Hiwatt Amplification

And I build...

It borrows a lot from, like, Hiwatt and stuff, but it's meant to kind of have the feeling of a showman thing.

but at 40 Watts instead of 85.

Cause I mean, we don't really, it's a little easier to get into compression and stuff.

What I would do, I'm going to modify it.

I was going to say HiWatt as well, but I would run two different cabinets because for me, cabinets make a much bigger difference than amps for stuff like that.

If you're just trying to occupy different frequency ranges, like the speakers are kind of the limiting factor.

So I would say... a 212 or a 412 guitar, like closed back guitar cab and a one or two 15 ported bass cabinet.

That's solid.

Thank you.

The classic slotted HiWatt 412 is pretty versatile for me.

There's a couple of different variations on the porting.

So this is what we are doing today.

Yeah, and, um, [clears throat] for the, the revisiting and, and, uh, the better understanding part, um, I mean, in the old days, um, you know, the John Entwistles and, uh, the likes, um, were playing Hiwatt amps.

They were playing Marshall amps and, um, it was basically the same cabinets as, uh, the guitarists were playing.

Mm-hmm.

And I even told him, it's like, wow, it's, I mean, it's so gainy.

I was using, um, I, I, I changed between Hi- an old, a vintage Hiwatt and a Fender Twin, so-

Mm

... pan one, dirt pan the other, clean.

Signals, I think, is the pinnacle of his kick and snare sound, really, re- and Charlie will agree with me on that as well.

But the guitar sound, Alex constantly evolved, and of course, you go back to 20 and 12, it's just a 335 into a Marshall or a Hiwatt, very simple, a few pedals.

But this record in particular, the guitar sound and his rhythm sound on Spirit of Radio, it's got this weird, like, boxy mid-range thing, and I say that in a good way.

It's so unique, and clearly they've never reproduced it live.