How are you getting your favorite Tone at the moment?

Discussion in 'The Stomp Box' started by RetroTeleRod, Aug 30, 2019.

  1. beninma

    beninma Friend of Leo's

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    Right now my preferences are tending towards no gain/clipping from pedals. Just using my amp's tube distortion and pedals just get used for boost & compression.

    There's a lot of cognitive dissonance for me with all the pedal hysteria.. guys like TPS advocating always running a tube amp crystal clean and then using a bunch of drive pedals to get your breakup. Pretty much no clipping from any drive pedal I've played with ends up sounding better than just letting the tubes break up for me. If I'm using a drive pedal it always sounds better with the gain minimized and the volume up, and a totally clean pedal that just does the cleanest boost possible ends up sounding best.

    Also falling out of love with the Big Muff... I had pretty good in between sounds with my big muff till I took the Treble bleed out of my guitar. Removing the treble made everything better except the Big Muff. Bridge pickup is still fine with the big muff but the neck pickup doesn't work with the volume rolled down anymore for me really. The louder everything is the better it works, but the Muff makes a ton of hiss & noise and I'm not as crazy about the in between sounds now. In reality it didn't work that great with the Treble bleed either because if you turned off the Muff you suddenly needed to make major adjustments to both the volume & the tone. It works better for me if everything is left cranked and you're just doing a Smashing Pumpkins type thing. (Gilmour type sounds worked better with the treble bleed)
     
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  2. teletimetx

    teletimetx Doctor of Teleocity

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    FTotM: telecaster> 4knob Lovepedal deluxe>, SD-1, > BF Tremolux, 2X10 cab. Season to taste; cook. Sometimes add a little TR-2.
     
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  3. Capn Rory

    Capn Rory Tele-Meister

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    Fender G.E. Smith Telecaster into a Marsh Low Power tweed twin kit I built, 12AY's for preamp tubes and a Strymon Flint. Kinda old school Leo Fender, but I like a little reverb.
     
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  4. artdecade

    artdecade Poster Extraordinaire

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    Fingernails and my classical.
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  5. telemnemonics

    telemnemonics Doctor of Teleocity Ad Free Member

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    A couple of thoughts:
    Have you tried many other muffs?
    Most have a bunch of problems like you mention while a few seem to solve them better.
    I agree with your finding that there just isn't any pedal dirt designed to simulate tube amp dirt that works, though I did find one pedal I actually like for that and won't mention because it's a fluke and not the point.
    The point is that the right muffs and also the right Tone Benders get better not-cranked-tube-amp dirt for me than any tube style OD pedal.
    For muffs you might keep an eye out for a used Blackout Musket or Blunderbuss.
    Six knobs and a wide range of really usable muff sound, plus there are lots of gated settings that sustain fine but go silent when you stop playing. You can make the tone as narrow and focused as you wish while still retaining the wall of muff thing.
    For Benders there is a V1 Basic Audio Scarab (replaced by the Scarab Deluxe) that is a true bender but has a lot of refined sounds in it, almost crosses into muff territory and just can't make a bad sound. Rare but cheaper due to the new one.
    A more classic bender also reasonable due to being superseded is the Ramble FX Twin Bender.
    More of the classic raspy bright snarl in this box, and a fairly quiet high quality build.

    I just had a huge relief when I stopped using/ relying on OD pedals designed to make tubey dirt, set to make no dirt, pushing my amp into basically preamp tube dirt.
    I still reach for that sometimes, but Muffs and Benders allow the designer to stop making fake tube dirt and instead focus on good sounding useful dirt. Reduces my cognitive dissonance too!
    For OD set clean pushing the amp I guess the OCD and the ZVex Distortron are favorites.

    One other thing I've done but abandoned is running all my dirt pedals into one channel of an 18w clone, channel vol down and set clean OD output high, then the other channel for cleans is set to a higher volume so switching from clean to dirt isn't as extreme a volume jump. An 18w TMB stays clean fairly loud but is never that pristine clean many pedal platform amps are. Always fat & tactile.

    Hmmm, guess I answered the OP here!
    18w TMBs into high power alnicos, muffs and benders haven't done me wrong in a while....
     
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  6. beninma

    beninma Friend of Leo's

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    Yah I'd agree with the idea Muffs/Tone Benders/Fuzz Face, etc.. all have a better reason to be used because they don't do the same thing as a tube amp, and they combine with the natural tube distortion well.

    I get that you want to use the OD pedal if you bought a high headroom tube amp that is too loud for the playing environment but that's a really odd situation to end up in even though it seems common.

    It is really weird to watch TPS (I really do like their show) and see them advocate super strongly for:

    - You should buy a really loud high headroom clean tube amp (expensive)
    - Set the tube amp up to not distort
    - Get all your dirt from a bunch of expensive solid state drive pedals

    I think there is a huge argument for finding a solid state amp if that is the approach you're going to take.
     
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  7. Mexitele Blues

    Mexitele Blues Tele-Holic

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    Lots of good takes in this thread. Lately I have been running my '77 Pro Reverb as the wet amp with a little reverb and a soft always-on tremolo, and the '60 Gibsonette for dry amp duty. Leave the Carbon Copy on for a subtle delay. Wampler Tumnus when I need some more drive, and goose it with the CS-3 (comp down, treble up) when that's not enough. Also Wampler Dracarys turned down for great semi-Rat tones.
     
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  8. Bowpickins

    Bowpickins Tele-Meister

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    My overall personal sound is a 2007 G&L Asat Classic S guitar, plugged into my pedal board and into either: A 1972 master volume Twin Reverb, or '73 Music Man 210 sixty five, with a light slapback from a Boss DD-7 delay pedal, and just a touch of reverb off of any amp I run through. If i need other effects, I run a Wayhuge Green Rhino Overdrive for adding some tube screamer-like tones, or just some attitude in my playing. Then, a Boss SD-1 Super Overdrive for the heavier dirt, then an MXR Phase 90 for Waylon Jennings tunes.

    For fiddle (my main instrument): I run it into a Morley volume pedal, which runs into a LR Baggs Para Acoustic DI, and then into my amp (Twin Reverb or Music Man). No delay or Reverb for the fiddle. On smaller gigs, I just use my Mustang III V2. As long as I get a good clean tone: all is well. :)
     
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  9. Frankie

    Frankie Tele-Holic Silver Supporter

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    How am I getting my favorite tone.. Plugging my Glendale Bakersfield Broadcaster into my Deluxe Reverb then turning it up..
     
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  10. RetroTeleRod

    RetroTeleRod Poster Extraordinaire

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    When I grow up I want a Deluxe Reverb. For now I'm making due with a Hot Rod Deluxe, but maybe someday.
     
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  11. 4pickupguy

    4pickupguy Poster Extraordinaire Silver Supporter

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    I come from the high headroom camp myself. Its just another way to get there that works for some folks. I play clean sparkly stuff a lot on our fusion stuff and I want my cleans to be clean n' ethereal. I play up loud enough that the amps are moving some air and when a drive is added, its thumpy enough.
    Actually on TPS, they set amps for breakup all the time on their show. They just say that high headroom is what they prefer to use live. Just another side of the coin.

    I am saving up up for a Deluxe Reverb as well!! I'm counting the minutes!!
     
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  12. Skydog1010

    Skydog1010 Tele-Afflicted Platinum Supporter

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    Blues Boy ASAT Tribute
    Swimming in Reverb
    Twin Reverb setting on my modeler
    no pedals
    gain is around 4
    volume is 3.5
    Treble is ....oh heck look for yourself.

    DSCN0066.JPG DSCN0002.jpg
     
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  13. Vanzant

    Vanzant Tele-Afflicted

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    Strat, Kelley compression, slight deja vibe, silver archer, mxr carbon copy slap back, fender bassman
     
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  14. E5RSY

    E5RSY Doctor of Teleocity

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    Electricity.
     
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  15. Rob77

    Rob77 Tele-Meister

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    Tele (w/ voodoo pickups) bridge PU position into Carbon Copy delay (slapback setting) into Vox AC15HW1X normal channel set on edge of break up. Tone and Volume at Max.

    For extra "push" I use a Paisley drive at 10 oclock gain.
     
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  16. JL_LI

    JL_LI Friend of Leo's

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    Favorite tone at the moment? Bridge and neck pickups on my Strat through a Keeley 4 knob compressor into a Mesa Boogie Express clean or blues channels. Bridge tone on 5, neck on 8, volume on 8. I’m playing with a Tortex blue. Why? I mostly play vocal accompaniment on my Tele. Maybe 6 weeks back there was a thread here on playing blues in A Dorian. I tried it and found I wanted to use the mode for jazz. I can’t write lyrics but I can improvise and write a melody line and bridge to work off of. Country’s been getting stale for me. This is new and I found the tone I want for it. I also found the 22nd fret. I need that high C. I never thought of a Strat as a jazz guitar but I haven’t been able to put it down.
     
    Last edited: Sep 4, 2019
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  17. mexicanyella

    mexicanyella Tele-Afflicted

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    Whenever I decide to post (I mean enthuse) about this it seems to generate the sound of chirping crickets. A real thread-ended. But the OP asked, so:

    I stumbled onto the combination of a Squier one-HB Bullet Special—about as low-end as it gets—all stock but set up for .011s, high-ish action and the pickup lowered gradually until it sounded less like a high-gain chainsaw rock machine. My favorite tone comes from plugging this straight into a early 90s Peavey TKO bass amp, 80 watts into a Scorpion 15...about as far as you can get from anything currently seen as a cool guitar amp.

    The tone I like doesn’t happen until you wind it up pretty far with the bright switch on, a lot of lows gently rolled off and a small mid peak on the 660 Hz and 1.3 kHz sliders. The preamp stays pretty clean but wound up you start to hear and feel the sound of the DDT limiter kicking in a little; it’s a little reminiscent of a bouncy tube output stage in feel and response but still fairly clean. It sustains and you can play snarly double stops or clean, clear jazzy extended chords and still sound good. Touch sensitivity is good.
    It really wakes up with the bright, snappy Squier’s tone and fairly hot pickup output.

    It’s also easy to dial in repeatably and loud enough to jam with a drummer. No patch cords, power supplies, batteries...

    But it is heavy and bulky and not much fun to move, especially up or down stairs. And it is utterly devoid of gear mojo. Cue crickets...
     
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  18. TequilaCaster

    TequilaCaster Tele-Holic

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    My favorite tone starts with AlNiCo magnet pickups, and ends with Alnico magnet speakers.:)
     
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  19. Paul in Colorado

    Paul in Colorado Telefied Ad Free Member

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    My favorite lead tone with my own gear chain is:
    2003 Les Paul Historic 56 sunburst with P-90's > Dyna-Comp > Zen Drive > Boss DD-2 Delay > Y@K-ish Vox AC-15. Great sustain and just a perfect fat overdriven guitar tone. But since I don't use that sound much for most of my playing, I don't get to hook it up so often.

    In my band, most of my playing is done through a DigiTech RP 360 and I've got it dialed in pretty well with the near dead stock MIM Stratocaster. It's not my ideal tone, but there are a lot of good usable tones in the box, so it's a trade off I can live with.

    Now if we're talking about the most basic rig, it's a mid '80's Taylor 12 string in a room with a little natural reverb. I can get lost for hours playing that.
     
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  20. telerocker1988

    telerocker1988 Tele-Afflicted

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    I'm definitely in the crystal clean amp and use pedals for all the drive camp. Not only does it sound better to me, but it's infinitely more versatile, and with the right amp in a box pedal I would wager to bet no one could tell the difference between a real JCM800 cranked up or a Twin Reverb with a JCM800 in a box pedal in front at the same volume. Pedals are to the point now where they really just sound like amps if not even a little better. The way to go, IMO.

    I'll break the favorite tone answer into two sections, one for rhythm and one for lead as to me they are not interchangeable at least in my world.

    Right now my favorite rhythm tone (and it changes OFTEN) is my Nash T-63's bridge pickup (Lollar Royal T in neck (in place of the stock Lollar Vintage T), proprietary stock Lollar Nash T pickup in bridge) into a Greer Lightspeed OD into the Line 6 HX Stomp's Elephant Man DMM patch set for a slapback tone and the '63 Spring reverb into a 1964 Fender Blackface Bassman (FEIC/Pre-CBS AA864 circuit) head set dead clean into a matching 212 with one original Jensen C12N and one Celestion Vintage 30. It just sounds like a crunchy Vox or something. Great for rock/country rhythm. Nice grit for those broken up Keef-esque riffs.

    For solos my favorite tone now is my 1958 Gibson Les Paul Junior Double Cut Cherry (original 50s dogear single P-90) into a Wampler Pantheon OD set for higher gain into a Strymon Timeline on the dBucket setting set for a slightly longer delay time, with the Line 6 HX Stomp's '63 Spring reverb preset (I tend to leave it on a LOT) into the same Bassman and 212 rig. Great big rock lead tone. Thick but not muddy and cuts through like a hot knife through butter. Kind of a Neal Schon Escape-era Journey tone. Great for a singing tone that isn't too murky. It doesn't sound too edgy or too creamy. Nice vocal sustain.
     
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