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Does a cranked amp...

Discussion in 'Amp Central Station' started by Jakedog, Dec 11, 2017.

  1. Thin69

    Thin69 Friend of Leo's

    Oct 28, 2009
    Galveston, TX
    Grew up playing a SFTR a couple of decades before I even had a LPB1. Now the venue really makes a big difference. Right now I am playing small venues and really digging AC4's. Got a Ampeg Reverbrocket 2 for something different. It will depends where I'm planing and the sound I'm trying to achieve. I just don't do hard metal, no offense implied, just not my bag.
     
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  2. drlucky

    drlucky Tele-Meister

    379
    Jun 19, 2012
    Fresno, Ca
    Now THIS amp is CRANKED!!

     
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  3. DrPepper

    DrPepper Tele-Meister

    Age:
    58
    194
    Nov 24, 2017
    Texas
    Thank you, give me a Princeton Reverb with the V on 4, treble at noon, the bass on 3 and reverb barely cracked on... And, the clean tones on a tweed deluxe are glorious.
     

  4. nosuch

    nosuch Friend of Leo's

    Apr 4, 2008
    Cologne
    Yeah, I used to do that with my vibrolux and sometimes a backline super a club had. Great feeling when it was on the edge of overdriving. Can't stand the volume any more and prefer a cleaner tone now – which this amp can also give me but a t a more healthy level. I think small amps are the rave today but will eventually go out of fashion just like anything else.
     
    Jakedog likes this.

  5. popthree

    popthree Poster Extraordinaire

    a dimed amp can sound wonderful, or horrible, but that's just my opinion, man
     

  6. RLee77

    RLee77 Friend of Leo's

    May 15, 2016
    Silicon Valley
    This I understand, more so than your original post. I'd agree that different amps have unique clipping levels beyond which things get ugly, and I don't care for that sound as a base tone, unless it's just used as a very brief effect. Hard-clipped signals (essentially a square wave) are not musical to me. You get that same effect by overdriving the input of a fuzz pedal.
    The sweet spot I like is that edge of breakup setting where single notes are almost entirely clean, double strings hit lightly have a bit of hair on them, and hitting multiple strings hard gives a throaty overdriven tone.
     
    sockgtr likes this.

  7. Obsessed

    Obsessed Doctor of Teleocity Silver Supporter

    Nov 21, 2012
    Montana
    In all honesty, I feel the similar about MY personal amp sounds as you seem to do too, but I'm an old fart/hack without the sound that creates masses to crawl over themselves to hear my shrill feedback cheap amp sound. So, my point being that the amp sound is part of the overall sound that creates emotion and isn't "emotion" the thing us musician/artists are striving for?
     
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  8. awasson

    awasson Friend of Leo's Gold Supporter

    Age:
    53
    Nov 18, 2010
    Vancouver
    I know what “a cranked amp” means to me... It means breakup on the power tubes and that can be glorious as long as the power supply can keep up.

    On most amps, I’m not as crazy about breakup on the preamp tubes unless it’s just a little hair. I mean, I’ll settle for it where I just can’t crank it right up and I’ll do it for playing AC/DC stuff without blowing the windows out at home. It’s fun but it’s not the same as cranking up and getting power tube distortion. It can sound a little thin and artificial.

    At the moment, I’m mostly using a little home brew Tiny Terror Clone (15w 12AX7’s + EL84’s) and my favourite single coil setting has the gain at about 50% which overdrives the preamp if you really hammer the guitar but can sound clean if you don’t. The master volume can be anywhere from 3 and up. Get it up past 7-8 on the master and you can get the power tubes to break up. Sometimes I’ll crank the amp and use my guitar to attenuate the signal. I’m kind of gravitating towards that kind of setting with my Strat. So to me that sounds good. It can be super loud and the breakup/distortion sounds powerful, not fizzy and artificial.

    On a side note... As I’m reading this discussion, I can’t help but wonder when this became something I actually think about. At one point, it was just good enough to have something, anything to plug into. Then after a series of amps from my 5 watt Simpson Sears amp to a 100w Peavey head, I then had a big multieffects pedal that ran through the PA board, everything was solid state; there was no warm tube mojo to be had but it was loud and dependable and I made it work for almost 10years. Now, I’m no longer playing in a band regularly but I’m all over tube amps, tone stacks and dialing in those single coils to make the most of my tone. I’m not complaining but it seemed like something I should have been more concerned with when there was the off chance someone else could hear my playing :rolleyes:
     

  9. Lobomov

    Lobomov Friend of Leo's

    Jul 15, 2013
    Europa

    I'm pretty sure that people that don't gig have larger guitar collections and nicer gear than people who gig. You're much more concerned with your own needs than other peoples :D


    (Or you don't have to be practical anymore, so having gear for every nuance in sound makes sense)
     
    Last edited: Dec 12, 2017
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  10. jimmytheshoe

    jimmytheshoe Tele-Meister Silver Supporter

    Age:
    51
    103
    Aug 1, 2017
    Chicago

  11. RLee77

    RLee77 Friend of Leo's

    May 15, 2016
    Silicon Valley
    Oh I don't know, Billy gibbons and bonamassa have a few guitars and amps in their closets… :D
     

  12. screamin eagle

    screamin eagle Friend of Leo's

    Oct 9, 2008
    S. CA
    I love that tone too, and have studied all things CC for a few years. With his recordings, unfortunately we need to consider the possibility that the recording mic could be overdriving.

    It is quite possible that it’s his rig, but recording practices were exactly great back then.


    You can definitely hear his amp overdriving a little in the live Minton recordings. The other instruments aren’t and his is. And I don’t think it was because his amp was that much closer the the mic than the other instruments.


    Now Jr Barnard was definitely playing around with the overdrive sound on purpose and you can hear that all over the Tiffany transcriptions. He actually used a volume pedal so he could turn up quickly for his solos. That was in the mid forties.
     
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  13. cyclopean

    cyclopean Tele-Afflicted

    Aug 14, 2009
    innsmouth, MA
    "angry, aggressive and somehow unfriendly" is exactly what i want for the music i'm making.
     

  14. brookdalebill

    brookdalebill Telefied Ad Free Member

    Age:
    60
    Nov 15, 2009
    Austin, Tx
    Give er’, brother!
     

  15. charlie chitlin

    charlie chitlin Doctor of Teleocity Silver Supporter

    Age:
    56
    Mar 17, 2003
    Spring City, Pa
    Like anything...we have so many options and so much information available; we should have no choice for it to be personal preference.
    Ideas of what is beautiful (people) changes often.
    There was a time when only wealthy people (then more "happening" city people) had access to processed food (beginning with flour and sugar), and there's good research to indicate that this made their faces slimmer, and this affected our idea of beauty to this day.
    You may like rounder faces.
    When you listen to Freddie King's studio recordings, his tone is very clean compared to his live work.
    Many guitar players remember a distraught studio engineer complaining, "It's DISTORTING!!"
    Having given this a bit of thought, I like distortion.
    Many instruments were developed or invented to achieve a vocal quality.
    To me, an overdriven amp has less attack, more sustain and a more singing, vocal-like quality that I like. If I were to pick up another instrument, it would probably sax, which, to me, often sounds like a distorted guitar.
    This, to me, adds another world of expressiveness that separates the electric from the acoustic guitar.
    I remember getting that turd-in-the-punchbowl look from a violinist when I tried to explain why I thought that my instrument is as expressive as his.
    Of course, I've lustened to many more people play his instrument than he has mine.
    If it's even possible to be objective...yeah...I like it.
    But, thank God (wherever She is) very few things suit everybody.
     
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  16. Mayas caster

    Mayas caster Tele-Holic

    626
    Dec 21, 2015
    Caraquet N.-B. Canada
    Where do they take the money??????...
     

  17. bottlenecker

    bottlenecker Tele-Afflicted

    Dec 6, 2015
    Wisconsin
    I don't think he fights the feedback, I think it's an important part of his tone, which I would describe as spectacular.
    Mother Earth, on ragged glory? Maybe not a good "cranked amp" example, it's so blown out I'm sure it's amp+fuzz. When he comes back to the solo guitar later in the song, it's just fantastic.

     
    Obsessed likes this.

  18. Obsessed

    Obsessed Doctor of Teleocity Silver Supporter

    Nov 21, 2012
    Montana
    Great example of what I'm trying to say here. Thanks for posting. That to me is some crappy amp tone, but it is actually part of the sound that Neil is aiming for to portray emotion.
     
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  19. t guitar floyd

    t guitar floyd Tele-Holic

    Age:
    70
    599
    Feb 4, 2016
    sw US
    That's what I go for . . . make that guitar cry and sing! Has to have that syrupy smoothness.
    Once it goes into ratty distortion, it's gone too far for my taste. (When it's me playing , , , it's ok if it's Neil). :)
     
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  20. bottlenecker

    bottlenecker Tele-Afflicted

    Dec 6, 2015
    Wisconsin
    Yeah, it sounds broken, it's not what I'd want to play through most of the time, but it does some things that not just any broken amp sound will do. It's very dynamic, they way volume and attack are replaced with timbre changes. The bass squashes, but then blooms like a flower. I always want a sound that changes a lot depending on what I do, but also has it's own moves from attack to decay. Clean or distorted, that's what gives it a voice, imo.
     
    Obsessed likes this.

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