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It sucks that at this point I’ve realized Fuzz doesn’t work for me unless it’s on bass.
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Nov 11, 2017 03:30
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Lol thanks for the justification! I’m rearranging the pedal board now, feels pretty good. I’ll have to leave room for it.
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Nov 11, 2017 03:31
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I just tried running my cheapo Behringer fuzz into Amplitube's JCM800 knockoff with the gain set at about half and it sounds loving apocalyptic. I don't know why it never occurred to me to try this before.
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Nov 11, 2017 03:35
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I like distortion into fuzz. If it wasn't for dealing with 9v batteries, i could just about stick with distortion+ into fuzz face into treble booster. It's still my favorite sound.
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Nov 11, 2017 03:42
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Since we're deep into pedal chat, any suggestions on getting the most out of my OCD? It should arrive tomorrow and I need a good starting point for my experimenting. I've got a Katana 100w. I know the answer is "just mess with the settings until you like the sound", but the Katana has so many god drat settings I don't know where to start.
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Nov 11, 2017 04:01
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I assume that's a modelling amp? Maybe set it to some sort of Marshall with the gain down, then gently caress with the OCD.
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Nov 11, 2017 06:14
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Spatulater bro! posted:Since we're deep into pedal chat, any suggestions on getting the most out of my OCD? It should arrive tomorrow and I need a good starting point for my experimenting. I've got a Katana 100w. I know the answer is "just mess with the settings until you like the sound", but the Katana has so many god drat settings I don't know where to start. You loving your Katana? I think I might be buying myself one soon. Probably the 100w, not sure if I want to go combo or head.
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Nov 11, 2017 06:37
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So I was messing with my pedals today and it turns out I agree with the fact that a Big Muff gets lost in the mix easily. I was messing around with this (Dumb clip, not a real song) and while I liked my rhythm sound trying to get a lead sound from the Muff was loving hard. I ended up using my knockoff Hyperion purely because it actually sits in the mix better. The Muff just disappears unless you turn it way the gently caress up. That was my little discovery today. I still think Siamese Dream has the best guitar sound and if I write a song with the Muff in the first place it sits in the mix nicely but just adding it as another flavour it just doesn't do much. Edit: Oh since we're on OCD chat! Is it worth getting an actual OCD over say, a Mooer Hustle Drive or EHX Glove? Both are apparently quite accurate clones. I think I may have enough dirt but everyone raves about the OCD. A real one is AU$245, a Glove is like AUD$140 and the Mooer is AUD$99. I have six dirt pedals right now, but one of them is eh and I wouldn't mind a high gain overdrive to replace it. syntaxfunction fucked around with this message at 08:25 on Nov 11, 2017 |
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Nov 11, 2017 08:22
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The muff gets lost because it scoops all the mids. OCD style boosts are supposed to be pretty flat but some complain they leave the upper mids behind as you turn up the gain. Some versions include a switch for a heavy mid boost to reverse that. I like the superfuzz circuit because it has the option between a mid boost fuzz, mid scoop fuzz, and clean boost. Or in between for the two different fuzz styles so it ends up averaging out. You can use a muff for lead tones but I'm pretty sure Siamese Dream used heavy layering with multiple takes and EQ shaping. Or you could use some compression and delay to bring the mids back into the fore and thicken up your tone further.
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Nov 11, 2017 09:37
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First, I know this isn't a direct answer to anyone's questions; so please just allow me to comment. Second, There are several versions of OCDs out there and also there's the 9v/18v issue. I'm an 18v guy. This is what I want to say about the Fulltone OCD: I have been seeking and buying amps for their overall performance at low volume levels, because I live in an apartment. Blues Jr. discussion aside, my combination rig of a 2009 Blackstar HT-5H and brand new Peavey Classic 20MH have really hit a sweet-spot for me, and I need to explain that: They both have decent (not fantastic) clean channels and great overdrive channels (tons of crunch and lots of clarity, and good EQ options too), even enough for lead-playing, for heavy blues and hard rock (think early Van Halen) without any pedals. So those disclaimers are right there. WRT to the OCD (I have a v4 at 18v) I tend to use it for just one purpose, and I need to explain why: I have this great pedal called a Korg Tube Driver. It's a stage of tube gain that can act as a boost (not a very clean one) or add in insane amounts of metal if you crank the drive up. It's a go-to pedal if I need to push any amp into heavy metal territory, so that's where I have it set. It's for when I'm indulging in my taste for extremely heavy King's X (think 1994's Dogman album) or Dream Theater (think way back to the Voices album) because it takes these already saturated amps to metal-land. No, I do not play 7-8-9 string guitars but a lot of that KX and DT stuff is in low low tunings, and paired with the right guitars, it sounds awesome (I tune my six strings to KX tunings, starting from 1/2-step down already; so it's a good thing my strings are heavy-bottoms). I guess that was more disclaimer stuff, because this is my take on the OCD: I use mine like this: Volume = max, to push the inputs of my tube amps' overdrive channels. It also sounds great on the clean channels but I don't use those channels often. Tone: Neutral. 12 o'clock. If I use it to boost the treble then I suddenly miss those highs when I click it off, so I don't tempt myself, Frodo. Drive: Zero. I use the Tube Driver for actual added distortion. Why? Because the OCD is amazing at a certain thing: taking the gain your amp already has in its overdrive/crunch mode and adding great saturation, harmonics, and sustain just using the volume knob alone. It's one of those things where, no matter what I'm playing, using the OCD as a transparent clean boost (so far) always sounds great to me. This is only my opinion. THAT SAID... I also have found the OCD to be in the same neighborhood as the Tube Driver if I want to add Drive (distortion) because it's certainly capable of taking a clean or dirty channel to crazy levels of gain. But I find it adds a lot of noise if you use it that way. So I don't use it that way. So there's a lot of words to say I love love love my OCD but I use it tone-neutral, drive-off, and volume-boost for whatever amp settings I am trying to add sauce to. For really heavy stuff the Tube Driver gets me there with less noise, but again I'm driving an already over-driven amp channel. My signal chain is about to change with the return of my broken and now repaired Dunlop TS-1 Stereo Pan/Tremolo pedal, a 20 year old pedal that had a dead JFET which forums genius Dang It Bhabhi fixed for me, so the following picture needs updating. You've probably already seen it, but I'm only posting it now so you can see how I have the OCD and Tube Driver's knobs set: That's not helpful with the OCD clones decision. I believe there are some good ones out there, so please accept my apology for not addressing that area. I know someone else will. 
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Nov 11, 2017 09:39
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Dang It Bhabhi! posted:Also, everyone overlooks the ZVex SHO for some reason. It’s a super simple boost that sounds so good it’s been copied by the likes of Earthquaker (Black Eye Boost is a SHO). I love it and it’s basically an always on sort of pedal. There's a nice BYOC pedal also based on it. I like a lot of their pedals, and want to build a few.
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Nov 11, 2017 11:55
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Verizian posted:The muff gets lost because it scoops all the mids. OCD style boosts are supposed to be pretty flat but some complain they leave the upper mids behind as you turn up the gain. Some versions include a switch for a heavy mid boost to reverse that. Oh I know the theory and mechanics behind it. I was just commenting that I've not actually run into it before, as usually when I'm using my muff it's for a Pumpkins song or a song I wrote for the muff or something. And yeah Siamese Dream is hella engineered.
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Nov 11, 2017 12:10
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I've got a dual P90 guitar (in the vein of the Les Paul Custom 1954 - black and gold with ivory trim) but despite it being a Seymour Duncan P90 I really don't like the brashness of the bridge. With that in mind I'm thinking about changing it up. My initial thought was a P-90 sized Super Distortion, but I'm open to suggestion. My only other guitar has Lace Dissonant Aggressors which are hilariously high output so I want something very much in the Rock and Roll crunch territory, that won't swamp the guitar's neck P90.Hellblazer187 posted:What exactly is a riff? Like I get that certain things are riffs, many of them extremely famous. The riff from Smoke on the Water, the one from Ironman, etc. I can identify that "hey this is a cool guitar riff!" but how does it fit musically into what's happening? What is the relationship between riffs and chords, or between riffs and the key the music is in? How does someone learn to approach writing riffs? I feel like it's got to be more than just playing around till something sounds/feels cool (although I'd also wager that's part of it too). This is where traditional music theory helps: Cell (tiniest indivisible unit) - chugging on the open E, playing an open chord and then hitting the high E for embellishment Motif (collection of cells) - chugging on the open E for a bar + power chord on the last beat Phrase (collection of motifs) - chugging on the open E + power chord on the last beat x3, then the last bar of just a big open E minor chord Riffs sit between Cells and Motifs.
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Nov 11, 2017 12:35
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ewe2 posted:There's a nice BYOC pedal also based on it. I like a lot of their pedals, and want to build a few. I’m partial to Rullywow’s board. https://www.oshpark.com/shared_projects/nsJTeQK0
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Nov 11, 2017 12:57
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My dual-P90 Agile has the opposite problem, the neck is a complete shitfucker and the bridge is just kinda there. Unfortunately since the bridge is a dogear that cuts down on aftermarket options by a lot.
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Nov 11, 2017 12:58
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Lumpy posted:You loving your Katana? I think I might be buying myself one soon. Probably the 100w, not sure if I want to go combo or head. Yeah I really am. Can't recommend it enough.
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Nov 11, 2017 16:49
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http://www.musiciansfriend.com/accessories/daddario-exl110w-nickel-regular-light-wound-3rd-electric-guitar-strings I had no idea you could get 10s with a wound 3rd. Anyone ever tried them?
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Nov 11, 2017 18:06
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Anime Reference posted:http://www.musiciansfriend.com/accessories/daddario-exl110w-nickel-regular-light-wound-3rd-electric-guitar-strings No but I really want to now because I like the wound third on the heavier gauge sets I use.
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Nov 11, 2017 18:11
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Spanish Manlove posted:No but I really want to now because I like the wound third on the heavier gauge sets I use. I do too, I've always thought unwound thirds sound kinda lovely. I'm just a bit leery about setting the intonation on my Schecter; it's a TOM and they put the adjustment screws in the least convenient place possible (pickup side of the bridge, directly under their respective strings.)
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Nov 11, 2017 18:33
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Anime Reference posted:I do too, I've always thought unwound thirds sound kinda lovely. I'm just a bit leery about setting the intonation on my Schecter; it's a TOM and they put the adjustment screws in the least convenient place possible (pickup side of the bridge, directly under their respective strings.) Just flip the bridge next time you have the strings off?
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Nov 11, 2017 18:59
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Anime Reference posted:http://www.musiciansfriend.com/accessories/daddario-exl110w-nickel-regular-light-wound-3rd-electric-guitar-strings The wound 3rd are super thin and go dull really quick but they’re worth a try. In my opinion though you miss out on the worth of a wound 3rd until you go up one or two gauges past the usual 10 sets.
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Nov 11, 2017 19:08
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ewe2 posted:There's a nice BYOC pedal also based on it. I like a lot of their pedals, and want to build a few. I just bought a (pre-built) Swede and it sounds exactly how I remember the HM-2 sounding. Man, least versatile pedal ever, but it sure does that grindy death metal thing perfectly. (If I built it myself I'd probably not even bother putting knobs on it.) Kinda want to try building a BYOC Flanger. Never soldered to a circuit board before though, so I'm a bit terrified that I'll fry something - my pickup soldering is shaky enough as it is.
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Nov 12, 2017 00:10
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Gnumonic posted:Kinda want to try building a BYOC Flanger. Never soldered to a circuit board before though, so I'm a bit terrified that I'll fry something - my pickup soldering is shaky enough as it is. I'm encouraged by the way they build their boards, and their very clear instructions. I would try a standard sized pedal before one of the micros, though. A 3rd hand really helps, came very handy for resoldering jacks which I seem to have a gift for breaking.
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Nov 12, 2017 01:51
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Hellblazer187 posted:Thanks to both Bro and Kevin. And thank you for calling it a good question. Some of that I already understood but I think what I was missing was the relationship between melody and riffage. I guess I kind of forgot that melody can mean something other than the notes that the singer sings. I know that SOMETIMES the vocal melody and the riffs match (NIB for instance) but often they aren't so closely matched. For most heavy rock purposes, the power chords in riffs are just there to fill out the root note, so you don't need to worry if any of those fifths would seem dissonant (unless your bass player was hitting something else, I guess.) I tend to write them as single notes first, just for the ease of noodling with them. You don't tend to see ii (D in your C minor example) in riffs, which is a pity, because it can be really evocative: https://www.youtube.com/watch?v=Oq3V4tVvU2Y&t=76s (Dio-era Sabbath warning). You can play the second part of that riff without the ii and sound just fine, but when it's in there, it's all wizard castles and poo poo. So anyway, to bring things in the thread together (and sate my recent recording obsession), I did up something in C minor (based specifically around C and G) with my Turbo RAT on the left channel, and the Greenhouse Effects No Brainer on the right. (LP Studio, Princeton Reverb, 4-track cassette, yadda yadda.) https://soundcloud.com/bugsyb-1/hellblazer-187-c-minor-demo
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Nov 12, 2017 05:10
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I’m looking to upgrade from my bare bones Fender 15 watt amp. I’ve not been playing long and have no specific “sound” I’m trying to achieve. I’m playing at home with a Squier Jazzmaster Deluxe and was eyeing the Boss Katana 50 or the Fender Mustang GT 40, any opinions on either?
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Nov 12, 2017 06:21
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Something to note in those Minor keys is that your 2 chord is diminished, not minor, but minor can be used as a substitute modally. It is part of what helps the guitar make interesting music naturally, in that the way its laid out so that you can make modal changes like that with very simple chord changes.
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Nov 12, 2017 08:15
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Lumpy posted:You loving your Katana? I think I might be buying myself one soon. Probably the 100w, not sure if I want to go combo or head. I really like mine. I have the 100w 1x12. You can really dig into the settings if you hook it up to your computer, and there are lots of extra effects and settings you need to do so in order to use them. It has every single Boss effect in there that you can assign to the available slots, plus there are "sneaky" amps beyond the five available normally. You can also tune the speaker modeling, noise gate, and effects parameters. The thing that I appreciate most is that you can get it all dialed in on the computer, then when you disconnect it it's all right in front of you without digging through menus or anything. If you already have a 2x12 or something do the head, especially if you mostly play heavier stuff, but the combo is really versatile, light, and loving LOUD. And definitely get the GA-FC.
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Nov 12, 2017 09:02
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No Egrets posted:I’m looking to upgrade from my bare bones Fender 15 watt amp. I’ve not been playing long and have no specific “sound” I’m trying to achieve. I’m playing at home with a Squier Jazzmaster Deluxe and was eyeing the Boss Katana 50 or the Fender Mustang GT 40, any opinions on either? I can only say good things about the Katana. I have the 100w version, but I mostly only get to play it on the half watt setting at home. Sometimes the 50 watt if I have time that's not at night or early morning. It wasn't that much more expensive, and the 100w sounded heaps better to me than the 50w in the shop - I played them side by side, both on the 50w and 0.5w setting. I have no idea what actual differences there are though, could have just been where they were sitting in the room. My previous incredibly lovely no-name solid state guitar amp claimed 50 watts but is probably only half as loud as the katana 100 set to 50w. My Katana 100 is a fun amp. I spent about 20 minutes dialling in a good clean, crunch and "brown" tone with just the panel, saved each of those with the press of a button, and mostly just select which one I want, adjust the master volume, and play. The software's great for making detailed changes, but you don't need to touch it if you don't want to. The amp is easily worth the price just for the stuff you can adjust from the panel. (That said, I've been messing around with the software pretty heavily for the last week or two. The rectifier-ish model from the "sneaky amps" download sounds pretty neat with a clean boost in front, and the bassman-ish model does a great "dirty clean").
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Nov 12, 2017 11:54
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After The War posted:For most heavy rock purposes, the power chords in riffs are just there to fill out the root note, so you don't need to worry if any of those fifths would seem dissonant (unless your bass player was hitting something else, I guess.) I tend to write them as single notes first, just for the ease of noodling with them. Hey man, this is great. I appreciate this post, and the explanatory riff demo showing exactly the thing I was asking about, and also how you tied it into pedal chat too. I love Dio Sabbath. Probably obvious I prefer Ozzy Sabbath (Since I've rocked an Ozzy av on these forms for like 13 years) but the Dio era is great too.
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Nov 12, 2017 13:15
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Katana talk: I have the 100w 1x12 and love it. But getting the foot pedal (GA-FC) was the real game changer for me. I have the amp connected to my computer the whole time. Note that the 50w does not support the pedal. I think you also lose the FX loop.
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Nov 12, 2017 14:10
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How was the foot controller the game changer? Asking because I'm constantly nearly buying one and then going "nah, I don't need it" and then nearly buyin it anyway and then...
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Nov 12, 2017 20:54
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No Egrets posted:I’m looking to upgrade from my bare bones Fender 15 watt amp. I’ve not been playing long and have no specific “sound” I’m trying to achieve. I’m playing at home with a Squier Jazzmaster Deluxe and was eyeing the Boss Katana 50 or the Fender Mustang GT 40, any opinions on either? They are both good. I thought the GT had better cleans so I got a GT100 but both are very cool. I also liked that I can go figure everything on the GT in the amp (or on the cell phone app which is cool and works well) and not have to get on a pc like with the Katana.
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Nov 13, 2017 00:28
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My favorite combo amp is the Quilter Aviator, and I think Quilter doesn't get enough love in general.
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Nov 13, 2017 04:33
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Salt Fish posted:My favorite combo amp is the Quilter Aviator, and I think Quilter doesn't get enough love in general. I’m really close to buying a Quilter. I want an amp (not a modeling amp) + pedalboard that easily goes from being plugged into a cab to being plugged into a computer for recording. Nothing seems to be as good of a value as the Quilter range. I keep coming back to them after searching around.
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Nov 13, 2017 04:39
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On of my favorite features is the ability to unplug the speaker without damaging it. I was running mine into my computer for a long time like that. The ability to run 2 guitar off it at once is also really nice and something you don't see a lot.
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Nov 13, 2017 04:42
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On the computer end all you need is a cab sim yeah?
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Nov 13, 2017 04:43
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I was going straight into my scarlet 2i2 just whenever my neighbor was home, so I never got too fancy with it. I'm a bit of a dummy when it comes to digital recording and pluigns/sims etc.
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Nov 13, 2017 04:51
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AlphaDog posted:How was the foot controller the game changer? Asking because I'm constantly nearly buying one and then going "nah, I don't need it" and then nearly buyin it anyway and then... Probably quite a personal thing.  For what I play, it is a lot of quiet, quiet, loud, loud, quiet, quiet, insane overdrive. Nirvana and the like. But just noodling around, playing the same riff using up to 9 different press/tones, and switching between them is a lot of fun for me. I hadn't realised how much taking my hands of the guitar disrupts the flow for me.
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Nov 13, 2017 10:48
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LampkinsMateSteve posted:Probably quite a personal thing. That's actually really helpful, thanks. Sounds like something I'd like to be able to do.
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Nov 13, 2017 11:53
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| # ? Jun 8, 2024 18:16 |
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Salt Fish posted:On of my favorite features is the ability to unplug the speaker without damaging it. I was running mine into my computer for a long time like that. The ability to run 2 guitar off it at once is also really nice and something you don't see a lot. You should generally be able to do that with any solid state amp, they'll put up with anything as long as you aren't plugging the speaker outputs into anything with too low an impedance mismatch. Don't try it with tubes though.
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Nov 13, 2017 12:13
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