Ppl with OCD tendancies shouldn't 'dial up tones'

[alanp]

Benrocky's board is what I'd call simple.

[Benrocky]

A simple board for a simple man

I do have space for one more....maybe i should start a thread called 'fill my pedalboard up'.

[rickenbackerkid]

I'd describe the bbrunskill pedalboard as "well executed" or "well thought out" or possibly even "well organised" before simple though.

Thank you sir for the kind words and it has 26 knobs.

[NZRS-Dave]

Hey OP ... you've got it wrong ... 'tone', and the idea and pursuit of, creates OCD.

You're welcome.

[rob_on_guitar]

Yes, our friend war wolf blessed me with my new found OCD by giving me the toneport KB37.... with toneport/pod farm plus I already had licenses for pod stuff previously...


Today I spent a mere 4 hours looking for 'that' tone, came pretty close, and now Ive finished recording a grand total of 12 seconds with it. Now I search for my next tone, thank god you can save custom tones!!

[RUDENBARK]

In my defence!
(lol)

a) I'm NOT a fan of Blink 182. The other two however are HUGH fans of them, which is why we're covering several of their songs.
b) Usually not much of a tone-hound. I have a couple of banks of 'standard', different sounding tones that I by-and-large stick to. Covers most bases, just tweak the closest sounding one if I have to change anything.
c) Finally got a band (after much effort and several false start these last couple of years) that doesn't suck and seems to be working out pretty well. Different-but-similar tastes in music, in it for the music, and gagging to just get out and play.

Don't normally bother too much with tones, close enough is good enough. But being that things are actually looking up, thought that now would be the time for getting this sort of stuff in order, especially with this comp next week.



......but yeah, probably did go a little overboard with this one, and a bloody Blink tone to boot Ah well, really does sound awesome though (for the comparison), so all good I guess.
Just wish I could be bothered downloading Guitarport, would upload it to skite a bit, lol.

[NZRS-Dave]

The other two however are HUGH fans of them, which is why we're covering several of their songs.

Oh to find a pic of Hugh Grant and Hugh Hefner and adding a "huh ... wtf?" to them.

[RUDENBARK]

The other two however are HUGH fans of them, which is why we're covering several of their songs.

Oh to find a pic of Hugh Grant and Hugh Hefner and adding a "huh ... wtf?" to them.

Yeah, I suck at spelling.
Always have always will.

Tom uses no effects at all live, and plugs straight into the amp. He uses no reverb, and he gets his clean tone by maxing out the master volume on a Marshall JCM900's distortion channel, while keeping the Gain on about 2. This then comes out of a 4x12 cab with Celestion 25-watt Greenbacks. For his Mesa Boogie Triple Rectifier, he has two 4x12 cabs loaded with Celestion V-30's. He switches between the two (in 1999) by a Whirlwind A/B selecter. He also uses a Boogie Mark series amp, a Marshall JMP-1 pre-amp, and a MESA Triaxis pre-amp. His Microphones that he uses to mic his equipment are the following Shure mics: Guitar Cabinet: KSM32 Guitar Cabinet: SM7A Monitors: PSM 700

When recording Box Car Racer, Tom used a Matchless, a Dumble, and a Hiwatt amp, and he would split the guitar signal so it would run to the three amps at once. He would then record them onto seperate tracks each, and fade them till it was how he wanted it to sound, then he would mix it down to one track, and do the same thing again.

--------------------------------------------------------------------------------
I have found these settings are true to the sound Tom had when he played SNL:
P: 1:00 - 2:00
G: 1:00 - 2:00
B: 7:00 - 8:00
M: 8:00 - 9:00
T: 2:00 - 3:00

All these numbers are theoretical positions arcording to a clock, meaning the specified position is where the dot on the knob should be alined. (Thanks to Sacs for these).



Happy tweaking!

Similar, but different.
For the tone I was after, he actually uses a Mesa Boogie Triple Rectifier and a Marshall JCM900 at the same time, the basic idea being using the M/B for bottom end and distortion and using the JCM900 for clarity and top end. With the JCM900, all the blurb I found claimed it was the cranked clean channel, but listening to it it's definitely the distortion channel.

{Coincidentally, as I told the guys - "Hard case thing is, apparently the guitarist (Tom?) uses a setup that I came up with myself (here I was thinking it was a cool setup that 'noone else uses', lol)."}

The 'no reverb' thing I only just noticed today actually (only cause I ended up dialing in some reverb on some other tones, jiggle my memory at not having to use any).
Have both the gains cranked 100%, adjust the mix between the two with the masters. Worked on the individual amp settings seperately (ie one at a time) to get them as close to the sound as possible, then put them together. For the basics, that works out pretty well.
For tweak, used a ProCo Rat to give a bit of boost and tone to the JCM900. Then popped an equalizer on each channel and tweaked each individually.
That was ALMOST enough, but wasn't quite hitting the bottom end *just so* so added a Boost/EQ stomp to the M/B and gave it a little more power and bass.
By and large, that was it. The rest was just mucking around, fine-tuning amp settings and EQs.
Double checked today to make sure it wasn't just my ears saying "That's enough!", lol. Yep, nailed it primo.



Actually, playing with that stuff, and in light of some recent comments/experiences....
http://www.nzguitars.com/forum/viewtopi ... 2&start=30
.............it reaffirmed for me just how much of a difference a bit of EQ can make! It all sounded pretty good without EQ, but with EQ it just stood out sooooo much more, like taking cotton wool out of my ears.
But I know there's a few guitarist that say if there's any single pedal that should be on a board it HAS to be an equalizer. I'd be quite inclined to agree.