Members Lotus Feet Posted July 21, 2011 Members Share Posted July 21, 2011 ...... Link to comment Share on other sites More sharing options...
Members Rampage Posted July 21, 2011 Members Share Posted July 21, 2011 It really sounds like a Mesa/Boogie Mark III would meet all of your criteria aside from your $500 budget; they seem to go for $700-900. Link to comment Share on other sites More sharing options...
Members RSBro Posted July 21, 2011 Members Share Posted July 21, 2011 220hz just boost it Link to comment Share on other sites More sharing options...
Members Valtiel Posted July 21, 2011 Members Share Posted July 21, 2011 Basically, I want a veeeeeeery dry, crunchy-y type of tone(think Opeth's "Deliverance"/"Ghost Reveries"); This bit confused me. Deliverance is a very dry but really heavily processed guitar tone and Ghost Reveries is a dripping wet saggy Mesa Recto tone, almost opposites IMO. Link to comment Share on other sites More sharing options...
Members Valtiel Posted July 21, 2011 Members Share Posted July 21, 2011 Really? Then I guess I got my terminology a bit wrong. Maybe I was referring to the tightness of the tone in both of those albums? I'm not really a gear person, so please do excuse me if I'm mixing up this stuff. No worries! Before Ghost Reveries I was used to Still Life/Blackwater Park tones which were definitely quite tight, especially Still Life. When I picked up Ghost Reveries the very first thing I remember thinking was how much looser and spongier the tone was, still not a very big fan of it to be honest. But to answer your original question, "dryness" and tightness typically come from a very controlled low end. The more low end you pull out of a heavily distorted guitar tone the more stiff and mechanical feeling it becomes, the X3 will likely give you much more flexibility in this regard. Link to comment Share on other sites More sharing options...
Members Rampage Posted July 21, 2011 Members Share Posted July 21, 2011 Really? Then I guess I got my terminology a bit wrong. Maybe I was referring to the tightness of the tone in both of those albums? I'm not really a gear person, so please do excuse me if I'm mixing up this stuff. You must be one of those people who actually cares about how well they play guitar. We only care about tone here. While a Mark III could be out of your price range, there is the Mesa/Boogie Studio preamp which has that Mark series tone. That with a solidstate power amp would give you some tight, dry tones and end up being more affordable than the MKIII. An older Laney would also probably do the trick. I've seen GH50Ls go for less than $500 and the AORs go for dirt cheap. Link to comment Share on other sites More sharing options...
Members thefyn Posted July 21, 2011 Members Share Posted July 21, 2011 HD500 X3 Link to comment Share on other sites More sharing options...
Members grunge782 Posted July 21, 2011 Members Share Posted July 21, 2011 See if you can PM Cavemanic. He should know. Link to comment Share on other sites More sharing options...
Members sled Posted July 21, 2011 Members Share Posted July 21, 2011 Basically, I want a veeeeeeery dry, crunchy-y type of tone (think Opeth's "Deliverance"/"Ghost Reveries");but I want to be able to play complex jazz-y/Allan Holdsworth-y chords(i.e. lots of 9ths, 11ths, etc.) and get outstanding note definition.this describes a Elmwood M90 to a tee. Problem is it's way more than $500. The M90 has an extremely thick and dense distortion but with a lot of note separation... and can be dialed very dry doesn't OPETH use Laney amps. Link to comment Share on other sites More sharing options...
Members Valtiel Posted July 21, 2011 Members Share Posted July 21, 2011 this describes a Elmwood M90 to a tee. Problem is it's way more than $500. The M90 has an extremely thick and dense distortion but with a lot of note separation... and can be dialed very drydoesn't OPETH use Laney amps. They endorse Laney's but i'm pretty sure have only ever been used for lead tones in the studio and as power amps live for Boss GT-6's and now AxeFX's. In the studio it went from early Marshall's with Boss HM-2's to Peavey 5150's to ENGL's and then the Laney mixed with Rectos and the latest was JVM + Recto. Link to comment Share on other sites More sharing options...
Members sled Posted July 21, 2011 Members Share Posted July 21, 2011 They endorse Laney's but i'm pretty sure have only ever been used for lead tones in the studio and as power amps live for Boss GT-6's and now AxeFX's. In the studio it went from early Marshall's with Boss HM-2's to Peavey 5150's to ENGL's and then the Laney mixed with Rectos and the latest was JVM + Recto.Thanks... Link to comment Share on other sites More sharing options...
Members Rydock Posted July 22, 2011 Members Share Posted July 22, 2011 See if you can PM Cavemanic. He should know. this Link to comment Share on other sites More sharing options...
Members exafro Posted July 22, 2011 Members Share Posted July 22, 2011 The Line 6 stuff can get you there if you only want it for recording. Dual tone patch, Big Bottom/Uber is what I used to use and I had fantastic results with it. Link to comment Share on other sites More sharing options...
Members DeadNight Warrior Posted July 22, 2011 Members Share Posted July 22, 2011 This bit confused me. Deliverance is a very dry but really heavily processed guitar tone and Ghost Reveries is a dripping wet saggy Mesa Recto tone, almost opposites IMO. The other thing throwing me off is that Opeth have never had guitar tones that are all "djent"-like. AFAIK, Ashton amps are an Australian thing. So assuming you're in Australia, that makes things a lot harder with that budget. The $7-900 they're talking about for a Mark III... not a chance here. Link to comment Share on other sites More sharing options...
Members MadKeithV Posted July 22, 2011 Members Share Posted July 22, 2011 The Line 6 stuff can get you there if you only want it for recording. Dual tone patch, Big Bottom/Uber is what I used to use and I had fantastic results with it. +1 On the pre-HD POD series (including the HD147 and Vetta I/II), Big Bottom does a great medium between dry, tight and thick. There is also one other Recto model (the Line6 treadplate I think, but it's been a while) on the HD147 that can be dialed in to sound pretty close the bone-dry crunchy Lamb of God tone. The Criminal model (5150ii) also does another flavour of the dry/tight/thick tone, it can get more thick and saturated than the big bottom before it starts to loosen up. On the HD500 the recto model is a bit on the dark side for this tone, the Bogner model is too wet and spongy, the Engl doesn't sound very good anymore on the latest firmware updates, but you can boost the 800 model for fun and profit. Lots of tweaking though - I have one patch where the unboosted 800 is very dark and dull, but with the boost it's suddenly bright and edgy. But really you're going for two different tones at once. For the open chord tones you want to use very little distortion. You'll want much more if you're doing heavy single note djenty riffs. Link to comment Share on other sites More sharing options...
Members DeadNight Warrior Posted July 22, 2011 Members Share Posted July 22, 2011 Just how {censored} is the OD channel of that Ashton (have never played one)? Have you tried boosting 'n' {censored}? Link to comment Share on other sites More sharing options...
Members DeadNight Warrior Posted July 22, 2011 Members Share Posted July 22, 2011 Sounds too, uh, "vintage"-y. Palm mutes sound too flubby, even with the bass all the way down. Works slightly better with the EQ in the loop, but still not enough note definition for complex chords. (Although, I must admit, I'm not sure if I'm using my EQ right). Could it be my pickups, though? Or the fact that it's a 1x12 (I think?) combo? Flubbiness could possibly be fixed with a boost of some sort. Something that cuts the low end in front of the amp could help tighten it up a lot. A lot of guys like TS style overdrives for this (of which there are many around... drive down, level up, tone where ever it suits you), I generally prefer a clean boost of some sort (like an EQ). Could be a lot of things though. Could be helped by a boost. Maybe a pickup change could help (although with your boost, you're also essentially re-shaping the guitar sound before it hits the amp). Maybe the combo or just the speaker in it is the problem. If you've already got an EQ, try that in front of the amp to see what results you can get. You might find it tightens it up and sounds good, except now there isn't enough low end. Which is why you'd also put an EQ in the loop to bring the post-gain low end back up. But at this point all you're doing is pissing about and testing things out. Might as well if you've already got it there, and if it works out, buying another EQ or a boost pedal or whatever would be cheaper than a whole new amp. Link to comment Share on other sites More sharing options...
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