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"drive" pedal at the end of your chain?


-Norge-

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Anyone using a "drive" pedal at the end of your chain? I'm thinking like a c-bread CB30 or a Wampler Tweed '57 or something similar?. Any sucess in getting the AC sounding amp outta one of the CB30 at the end of your chain with your other pedals going into it?

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if you run any sort of verb or delay it's going to be unpleasant. if you use phase/tremolo it will be muffled.

 

 

little subjective Mr.

 

When I had my RV-3, I was running it into a distortion clone and it was pretty sweet. Adam Jones from Tool runs all his effects straight into his amp, not the FX loop, or I'm pretty sure. I was getting that cool feedbacking sound cause the reverb/delay was going into the distortion pedal. I only abandoned the setup cause I needed money and had to sell the RV-3 and the distortion clone.

 

To the OP; if the end of chain drive would be just for an additional effect and not a main drive, might as well try it. Or try a drive pedal you have now at the end of the chain to see what its like

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i have my drive at the end of my chain. It just acts as a gain stage for the amp. The other effects can sound perfectly alright being before hand. It's really just a matter of how much gain you rocking there. anything with too much gain no matter what the order will sound ewww.

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I like running a drive at the end of my dirt, but before the modulation and time based effects, because it works like putting all those other effects in the loop, and gives you a different flavor than the amp. that said I usually don't use amp dirt, so that set-up is a great compromise for me, but may not be what you are looking for if you still want to use the drive at the very end to push the amp.

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I use drive and fuzz pedals at lots of points in the chain. I usually have at least one after delay or reverb as well as several before. I also never use delay in an effects loop. I like that kind of crying freakout sound that happens when a delay hits the front end of an amp rather than the cleaner sound of delayed distortion.

 

It's just how I roll.

 

Actually, my two latest fuzz/drive effects are designed specifically for doing this. One is low gain and the other high gain but both feature an incoming bass response control so you can run them after reverb and delay and dial in how muddy you want it to get.

 

This also makes them good for tighter playing and leads on their own and allows you to control your live mix better (there's less stepping over the bass player).

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I use drive and fuzz pedals at lots of points in the chain. I usually have at least one after delay or reverb as well as several before. I also never use delay in an effects loop. I like that kind of crying freakout sound that happens when a delay hits the front end of an amp rather than the cleaner sound of delayed distortion.


It's just how I roll.


Actually, my two latest fuzz/drive effects are designed specifically for doing this. One is low gain and the other high gain but both feature an incoming bass response control so you can run them after reverb and delay and dial in how muddy you want it to get.


This also makes them good for tighter playing and leads on their own and allows you to control your live mix better (there's less stepping over the bass player).

 

 

These specifically designed fuzz/dirt pedals; tell me about them.

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Correct me if I'm wrong, but I believe most, if not all, pedals come with quarter inch jacks, which (you'd better sit down) actually enable one to connect various effects in ANY order one chooses.

I know!! It freaked me out too when I discovered this!

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I run the Black '65 and Tweed '57 at the end of my dirt signal chain. They're great "tone shapers" in that running other stuff through them has a pretty much dead-on effect of either BFing or Tweeding up the sound. We started doing it internally not long after the pedal's release iirc (I was doing it before I even worked for Wampler - the Black '65 was released in 2010, predates my employment), then I wrote an e-zine and mentioned how it was cool because Jason and I were talking about it (Jason's a colleague, if that's not clear). Then some of our artists cottoned onto the idea, and after that more people started trying it out and liking it that way, too.

 

I do put modulations, delay and reverb after them if I've got any crunch or anything going on with the pedals themselves, and since I do like to use the overdrive sound of them too, it's a safe bet I will have some crunch going on with them at some point (with the Tweed '57, a ton, that's... the sound, you know?). I don't like how delay or reverb sound into drive, I don't play shoegaze ;) But, yeah, it works really well with any good amp-inspired pedal that does its job correctly and has a realistic sound and response. Results may vary depending on your amp, though Jason's used his with a solid state Laney to good results... But when he got a chance to try a THD Univalve (my main squeeze :love:) he did find it sounded better there. Every step in the chain counts, it always puzzles me when I see dudes with a ton of pedals and, like, a Bandit or something similar. Spring for the HRD or a used Classic 30, those have great clean tones and take pedals really well while still being very affordable, no need to settle if you've got any kind of music scene that results in used gear going up for grabs on Craigslist or whatever!

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I run the Black '65 and Tweed '57 at the end of my
dirt
signal chain. They're great "tone shapers" in that running other stuff through them has a pretty much dead-on effect of either BFing or Tweeding up the sound. We started doing it internally not long after the pedal's release iirc (I was doing it before I even worked for Wampler - the Black '65 was released in 2010, predates my employment), then I wrote an e-zine and mentioned how it was cool because Jason and I were talking about it (Jason's a colleague, if that's not clear). Then some of our artists cottoned onto the idea, and after that more people started trying it out and liking it that way, too.


I do put modulations, delay and reverb after them if I've got any crunch or anything going on with the pedals themselves, and since I do like to use the overdrive sound of them too, it's a safe bet I will have some crunch going on with them at some point (with the Tweed '57, a ton, that's... the sound, you know?). I don't like how delay or reverb sound into drive, I don't play shoegaze
;)
But, yeah, it works really well with any good amp-inspired pedal that does its job correctly and has a realistic sound and response. Results may vary depending on your amp, though Jason's used his with a solid state Laney to good results... But when he got a chance to try a THD Univalve (my main squeeze
:love:
) he did find it sounded better there. Every step in the chain counts, it always puzzles me when I see dudes with a ton of pedals and, like, a Bandit or something similar. Spring for the HRD or a used Classic 30, those have great clean tones and take pedals really well while still being very affordable, no need to settle if you've got any kind of music scene that results in used gear going up for grabs on Craigslist or whatever!

 

yeah that's what how I'm imagining using it. Does Wampler still make an AC type pedal? Although the tweed '57 does sound just amazing.

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I thought the Tweeker had a "AC" setting (the US/AC/Brit switch)? This isn't enough? Ae you after the clean/jangly AC or the driven-to-the-edge AC sound? Since the Tweek is running 6V6's (unless you did the EL34 conversion) then you may have some difficulty getting more chime. I haven't looked at the Twee's schematic, but I'd bet the AC-setting is messing with the values of a cathode bypass cap...maybe messing with the B+ level a bit, and possibly cooling the bias. Beyond that, you might actually be looking at bumping the mid-highs, with your amp set as clean as you can get it.

 

I haven't heard of anyone having problems with the CB30 getting that tone, and I trust Mr Gee to have taken upstream input impedance varience and signal levels into account (within reason).

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