 in CLEAN provides incredibly musical, clipped potential when pushed, and phenomenal touch sensitivity and expressiveness when played with lighter touch.At 1:05, Andy switches to Ch. 2 in the HI Mode with the Gain set at 11:00. You can instantly hear the added gain, but the fundamental character of the notes are maintained and even slightly pushed forward a pinch, while the gain surrounds the note in more of a singing, halo effect. This is a popular approach for the second channel where the overall Tone remains very similar but steps out in a mix and the higher gain creates a pillow of sustain for added expression. The lower Gain settings (above 9:00 and below 12:00) in the HI mode of the Fillmore beg for exploration and experimentation - there are so many Tones available on this one small section of the Gain control for both single note AND chording for clipped, stinging and gritty rhythm sounds.Played through a mid 60s Vintage Fender Strat through the Fillmore 50 1x12 Combo with a Celestion 90 speaker. Mic’d with a Shure SM57 and a Shure KSM 313 and blend 40%/40%/10% with a stereo room mic.For more information on the Fillmore 50:
http://www.mesaboogie.com/amplifiers/electric/fillmore-series/fillmore-50/index.htmlHuge thanks to Andy Timmons for sharing his music and phenomenal playing to showcase the Fillmore in this video:
www.andytimmons.comBuy Theme From a Perfect World:
https://store.andytimmons.com/collections/compact-disc/products/theme-from-a-perfect-world</p>){kind=small}
Andy Timmons plays the song “That Day Came” from his new album Theme From a Perfect World through the new Fillmore™ 50 1×12 combo. Using both the CLEAN and HI modes with his prized mid 60s vintage Strat, Andy highlights the stunning potential of the Fillmore circuit and sounds when paired with single coil pickups and Strat-styled instruments.
Andy starts the song in the Clean mode on Ch. 1 with the Gain control around 2:00. This setting provides a beautiful, sparkling clean sound that barely clips with heavier-handed attack. For light touch or lowered instrument volumes, this Gain setting really optimizes bass bloom and fullness with brilliant, chiming, open top-end. The range of slightly higher Gain settings (above 12:00 but below 3:00) in CLEAN provides incredibly musical, clipped potential when pushed, and phenomenal touch sensitivity and expressiveness when played with lighter touch.
At 1:05, Andy switches to Ch. 2 in the HI Mode with the Gain set at 11:00. You can instantly hear the added gain, but the fundamental character of the notes are maintained and even slightly pushed forward a pinch, while the gain surrounds the note in more of a singing, halo effect. This is a popular approach for the second channel where the overall Tone remains very similar but steps out in a mix and the higher gain creates a pillow of sustain for added expression. The lower Gain settings (above 9:00 and below 12:00) in the HI mode of the Fillmore beg for exploration and experimentation – there are so many Tones available on this one small section of the Gain control for both single note AND chording for clipped, stinging and gritty rhythm sounds.
Played through a mid 60s Vintage Fender Strat through the Fillmore 50 1×12 Combo with a Celestion 90 speaker. Mic’d with a Shure SM57 and a Shure KSM 313 and blend 40%/40%/10% with a stereo room mic.
For more information on the Fillmore 50:
http://www.mesaboogie.com/amplifiers/electric/fillmore-series/fillmore-50/index.html
Huge thanks to Andy Timmons for sharing his music and phenomenal playing to showcase the Fillmore in this video:
www.andytimmons.com
Buy Theme From a Perfect World:
https://store.andytimmons.com/collections/compact-disc/products/theme-from-a-perfect-world
