I have gt to cover it agaian as it was so fantastic,I called a week in advance to Morrisound Studios and tokld them How I wished it set up for the solos,two M arshall Plexis and four 4x12 cabs.Better it was stated by Tom Morris to run one plexie through two 4x12 single cabs.My counter to this was no master volumes and the amplification was to be run from the control room.Tom wanted me also to use his black les paul since he knew so well how to set the tones for it.I had rehearsed this solo 5000 times on my front porch.In fifths,thirds and octaves.As well as diminished sevenths.The axe was all tuned for me and all I had to do was plug and play.OMG!It was so loud it rattled the glass of the control room,I had headphones on so I could only see it.The DB of the solo in the room surpassed that of a 747 going into a slow roll!That plexie you see was not being run on alternating current.It was a british DC model powered by direct current.By a separate generator!I was not allowed to touch it though I could look at it yet the specs were set by Tom.I was calmly sitting in the control room in a chair and that LP would begin to whine and howl!.I took much more hand action than I would have though,it had to be played like a semi-hollowbody to mute the feedback and sustain because just sitting there holding it,it would take off!With something like a Gibson 335 not for jazz but high volume rock you have got to be always muting things with your plectrum hand.A straight factory model.It gets to be natural and a cool thing,you always have that big fat sustain which is not always true on say,a fender.It was like that on Tom's black Les.That guiter was howling fro the control room!