Memphis Thirty 1x12 Combo
FRYeTTe AMPLIFICATION
single-note lines in the Drive channel, I sometimes heard overtones that were an octave
above or a perfect fourth or fifth below the
note I was playing. While some players consider
this a cool effect, I found it could be distracting
when playing slow melodies. (Fryette responds:
“The ‘ghosting’ in the Memphis Thirty, like
its historically important American and British
predecessors, is an inherent ingredient and
key to the harmonic signature of the amplifier.
Overtones and subharmonic accents are so
intertwined with the amplifier’s sonic quality
that players often unconsciously incorporate
them into their playing style.”)
Kick-Butt Clean Machine
I was just as impressed with the Clean channel. Going back to the Les Paul, I put on both
humbuckers and set the voicing to Bloom. The
tone was lush, full, and very well balanced. This
tone could be perfect for traditional jazz. The
other voicings sounded great as well, with Brite
enhancing the high end and Spank adding low
mids. With my Strat, I was able to get some
funky tones à la Prince and dig into bluesy licks
that sound great with the Boost engaged.
The Clean channel definitely offers a full
spectrum of EQ. For example, playing a
bridge-position single-coil with the Spank voicing
on was a little too bright for my taste, even after
bringing up the amp’s bass and turning down
the treble. On the other hand, in Bloom voicing,
a neck-position humbucker produced a full, clear
tone without sounding too muffled or boomy.
Switching between 18- and 30-watt settings
in the Clean channel, you probably won’t hear
much of a change at a lower volume. But if you
turn the amp up a bit, you can feel the tone
beef up with bolder low mids in the 30-watt
mode. If you kick on the Boost, the tone breaks
up for a nice crunch sound. This works really
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