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The "famous people" eq settings thread

Discussion in 'Amp Central Station' started by homesick345, May 26, 2017.

  1. homesick345

    homesick345 Poster Extraordinaire

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    If I learned anything; is that Fender (& many) amps eq is an actual gain stage; that hugely decides the final outcome

    I know of some famous settings; I thought we could start a thread:
    • The (bf) Grant Green settings: Bass 0 - Treble 0 - Mids Full (!) - flat eq :)
    • The Albert King Settings: Swipe your hand under the eq buttons - all on full!!! big guys' setup :)
    • The Johnny Winter Settings: Bass Zero - Middle Zero - Treble & Presence full: OUCH!
    • The Albert Collins/Buddy Guys settings: Treble/Presence Full - some mids - ZERO bass (nax headroom?)
    • SRV settings: Bass 4 - Mids 4.5 - Treble 6.5
    if you know some more; please share (take it all with a grain of salt)
     
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  2. TheOneFatGuy

    TheOneFatGuy Tele-Afflicted

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    I'm not sure if these are the actual settings used by the guitarists in question, but they sound close enough to my ear. I'm sure the settings are different on their own amps; these are what I use on a Boss Katana with a standard tele to get similar tones.

    Tony Iommi: Crunch channel, Gain 7, Bass 6, Mid 6, Treble 6, Presence 3
    Nancy Wilson (on Barracuda): Crunch channel, Gain 4, Bass 9, Mid 10, Treble 4, Presence 7, Reverb 3, light flanger
    Springsteen: Clean channel, Gain 5, Bass 4, Mid 6, Treble 9, Reverb 4.
     
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  3. homesick345

    homesick345 Poster Extraordinaire

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    @TheOneFatGuy - thanks for sharing!

    Yup the settings I posted are the actual settings used by the guys - either seen by me first hand - &/or documented in interviews; pics, etc..
     
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  4. threadbare

    threadbare Tele-Holic

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    I started a similar post years ago. I think it was called"famous people's amp settings." You might could find it on here.
     
  5. horseman308

    horseman308 Tele-Holic

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    Sorry if I overlooked it, but which amp does/did Springsteen use?
     
  6. deep

    deep Tele-Meister

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    Jim Campilongo on a Princeton Reverb

    Input-1
    Volume-4
    Treble-8
    Bass- 9 (YES 9!)
    Reverb- 2.5
     
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  7. nosuch

    nosuch Friend of Leo's

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    Peter Townshed's Hiwatt:

    Typical settings
    Pete’s typical amp settings during 1969–73:

    For SG Specials:
    Vol. 1 (gain):
    10
    Vols. 2–4:
    Off
    Bass:
    0
    Treble:
    9–10
    Master Vol.:
    5–7
    For Les Paul Deluxes:
    Vol. 1 (gain):
    10
    Vols. 2–4:
    Off
    Bass:
    5–6
    Treble:
    9–10
    Master Vol.:
    5–7
    Overall signal (overdrive) is controlled by guitar volume.

    from http://www.thewho.net/whotabs/gear/guitar/cp103.html
     
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  8. xafinity

    xafinity Friend of Leo's

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    Knobs are not necessarily keyed to the control shaft.
    How do you know what is seen is accurate?
    What if 3 is not 9 or 9 is not 5?

    If I were that big a celebrity and knew people were so obsessed with the minutiae of my life, it would be amusing to do that.:cool:
     
    Last edited: May 30, 2017
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  9. JasonKingsX

    JasonKingsX Tele-Meister

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    You mean if a 6 turned out to be 9?
     
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  10. E5RSY

    E5RSY Doctor of Teleocity

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    FWIW, I recently watched some old TDPRI fundraiser guitar giveaway demos on YouTube and Redd was turning his Super Reverb to

    4 TREBLE
    5 MIDDLE
    4 BASS

    The ones where he used a Deluxe Reverb were similar (without the MIDDLE setting, obviously).

    Scott
     
  11. Larry F

    Larry F Doctor of Teleocity Vendor Member

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    In the 60s, my high school bands played at a number of LDS (Mormon) dances throughout the northwest. Usually, the adults in charge didn't act that much like they wanted to be in charge, so they were cool. Sometimes, though, some guy would take it on himself to tell us to turn it down. I don't think many of them knew what turning it down sounded like, so we would make the precautionary to move the volume knobs. Then we'd say, "what do you mean turn it down? Look! the volume is only at 4:00." I don't actually remember if this worked, or even if we did this more than once.

    But usually if we did something clever at gigs, even offstage, we tended to repeat it. Another order we disobeyed was to play the CSN&Y song, Ohio at an LDS gig in fall 1970. Our agent was told that we shouldn't play that song, due to its, what, negative political imagery or something. They didn't tell us why, they just said don't. We got into an argument with the father of one of the guys in the band, who had seemingly appointed himself our manager. We allowed him to drive us to gigs, although it was I who had to back the U-Haul into place for loading, as no one else could do it. Then he'd spend the rest of the gig puffing himself up by talking with the female PE teacher about how successful the band was getting. Anyway, he was a very opinionated guy, and came down on the side of the church, regarding Ohio. We argued that it was a true event in history. He said, and I have since heard this many times before, that some things shouldn't be discussed publicly. There are some conversations that need to stay in the "locker room" (not kidding) and it would be in bad taste discuss this in public.

    The cool thing about playing in bands in the 60s, was how new and strange it was, having the power to further drive a wedge between the two generations. When we played in isolated, logging towns in the Northwest, we were viewed with great curiosity, bringing in new styles of hair and dress, and acting like bigshots, even signing autographs. Back then, a string bass player I knew drove into town with the instrument strapped on top of the car. The locals thought it was a sled. It was really, really fun being a part of that, when it was new, exciting, and a little dangerous, but not really. We just imagined that we were in a Hard Day's Night.
     
  12. Paul in Colorado

    Paul in Colorado Telefied Ad Free Member

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    I can't remember who came up with the 3 7 7 rule for Fender amps. Carlos Santana? Robert Cray?. Anyway the idea is to start with Bass; 3, Middle 7 and Treble 7 and tweak from there. Volume varied.
     
  13. homesick345

    homesick345 Poster Extraordinaire

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    Do you know the Cezar Diaz / SRV story (about this subject)?
     
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  14. Larry F

    Larry F Doctor of Teleocity Vendor Member

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    No.

    Please.

    What is it?
     
  15. VintageSG

    VintageSG Friend of Leo's Ad Free Member

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  16. homesick345

    homesick345 Poster Extraordinaire

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    Well it's Cezar Diaz who told the story in couple printed interviews.

    Stevie had his settings set in stone, & he would stick to them like a fetish - he was very superstitious about them treble 6.5, middle 4.5, bass 4 (or something very similar). Bottom line he was stubborn & would never change his Fender settings

    Yet he would keep asking for his amps to have more cut & clarity above the band. To Cezar that meant of course a big boost in the mids. But knowing Stevie ; he would do it "behind his back" - he would rig the middle pot as to be almost flat open when set at 4.5 :) - tricking Stevie into his fetich setting; while improving cut & clarity noticeably.
     
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  17. wyclif

    wyclif Tele-Afflicted

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    Jimi Hendrix settings for his Marshall amps: set everything to the max.

    Hendrix usually turned all of the amplifier's control knobs to the maximum level, which became known as the Hendrix setting.


    https://en.wikipedia.org/wiki/Jimi_Hendrix
     
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  18. Larry F

    Larry F Doctor of Teleocity Vendor Member

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    Got it, thanks.
     
  19. cousinpaul

    cousinpaul Friend of Leo's

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    I repositioned the volume knob one time to tame a loud bass player with hearing loss. TTBOMK, he never caught on.

    Anyway, good point about shaft vs knob position. Even small descrepencies can make an audible difference.
     
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  20. ricknbaker

    ricknbaker Tele-Afflicted

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    ..and Pete's Vibro King settings for a Strat:

    PeteVibroKIng.jpg
     
    Last edited: May 31, 2017
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