Best Doom Sound?

doom as in doom metal? low treble setting on the amp is a good start lol, but then a fuzz(swollen pickle, fuzz of war, or blast furnace, something that has a lot of gain) into a british amp like an orange, or vox, maybe a new hughes and kettner, ive never played one but ive heard so much good stuff about them im also unfamiliar with ur amp so idk how those fuzzes would sound into it, and keep in mind i dont really play metal outside of black sabbath but this is what i think of when i hear doom metal.

as for a pedal that sounds like an orange i dont have a clue ive never really looked for one that emulates their sound

the prototypical doom bands used old oranges, matamps, old laneys, sunns and ampeg V series amps, the odd hiwatt or sound city, tryanors... ou saw the odd marshall too. Mosnter Magnet seemed to favor 800s and JMPs of some sort and Homme used a 900 into an SVT 8x10 in Kyuss, I don't know what the cool kids are using now but it used to be a big 70s head turned up super loud with maybe a fuzz device out front but not turned on all the time. Some guys favored big muff type distortion-masquerading-as-fuzz but you saw a lot more interesting stuff too. There's a stoner rock end of it and there's a KYUSS type desert end of it... both downtune ala Iommi usually but not as a rule. Its like, anything goes with that sort of stuff as long as you tune down a whole step minimum maybe drop C? and play loud. REALLY loud. I wouldn't count on a pedal into clean amp tog et me tehre. You need a good 50 watts and clsoed back cab of some kind and you need to work the amp mercilessly at volumes hat create this painful bubble of frequency.

For the OLD orange sound, the matamp type sound in a pedal I think your main option is the discontinued Monarch by EQD. I would still slam it into a loud tube amp. but its just a facsimile, maybe you would get close if you played loud enough..

the Sabbath sound, the old sound, is a stock laney supergroup and a modded rangemaster boosting it really hard. Not even Iommi knows what was in his old rangemaster but I would suspect that it just allowed more bass through so it was more of a mid-boost. Those old laneys are just starting tog et pricey, they're basically plexis with better transformer sets... the laney Klip amps that followed the supergroup are just a supergroup with a boost built right in and are a good value in vintage brit heads. Selmer treble and bass heads do the business for this sort of music too.

Stay away from vox for doom, the lows aren't tight enough and the mids are too full, not even an old AC50 or AC100 will fit the bill. Even in marshals you're generally looking for like a superbass or 800 series bass head, not the guitar heads or if you get lucky and find a marhsall major that'll get you there if you survive the intense volume.

A couple doom artists I know like to use some pretty drastic boutique distortions. I've seen Fuzzrocious stuff in doom, as well as the Longsword and some others. Chelsea Wolfe comes to mind for that kind of sound, but I think it really comes out to some kind of fuzz or super gainy, grainy distortion and a loud '70s amp like a Laney.

Something like a Bogner Ecstasy Overdrive or even just a cranked up Boss DS-1 would be good, maybe even throw in a good detune pedal for some added low end. Or you could go with an Electro Harmonix Metal Muff is just an all around good pedal (heavy distortion with some fuzz on top), and a couple of notable doom artists have used them.

Also an Orange amp will definitely give you the tone you're looking for, maybe an OR 100 or 15, maybe even a Rockerverb MK II. Hell, a really cool choice would be a Tiny Terror or a Dark Terror.

maybe I don't kow what the doom sound has evolved into, but msot of the enw oranges, especially the terrors are not what I'm thinking... the OR50 and OR100 are literally JCM800s with a darker voicing and that could work, but nothing else in the line seems right to me.... I eman, other than the custom shop ehad all the new designs from orange either voxes or amrshalls with different preamp voicing, and I generally like what they did with the line and all, but if you want a jcm800 for doom there are cheaper routes to that sound like the Laney GH and VH heads thata re all 800 based (as is the Iommi sig model). Or just buy an old 800 and watch it retain its value for an easy resale when you tire of it. I would think the pumpkins trick of a JCM800 into the low gain input with an opamp big muff in line might be pretty doomy. My doom setup was generally pretty Iommi based when I was in a band that did that sort of thing (many many years ago), but I happened to own Marshall superleads back then as well as voxes and fenders, so I just ran with what I had.

Everyone should try a real, old Orange and an old Hiwatt before they die, by the way.

OpAmp Muff is a shout. Definitely check that out, especially if you're going old Orange. And yeah, the OR50 and 100 are just JCM800s. So if you're going Orange, I recommend going used. Their amps, while interesting, really don't offer their own sonic space. Though some of the others in the line actually are quite different that the JCM800 IMO, I find that they get either too bright or too dark really fast and EQing them is a bit difficult. For doom, I think the best way to go is:

Guitar -> Op-Amp Muff -> Reverb? -> Laney-ish amp

there's soemthing about the matamp and 70s orange circuit, probably the cathodyne (aka concertina) phase inverter which is rare in alrge amps and unique to this circuit versus the LTP in every other notable british amp, that lends itself to 'doom' rock. Indeidentally there are number of late 60s and early 70s ampeg circuits that utilize a variaition of this phase inverter. By the 60s fender had abandoned it in every amp but the Princeton series. Even in the 50s fender never put it in the bassman or twin. 30 watt rating was the cutoff for the concertina at fender. Its a great PI in small amps but its not very efficient or hifi when it needs to drive a larger power section. If you use a more powerful pentode driver stage like ampeg did the splitter triode will usually breakup long before you can drive a pair of 6L6es or EL34s at max plate dissipation. For whatever reason Matt Mathias was unphased by this fact (pun intended). The upshot for playing your amp well into power tube saturation is that in something like a GT100 or OR120 the phase inverter will be hugely saturated by the time you manage to overload the power tubes.

Older amps that push TONS of air, tuning C and below, thicc sounding guitars, and gnarly fuzz/distortion pedals

maybe you don't have to, but if you can? well you should!