1958 Gibson EDS-1275 – The ULTIMATE Double Neck Guitar?!

Transcription:

"Wow, immediately! That's huge. Hear the low mids? All the low mids? It becomes more three-dimensional. Are there many of them around? You'll see ten of these to one of those. Wow, one maybe. Yeah, wow. Yeah, I didn't inquire; I pounced right. Oh, we get a Dumbleator. I'm like, 'I'm your guy.' 

Yeah, now I understand why. When he told me, I thought it was an effects loop thing, and that's how it was demoed to me. But I didn't realize it was demoed properly even with no effects in it, right? Which is this. It's a different wow. You hear it, you're in the room. Like, next thing you know, it's the whole floor, low-mid. That big, fat thing, it just drops, and you're like, I don't know what that is in relation to this because we could plug a delay pedal through that loop, and it'll be fine. All right, they work fine.

I can't remember what key it is. Oh, that's a capo on the fourth, right? Yeah, yeah, yeah, yeah. It's all right. I remember watching you as a kid on Jules Holland. Remember that one when you had the gold top? Yeah, I think it was a gold top. Yeah, it was amazing.

Have you ever messed with the FET on these? No. So, Boba Fett? Yeah, we don't know what the thing is. Like, yeah, I'm bougie because I drive one of these every day. Three, three of them. But, um, so the FET is the solid state. It's a solid-state chip before it, before this hits that. So usually, like, Larry Carlton used to run FET and, and, uh, yeah. So this is Master only. So this is, this is Skyliner. So that's just, that's just the clean channel. That's not the overdrive. But with the FET, and you drive it past noon, that's how you get those big, fat things.

And that is us running the Dumbleator? Yeah, that's through the Dumbleator. But the difference, so there is a trim pot inside, and sometimes the FETs are super hot, and you've got to trim them down. Trim them down, yeah.

Oh, that's nice. That's beautiful. Now we're back to normal with the Dumbleator. So now, the pre—you know what the preamp boost does? Talk to me. Preamp boost is a, is basically neuters all of that (EQ). Oh, so it's so you don't have control over anything, and it's a gain boost here that'll be on your foot switch. You have your foot switch, you have the channel, and a kind of preempting.

This is a Skyliner. You can tell Skyliners because your master only has control over your clean. So your master overdrive volume, yeah, it's right there. So here the his—yeah, it ain't no. And then I can go all the way up and down. That doesn't matter. Yeah, that denotes a Skyliner, yeah, which is my favorite, yeah, yeah.

And the other thing is, this, these amps here, right, sound like a whole lot of Dumbles. I'm not, but the whatever speaker you pair this with, the whole, the whole sound changes. So these are Celestions, which is a good combination for this, but if you try EVs, completely different amp. Altec, different amp. Jensen's, different amp. It just, it just depends.

That pairs well with Celestions.

Joe, do you have this, you have this exact amp? I have a combo. I have Steven Bruin's Skyliner one, who built it in 1995. So it's basically the same. And what makes it a Skyliner is the circuit, the overdrive.

You're doing it for, like, color. You're not doing it because I want to be loud. You're doing it as a character. I do it for mid stacks. I stack the mids. So, like, you know, if you listen to my Dumble settings for the Skyliner stuff on the 84, it's very, it's very dark. Very, like, it's not full range. It's, it's very dark because I want it to drive up the middle. The Marshall, it's the high, the low, and the power, and the gain. So I drive up the middle, and you feel it as you play into the strings.

Next thing you know, oh, this is, this is blooming. This is, this is a little, this is tighter, so you get these in the bottom end. The Marshall run through EVS, nothing sags. I actually go up with the voltage, so the low notes are tight.

Are you controlling power when you're playing live using, like, the—you're not using a brown box, all that? I use Kikusuis. It's, it's literally like for hospitals.

Brian May used them. The, the company is very confused. They're Japanese, and they're, they're properly very nice people. They're just confused on why because in his rig rundown, we have this Kikusui thing because Angus Young likes his Marshall at 220v. Of course, he does. That's where he's used to hearing it.

Yeah, and then you go, okay, because I used to have the hardest time bringing stuff like this over to Europe. Yeah, you get 110v, 120v off the pole at 50hz, and it's huge. It's a, it's a night and day. So I like 120v at 60hz. So worldwide, I run 126 now for some instruments, like Hammond. It's actually, it'll change the actual, yeah, so it's incredibly. Exactly, the cycles are a big deal. So, like, you know, your bloom points are different. You know, like, like Leo designed that for, like, out the wall in the 50s, 110v, maybe out of the wall, uh, well, it's just on the app, says usually 117, but right, got slightly lower voltage for sure for 60 Cy. And conversely, any of the stuff that came out of Marshall came out at 240 with 50hz, and that's what, that's why you go, oh, why did Marshall sound different over here than over there? Fender."