit, so you can hear him play it if you have the
time to research it.
TQR:
cover story
We now ship about 150 amps a month.
TQR:
amps
TQR:
Dr. Z Remedy
Having
now
entered
our 13th
year of
the Quest,
we can
still recall
wasting
no time
tapping
Buddy Whittington
into Dr.
Zs orbit during our first year of publication in 2000. Well
before the idea of a ToneQuest had ever occurred to us, we
had been rabid fans of Buddy Whittington, who capably set
the record for having lasted the longest as a guitarist in John
Mayalls Bluesbreakers. We had rediscovered Mayall on his
landmark 1993 album titled Wake Up Call featuring Coco
Montoya, Mick Taylor, David Grissom and a guest appearance by Albert Collins, and when Whittington replaced Coco
on subsequent albums, we were dumbstruck by the unfamiliar
Texans touch and tone. We tracked Buddy down with assistance from Dr. Z, visiting him at his home outside of Dallas,
and later recording a 2-part interview featured in his April
-continued-
amps
2000 cover story
and May 2000 issue.
Since then we have
watched Zs presence grow substantially with new models
steadily added to the
line. Not long ago a
reader beseeched us
to review the Dr. Z
Remedy, and after 10
years it seemed like a
good idea to not only review the amp, but reacquaint you with
Dr. Z as well. Just understand that the driving force behind
our deep appreciation for Zs amps must be attributed to
Buddy a truly amazing guitarist whose luscious chops first
guided us to Dr. Zs doorstep in Cleveland If youre curious to hear a sample of Buddys extraordinary playing, try
Dead City from Mayalls Blues for the Lost Days album.
Buddy recorded that track with a 58 Les Paul and a Dr. Z
Prescription head and 4x12 cab, and the result will hurt you.
Now, our review of the Remedy may seem on the surface to
be just another amp review, but the Remedy is anything but
just another amplifier While Z has faithfully served the
bedroom market with some very toneful and diminutive
little Class A blasters in the
past, the Remedy isnt one of
those. Designed for a full quad
of 6V6s that can be powered
down using just two, the
Remedy easily rivals our optimized 66 Deluxe Reverb in
power, temperament and tone
using the half-power switch,
and at full power it gracefully
morphs intro the rare air filled
by our equally optimized 66
Pro Reverb. Both Fenders are
equipped with 25K midrange
pots, otherwise they would
be entirely incapable of producing the lush midrange tones
oozing from the Z. The closed-back 2x12 Z Best cab loaded
with a Celestion Vintage 30 and G12H30 70th Anniversary
also capably pushes solid low frequencies that the Fender
blackface amps could never match.
The Remedy impresses us as a deftly contrived hybrid housing
two amps in one box. Youll hear the brilliant treble presence
of a Fender and the more assertive midrange voice of a Marshall anchored with outstanding bass response on the wound
strings that doesnt fold up or yield to a heavy pick attack. As
such, the Remedy offers a unique blend of the best of both
heavier Marshall and brighter Fender tones that can be mixed
and tweaked via the High and Normal dual volume controls.
The 40
watt/20 watt
power range
also delivers
clean headroom that is
more than
adequate at
stage volume
levels with
a band, yet at half power, it is the consummate playmate
for home use. The Remedy gradually begins to spill into
overdrive at around 11 oclock on the volume controls,
and by 2 oclock the 6V6s are producing thick sustain with
the airiness, bounce, and open character that are so unique
to these tubes. Of course, with this much power available
you can roam between cleaner tones and heavier distortion merely by rolling volume off from the guitar. The
beauty of the Remedy is that the essential character, tone
and dynamic feel of the amp doesnt change when switch-
ing from the full power to the half power setting. Its not
quite as loud, but the available ratio of clean headroom to
overdriven distortion isnt altered, and the ability to mix the
warmer, cleaner Normal volume with the brighter, ballsier
High channel really offers a lot of possibilities with different guitars. We also find the paucity of pots and knobs
adorning the front panel to be both charming and comforting. Call us old school, but the simple layout of Bass,
Mid and Treble controls with the internally jumpered Blend
volume controls relieved us from the task of fiddling with
too many options. Truth be told, if you cant make yerself
sound better than just good with the Remedy, the problem
isnt with the amp.
Tone
OK, so the Remedy is a nifty little head with a big voice,
further enhanced by the 2x12 Z Best cabinet, which can
be stood up on end or laid down low on its side depending
on your mood. To buy the head without the cabinet would
be a mistake. Dont even think about it. But the overriding
justification for staking a claim on your own Remedy is this:
you own nothing that sounds like this amp, and in our opinion
-continued-
10
review
it is one of the most richly
toneful and vocal new production amplifiers we have
ever heard or reviewed, endowed with an unmistakable personality that will
be revealed to you in the
first chord. There it is
stunning clarity throughout
the entire frequency range
of your guitar highs that
vividly reveal second-order harmonics and subtle overtones
without sounding shrill or harsh a sonorous midrange voice
that lends animation and a vocal human quality to the notes,
and rich low end anchoring the choir with confidence, strength
and amazing depth. All this, and the speakers arent even broken in yet If you live anywhere near a Dr. Z dealer, we urge
you to fire up a Remedy at the first opportunity. And for those
of you who dont, we can assure you that the suspense and anticipation of awaiting the arrival of your new Remedy will be
entirely justified by hopeful expectations gloriously surpassed.
If ever there was a time to Quest forth, this be it. TQ
TQR:
www.drzamps.com
REVIEW
Visual Sound
founder Bob
Weil suggested
that we consider
developing a
review of an
amp built by
3rd Power
Amplification, a
fairly new player
in the boutique
market based in
Nashville. We
contacted founder Jamie Scott, and we received a British Dream 112 combo for
review. As we researched the entire 3rd Power product line of
combo amps, heads and their innovative Switchback and triangular HLH 312 speaker cabinets, it became apparent that 3rd
Power was working from an entirely unique perspective that has
been enthusiastically embraced by players like Lenny Kravitz
and Simon Townshend. We asked Jamie to describe the inspiration for his company and his unique design approach, and our
review of the British Dream follows our interview
11