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Best High Gain pedal?


Faldoe

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Sorry there has probably been tons of posts like this but I turn to you all for input. I'm looking for a good high gain pedal, something tubey, distortion.

 

I've been through MI Audio Crunch Box, Keeley modded DS-1, Keeley Rat, Zoom Driver and crap boss and other boxes not even worth mentioning.

 

I'm currently using a Banzai Cold Fusion - nice for up to medium gain, and a Smart People Factory Green Line that has more gain than the Banzai but not enough for some stuff I'm doing - my band plays different types of stuff, shoegaze/rock/experimental and some Heavier Doom/metal stuff.

 

What is a good pedal that can achieve high gain? Not over the top bull{censored} metal but a nice true tube amp cranked sound.

 

I've read about some CMAT pedals, like that brownie, any input would be great, thanks.

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Try the Tube Zone,
but IMO no pedal matches the sound of a decent tube amps gain stage
.

 

 

I know that but whatever can make my Vintage Ampeg V4 sound good - it takes pedals like a champ. And I don't have the money for a good tube head with good gain.

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Hey Zachman, I'm looking for a good 2x12 to go with my newly acquired sexy amp, was thinking either the recto 2x12, or an Avatar, thinking of putting v30's in it.



I think you may like the H-30's better, I know I do... They don't flub out like the V30's can.

My buddy's Kage and Ralph love the Ear Candy 2x12 cabs with the MK series Boogies. The older verticle 2x12's are cool too. My friend John has some 2x12 Avatar cabs that sound great with his setup, so looks to me like you're on the right path.

Keep on Rockin :thu:

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Zachman are you referring to the Hellatones?
They are just worn in v30's aren't they, if so, I'll probably get those thrown into an all black Avatar contemporary 2x12 cab, sounds like a better option, no need for speaker break in time.

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Zachman are you referring to the Hellatones?

They are just worn in v30's aren't they, if so, I'll probably get those thrown into an all black Avatar contemporary 2x12 cab, sounds like a better option, no need for speaker break in time.

 

 

Avatar sells the Hellatone V30's as well as the Hellatone G12-H30's, as well as the Celestion Heritage 30's, which are all a bit different.

 

My favs are the Heritage H30's (a bit more low end response) but not so much difference that I was willing to replace the G12-H30's.

 

I put the Hellatone G12-H30's in my Marshall 4x12 cabs and highly recommend them. Those are the speakers in the Clip w/ the MKIII Coliseum.

 

I notice a way bigger difference when playing Marshall's through them. (The difference between fizzy, or warm, IMO...) The Boogie MK III has so much oomph and gain on tap that it makes nice with just about anything. That being said, if you're anywhere near as insane as I am, (pretty bad) you'll LOVE the G12-H30's. They are happy doing ROBO High Gain, or Fender Clean tones.

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Well I need a speaker that can cover a whole lot of ground:


Nice bright cleans, low/mid OD, and some crazy assed gain mean and crunchy to smooth leads.


I am really thinking of goin with the H-30's, in a closed back cab.

 

 

That sounds like a perfect choice for your description of your needs

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Hey Mesa boys, whats the difference between the whole, red stripe, blue stripe, purple stripe {censored} with the Mark III, which is the best, difference in price?

 

 

MESA/Boogie Mark III

The Dot Series of the Mark III

 

 

 

The Mark I provided two very different and separate voices with its two inputs. Although MESA provided an A/B box to footswitch between them, the volume jump and the tweaking needed between each mode made this somewhat unpractical. The answer to this was the evolution of the Mark IIA, the first footswitchable amplifier with two distinct modes. Early Mark IIA's suffered from noisy reverb and an irritating popping when switching modes. The two modes were refined with the IIB, but the popping was still present, however the reverb was better. One should note that this popping was only audible when swithcing modes while the guitar was ringing out. if one uses the footswitch while the guitar is silent, there is no sound. As an aside, this must be a difficult problem, as the solution created other problems. In the Mark IIC/IIC+ switching from clean to lead was silent and instantaneous, but when switching in the other direction, there is an audible drop in volume, slight delay and then return to the previous level. In the Mark III Green dot, there is actually a transinet swell in the R1volume when swithcing from Lead mode.

 

The IIC followed with the majority of bugs worked out, further tone shaping with pull shift on the bass, and a better effects loop,and reverb levelsbut it was not until the IIC+ that the Lead mode was evolved to the point that it set the standard for what lead tone could be.

 

MESA however was not content to rest on their laurels and after only ~1500 Mark IIC+'s, they introduced the Mark III, the world's first tri-modal amplifier. As with all things MESA, this was a work in evolution that went through five folios or "stripes" until the final product was reached. The Mark III series represents the most extensive line of amplifier evolution and tweaking in the history of Mark amps. The five "stripes" represent the chronology of the evolution of the Mark III. Widely received, the option of three modes was openly accepted but with lofty expectations. When it was first brought out, several people complained that they wanted a bold R2 and the IIC+ lead sound (much debate has surrounded the R2 sound and its relation to R1 but we won't cover that here). The various "stripes" of the Mark III represent the attempts at this request.In reality MESA could have called them the Mark IIIA, IIIB, IIIC, IIID and IIIE.

 

Like the IIC+ with its famous plus, these stripes were located over the power cord with Mike B.'s initials below. They are merely a swipe with a Jiffy Marker of the appropriate color. The five stripes were as follows:

 

In order, the stripes were:

 

None or Black Stripe

Purple Stripe

Red Stripe

Blue Stripe

Green Stripe

 

As with all things MESA, what these various stages represent are a matter of opinion with respect of the sound character. Don't let anyone pass on a bunch of bull{censored} about one being better than the other. They represent snapshots in time of the development of an amplifier line. If the amplifier gets you the tone you want, the jiffy marker is nothing more than a mark of its vintage. Much anxiety is generated in the Mark III group by this extensive evolution, much because of misinformation about what these stripes represent.

 

#1 - No mark or a little dot. Only a few hundred then some balck marks or "+"'s .

 

- Lean and powerful amp with more output power than a IIC+

 

#2 - Purple: reshaping of R2

 

- R2 was shaped to be more "rounded" and less gain, with improved level

 

#3 - Red: R2 is like current Mark III

 

- R2 further developed and very hot. Lead mode is also tweaked to close in on the IIC+ sound

 

#4 - Blue: Reshaping of R1

 

- More aggressive preamp gain - reshaping of R1, Power section made akin to IIC+

 

#5 - Green/Simul-Class: Final R1 and Lead Channel reshaping

 

- Cleaner R1, Lead channel reshaping, and unlike other Simul amps, these Mark III's were wired in Pentode - NOT triode in the Class A sockets for more power. Power section is same as Blue otherwise.

 

So there you have it, the story of the dot series. More legend than reality, they are all great amps, just find the one that is right for you. I hope that you find this helpful.

 

Price varies nowadays, due to the fact that they are discontinued and the used market considers several variables to determine pricing.

 

"Best" is subjective, they are just different

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Wow thank you, yes it was helpful. Your mp3 clip was good. Which ever amp has good aggressive gain and clean switching.

 

Cool and thanks...

 

My clip was a 1986 no stripe MKIII Coliseum Simul-Class head, which I ordered NEW from the factory way back when. I still have the amp and LOVE it. There are so many tones in this box. I was told by the factory that it's the 13th one ever made out of approximately 200.

 

I think it stands tall amongst all the other boutique high gain amps that are out.

 

Here she is with her other stable mates: Older pic around 2.5 years old

 

1gear.jpg

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