AgingYouth
New member
I didn't have the chance to try your DL4 mode...
Undark sounds? INSANE!!! I want it as dark as possible lah!!! What would the VP of the Cyndi Wang fan club think lah?!
But seriously, I is must try... When can ar?
Randolf Arriola (embryo) Guitar Gear 101
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- Start date
I didn't have the chance to try your DL4 mode...
Undark sounds? INSANE!!! I want it as dark as possible lah!!! What would the VP of the Cyndi Wang fan club think lah?!
But seriously, I is must try... When can ar?
embryo
New member
Ok Guys I'll start by addressing the Compressor 1st ya.
To Compress or Not to Compress? Here's the what, when, where, why and how;
It's occurred to me that with frequent enquiries about it I ought to address the subject about the elusive device called the Compressor, what it is and how to use it to enhance your sound. Usesage can range anywhere from subtle to extreme and most may not realise that except for classical music performance and recordings Compressors are actually the most used audio device next to the EQ in just about any live performance or recorded music.
I personally use a modded Boss CS3 for both my acoustic and electric work in gigs and in the studio for session work. For variation of dynamic and tonal flavour I also use the Keeley Compressor which really is a Dynacomp with better quality components. And for fine studio work I also use other rack mount compressors for various audio production applications.
In Full tube amps compression is what happens when the amp is set at a level approaching it's threshold somwhere towards the beginnings of slight breakup in the sound. This compession action is what makes the sound seem to sound fatter and sustain longer than when the amp isrunning totally clean. The charm of the tube amp is that you get different degrees of compression going on at the preamp and power amp stage and each stage has it's own influence on the overall sound.
Of course if one were to go full tilt on the pre and power section of the tube amp there will be little use but more noise in trying to add more compession at the front stage as the signal past the oversaturated pre and power stage of the tube amp is way passed compression already and has reached the ceiling of it's specified headroom.
The careful use of the compressor sounds best when coupled with low front end drive but more power section drive of a tube amp. Also dialling just enough sustain on the pedal is crucial to attaining the right amount of desired compression against adding unecessary noise to the chain.
Personally the most famous compressor pedal for the guitar is the Dynacomp and the Boss CS3. The Dynacomp is a sound of it's own and in the hands of players with great articulation in their picking like Robben Ford/Larry Carlton styled players they are able to set the Dynacomp to help them control the amp's drive and tone simply with their picking dynamics. This helps them to achieve that horn like dynamic control. The most common mods requested for the dynacomp is usually to try and revive much of the missing highs and lows when the pedal is engaged.
The CS3 is not as dark as the Dynacomp. Best exampled by the sound of John Fruciante, Andy Summers and many of the textural and rhthmic work of guitarists especially from the 80's. Unlike the Dynacomp the CS3 is more versatile with higher output pickups and has the ability to allow more of the initial picking dynamics to come through. The CS3 also has less noise and can also be used to drive the tube amp into overdrive with some carful tweaking. The common mods for the CS3 also revive the the lows and highs and with the treble bypass mod can allow more of the guitar's natural trebles to pass through the pedal without relying on the noise adding eq knob.
That's it for now.
To Compress or Not to Compress? Here's the what, when, where, why and how;
It's occurred to me that with frequent enquiries about it I ought to address the subject about the elusive device called the Compressor, what it is and how to use it to enhance your sound. Usesage can range anywhere from subtle to extreme and most may not realise that except for classical music performance and recordings Compressors are actually the most used audio device next to the EQ in just about any live performance or recorded music.
I personally use a modded Boss CS3 for both my acoustic and electric work in gigs and in the studio for session work. For variation of dynamic and tonal flavour I also use the Keeley Compressor which really is a Dynacomp with better quality components. And for fine studio work I also use other rack mount compressors for various audio production applications.
In Full tube amps compression is what happens when the amp is set at a level approaching it's threshold somwhere towards the beginnings of slight breakup in the sound. This compession action is what makes the sound seem to sound fatter and sustain longer than when the amp isrunning totally clean. The charm of the tube amp is that you get different degrees of compression going on at the preamp and power amp stage and each stage has it's own influence on the overall sound.
Of course if one were to go full tilt on the pre and power section of the tube amp there will be little use but more noise in trying to add more compession at the front stage as the signal past the oversaturated pre and power stage of the tube amp is way passed compression already and has reached the ceiling of it's specified headroom.
The careful use of the compressor sounds best when coupled with low front end drive but more power section drive of a tube amp. Also dialling just enough sustain on the pedal is crucial to attaining the right amount of desired compression against adding unecessary noise to the chain.
Personally the most famous compressor pedal for the guitar is the Dynacomp and the Boss CS3. The Dynacomp is a sound of it's own and in the hands of players with great articulation in their picking like Robben Ford/Larry Carlton styled players they are able to set the Dynacomp to help them control the amp's drive and tone simply with their picking dynamics. This helps them to achieve that horn like dynamic control. The most common mods requested for the dynacomp is usually to try and revive much of the missing highs and lows when the pedal is engaged.
The CS3 is not as dark as the Dynacomp. Best exampled by the sound of John Fruciante, Andy Summers and many of the textural and rhthmic work of guitarists especially from the 80's. Unlike the Dynacomp the CS3 is more versatile with higher output pickups and has the ability to allow more of the initial picking dynamics to come through. The CS3 also has less noise and can also be used to drive the tube amp into overdrive with some carful tweaking. The common mods for the CS3 also revive the the lows and highs and with the treble bypass mod can allow more of the guitar's natural trebles to pass through the pedal without relying on the noise adding eq knob.
That's it for now.
embryo
New member
The DL4 Vol + Undark Mod doesn't undarken the effected sound but the bypass mode. You can get as dark as you want when you choose any of the built in delay models with bass and treble tweaks. My current modded DL4 is out for the week so perhaps perhaps by next Monday afternoon?
Bring Cyndi and her fan club VP along if you want!
embryo
New member
Overdrive, Distortion and Fuzz!!! Ah, the all important must have Drive pedals for all geetar players!
Personally I'd recommend that all players at the beginning stage to develop experience and tonal reference sense of application by at least getting familiar with the following pedals in stock form;
Overdrive: Ibanez TS808, IbanezTS9 and BossSD1
Distortion: Boss DS1, Boss MT2, RAT and Marshall Shredmaster
Fuzz: Big Muff, Fuzz Face, Foxx Tone Machine.
It is also worthwhile to note that most of the boutique pedals out there are usually based on if not variations of the above mentioned. Notable exceptions to this list include the wonderful wacky designs by Zvex whose work I admire alot and also the brilliant BK Butler's Tube Driver.
There are many exciting options within each pedal simply by playing with the tone and drive knobs. However do note that most Boss and Ibanez drive pedals have a tone knob that sounds best between 7 o clock full anti clockwise to 12 o clock. Anything past 12 and the guitar's original tone gets compromised.
Drive pedal combination for Gain Stacking Strategies eg. TS9 into DS1 or the other way around is also an effective way to get gain stacking to achieve the desired "turbo" mode. This also requires careful balancing of each pedal's drive and tone settings together with the amp's setup. You'll achieve tone and gobs of gain at the minimum of noise with pedal stacking rather than relying on a single pedal with the drive knob at full titlt.I've yet to come across multieffect units that effectively allow the almost endless possibilities of combined pedal gain stacking.
It is is also worthwhile to identify the various sounds that each of the above mentioned classic stock pedals create with different combination of guitars, pickups and amp types including open and close back 1 x12, 2 x12 and 4 x 12 solid state, hybrid and full tube amps. The tone and drive settings for amps is also critical in achieving the desired tones. Experiment as much with the above and you'll have a good reference when choosing to experiment further to refine your personal tone with mods and boutiques aplenty out there.
MadWerewolfBoy
New member
i've tried trying to get a slightly driven boosted signal into my solidstate peavey 110 amp in clean and drive mode before... but i can't seem to achieve any good sound out of it as compared to those tube amps with 4×12 cabs in jamming studios...
haha how do u get that kinda sweet tone using pedals to boost a solidstate amp like ur vox pathfinder? ?_?
haha how do u get that kinda sweet tone using pedals to boost a solidstate amp like ur vox pathfinder? ?_?
Hey Randolf...here's a topic I'd like to throw in: how about the selection of speaker(s) for cabinet? Typically, how would one go about choosing the appropriate speaker(s) for one's application without the luxury of actually trying it out with a particular head/cab combination? Any hard and fast rules? And what is your take on various popular speakers in the market?
embryo
New member
Mad Werewolf,
It'sa physics thing that determines that a single 1 x10 combo will sound the way it sounds when compared to a 4 x12. The cabinet design, construction and the speaker size cannot push as much air as a 4 x 12. Even with the same settings on the guitar and pedals switching between both amps with a switcher with still sound different.
A common problem that happens alot with home users of small footprint 1x10 or 1x 12 speakers is that to achieve a comfortable bed room sound level most players dial down too much treble anup the mids aplenty n some even will max the bass. if u were to translate these dial settings on a stack prepare for a gargantuan mud fest!
Smaller amps usually incorporate cost effective manufacturing internal circuit changes to the eq by clippin off most of the top end to try and achieve a better balance with the mising bass and low mids. These amps are best appreciated in low levels in the bedroom or the backstage for warm up purposes.
Btw, What's your guiatr and pedal setup and amp dials set at? Maybe we can find a work around solution ya.
Hope this helps.[/quote]
It'sa physics thing that determines that a single 1 x10 combo will sound the way it sounds when compared to a 4 x12. The cabinet design, construction and the speaker size cannot push as much air as a 4 x 12. Even with the same settings on the guitar and pedals switching between both amps with a switcher with still sound different.
A common problem that happens alot with home users of small footprint 1x10 or 1x 12 speakers is that to achieve a comfortable bed room sound level most players dial down too much treble anup the mids aplenty n some even will max the bass. if u were to translate these dial settings on a stack prepare for a gargantuan mud fest!
Smaller amps usually incorporate cost effective manufacturing internal circuit changes to the eq by clippin off most of the top end to try and achieve a better balance with the mising bass and low mids. These amps are best appreciated in low levels in the bedroom or the backstage for warm up purposes.
Btw, What's your guiatr and pedal setup and amp dials set at? Maybe we can find a work around solution ya.
Hope this helps.
[/quote]
embryo
New member
Elias,
I have the following questions to your questions if you don't mind.
1. What speaker cabinet type will you be using?
2. Open or Closed Back
3. What genre of "Distortion" are you intending?
Basically the classic speakers to go for are either the Celestion V30s or the Greenbacks. I use 2 x V30s + 2 x Greenbacks in my Carvin 4x 12 Stack. This is a great combination of tone from the classic rock era.
If you are going for an uncompromised all out approach of hard and tight bottom heavy modern metal than the speakers to go for as reference are Electro Voice 150 watts or higher if possible.
What do you have in mind?
Since it's more likely for applications like recording/home use/gigs (in the order of importance), I'm opting for a 1x12, closed back cab. I'm looking at slight overdriven to classic rock type of distortion and probably won't dwell too much into modern metal area :lol:
Also, I'm mainly using single coil guitars.
Thanks!
Also, I'm mainly using single coil guitars.
Thanks!
embryo
New member
Ya, Ok so wemember to take the tube juice hor! Once ever 4 hour hor! and then think of good good tings and the feeling, good good feering sure come wan! and then the tone arh....maybe just maybe then sure happenin wan! hahahahorhorhor coff coff!
Ok next patient! eh wait wait! I must go...go makan 1st
hahahahorhorhor coff coff! Ok next patient! eh wait wait! I must go...go makan 1st
trianglebiscuit
New member
hi mr randolf, i shall be seeking your biasing help soon.
xklusivly4u
New member
Hi randolf
Maybe you can help for tone that I am looking for.
I am trying to get two types of distortion/overdrive. Modern black/death metal style distortions for rhythm and 80 classic rock style lead tones e.g. Slash,. I can invest on new gears (amp, pedals etc.) except that I cannot go high wattage amps because it is only for home use.
My idea is get a small tube amp with nice clean (15 W?) and use preamp tube rack units like Marshall E84 20/20 or JMP1 or tube over drive pedals from Vox, G-Major or G-force in effect loop or effect pedals, compressor, delay etc. Or any tube amp that can produce smooth overdrive sound in low volume and maybe DS1 or TS9 before amp and some effect pedals in loop? I use Ibanez with Dimarzio pickups.
Appreciate for your help. Thanks.
Maybe you can help for tone that I am looking for.
I am trying to get two types of distortion/overdrive. Modern black/death metal style distortions for rhythm and 80 classic rock style lead tones e.g. Slash,. I can invest on new gears (amp, pedals etc.) except that I cannot go high wattage amps because it is only for home use.
My idea is get a small tube amp with nice clean (15 W?) and use preamp tube rack units like Marshall E84 20/20 or JMP1 or tube over drive pedals from Vox, G-Major or G-force in effect loop or effect pedals, compressor, delay etc. Or any tube amp that can produce smooth overdrive sound in low volume and maybe DS1 or TS9 before amp and some effect pedals in loop? I use Ibanez with Dimarzio pickups.
Appreciate for your help. Thanks.
