to do one that distills some of these features.” a couple early protos, and it evolved to the anymore, it’s about getting the exact sound
So that’s really a fun part of the job, to take a point where we got everything exactly down to that you want, and then you can put it through
great player like that and bring their ideas to what he wanted. He and his tech and his team any kind of PA system or whatever you want.
light. Obviously, we’re doing sales here, so we were very vintage-correct about some things, So that’s where we’re at today.
want to make sure it’s compelling to the rest of and then other things they weren’t at all. So, the world as well, not just that artist’s personal like you mentioned going from a 10” to a 12” [WM] Compared to the Tweed, Blackface,
style. speaker, he happened to buy an old amp that and Silverface eras, many players are not as
had a 12” speaker modification in there and he familiar with the ‘Brown era’ Fender amps.
As far as the journey with Chris, if you listen to loved it. I think for readers of your publication, What are some of the nuances that make these
an interview with him you’ll hear him say things I think so many of the worship musicians are amps unique?
like he was trucking around a fleet of fifty plus playing on quiet stages now, that I think it’s very year old amps and was getting a little worried. interesting that here’s a guy who’s playing in [Shane] Yeah. It’s pretty simple. Mr. Fender
It was time to get some new amps to take on front of thousands of people and he’s using a was under the constant march of time, he was
the road. So that’s where it started. We built 12-watt amp. So, it’s not about filling the stage trying to make things cleaner and brighter. You
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