Burman amps
Allan Holdsworth (Beat Instrumental 1979)
Like many of us, of course, Allan has recently found himself attracted to Greg Burman’s little beauties and has actually gone as far as to shell out cash for one with which he’s highly pleased.
"Yes, I wanted an amp that I could cart around without too much difficulty when I was playing in pubs and small clubs which I do quite a lot. The Burman 50 looked like an interesting amp and I’m really very impressed with it indeed. I’d say that it’s got the best tone control of any amp I’ve ever tried but it had me fooled when I first started using it because the tone controls seem to work in a very unique sort of way. "Recently I was doing a gig with the standard three Marshall setup that I use and the middle one, the one I use for solo lines, packed up. I put the Burman in its place and it sounded really fantastic. I’d have to say that the Burman is one of the best new amps I’ve ever played, certainly better than the Boogie for example. I’ve also used it in the studio and it’s great there too.
From someone who’s as demanding as Allan Holdsworth Greg Burman should be feeling very pleased with himself at a quote like that!
Holdsworth & Co. A New Side Of Allan’s Music. (Guitar 1980)
What sort of equipment will you be using live with the trio?
Well I’ve got a really good set-up at the moment. I’ve had a lot of trouble finding it, and started experimenting with it in UK, although that was stone-age compared to how it is now. I was using one 50 watt Marshall amp and a couple of 4X12 cabinets, and that was alright for solos but every time I played a chord it just wouldn’t hack it. I tried a couple of other amps, to switch between for chords and solos, and that didn’t work either, and it really began to worry me. If I played on my own at home could play all the things I liked. but it just wouldn’t work when it was loud, the chords would disintegrate. So I’ve just been experimenting and getting closer and closer to what I want. I’m still looking, but what I’ve got at the moment is two of the Lab Series L5 amps for chords, because I found they were very clean and strong sounding. Rather than have a 200 watt amp I though [sic] I’d have two 100’s and have a little more spread, and there’s a close delay between them to give a stereo effect. I really like the L5’s, although I find they’re not quite up to it for the single line sound I’m used to, but then I’ve never found a transistor amp that is, except for a new amp, which I’ll describe in a minute. My set-up is basically the two L5’s linked with the close delay, and I plug my guitar into a little routing box which sends the signal between what was originally the Marshall 50 watt and the two Labs. I then found I could get a more controllable sound by using a Burman 50 watt amp, a Pro 501. It was originally a combo but Mr. Burman kindly made me a head which I used with the Marshall cabs, and that worked really well. And then came the killer of all time. Two guys from Sheffield, Pete Hartley and Pete Thompson, turned up while I was on tour with Bill, and they said they liked the sound that I made and that if they could make a transistor amp that satisfied me then they might be able to convince a few other people. So, I tried it and it was really excellent, but still fell a little bit short for me. They took it away, worked on it and brought it back, and it was getting better and better every time. Their standard model is a 2X12 combo but with an unusual shape, like a cheese-wedge. It has one input, is all transistor, and has two volume controls, a red channel and a green channel, and you can set them for a clean or dirty sound, the usual thing. With valve amps, like Boogies, I’ve always found in that situation that they don’t work, because to get a sound out of the amp anyway I find I have to push the output, and if you turn the pre-amp up and the master down you just get that horrible distorted fuzz-box sound. To get any sort of sound out of it you had to turn it right up, which completely defeated the object of having two inputs on it - if you wanted to play chords you couldn’t play loud. lt would be just like having two 50 watt amps and setting one up for a dirty sound and one for a clean sound, and I couldn’t do that because I’d be driving the amp for single notes so hard the other one would never compete with it at all. So the Boogie was a total waste of time for me. Although the amp these guys have made is transistorised, they’ve found a way somehow, using magic parts or something, to make it sound fantastic, and it’s absolutely incredible to me that I’m now using a completely transistorised set-up. That Hartley-Thompson transistor amp sounds as good as if not better than any valve amp I’ve ever played, honestly, and that’s an incredible achievement. It doesn’t have a conventional pre-amp and master volume; you produce the sound with the first volume and all the second one does is turn it up or down, without any tonal distortion or anything. There’s no conventional overdriving system. It’s the same on the red channel and the green channel, and you can set the master volume controls for chords and single lines, and it really does work, with very clean chords. Since then they’ve improved it with two separate devices for the red and green channels, and it’s really amazing. The only reason I’m not using just that one package is because I’ve really got hooked on the multiple amp system and the spaciousness of it all. The Hartley-Thompson amp that I’m using is set for two different lead sounds, so I can switch between them. If I change pickups, like from the front to the back, I like to change the tone settings on the amp, which you can’t do normally, but I can do that with this amp and switch between the two lead sounds, and then with the routing box I can switch to the Lab amps. It’s got me reeling in a way because I always thought I understood a little bit about amps, and I’m completely baffled now as to why I like this one so much. It’s got me worried in a way too, because I always like to know how a thing works, even if it’s only very basically. I’ve messed about with practically every amp I’ve had, and know within 10 or 15 per cent what results I’m going to get, but all this transistorised solid-state is totally alien to me, I’ve got no understanding of it at all. The fact that I’ve got this transistor amp and am relying on it and not knowing how it works is a bit unsettling. I think I’ll have to go and stay with those guys and get them to do a little number on me. For me the amp is like the body of the guitar, the part of it which speaks. The guitar itself is incredibly important, but not so important as the amp. I could play a pretty gruesome guitar through a reasonable amp and guarantee a better sound than if I played a really good guitar through a duff amp. It’s just an extension of the guitar, although for many players it’s just an afterthought, which is just fine, but it’s not way I feel about it.
