LOUD
AND LOUDER
then
SILENCE
April - Nov 1968
On 19th April Cream returned to the US tour
with three nights at Philadelphia's Electric Factory. The reports were of a great show with Clapton in blistering
form. Not only was Clapton's
appearance noted (long hair in a pony tail, leathers and Ray-Bans) but his use
of a Fender Dual Showman on one of the stacks.
At another concert he used two Fenders a-top the Marshall cabs.
I think it is pretty safe to say they were the updated 1968 models.
Dual
Showman on the right stack at the Electric Factory
Now I have to get into some speculation on the reasons:
1. Clapton had found his sound had changed with the
EL34 powered Marshalls and began experimenting with Fender's.
At the Electric Factory he used a standard (non tremolo) 1939 SuperLead
with the tremolo equipped Fender.
2. Clapton
was completing a change in his image and therefore began experimenting with
his sound. Being wed to the Gibson Humbucking sound, finding a new
amplifier sound was the preferred course.
3. Most
likely 1 & 2 in combination which is supported by his reversion to Gibson
Les Paul at gigs in late April-Early May and then standard use of the Firebird
1. Its also fair to say that the
'64 SG may have been getting worse for wear after a year of heavy use.
1968
Fender Dual Showman
At some stage EC stopped experimenting and continued
using two 1939 Superleads. These
would have been the new models 560V EL34s, Dagnall Transformers.
Though in the photograph below the right amp looks like a 1968 Fender
Dual Showman Reverb! However the
remainder of the photos from this time show full Marshall rigs.
Fender
Dual Showman Reverb on right stack?
http://www.ampwares.com/ffg/index.html
On the final tour the rigs for Jack and Eric were 2 x
1939 Superleads EL34 at 560V and dual stacks with G12M30 or G12H30speakers.
Jack only used one through both stacks. Amps were on full and Ginger
miked overhead and an omni-directional between the bass drums.
The PAs were mostly inadequate, except for San Franciso, L.A. and San
Diego, especially the outdoor venues.
Baker never had a chance in the standard big venues
thus his "hammer-like-hell" approach heard on many of the bootlegs.
The drums are omni-directional in sound, the stacks directional.
Why he didn’t simply tour with some 200W 1966 Marshall PA’s – one
set for vocals, one for drums (4+ mikes) – £1,000 saved with the result of
Ginger complaining to this day but ignoring that it was his decision.
Post Cream
Eric continued with Marshall's - Duals at Supershow on
(only one on), single at Rolling Stone Rock n' Roll circus, single with Blind
Faith then to a variety of amps.
18th
March 1969 for Supershow - last time EC had two stacks.
He used only one with Buddy plugged into the other - both seem to be 1959T
models
Jack continued with a single stack but used a Fender
Super Bassman and 2x15" Cab
with Lifetime. At some stage with
West Bruce and Laing he used a massive Marshall rig.
Single Marshall stacks were used in Ginger Baker's
Airforce
The development of the huge and sophisticated P.A.
systems even replace reinforcement of the instruments. The on-stage amps
became the sound that the instrumentalists wanted to be massively amplified
through the PA. the days of standing close to the stage and being deafened
by the instrument amps and hearing the drums and singer fairly naturally were
gone. Ear damage remained the same but with less satisfaction - we're you really
hearing the guitar or some electronic set-up. Joe Perry (Aerosmith) would
place his miked main rig under the stage at the stadium gigs so he could control
the sound better through the PA. Now it is often just done through the
effects pedals and the stacks are just for show.
The
Sound of Valves
ã
Graeme Pattingale, 2003