Posts Tagged ‘classic rock’

Fuzz-Crunch-CleanI’ve been experimenting with making Channel 3 a fuzz tone for a long time, but recently got just the setting I wanted.  This kind of setting gets close to “Dazed And Confused” and sounds good with “Purple Haze”.  Being tube, instead of transistor, it’s a little softer, but the Presence  can dial in the edge a person needs for fuzz bliss.

Faux-Fuzz EQ Setting

Yellow is the Modern setting as described above with no treble and full mids. Green reduces Bass to 11:00.

The way that old, germanium transistor fuzzes would clip is awfully close to the way the cold clipping circuit works in these Marshall/Soldano types of circuits and the Recto has the bottom end to really sound huge.

I found this Channel 2 Raw setting to be a match for the fuzz tone.  It’s bright, with plenty of bottom, and crunches up quite nicely.  Both dirty channels get cleaner as guitar volume is rolled back, but, like a Tonebender, Channel 3 never gets “squeaky clean”, but it does make a nice half-clean sound, since the treble is flattened.

I hope this helps.  Enjoy.

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Here’s an example of the way I’m setting my amp lately.  It utilizes what I’ve learned about the Clean circuit, FX Send, Solo, and other things.   (more…)

This is the result of testing equipment during a time when I was trying for vintage guitar tones.  I used an MXL condenser pencil mic.  It was about 6 inches back, straight on, pointed 3 inches left and one inch down from the cone.  I wanted to capture a balanced, smooth sound.

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DR and H400aSo…  got bored and threw in a Harmony H400a to my setup.  When I would split my signal from the guitar and send it to both, the Recto would hum from a ground loop.  I expected the same here, but there was not any hum at all.  It won’t work for Metal, but for some good ol’ Classic Rock, Blues, or whatever isn’t brootuhl, it’s fun.  The Mesa EQ actually sounds pretty good through the Harmony, but it’s very “middy” from the lack of lowest lows and highest highs due to an 8 inch speaker.  At the right balance, it sounds great and provides some nice stereo sounds.  If I were to ever get around to making the doodad to run the Harmony to a speaker cabinet, this would be awesome.  If you have similar gear, it doesn’t hurt to try something and see if it makes a decent sound.

This is a pretty awesome video.  It lines up with some of the ideas I’ve been exploring and he is a very good guitar player.  Enjoy.

His cab is different from mine and his amp is the “Reborn” Recto, but most of our ideas are very similar.  For anyone trying to do the same kind of sound sculpting, remember to factor in the cab and don’t be too anal.

Before we begin, I’d like to note that Dual Rectifiers produce much more low boost in their preamp and the use of 6L6 will also produce a much more “round” bottom.  Beyond the bass boosting, there is not a massive difference in pre-EQ, preamp frequencies from a Marshall.

Another consideration is that frequencies below 70 Hz will make speakers rumble and fart.  Frequencies over 6 kHz become attenuated by the speakers.  Frequencies close to 2 kHz are part of the Rectifier presence circuit, which is not represented by this calculator.  Because the Rectifier has SO much low end, judicious use of the bass control is recommended for anything other than Modern Channel 3 (Solo) or Channel 4 (Roadster/Road King).

Some users may find it difficult to dial in their sound when switching over from a Marshall or an amp that follows the basic Marshall design or may want to get somewhere closer to a Marshall for any reason.  Here are some examples of settings by matching the EQ according to it’s approximate equal shape, or a shape that will get a person to similar sound.  I’m using Duncan’s Tone Stack Calculator to do this.  For all comparisons, the Marshall tone stack is: Bass-5, Mid-6, Treble-7.  This may not be a setting a person might be using, but using the calculator will enable one to experiment with settings they like to get “in the ballpark” with the Dual Rectifier.  Just remember: these are simulations are kind of a rough guide; in the end, your ears are the most important tool.

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Classic RockBefore the mass application of  post-preamp master volume controls, old amps had to be cranked up to get distortion.  The distortion of the power amp is what gave those old amps their defining overdrive characteristics.  Modern, master volume, amps rely on preamp distortion more than the power amp to create crunch and chunk without a person’s ears bleeding from the high SPL.

The 3 Channel Dual Rectifier (non-multiwatt) has an extremely cold biased power amp at full power.  This allows it to amplify the preamp distortion with a minimum of additional overdrive being created, if any is created at all.

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Raw as a Marshall-y

Jimmy Page-inspired settings.

 

(Updated 12/26/15: Second example added)

These are settings I use for classic rock.  The Presence and Treble should complement the other by having one to the lower setting if one is higher. (more…)