Members Jody Butt Posted February 27, 2006 Author Members Share Posted February 27, 2006 Hey guys, Thanks for all of the great suggestions. Cheers. I snagged an SD-1 today. The family is gone to bed so I can't really give it a good test, but at low volumes, it looks like this is what I have been looking for. I also dug out my Boss Compressor. It turns out that only the LED was broken. The thing still works. There's much static when I turn the dials, though. Any hints for getting the static out? Anyway, I will definitely try out the Compressor. Any tips for setting the Boss Compressor/Sustainer? I haven't even tried my EQ, yet. That should help quite a bit, too. It looks like this cheap Marshall SS may be workable for me after all. Once again, thanks again to you guys for the good advice. I will post an update tomorrow when I have a chance to mess with all of the stuff some more. Link to comment Share on other sites More sharing options...
Members blues_rocker Posted February 27, 2006 Members Share Posted February 27, 2006 keeley compressor Link to comment Share on other sites More sharing options...
Members Shask Posted February 27, 2006 Members Share Posted February 27, 2006 If you like the SD-1, you might try the Digitech Bad Monkey. Its similar, but is smoother, and gets more low end thump to it. Plus, its cheap I seem to have better luck with it on SS amps, and Better luck with the SD-1 on Tube amps... Link to comment Share on other sites More sharing options...
Members godofmetalguita Posted February 27, 2006 Members Share Posted February 27, 2006 wow i dont like that tone at all, it sure is nice and fizzy... But hey to each his own, seems like u need a new amp buddy, or just give an SD-1 or a bad monkey a try. Prolly an SD-1 for what ur trying to do. Link to comment Share on other sites More sharing options...
Members Jody Butt Posted February 27, 2006 Author Members Share Posted February 27, 2006 Originally posted by godofmetalguita wow i dont like that tone at all, it sure is nice and fizzy...But hey to each his own, seems like u need a new amp buddy, or just give an SD-1 or a bad monkey a try. Prolly an SD-1 for what ur trying to do. Yeah, that recording (the low-res video) makes it sound a lot more fizzy than it really is (in the original recording, that is). Thanks for the advice. I bought an SD-1. I'll let everyone know how it goes tomorrow when I try it out. Link to comment Share on other sites More sharing options...
Members Jody Butt Posted February 27, 2006 Author Members Share Posted February 27, 2006 Update: The SD-1 is working quite nicely. I put the level to 100%, the drive to 0%, and the tone to 55-60%. It does suck some bass frequency, but with the tone not maxed out, I can dial it back in with the amp's eq. It sounds like what I was looking for. More crunch, more attack, more depth. I pretty happy right now. I will try the Compressor and EQ later today. Link to comment Share on other sites More sharing options...
Members DonP Posted February 27, 2006 Members Share Posted February 27, 2006 I get that tone by using my 1992 Jackson RR1 -> Marshall. The original pickups in the axe are the J80 neck and J90C bridge, with an onboard JE1200 preamp (midboost). I'm sure an EQ can probably help dial in the tone as well if you decide to get one. Link to comment Share on other sites More sharing options...
Members Jody Butt Posted February 27, 2006 Author Members Share Posted February 27, 2006 Originally posted by DonP I get that tone by using my 1992 Jackson RR1 -> Marshall.The original pickups in the axe are the J80 neck and J90C bridge, with an onboard JE1200 preamp (midboost).I'm sure an EQ can probably help dial in the tone as well if you decide to get one. Thanks, man. I have a Boss GE-7 that I purchased a while back. I am going to put that in the loop, boost some mids, and see what I can come up with. Is it better to put the EQ before the amp, or in the loop? Any tips? Link to comment Share on other sites More sharing options...
Members OneHappyPappy Posted February 28, 2006 Members Share Posted February 28, 2006 In my experience I think for what you're gonig for it's good to put it in the loop. Link to comment Share on other sites More sharing options...
Members Jody Butt Posted February 28, 2006 Author Members Share Posted February 28, 2006 Another update: The Compressor didn't seem to help much. In combination with the SD-1, it was a bit much . . . starting to feel too fizzy/transistorish. I put the eq in the loop, boosted the 800 mostly, and the 1.6 a little. I took the 400 down a bit, and actually put the 100 and 200 up a little because the SD-1 sucked the bass frequencies out a bit. I took down the higher frequencies a little, too. The SD-1 seems to enhance the high-end a bit. I still have some more tweaking to do. I think I just need to play it loud in order to get the sound I'm after. Metal needs to be loud. Link to comment Share on other sites More sharing options...
Members Nik Posted February 28, 2006 Members Share Posted February 28, 2006 Try puting the amp's bass and contour controls at 10 and the treble control at 0. Link to comment Share on other sites More sharing options...
Members HERCULEES1 Posted October 30, 2006 Members Share Posted October 30, 2006 I allways thought Ozs tone was amazing and he used to have this posted on his website about it ..... He boosts the mids with a parametric eq , and hits the amp hard for hi gain distortion ,I us a 7 band eq pedal and crank the level into the amp for massive gain words from Oz himself.... My earliest rock influences started in my pre-teens when my teenage uncles and cousins were listening to the Doobie Brothers, Deep Purple, the Jimi Hendrix Experience and Led Zeppelin. My dad at that time had a few 8-track tapes of Santana, El Chicano and Malo where the guitar tones had more bite to them than I would have expected pops to be used to!As time went on, I became mesmerized by the guitar tones of Tony Iommi of the group Black Sabbath. I spent so much of my allowance on different types of fuzz boxes and distortion pedals to try to match his tone. My favorite box then was the MXR Distortion +. I ran it into the front of a Kustom 2x12 combo. Eventually I talked pops into springin' for a Marshall stack with a 100 watt tube head. It punished my poor mother severely. A friend of mine, named O.D.,turned me on to an MXR 10 band graphic EQ that I started running into the front of my Marshall head. This is where we start..............Let's start with my "Yellow and Black Attack" tone. I was hacking away at a Karl Sandoval creation.It was a Mighty Mite Explorer body with a Chavel neck...21 frets, unfinished.The body had only one humbucker pickup cutaway in which was placed a Seymore Duncan distortion humbucker. It had a stock strat tremolo bridge that never stayed in tune. I used a Modified 100 watt Marshall tube amplifier with an MXR 10 band graphic equilizer...I plugged my guitar into the EQ and the EQ into the front of the Marshall. On the EQ I boosted 10 to 15db at around 1K... (this causes a lot of noise because you're boosting more power than you should into the front of an amp that already has high sensitivity.) I would also drop a steep slope from 1K back to 100Hz where 100Hz would be set to -10 to -15db. This caused frequencies that would muddy up the distortion tone to be cut. Marshall amp settings were something like this---- master volume- 0, preamp volume- 10, presence- 10, bass- 0 to 3, mid- 8 to 10, treble- 10. The master volume would become my main volume control. In some cases Marshalls go to 20. In that case the above settings should be doubled. This setup should work with most stock Marshall amps... any wattage. All of this was a basis for the rest of my tone search.I used the same train of thought when I changed to Mesa Boogie amps for "Soldiers Under Command." I also switched from the MXR equilizer to a Furman PQ3 parametric equilizer preamp. This was a "LOW - MID - HIGH" section EQ with + or - 20db boosting or cutting. The low section would be set at a narrow bandwidth, 50 to 100hz at -20 db.......mid section at a narrow bandwidth, 1500 or 1.5Khz at +20db......high section at a wide bandwidth, 2000 or 2Khz at +20db. It had an input level control and I set it around 8. The rear input and output had a choice between -10db or +4db jacks. I used the -10db jacks.This setting would work with a Marshall as well.My Mesa Boogie amp was a Mark-II-C long chasis head with a variable voltage transformer for traveling. For some reason this head sounded like no other Mk-II.Originally the Mesa Boogie Co. sent this head to Grover Jackson at his guitar plant in San Dimas for some of his artists to try. It was also said that this head in particular was the prototype to the Mk-III amp still in development at the time.It was obvious that I had to have this head so Mesa Boogie allowed me to buy it and they sent Jackson a Mk-III in it's place. Later on, when I test drove a Mk-III head, my Mk-II-C blew it away.............To this day I still have this head. This head like most Boogie heads has push-pull knobs to change the characteristics of its parameter.It had a lead mode with a pull knob to turn it on and adjust its level and a separate lead gain knob.The lead gain would be set to around 8; lead volume to 10. Preamp volume on the head would be set to 8 or 9 and pulled out; treble around 9 or 10 and pulled out; midrange around 2 or 3 and pushed in; bass around 3 and pushed in. The master volume knob would be my volume control but I wouldn't go past 3- 1/2. The master volume also had a pull gain feature that I would use on occasion. This head also had a graphic EQ that I would set in a "V" shape, dropping out honking mids and boosting lows & highs to my tastes. These settings plus slamming the front end of the head with the Furman PQ3 helped to make that Stryper tone that buzzed through halls around the world and caused many treble controls on home audio systems to be turned off ! I used this setup for "Soldiers Under Command" and "To Hell with the Devil" albums. On "In God We Trust" I replaced my Mk-II-C with a Mesa Boogie Quad preamp powered by a Mesa Boogie Strategy 400 power amp. Mesa Boogie founder Randall Smith personally modified my Strategy 400's to give me more bottom thump! He always took care of me...... Love ya Randy! For "Against The Law" I decided to give the Furman PQ-3 a rest and just plugged straight in to my Mk-II-C! For that album I became a different kind of guitar player, and the extra preamp was too much gain for my new style.Yet when ever I want that tone again, I just plug it back in. Grover Jackson, founder of the Jackson Guitar Co. graciously gave me a collection of guitars that I will always cherish not only because they are great guitars, but because he always went out of his way to help me in any way he could.I still have a bunch of his records he loaned me back in 1989 to help season my guitar playing. I miss those days !.......My favorite guitars of the bunch are my custom Soloists. It's only obvious because to this day I play them the most!!! They have Seymour Duncan Distortion pickups in the bridge position and Jackson PAF type pickups in the neck position. I used them on every album we recorded except for "Yellow and Black Attack" only because I didn't own them yet!!! Recently I aquired an ESP-LTD model. A good friend of mine from ESP, John Gaudesi sent it over for me to check out...............It's pretty cool!!!Another friend, Larry Bolon gave me a Blaze guitar. It has a nice neck. I don't know anything about this company. Anyone with info on Blaze guitars, please E-mail me. Later.......OZ. Link to comment Share on other sites More sharing options...
Members HERCULEES1 Posted October 30, 2006 Members Share Posted October 30, 2006 the key is eq before the distortion whether from a pedal pod or an amp boost mids cut lowsthen eq after the preamp to boost the lows some (on the amp ussually) Link to comment Share on other sites More sharing options...
Members Jody Butt Posted October 31, 2006 Author Members Share Posted October 31, 2006 Originally posted by HERCULEES1 I allways thought Ozs tone was amazing and he used to have this posted on his website about it ..... He boosts the mids with a parametric eq , and hits the amp hard for hi gain distortion , I us a 7 band eq pedal and crank the level into the amp for massive gain words from Oz himself.... My earliest rock influences started in my pre-teens when my teenage uncles and cousins were listening to the Doobie Brothers, Deep Purple, the Jimi Hendrix Experience and Led Zeppelin. My dad at that time had a few 8-track tapes of Santana, El Chicano and Malo where the guitar tones had more bite to them than I would have expected pops to be used to! As time went on, I became mesmerized by the guitar tones of Tony Iommi of the group Black Sabbath. I spent so much of my allowance on different types of fuzz boxes and distortion pedals to try to match his tone. My favorite box then was the MXR Distortion +. I ran it into the front of a Kustom 2x12 combo. Eventually I talked pops into springin' for a Marshall stack with a 100 watt tube head. It punished my poor mother severely. A friend of mine, named O.D.,turned me on to an MXR 10 band graphic EQ that I started running into the front of my Marshall head. This is where we start.............. Let's start with my "Yellow and Black Attack" tone. I was hacking away at a Karl Sandoval creation.It was a Mighty Mite Explorer body with a Chavel neck...21 frets, unfinished.The body had only one humbucker pickup cutaway in which was placed a Seymore Duncan distortion humbucker. It had a stock strat tremolo bridge that never stayed in tune. I used a Modified 100 watt Marshall tube amplifier with an MXR 10 band graphic equilizer...I plugged my guitar into the EQ and the EQ into the front of the Marshall. On the EQ I boosted 10 to 15db at around 1K... (this causes a lot of noise because you're boosting more power than you should into the front of an amp that already has high sensitivity.) I would also drop a steep slope from 1K back to 100Hz where 100Hz would be set to -10 to -15db. This caused frequencies that would muddy up the distortion tone to be cut. Marshall amp settings were something like this---- master volume- 0, preamp volume- 10, presence- 10, bass- 0 to 3, mid- 8 to 10, treble- 10. The master volume would become my main volume control. In some cases Marshalls go to 20. In that case the above settings should be doubled. This setup should work with most stock Marshall amps... any wattage. All of this was a basis for the rest of my tone search. I used the same train of thought when I changed to Mesa Boogie amps for "Soldiers Under Command." I also switched from the MXR equilizer to a Furman PQ3 parametric equilizer preamp. This was a "LOW - MID - HIGH" section EQ with + or - 20db boosting or cutting. The low section would be set at a narrow bandwidth, 50 to 100hz at -20 db.......mid section at a narrow bandwidth, 1500 or 1.5Khz at +20db......high section at a wide bandwidth, 2000 or 2Khz at +20db. It had an input level control and I set it around 8. The rear input and output had a choice between -10db or +4db jacks. I used the -10db jacks.This setting would work with a Marshall as well. My Mesa Boogie amp was a Mark-II-C long chasis head with a variable voltage transformer for traveling. For some reason this head sounded like no other Mk-II.Originally the Mesa Boogie Co. sent this head to Grover Jackson at his guitar plant in San Dimas for some of his artists to try. It was also said that this head in particular was the prototype to the Mk-III amp still in development at the time.It was obvious that I had to have this head so Mesa Boogie allowed me to buy it and they sent Jackson a Mk-III in it's place. Later on, when I test drove a Mk-III head, my Mk-II-C blew it away.............To this day I still have this head. This head like most Boogie heads has push-pull knobs to change the characteristics of its parameter.It had a lead mode with a pull knob to turn it on and adjust its level and a separate lead gain knob. The lead gain would be set to around 8; lead volume to 10. Preamp volume on the head would be set to 8 or 9 and pulled out; treble around 9 or 10 and pulled out; midrange around 2 or 3 and pushed in; bass around 3 and pushed in. The master volume knob would be my volume control but I wouldn't go past 3- 1/2. The master volume also had a pull gain feature that I would use on occasion. This head also had a graphic EQ that I would set in a "V" shape, dropping out honking mids and boosting lows & highs to my tastes. These settings plus slamming the front end of the head with the Furman PQ3 helped to make that Stryper tone that buzzed through halls around the world and caused many treble controls on home audio systems to be turned off ! I used this setup for "Soldiers Under Command" and "To Hell with the Devil" albums. On "In God We Trust" I replaced my Mk-II-C with a Mesa Boogie Quad preamp powered by a Mesa Boogie Strategy 400 power amp. Mesa Boogie founder Randall Smith personally modified my Strategy 400's to give me more bottom thump! He always took care of me...... Love ya Randy! For "Against The Law" I decided to give the Furman PQ-3 a rest and just plugged straight in to my Mk-II-C! For that album I became a different kind of guitar player, and the extra preamp was too much gain for my new style.Yet when ever I want that tone again, I just plug it back in. Grover Jackson, founder of the Jackson Guitar Co. graciously gave me a collection of guitars that I will always cherish not only because they are great guitars, but because he always went out of his way to help me in any way he could.I still have a bunch of his records he loaned me back in 1989 to help season my guitar playing. I miss those days !....... My favorite guitars of the bunch are my custom Soloists. It's only obvious because to this day I play them the most!!! They have Seymour Duncan Distortion pickups in the bridge position and Jackson PAF type pickups in the neck position. I used them on every album we recorded except for "Yellow and Black Attack" only because I didn't own them yet!!! Recently I aquired an ESP-LTD model. A good friend of mine from ESP, John Gaudesi sent it over for me to check out...............It's pretty cool!!! Another friend, Larry Bolon gave me a Blaze guitar. It has a nice neck. I don't know anything about this company. Anyone with info on Blaze guitars, please E-mail me. Later.......OZ. Man, that is some awesome info. I will try putting my Boss Eq in front of my amp. Thanks, man. His comment about people turning off the treble on home audio systems is funny. I do have to turn down the treble some on my car stereo because the highs in the guitar solos punish my ears something fierce! Link to comment Share on other sites More sharing options...
Members petejt Posted October 31, 2006 Members Share Posted October 31, 2006 Originally posted by Jody Butt Man, would I ever love to have one of those IICs. It's like tight crunch heaven. Didn't Metallica also use the IICs during ...And Justice For All? Yup! Link to comment Share on other sites More sharing options...
Members petejt Posted October 31, 2006 Members Share Posted October 31, 2006 If you wanna know more about Master of Puppets & ...And Justice For All, check out http://www.sweetsilence.com/Gearslutznotes.htm Although I HATE cliched 80s hair bands and stuff (Stryper's outfits scare the hell out of me), man I love that guitar tone in the clip you posted! Also that gear info, REALLY detailed! I love it! Thanks ever so much for posting it, it was really informative and interesting. :cool: Good luck with your tone search Jody. Link to comment Share on other sites More sharing options...
Members stangme01 Posted November 1, 2006 Members Share Posted November 1, 2006 Do SD-1's work better as a boost on tube amps than symmetrical clipping of the tubescreamers? I've heard alot of people say they love sd-1s as a boost on tube amps and not so much on its own (i agree with this) Link to comment Share on other sites More sharing options...
Members Jody Butt Posted November 1, 2006 Author Members Share Posted November 1, 2006 Originally posted by stangme01 Do SD-1's work better as a boost on tube amps than symmetrical clipping of the tubescreamers? I've heard alot of people say they love sd-1s as a boost on tube amps and not so much on its own (i agree with this) All I know is that the SD-1 cuts quite a bit of bass (which is good if you have too much flabby bass, and are looking for a more mid-focused sound, anyway). Link to comment Share on other sites More sharing options...
Members petejt Posted November 1, 2006 Members Share Posted November 1, 2006 Originally posted by Jody Butt All I know is that the SD-1 cuts quite a bit of bass (which is good if you have too much flabby bass, and are looking for a more mid-focused sound, anyway). What do you reckon of the James Hetfield's AJFA amp racks I posted? Link to comment Share on other sites More sharing options...
Members ssslayer Posted November 1, 2006 Members Share Posted November 1, 2006 ^ But does that mean that SD-1 would functiuon better than say T00bscreamer? T00bscreamer has mid-hump. But doesn't exactly cut bass. Just that it amplifies the mid frequencies largely. Link to comment Share on other sites More sharing options...
Members ssslayer Posted November 1, 2006 Members Share Posted November 1, 2006 Originally posted by petejt If you wanna know more about Master of Puppets & ...And Justice For All, check out http://www.sweetsilence.com/Gearslutznotes.htm Although I HATE cliched 80s hair bands and stuff (Stryper's outfits scare the hell out of me), man I love that guitar tone in the clip you posted! Also that gear info, REALLY detailed! I love it! Thanks ever so much for posting it, it was really informative and interesting. :cool: Good luck with your tone search Jody. I couldn't make out anything from those "notes" Except taht there was some parametric EQ sorta thing. And mebbe the fact that Metallica really loves tweaking around 120 Hz, 1.2 kHz and 4.6 kHz. Link to comment Share on other sites More sharing options...
Members stangme01 Posted November 2, 2006 Members Share Posted November 2, 2006 an SD-1 IS a tubescreamer, just with asymmetrical clipping vs the symmetrical clipping in the tubescreamer. SD-1 is a TS-9 circuit. Link to comment Share on other sites More sharing options...
Members ssslayer Posted November 2, 2006 Members Share Posted November 2, 2006 Oh Yeah, so the question about asymmetric vs symmetric clipping still persists. Link to comment Share on other sites More sharing options...
Members Jody Butt Posted November 2, 2006 Author Members Share Posted November 2, 2006 Originally posted by petejt What do you reckon of the James Hetfield's AJFA amp racks I posted? Pretty awesome, I reckon. Sure would be nice to have a rig like that. I love the AJFA tone, personally. Link to comment Share on other sites More sharing options...
Members petejt Posted November 3, 2006 Members Share Posted November 3, 2006 Originally posted by ssslayer I couldn't make out anything from those "notes" Except taht there was some parametric EQ sorta thing. And mebbe the fact that Metallica really loves tweaking around 120 Hz, 1.2 kHz and 4.6 kHz. I'm trying to work out all that info too. Alot of the notes, are of the mic preamp settings, especially with the fractions stuff. On the sheets, is listed the settings for the parametric EQ, and the rotary controls. Also the graphic EQ on the Boogie (VERY essential, those frequencies). I think that 120Hz, 1.2kHz, & 4.6kHz, are essential to tweaking the tone. Link to comment Share on other sites More sharing options...
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