technology

“…there was this guy in some band that had a great-sounding Marshall that we used. We dubbed it the ‘Best Sounding Marshall in Denmark.’ We used his head for the majority of the album.” – Kirk Hammet¹

Let’s take a moment to revisit one of the all time classic metal tones from Metallica’s second album, Ride The Lightning. In a previous post, we found an extremely convincing tone with our Mesa/Boogie Mark II C+ model, positing that the band got their Mesas earlier than we thought. However, a recent photograph from the Master of Puppets re-issue book gave us something new to think about. That, and the fact that we just launched the EQ200 Dual Parametric Equalizer has really changed our take on this tone. Before we dive into Kirk’s revealing quote above, let’s review some history.

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Early Days

While the Marshall 2203 (Master Volume) amplifier remains a classic to this day, we came across an interesting observation about the cat-and-mouse game between service technicians and the engineers working at Marshall. For a select few technicians who knew about amplifier design and could translate the concerns and complaints of their customers into actual modifications, they would become legends in the industry. It all started with a simple request to make amplifiers louder to accommodate performing in larger spaces. Eventually, many realized that they liked the sound of their amplifiers on full blast but couldn’t take that extra volume into smaller venues like rehearsal or recording studios. Enter the concept of a Master Volume control.

The goal of a Master Volume control was simple: get the sound of an amplifier running at full volume without the loudness. Despite the simplicity of the concept, different approaches really changed how an amplifier could sound. First and foremost the preamplifier needed to be boosted in order to provide more volume and with that came a decision about how and where to boost, as well as frequency compensation choices to avoid undesirable characteristics. Variations for boosts included adding additional tube stages at the input, cascading Normal and Bright channels if available, or even repurposing tubes from tremolo circuits to get some extra gain. Once the preamplifier was blazing it was time to add a second volume control, but this also came with a choice as placing a volume control before or after the Phase Inverter didn’t sound the same. Taking things one step further, some technicians even created (famously) resistive loads that could take the full output of an amplifier on blast down to line level for re-amplification into a second amplifier, effectively placing the volume control after the power stage, capturing the theoretical “true” output of an amplifier.

Model 2203

The team at Marshall had to be aware of what their customers we’re doing, because in the mid-70s it appeared that they attempted to capitalize on these advancements by developing the model 2203: a master volume amplifier that essentially cascaded the Normal and Bright channels of it’s predecessor, with a pre-Phase Inverter master volume control. And history was made.

But customers and techs didn’t stop there. They continued to experiment with new modifications to the 2203, including shifting to a post-Phase Inverter volume control and adding clipping diodes for even more distortion. Additionally, a true line-level output was pioneered and served as a much safer way to employ post-processing when compared with previous attempts using resistive loads at the output of the amplifier.

JCM 800 Series

And so what did the engineers at Marshall do? They listened to their customers (and technicians) and introduced the model 2210. Note, the model 4210 actually came first and was a combo amplifier in the same series. While Marshall had already incorporated a second volume control in their now famous 2203 model, they attempted to incorporate the latest trends with their newest model. This included clipping diodes, an effects loop, and reverb. The effects loop was likely a compromise to a line out since running the output of effects back into the amplifier was more economical than requiring players to purchase a second amplifier. Again, it appears that this was Marshall’s answer to the community of techs that were making names for themselves offering enhancements to their stock factory products.

Ride the Lightning

But back to the main story, let’s take a look at that photo! This provides some insight into what Metallica and producer Flemming Rasmussen might have done during the recording of Ride the Lightning.

From *Metallica | Back to the Front* (p. 65), by Taylor, Matt, 2016. Copyright 2016 by We’re Only In It For The Music and Moonrise Media LLC.

On top of the amplifier, connected in series, we see two T.C. Electronic Dual Parametric Equalizers. While we know the Aphex PEQ-1 was used on later albums, it had not occurred to us to try this out with Ride The Lightning. Of course, these pedals are from a different company but the effect is the same—parametric equalization. With the recent updates to the VG408D Amplifier, we created the Lightning II preset in a 2203-style configuration with the EQ200 Dual Parametric Equalizer and the results are nothing short of amazing. Lowering the gain from the amp to match the capability of early master volume revisions combined with more drive from the OD101 Overdrive, you can hear the unmistakable metallic chunk on those muted power chords.

We also see an Ibanez Tube Screamer, and a Stereo Box. The latter likely used as a splitter though it’s not clear how. The splitter might have been used to record both direct and mic’d sounds for the guitar, slightly blended to provide more top end in the mix. Also, it’s worth noting that this is could possibly be a cascaded amp configuration. With AmpStamp, we decided to take advantage of the FX Loop with the VG408D Amplifier as opposed to running two amplifiers in series, for convenience.

Preset: Lightning II

The classic tone revisited. It’s just sounds more… metallic! The treble shines through and though this tone would be abandoned on later records it’s place is cemented in metal history.

Preset: Lightning IIb

An alternate take on this updated tone, with less treble and more resonance. This tone seems like it was used on Fight Fire with Fire before things got dialed in on subsequent tracks though ultimately we’re not sure of the tracking order.

Take a listen! We think the resulting tone speaks for itself. Apparently lightning does strike twice.

¹ Metallica’s Kirk Hammett Talks ‘Ride the Lightning,’ Cliff Burton and Taking Guitar Lessons from Joe Satriani | Guitar World. https://www.guitarworld.com/artists/metallicas-kirk-hammett-talks-ride-lightning-cliff-burton-and-benefits-taking-guitar-lessons-joe-satriani. Accessed 2 April 2025.

Get ready for a combination of metals so sweet alchemists would be proud, _the_ secret weapon amplifier, a classic distortion prime for modification, and sub-octave sounds that will rattle your brain. Let’s dig into the next release of AmpStamp.

Introducing Cabinet Drive

ATTENTION: No speakers were harmed in the making of these tones.

By the mid-1960s, amplifiers were getting louder. Concert amplification had not matured beyond public address systems previously installed in many halls, specifically tuned for voice. Guitarists were forced to use their amplifiers to adequately fill space. Amps needed to get louder. Way louder. When Jim Marshall introduced the first 100 watt amplifier to the world, combined with up to two 4×12″ cabinets, the game was on. As amplifier power sections were getting, well, more powerful, speakers could not keep up with the increased output. This would eventually force complimentary development in speaker technology, but before that could happen, many speakers saw their last days. Pushed to the edge both physically and electrically, speakers would either tear or overheat causing irreparable damage.

It’s that sound, right before untimely end, that we sought out with our new feature Cabinet Drive. Made available on specific low power speaker models, Cabinet Drive allows individual cabinets to be over-driven akin to being pushed by an amplifier that is too powerful. The effect can be dialed in to simulate subtle peak voltage effects that often happened with mismatched power specifications between peak and root mean square (RMS), or the more extreme effects of sonic destruction. Note: when Cabinet Drive is engaged, the global Master Volume control becomes interactive and can also be used to control drive level.

The Secret Weapon

Th 315B Amplifier features a unique tone circuit that covers a wide range of possibilities, from warm and mellow to bright and cutting. It was Paul McCartney’s first amplifier, and possibly used by Dave Davies of the Kinks, more on that at a later time.

Heavy Metal Starter Kit

One might suggest parametric equalization was a critical element in the birth of heavy metal, we certainly would. This effect brought scooped mids to it’s inevitable extreme. Beyond that, the tight control over all frequency ranges makes it a must-have in any toolkit. We recommend trying this on anything and everything. From fuzz to distortion, FX loops, and even clean tones, if you’re looking for variation, the EQ200 Dual Parametric Equalizer won’t disappoint.

Mod Culture

Is anything really stock? From the first recorded sounds, artists and engineers have clung to special gear, either formally modified, or hand-selected from mass-production for tonal qualities that enabled performances beyond normal expectations. Eventually wizards emerged, claiming special talents that could transform ordinary equipment into things otherworldly, and oh the tone, oh the tone. For guitar players, this started with modifications to their amplifiers for more sustain. Before distortion became the neatly packaged effect that we know of today, musicians were discussing distortion as a means to sustain notes for much longer than seemed humanly possible. Phrasing lead passages or melodic parts could now encompass note lengths previously unheard of, perhaps held only by traditional brass or woodwind instruments via breath control.

But we digress. With the CS102 Distortion, we included several popular modifications that can transform the pedal from it’s humble beginnings into a screaming monster with sustain for days, literally.

Inspired by a payphone hack, the OC104 Octave Fuzz effect never really found it’s place outside of a notable solo from Jimmy Page. Truly a one-trick pony, we’ve added a couple of features to make things more interesting. It’s a great pedal to throw into any mix, if only just to see how things react.

Aluminum, Nickel, Cobalt

Ah, the sweet sound of alloyed metals. In this case, aluminum, nickel, and cobalt. Typically lower in power than their ceramic counterparts, but with way more character. Paired with the right amp, the VG 1×12″ 15w ’63 Cabinet really sings. Hint: crank the Bass up beyond what you would normally set, this speaker takes it really well. We promise you’ll be delighted by the thump in your playing that you don’t typically hear on records these days.

207A Amplifier Update: Bass Boost

Fresh on the heels of introducing the 1×12″ 15w ’63 Cabinet, we felt it was necessary to allow for increased Bass from the 207A Amplifier. With that comes a very famous defect in tweed Fender amplifiers classified as blocking distortion. With an increase in bass, and a lack of filtering, you can now dial in the amount of blocking distortion from minimal to extreme with the Bass Boost control. Keep in mind that this also depends on where the Volume and Tone controls are set. Blocking effects will be reduced and/or eliminated at lower volumes.

408D Amplifier Update: Boost Channel ’83 / ’87

With the introduction of the 408F Amplifier, we didn’t want to leave the 408D Amplifier in the dust. It was around the same time that the team at Marshall made a number of adjustments, including repositioning where the tone stack was in the Boost Channel signal chain, likely to match what had been recently achieved with the Silver Jubilee series. In this case though, the clean channel volume is noticeably louder which may have resulted in extending diode clipping to the clean channel as an option in the Silver Jubilee series. Here we’ve added a new Boost Channel option to choose the era of gain lineup, ’83 being the original release and ’87 the updated, re-positioned version. With the updated version, this will sound more like a classic Master Volume 2203 model on lower gain settings with the enhanced ability to scoop mids. With increased gain, you’re definitely in heavy metal territory which is a major feature of the 2210 model. Time to dig in.

Same Subscription, More Great Products

As always, we think you’ll find that AmpStamp has endless variations of tone to satisfy guitarists in any genre of music. If you’re already a subscriber, thank you! If you haven’t subscribed yet, hurry up! You’re missing out! Check out the Gear Shop and stay tuned for new products.

The Musicology Group

The Best Sounding Marshall in Denmark