pope's forum posts 35

Title says it all really. I've given a good bunch of submissions with a few amp and drum companies' "endorsed artists" pages, and I just wanna make sure they are acceptable for future submissions of the same kind. Cheers !

About 2 years later... I'd just like to add something to Jim's statement regarding the Afterneath : I used to think the same : the Afterneath is an ambience machine and can't be used subtly. BUT who barges in but Joe Barresi doing a studio tour a while ago on Youtube ! And he says he uses the Afterneath regularly on vocals ! I've tried it with a friend's Afterneath, and it definitely fits vocals well without becoming too crazy... Not surprised to hear it can sit well in a mix.

Hi ! It'll depend on a lot of things, and I can see your gear... Metallica fan ? ;)

I think we'll get a lot further if you cite the kind of sounds you're looking for, especially if you can mention some examples (guitarists or just songs).

You've got a solid all-tube amp, most of us will agree that most of your distortion should come from your amp. But you can indeed boost the distortion and make it sound grittier or smoother with the right overdrive pedal. That'll depend on the examples you give.

Of course, you might want to use pedals for other effects than overdrive and distortion : all kinds of modulation (chorus, phaser, flanger, vibe, ...), wah, delay, reverb, fuzz, vibrato, etc... If you're into Metallica's kind of metal, you might want to highlight phaser, delay and reverb, though some others might be able to help me here : I'm more into early Muse stuff, and Matt Bellamy around Origin of Symmetry and Absolution used a lot of fuzz and phasing, but also pitch shifting, delay, and all kinds of crazy stuff just for the sake of making weird sounds. I'd say that in that regard, bands like Metallica are more "conservative". All effects are fun, and they can all serve a song in different ways. But I think the most natural - and probably the best - way to approach pedals for the first time is to get a few pedals while aiming for some specific tones, and then exploring other weird stuff that inspires you.

I've tried quite a few ODs and I must say I'm in love with the Westwood by EQD. I know I sound like an EQD fanboy who's sold on the latest OD pedal they released, but it's seriously good man. The drive goes from clean boost to moderate distortion, and the best thing about it is the EQ section. It's active so you can boost and cut bass and treble. That means you can get many, many, many sounds including : - Gain at 9 o'clock, Treble slightly boosted -> Your guitar, but better. - Gain at noon, full Treble and a slight Bass boost -> Thee Oh Sees-style twangy zingyness. Roll the treble back for King Gizzard territory. - Full gain, bass boost -> Green Machine !!

Hi mods, any way you could get rid of the cymbal I accidentally added to Chester Bennington ? Don't even ask. Also, I submitted a small bunch of pedals to Josh Homme before being informed the source photo from a TCV gig was actually Alain Johannes' board... Should they be deleted or just re-attributed to Alain ?

Yes, and in an ideal world the ability to also account for homemade clones, I can think of 2 ways for now : - Counting a clone as the original but with the ability to add one's picture and slight mod details as an aside, - Show the clone as a product with its maker's design but mention "clone of : " and maybe "count it" as the original i.e. still show the cloners as users on the original pedal's page with a special mention, different colour, or else.
BTW There must be a small bunch of pro musicians who clone pedals as well, all I can think of now is RATM's Tim Commerford.

If you want to follow the original TS9 circuit, with no added mods, this would be your stripboard layout : http://tagboardeffects.blogspot.fr/2012/02/ibanez-ts9_17.html I'd say if you're ordering on Tayda for example, you'd spend about a buck for resistors and caps, one more for the IC and trannies, 3 pots at 55 cents each, price should be checked for the diodes, but the board in itself would cost around or under $5, board and necessary solder included. As for the offboard stuff (the general box), if we keep Tayda as a reference, you'll need a 1590B box, which sell at $5 plain and $5.50 coloured (a deal!), a 3PDT footswitch ($2.50), two jacks, a DC power jack, and LED with its bezel/holder. So basically it'll add up to $20, taking shipping costs into account. Not bad considering most other pedal designs, unless they use particularly expensve components or a shitload of pots and switches, should be in the same price range to make! The only hassle is of course having to solder (not necessarily a hassle actually - you can grow to enjoy it as a kind of meditaion), drill the appropriate holes into the box (more tiresome), and if you wish, create a cool design (you can go the "hour or two on Illustrator" route or the "pop out a Sharpee route", both are different but just as great IMO).

That's what I was thinking till now, yeah. What about modded pedals then? I suppose an added volume control for some clones doesn't change much philosophically, but how 'bout phasers / tremoloes with added tap tempo, or a Klone with added Fat switch and soft clipping switch?

About your guitar... Got the same issue here. Jim suggested adding it as a new item with a personal picture, which I did, but I agree that we should get some better functionalities going about the wonderful, wonderful world of DIY.

The circuits are home-made on stripboard, but are modelled after the original schematics. So apart from the offboard stuff, the provenance of the components and a few substitutions here and there, the boards are the same.

Yup, got the same problem. I've built about 10 pedal clones and I put a few on my gear page as the originals, but I was wondering about whether it would be better to post them as I designed them with their own artwork, especially since I'I've gt about 30 new ones on cue to make this summer... Or as it was suggested, maybe a cool new functionality that could be added on the site?

Hi all!

I just added the legendary Max Roach to EB after finding a few cymbals of his listed on Zildjian's site.

And creating his artist page got me thinking, what should/could we do when the time comes to add bands/groups to jazz artists like Roach who didn't have a "stable" band, but instead made collaboration albums with everybody?

I saw there are a few bands registered in the style of "Dizzy Gillespie & Miles Davis", or "Thelonious Monk & Charlie Parker", but what do you guys think could be done better, if not just leaving the artist without a band?

Just throwing it out there.

What's the difference between a jazz guitarist an a large pizza?

The pizza can feed a family of 4.

It's all in the title, really. What do you admins say?

I know acoustics are the easy way out in this thread, but nevertheless...

This guitar (https://webshop.cashconverters.com.au/thumbnail/425x260/2507171-segovia-sjc33e-acoustic-guitar-0.jpg) is a Segovia. I picked one up just like this one, but in a dark grey burst, one day just because it was there, it was 30€ and I must have been feeling pretty optimistic.

It is literally UNPLAYABLE. Varnish is all scraped up? Never mind. The fingerboard binding on the side of the neck is falling off? NEVER MIND. Because that doesn't have that much of an impact on the ease of play, compared to having the strings half an inch high at the 12th fret... Of course there's no truss so the only option would be to un-glue the bridge, sand it down a bit and glue it back since both the nuts are at their lowest.

I'm sparing you the rest... It still served me as a good lesson though, not to spring on every shiny new piece of gear you see in person before thinking it over rationally. I consider it a passage to guitar adulthood.

The funny thing about Marilyn Manson is that he literally couldn't harm a fly. As it's been said countless times, the whole image and character is made to shock (hardly the first person to do it, by the way I just thought of Alice Cooper as a similarly povoking yet calm and erudite rocker). But behind that, you hear him talk in some interviews (and defending himself in COURT), you read some of his lyrics and you get he's a clever man. My mother's a big fan and always told me he looked like he was picked on a lot at school.

Other favorite : A guitarist is a person who takes 5000$ worth of gear, in a 500$ car, to do a 50$ gig.

Q : What happens when you play a blues record backwards? A : You get out of prison, your wife comes back and your dog ressucitates.

Hi guys,

I've been having another weird DIY idea in my head for a while now and I'd like to ask you whether you specialists think it's feasible.

Basically, I'd like to build an easily customisable "building block" amp, with a fixed power amp but with REPLACEABLE PREAMPS.

For example a 2 or 4-tube power amp before which one could fit various preamp clones, so you just switch between a Fender, Orange, Ampeg, Vox, Diezel etc... in reasonable-sized enclosures.

The advantage compared to simply having different heads would just be cheapness : I'd love to get into building loads of tube amps, but getting 2 transformers and power + rectifier tubes for every build can get pretty expensive pretty fast. This way, you could build amp clones without some of the tricky components. Of course, the power amp section being the same will affect the sound, but does it change it any bit as much as the preamp does?

Maybe this has even already been done! But I was wondering if it's doable, wattage-wise (I know slaving is common practice but does it work unconditionally?).

Thanks for thine help!

Okay now here's a crazy man with a crazy sound:

https://www.youtube.com/watch?v=kMd2MUGVFu0

I went to see him live some time ago and he had his usual 3/4 size acoustic, a little Blackstar OD (the yellow one) and a Fender combo (likely Solid State according to various sources). Proof that the magic is in the fingers...

I'm an absolute novice in guitar recording, microphone choice, placement, etc., so does anyone have advice to get close to Richard Dawson's sound? For example where the mic should be placed, since we can quite clearly hear the reverberation of the room it's being played in... and I find that delicious.

Thanks and here's hoping this thread comes alive again!

Hi guys, here's a new one : https://www.youtube.com/watch?v=fCkgs5nBgZM Having discovered this perfect song, I just had to go try and imitate that bright, twangy, biting sound.

I've got a pretty damn accurate sound using my current setup (homemade guitar with Bare Knuckle MQ P90s -> Boss SD-1w minimum Gain -> necessary delay -> Orange AD15 with half Gain, Bass at 2 o'clock, Mids rolled down and TrebIe near max).
I know one shouldn't deserve using an Orange if it's to cut off the mids, but hey it's not an everyday sound. The amp and pickup are both already middy enough on their own for this sound.
I must say my clean tone on the neck pickup in the beginning of the song works just fine, but I was wondering about the more distorted sound that comes just after that. I can get pretty close but it's still missing a bit of that upper mid bite. Maybe I sould try EQing it, but it may make it sound a bit artificial.
I know I haven't really emitted a question yet, so I guess my main question is, would a Tele or Strat bridge pickup sound more the part? I've never played any of the two myself, so I'm not really able to know their characters compared to my bridge P90.

I finally managed to get some linkable photos online! Had to create a fake ad for it but here it is : https://www.leboncoin.fr/instruments_de_musique/1027488365.htm

Helloooooooooo

I've got this crappy little SS amp I found for 5€ at a second-hand junky shop, and I can't find a single piece of information about it. Worst thing is, there's a logo on it and i've never even seen it before. No idea what instrument it was originally intended for.

Until I find a way to upload photos online that I could link to (i.e. not facebook, if anyone has an idea you're very welcome), here are a few attempts at describing it:

• The logo is 3 "m"s slightly diagonally stacked (bottom left to top right, about 15 degrees from vertical)
• Named "JAZZ AMP 10", written on the front face above the speaker, following the logo
• 32x32x19cm (about 12.6"x12.6"x7.5")
• all tolex-like black
• one speaker, about 7" and unbranded
• Top face : input jack, V, B, T, Reverb, Headphones, Red I/O rocker switch

That's basically it. The reverb is quite a feat of soundslikeanythingbutreverb-engineering, but I quite like this little amp for its overall loudness and high mid punch (well actually those seem like be the only damn frequencies it's capable of spitting out). Bittersweet, Funny Valentine love affair.

Thanks in advance!

I've used quite a few wierd tunings but my favorite must be a variety of Oud tunings that go : CGDGC, CEDGC or CFDGC.

They all sound very different but are great for messing around with your normal patterns and see how they sound!

I use the first one on a great-sounding Spanish I removed the frets from, it's crazy how unlike a spanish classical guitar it sounds. It's just tender, weird, oriental and warm.

Hi all,

I've only just had the thought of trying out some of the tubes I have lying around on my Orange AD15.

The amp uses 2 ECC83s, and I have the following within the same family :

• 2 12AX7s (same thing if I'm not mistaken) -- Brimar and Miniwatt/Dario
• 2 12AU7/ECC82s -- Miniwatt/Dario
• 1 ECC81 (=12AT7) -- Miniwatt/Dario
• 1 EC86 -- Mazda

My question must be very basic, but I just don't know enough about these things!

If I want to switch some around, which ones may I use or not use, and in what order? Must I use 2 identical tubes at all times?

You're in luck, bassist here. Sounds great, didn't know the Swans at all so thanks for that! The bass sounds lovely and deep but shiny, a bit muffy especially at the beginning. Certainly neck pickup, played with a pick and just get the right EQ (just subtle enhancing) to help. It's all about that lowish vocal mid that basses have naturally anyway. The playing seems simple enough so that's one thing less to worry about! Maybe add a bit of drive, my Big Muffs do a nice scrunchy tone very similar to that. Playing on a more modern voiced amp could help (Hartke or Gallien K. over Ashdown or Ampeg) but that's really not as important as the rest.

Sometimes I just wish I lived in the US... Just saw the 2 beautiful Ampeg VT-22s on Reverb.com under 500$, and the same one is going in France for 1200!

Just fell for the Orange AD combo, looking forward to all that will follow.

Until then, off to the soldering desk to build that Catalinbread SFT clone! Seems like a nice homage to the Ampeg drive.

That's exactly it, I believe finding one's own guitar sound comes out of an equal mix of experimenting and being a fanboy. I'm looking into the AD15 and then the TT if it doesn't work out. Once again, thanks for the advice...

Okay, I suppose best bet for now is on the TT then. The OR15 opportunity just dissapeared 5 mins ago, but the TH30 seems very similar according to the comparison demos.
Any opinions on the AD15? It's the only UK-made one in the list, as well as the only discontinued one (though that doesn't mean much). I'm in France / UK but France most of the time, so opportunities are relatively thin with a max of 500€.

OK so since this thread hasn't been active for a small while I'll allow myself to spread out my issues:

I'm really in love with Josh Homme's tones (especially albums Rated R, Deaf and Lullabies, this sound is bliss to me: https://www.youtube.com/watch?v=VxX5Mj9Fc8A) and am now seriously looking to get an amp. I've got the following possibilities:

Orange Tiny Terror / Dual Terror / OR15 / AD15 (12") combo / TH30 combo

Marshall JCM 900 4102 / JCM 2000 TSL601 / JTM60

Ampeg GVT52-112

I've heard the Ampeg GVT series can be a risky choice in terms of QC but have no idea whether the sound can get anything like the old VTs.

I've been trying a JCM and a Dual Terror recently and I must admit I prefer the Terror generally... but the three non-Terror series amps here seem to have very different voicings, and perhaps more potenial gain and shaping in them.

I don't know if I'm willing to take the risk to choose one of the single-channel amps (OR15 and AD15), knowing I won't often be playing at earplug-high volumes and would like at least a bit of versatility since it'll be my first tube amp, but then again if one of them does what it does well I'm willing to go for it.

What are your experiences with these? Which ones would you recommend the most for an amateur who likes the sound linked above?

PS: Consider pedal possibilities to be vast, I'm ready to clone anything it takes ;)

Thank you so much for your amazing advice Jim, I'll have a long look on those amp threads. :)

In reply to Dukeuke , that sound is awesome!! I haven't tried that pedal in particular and that no.7 "loop" setting isn't common to all delay pedals, but that'll definitely be the secret to that sound. You will indeed be needing that pedal or maybe another one with a loop function, I don't know which other ones are available.

Actually i've just got a good look at the video by putting it in HD, and could just make out it's actually Repeats near zero and Time at 3 o'clock, if not a tiiiiiny bit before .

I'm always surprised at how much cheaper and more interesting Digitech pedals are compared to their Boss counterparts. Having said that, I have yet to try a Behringer delay..!

I know for the Soldano, right? I added it to my board cause a friend of mine owns it and lent it to me for a short while, he's a guitar teacher and absolute tone purist, and I must say it delivers more that anything I've ever heard.

He's using it as a Petrucci + Satriani megafan, but I think it can really strech to anything.I might be able to fetch some mediocre quality sound bites if you like.

Same thing goes for the Supercharger pedal, which is really just the lead channel in a box.

I can indeed see it's all about those kinds of amps, and I'll be trying the JCM shortly and am starting to look around for a vintage amp, not as easy as one might think when you live in the middle of... not nowhere but close.

I'm thinking of making a Catalinbread SFT clone as well, to see how that compares with other peds. Should be able to get some sweet sounds from there!

I'm not necessarily interested in Doom etc but am just in love with the Homme tone, and trying to get something that growly and harsh with P-90s. (I know I won"t be covering the whole repertoire till I get some humbuckers, but Rated R + Deaf era is working out quite well.)

EDIT: I've just been looking around for current offers, there isn't much in the vintage range but it's tasty:
* Carvin XV 212 ; early 80s for 450€
* Fender PA 100 ; 1971 PA amp but usable with a little EQ? Looks so cool. - for 150€
* Super Symponic (unknown brand) ; 1950s, looks deliciously like an old Gibby EH clone, the red one if you google 'super symphonic ampli' - 250€

And a few recent amps caught my eye as well:
* Orange Tiny Terror for 280€
* Orange Tiny Terror + 10" Vox cab (Celestion) for 350€
* Orange Dark Terror for 400€
* Soldano JCA 20H + 12" Soldano cab (Eminence) for 250€
* Traynor Darkhorse DH15H for 220€
* Traynor YCV50B combo (1x12 Celestion Vintage 30) for 500€
* Randall RG50TC combo (1x12 Celestion 80) for 390€
* Brunetti Maranello (1st version) combo (1x12 Jensen) for 450€

Which one(s) would you recommend? The guitarist in my band uses a Maranello and it sounds gorgeous, so that would definitely be the default choice for a versatile rock amp right now...

(Sorry if this is getting out of subject, I could move this elsewhere if needed)

Thanks a lot for the great advice guys.

I don't own a proper amp yet, and being on the wrong side of the pond and on a student's budget means I can only dream of owning a VT-40 one day... But I'll soon be borrowing a JCM-800 from a friend, looking forward to that..!

Okay so here's one I've always been fascinated by:

https://www.youtube.com/watch?v=XuE23V56Z8c

There are loads of great tones all through the song but what I'm wondering about is the slide tone that arrives clearly around 6:15 and stays to the end. That tone just feels like it's breathing, dilating, it's blinding like the sun and the best way I could describe it with a made-up word might be sth like "bweezy" (any better suggestions?).

I know it's a slide but it also sounds a bit octavey; is it one guitar tuned to get two strings an octave apart or could it be 2 superposed recordings? I know amp-wise he's using only a Teisco Checkmate 25 and the old Gibson EH-185 across the album, which one might it be here?

Thayunks guys \m/

A church of many, MANY followers.