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Distortion Units


Tone Taster

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I am definitely looking into a head to cover the distortion, but I have been stuck w/ a 1970 Twin which i bought for 400 bucks almost 10 years ago due to financial limitations

and lack of access in my hometown to check out really good amps as well as the fact i use no banks so ebay is out and consignment wants 20%. Maybe i just need to get a friend to sell all of my stuff through a friends ebay account so i can get a THD. Yeah ! Oh - - -

 

Any way here is my quasi rating (not in any particular order)

 

Sans Amp - GT 2 -- Not good in front of an amp better direct in studio situations not live. Not good for Crunchy Stuff. Better for Rock or blues w/ semi dirty.

Very Tweakable

 

Mesa Boogie V Twin - Not good in front of an Amp but great live and in studio. Sounds like the boss through the Mos Valve 80/80.

Good for Crunch, not good for blues. It seems to lack harmonics and juicy ness

The Clean channel is just O.K.

It has a clean, semi-dirt and crunch

The problem is the one volume. It is tuff to balance out the Clean Channel w/ the crunch gain channel or semi dirty

 

Also, you cant switch to the semi dirty channel if the crunch is engaged. So you really only have a choice between 2 channels

 

Bad cat Two Tone- Sounds great in front of an amp AND it has 2 seperate volumes :thu:

 

Good sustain

 

The Clean channel is great to use for a clean Boost and really Warms up your amp.

 

The dirt is NOT good for Crunch rhythm but good for hot leads

 

It is good for semi-crunch rhythms and blues leads

Awesome Harmonics

 

Hughes And Kettner Tube Factor

 

Sound Great in front of an amp

 

Great for semi dirty Crunch and Full out Crunch Rhythm

 

Good for hot leads, not so good for the Blues

 

The problenm is the one Volume. Tough to IMPOSSIBLE to balance out the channels

 

Very tweakable

 

Full Drive 2

Great in front of an amp Doesn't sound good in front of a Twin

Not good for crunch rhythm good for semi-crunch

Great for Blues Leads and Hot leads

Killer sustain

Works well w/ volume knob

 

NADY TD-1 Great in front of an amp Great Crunch Great Semi Dirty for both rhythm and lead

Very tweakable

I don't like the sustain out of it for leads

Doesn't work well w/rolling the volume knob on guitar:thu:

 

FullTone OCD - Awesome Awesome for hot leads and Definitely for the Blues.

Good for semi dirty rhythm Not for the Crunchy Stuff

Works Very Well w/ rolling the Guitar's Volume Knob and seems to retain harmonics :thu:

 

My buddy just got the reverend Drive train and said that it is mainly a lead pedal and not good for rhythm

 

Hope this helps

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I have a Marshall Gov'ner II and find it extremely controllable - the 4 band EQ helps, and the Output Volume is very sensitive. Also provides more gain than most people ever would need.

 

G.

"When the power of love overcomes the love of power the World will know Peace": Jimi Hendrix

http://www.soundclick.com/bands/default.cfm?bandID=738517&content=music

The Geoff - blame Caevan!!!

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I heard the Shredmaster was pretty good , too

 

I could be wrong, but I HEARD(you know how that goes) that the Marshall 30 th Anniversary Heads had the chip from the shredmaster for more Cruncha Cruncha.

 

How would you rate on a Scale of 1-5, Gov II for these categories:

 

Crunch Rhythm (Ex. Do muted palm power chord chugs from E to F# Does it sound too buzzy or boxy, or does it really crunch?)

 

Hot Leads (Good harmonics and feedback? responsive to pinch harmonics?)

 

Semi-Dirty rhythm

 

Semi Dirty leads (The Blues-Do you still get sustain)

 

Response and harmonic retention when rolling back Volume knob on Axe

 

Oberall sustain

 

At Low volume

 

At High Volume

 

IS it too compressed?

 

Is it less compressed and more open?

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Yup that OCD is sweet, a worthy weapon to have in the arsenal

 

Great for over the top leads and the blues

 

Has a low gain and high gain switch

 

easy to tweak

 

Its really cool when you have it juiced up and roll the guitar volume back and play semi-dirty and when you roll it all the way, you get a seamless transition to the all out gain.

 

 

You need something else for the Crunch Rhythm, though

 

It sounds to "buzzy" for those things

 

What's up w/the Carl martin Plexi?

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http://i16.photobucket.com/albums/b48/ellwood1/klon.jpg

The Centaur was designed, over a period of four years, to be an overdrive that works with your guitar and amp, and with the particular sound they create, rather than one that imposes its own sound. It does a better job of retaining the original tonality and response of your setup than anything else I'm aware of; in the words of Trainwreck's Ken Fischer, a guy known to have pretty good ear, "The Centaur seems to become part of your amplifier's tube circuits and doesn't feel or sound like you are using an outboard device." What you end up with, when kicking the thing in, is simply a bigger, more focused rendition of the sound your guitar and amp were giving you to start with. The Centaur is also a good deal more versatile than other overdrives. Each of its three controls - Gain, Treble, Output - has a very broad range, and this makes the unit capable of providing a variety of overdriven sounds with almost any guitar and amp; even the signal from very-low-output pickups, such as Gretsch Filtertrons or Danelectro "lipstick" pickups, can be beefed up effectively. The Gain control, in a unique approach to an age-old problem with overdrives and distortion pedals, is a dual-ganged pot ; two pots on one shaft. The first pot controls the amount of gain and distortion in the main gain stage, just as in any overdrive; the second pot, however, controls an entirely different part of the circuit, a part that optimizes the circuit's overall tonal response for whatever the main gainstage is generating in the way of level and distortion. This means that the Centaur, unlike other overdrives, doesn't limit you to a "sweet spot" distortion setting, one setting or a narrow range of settings that sound good with a particular guitar and amp. With the Centaur, the entire range of the control is usable, and your Strat, for example, will always sound like your Strat, as opposed to another Strat or any Strat, no matter how much or how little distortion you want from the unit. If you want no distortion at all, the Centaur has an operating mode that certain of my competitors have tried to imitate: clean-boost mode. At the minimum Gain setting, the circuit is in this mode and has enormous headroom - it won't clip even if you have high-output pickups and are really bearing down on the guitar. With the Treble control at noon, you have exactly the same frequency and harmonic response coming out of the unit as went in, with all the subtleties of your original sound intact. You then simply use the Output control to determine how hard you want to hit the first preamp tube in your amp with the boosted signal. Clean-boost essentially gives you an instant same-pickups-but-hotter capability, a fuller, rounder, slightly more saturated version of the sound you started with, and is perfect for players looking for singing sustain or for a sound onstage that's a little more "out front" but not necessarily more aggressive. The transparency of the Centaur's clean-boost mode is such that Ken Fischer, in evaluating it, wrote "If you like the tone of your guitar and amp just the way they are, but wish for more of the same, pumped up and more muscular, then the Centaur rates an A+ grade." This transparency did not just happen: it took almost a year of hard work before I was satisfied with the results, an amount of time and effort that, judging from their results, my competitors did not put in. The Centaur was specifically designed for use with vintage guitars and amps and with high-end modern guitars and amps, tools that players will pay dearly for simply because they deliver the goods. The better the guitar and amp it's used with, the more the Centaur will be able to show you, but it's not just for those of us with deep pockets - I get a lot of satisfaction out of hearing from players who tell me what it's done for their good-but-not-too-expensive rigs. The unit also does a nice job of making small amps sound bigger than they are - it can turn a good Princeton or Deluxe into a very serviceable gigging amp in many clubs, or into a killer recording amp that experienced players, hearing what's on the tape, are likely to guess is something considerably heftier. Recording engineers take note: this thing projects, and with the right ambient miking, you can get some pretty astounding results. As befits its sonic qualities, the Centaur is built like a tank: its enclosure is a custom aluminum casting, and all its parts are the best that money can buy - Carling double-pole/double-throw footswitch, Switchcraft jacks, CTS pots, precision resistors and capacitorsfor tonal consistency from unit to unit, ultra-high-quality circuit boards with plated-through component holes. The units are made one at a time, by hand, by the designer (myself), and things will always be done this way - it's not possible to make something like the Centaur any other way. Each unit is extensively tested before shipment, and comes with a ten year warranty to the original owner covering everything except modification or abuse. For those who care about such things, the unit is a looker as well as a player: the casting has a sculptural aspect, a very distinctive shape that's accentuated by the burnished silver finish,which makes the casting look like a hunk of solid sterling. Dark red knobs and black silkscreening are the finishing touches.

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Originally posted by Caputo:

I heard the Shredmaster was pretty good , too

 

I could be wrong, but I HEARD(you know how that goes) that the Marshall 30 th Anniversary Heads had the chip from the shredmaster for more Cruncha Cruncha.

 

How would you rate on a Scale of 1-5, Gov II for these categories:

 

> I have to say I haven't played many boxes so this is a personal opinion

Crunch Rhythm (Ex. Do muted palm power chord chugs from E to F# Does it sound too buzzy or boxy, or does it really crunch?)

 

> I like it for this - any buzz can be dialed out via EQ

 

Hot Leads (Good harmonics and feedback? responsive to pinch harmonics?)

> Yes, turn up the gain & middle & it gets pretty responsive.

Semi-Dirty rhythm

 

Semi Dirty leads (The Blues-Do you still get sustain)

> The two headings above are really what I use it for, and yes, it sustains.

Response and harmonic retention when rolling back Volume knob on Axe

> I don't do much of this, so really can't say.

Overall sustain

 

At Low volume

 

At High Volume

> Seems OK to me.

IS it too compressed?

 

Is it less compressed and more open?

> It certainly compresses as the gain goes up - quite a lot, really.

 

[/qb]

Remember, I paid for it, so I'm biased :)

 

Geoff

"When the power of love overcomes the love of power the World will know Peace": Jimi Hendrix

http://www.soundclick.com/bands/default.cfm?bandID=738517&content=music

The Geoff - blame Caevan!!!

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Originally posted by Caputo:

Sans Amp - GT 2 -- Not good in front of an amp better direct in studio situations not live. Not good for Crunchy Stuff. Better for Rock or blues w/ semi dirty.

Very Tweakable

That wasn't my experience. I used a GT2 with an 50 watt Ampeg Reverberocket 2 x 12" combo for a few years and got great sounds.
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Originally posted by Darklava:

I'd like to try the OCD,word is this is the shiznit.

Big thumbs up from me on that one. I just got one two weeks ago and for me it's all I'd ever want in a drive pedal. I also have a modified TS-9, but with the OCD I'm not sure I have any use for it anymore. Having said that, I tend to like primarily tube-like drive...for that, you can't beat it.

 

Tom

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Originally posted by jrob:

Originally posted by Caputo:

Sans Amp - GT 2 -- Not good in front of an amp better direct in studio situations not live. Not good for Crunchy Stuff. Better for Rock or blues w/ semi dirty.

Very Tweakable

That wasn't my experience. I used a GT2 with an 50 watt Ampeg Reverberocket 2 x 12" combo for a few years and got great sounds.
I guess the only thing i didn't like about it in front of the amp was the muted power chord crunch stuff.

It just seemed to "buzzy"

 

Everything else was cool

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Originally posted by MILLO:

Tonebone Tri-mode Classic?

Okay, the NADY TD-1 IS the classic

 

Tonebone changed enough of the NADY PATENt to make their own.

 

It goess for 300 FRNS

 

So NADY said, "O.K, we'll flood the market with 'em for 130 FRNS"

 

I have put them up neck and neck and I bought the NAdy for 130

 

Look in the first post for my review of it

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Does the Guv'nor 2 change the sound of your amp like the Sansamp into a marshall-like sound? Or is it just a gain boost for your amp (more like sd-1)? I'm looking at the former because my amp's distortion is not that great. The sansamp gt2 is great, but needs a lot of tweaking - I sold mine and am considering getting a more vintage-sounding tri-ac.

 

Pier.

 

Originally posted by Geoff Byrne:

I have a Marshall Gov'ner II and find it extremely controllable - the 4 band EQ helps, and the Output Volume is very sensitive. Also provides more gain than most people ever would need.

 

G.

* Godin Freeway Classic * Seagull M6 * Timothy S10J
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Originally posted by MadStrum:

Does the Guv'nor 2 change the sound of your amp like the Sansamp into a marshall-like sound? Or is it just a gain boost for your amp (more like sd-1)? I'm looking at the former because my amp's distortion is not that great. The sansamp gt2 is great, but needs a lot of tweaking - I sold mine and am considering getting a more vintage-sounding tri-ac.

 

Pier.

 

Originally posted by Geoff Byrne:

I have a Marshall Gov'ner II and find it extremely controllable - the 4 band EQ helps, and the Output Volume is very sensitive. Also provides more gain than most people ever would need.

 

G.

I haven't played thru' a Marshall for years - I prefer Fender amps, but I *have* read that it was built to 'bend' the sound towards the Marshall tone. However, with that 4 band EQ you can do a lot with it. By the way, 'they' say the original Gov'ner was better, but 'they' always do, don't they?

 

Geoff

 

G.

"When the power of love overcomes the love of power the World will know Peace": Jimi Hendrix

http://www.soundclick.com/bands/default.cfm?bandID=738517&content=music

The Geoff - blame Caevan!!!

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Hey Caputo, thanks for all the detail in that first post.

 

I can't imagine ever feeling "stuck" with a '70 Twin! I can also see that this elusive "Crunch" might not be so easy to get out of it.

 

From what I understand the Keeley modded pedals are popular for that sound.

 

I have a question about "crunch".

 

When we are talking about Crunch, is it the same thing as "low end crunch"? And this is like the rhythm sound of bands like 40 Below Summer or various newer metal bands-- bands that look at Metalica and Anthrax like they were "classic rock" (man, I'm am too old)?

 

I've said often that my distorted sound is a lot of guy's clean sound. But this and other threads have got me wondering what if I wanted to get that sound or needed to get that sound, then what would I do?

 

I sort of think that I'd have to get a guitar with the right kind of humbuckers (man, I don't really like humbuckers), I also sort of think that you'd have a tougher time using little skinny strings than bigger strings. Then the right cabs or combination of them would be important, as in the other thread about 2 15" cabs.

 

I think the newer Rivera Knuckleheads, a cab and one of their subs-- not just any, but I'd be thinking this cab set up through pretty deeply-- would be my starting point. This is big jump from a '70 Twin.

 

Sorry I'm not like posting an answer but as I am thinking about this problem I don't see an easy solution, and maybe as cool as just about an Twin Reverb is (IMHO), it may not be the right tool for this job-- and not only that, but maybe most classic amps are just not the right tool for this rather modern problem.

 

I almost wonder if one of the Yamaha kick drum mics in front of the amp and into the PA will do it better than a lot of more conventional solutions.

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My Twin is a 1970 so it has no Master (thank God)

Plus it's point to point, to boot.

 

I closed the back off w/ 3/4 Birch, modded it to Black face Specs and threw some Yellow Jackets in there to go to either 40W Class A, 20 W class A, or 70 W Class A/B with the 2 6L6's on the outsides.

 

I jump Both the channels stereo with the TC Electronics Chorus and I get this killer "spread"

 

The thing that really sucks about the amp is the transformer

 

I HATE THAT TRANSFORMER !!!!

 

I'll check out that Klaun.

 

But the real end game is to A/B to a hardwired Marshall Plexi/JTM or boutique facsimile thereof for the Crunch

 

Anyone that thinks that one amp can do it all IS SINCERELY DELUDED !!!

 

Don't believe the hype, folks

 

Think about it. The clean amps sound killer because they are designed as such and soak up an entire transformer

 

The dirty amps sound killer cuz they are designed that way and have a transformer devoted to it

 

 

IF you had ONE SINGLE amp that purported to have a superior Clean and superior dirty, it would have to have 2 transformers it seems

 

You jaust have to A/B, there's no way around it

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Yep thats why I asked about the master volume! ya your right on. I just cant stand that buzzy overdrive tone (if ya wanna call it tone at all!) it reminds me of the kind of tone you get using those pointed head guitars. If you play loud like I do all the time at gigs the Klon will do exactly what you want it too using the Twin, but its not the Marshall women tone, its very cool but not the same with the Klon you put the tube screamer away forever. Im going to use the Klon with the Old Pro Amp in the blues project band only. The Marshall is still the amp for the classic rock group.
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  • 2 weeks later...

I tell ya, I was playing through that OCD tonight.

 

Talk about some extra Octane !!!

 

It's a great pedal to gas up an overdriven head

 

The volume knob gives a really good db boost even when there is already gain in the head and would be great to use if you wanted to get some susain and feedback out of your head

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The problem with distortion is that ... well ... it's just sooo distorted :D

Sorry :( I just HAD to say it :P

 

Now ... seriously ... this was, still is, my 'great quest'. imho, it's all personal taste, so the 'perfect' set-up will be different for different folks ('n strokes, 'n etc.)

 

My 1993 Randall Tube Pro II has a 'pretty good' crunch channel, but of course I still want more / different. While on-line I fell in love with the sound of the George Dennis "Distorted Mind Rock" :freak:

 

Again, imho, 'you' need a mild distortion and a crunchy one. If your style heads there, 'you' also need an over-the-top metal type. For that I've got a DOD FX-55, WAayy over the top (to me anyway).

 

I've got a total investment in three (3) distortion pedals (DOD FX55, Distorted Mind Rock & Mystic Blues) of $80 + s/h, or about $30 each. I THINK that I'm all set .... until the next one :D

 

[edit] btw, I very much DIS-like the Centurian (from on-line samples). But like I said, "... different strokes for different folks ..."

Gotta' geetar... got the amp. There must be SOMEthing else I... "need".
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