jfrog
uber-nerd
1. An old ART SGX2000 multi f/x that I bought used back in '95. Lots of really nice-sounding OD's.
2. More recently, a Fulltone Fulldrive 2.
2. More recently, a Fulltone Fulldrive 2.
where did your OD journey take you?
- Thread starter tc4b
- Start date
TelePaul
J to the R O C
Care to elaborate??
punkrocker
New member
Maxon od808 infront of dual recto. not really od more of a boost. makes it sound 100 times better. output max, gain just the tinniest smidge, tone 0
second skin
BEAT IT!
not for me. i like my amps simple. i don't like channel switching very much and i would rather not use an effects loop. i like to keep my delays, which i use a lot of, in front of the amp for ease of setup. i use a JCM800 2204 and an old fender. the marshall is set with relatively low gain. i also run those two amps in stereo for my live rig. i very much prefer to be able to set a basic sound that i like and vary it by adding overdrives or turning down my volume control. mostly though it's adding overdrives, boosts and fuzzes for differing gain levels.
NewAgeMuttLange
New member
My laney AOR is fantastic, though I like the old tube screamer every now and then.. but really, nothing beats a good tube amp, imho
-paul
-paul
Tadpui
Well-known member
At the first of the year I got my first overdrive pedal. I got the Ibanez TS-9, and I think I chose wisely.
I set the preamp gain on my amp (Traynor YCV80) pretty low, where it will crunch nicely if I dig into a full G5 chord or something. Then I step on that TS-9 with its drive at about 12:00 and the level slightly boosted. The two slight crunches combine into a wonderful rhythm and riffing distortion. Add a Boss CS-3 with the sustain and level cranked and the 3 combine into an awesomely sensitive-but-not-too-overboard lead distortion.
So I haven't exactly been around the block as far as stomp-box OD goes, but within a couple of hours of owning the TS-9 I could really see why its such a popular OD. I don't think there's anything to dislike about it.
I hear that the Jeckyll and Hyde OD from Visual Sound is another great OD that's based on the Tube Screamer. Then it goes 1 step further and adds a 2nd OD channel for more OD and bottom end.
I set the preamp gain on my amp (Traynor YCV80) pretty low, where it will crunch nicely if I dig into a full G5 chord or something. Then I step on that TS-9 with its drive at about 12:00 and the level slightly boosted. The two slight crunches combine into a wonderful rhythm and riffing distortion. Add a Boss CS-3 with the sustain and level cranked and the 3 combine into an awesomely sensitive-but-not-too-overboard lead distortion.
So I haven't exactly been around the block as far as stomp-box OD goes, but within a couple of hours of owning the TS-9 I could really see why its such a popular OD. I don't think there's anything to dislike about it.
I hear that the Jeckyll and Hyde OD from Visual Sound is another great OD that's based on the Tube Screamer. Then it goes 1 step further and adds a 2nd OD channel for more OD and bottom end.
WhiteStrat
Don't stare at the eye.
So this notion of a Tube Screamer before the amp to just give it a bump sounds interesting. But here's a question: has anyone had any experience with both the real Tube Screamer and the one modeled in the PodXT Live?
I've got the POD and I'm wondering if it will at least come close if I just punch in the TS on the POD before the amp--might be a good way to see if I like the effect before buying the pedal.
I've got the POD and I'm wondering if it will at least come close if I just punch in the TS on the POD before the amp--might be a good way to see if I like the effect before buying the pedal.
punkrocker
New member
yes lets just say im selling the pod and keeping the maxon 808
ps dont get the ibanez ts-9 its very digital the maxon is much better version of the tube screamer
ps dont get the ibanez ts-9 its very digital the maxon is much better version of the tube screamer
guitar zero
c = b#
I've got a Fender Hot Rod DeVille, and in order to overdrive the tubes the volume has to be so loud it peels the paint off the walls. Now I just plug in the Radial Tonebone Tube Drive pedal. I love the overdrive sounds I can now get at acceptable volume levels. Lots of new tones I couldn't get before. i love it. I've tried 'em all and... just kidding.
I love my keeley 808... mostly bluesy stuff with the overdrive almost off and the tone a lil past 1:00. Going into a 66 super reverb it helps those tubes open up a little sooner and kind of controls the way that they do. really versatile pedal, cause when it gets cranked up you can get a more trey anastasio (phish) kind of a feel but you don't lose the voice of the amp. I think in an OD pedal you're looking for something to add to the tone of your amp, not fix it. Just some thoughts, hope it helps.
Light
New member
A good amp, of the right size for the space you are playing, turned up until it sounds right. You can't use the same amp for every venue, unless of course you will always be getting mic'ed for the PA. If you've got to fill the room yourself, You'll need different sized amps.
Oh yeah, and Master Volume is a scam perpetrated by electrical engineers who don't know shit about tone. If the amp has one, don't use it. Repeat after me; "Master Volume SUCKS." Good tone problems solved.
Light
"Cowards can never be moral."
M.K. Gandhi
Oh yeah, and Master Volume is a scam perpetrated by electrical engineers who don't know shit about tone. If the amp has one, don't use it. Repeat after me; "Master Volume SUCKS." Good tone problems solved.
Light
"Cowards can never be moral."
M.K. Gandhi
WhiteStrat
Don't stare at the eye.
Does that mean the master volume should be all the way open, and volume should be controlled with the individual channels' volume controls?
Gandydancers
New member
For me it ended when I bought a Used Cybertwin, Ed
bongolation
New member
Back to a plain good-quality cable between my guitar and amp, that's where.
I currently have about fifteen or twenty analog OD & distortion stomps, including most of the usual ones and not counting numerous digital effects.
I have to say I hate all of them. I fool around with them a bit and always feel better when they're switched off. I don't just hate the way my instruments sound with them, I hate the way everyone sounds with them.
About the only guitar distortion I've ever heard that doesn't annoy me to death is the controlled native distortion in a low-wattage vintage Fender amp or vintage AC30 (or boutique reproductions of them).
Whether you like stomp distortion or not, an awful lot of them just aren't very good circuits for most applications. What I technically look for is the ability to pass a complex chord without the harmonics muddying-up and losing the tonal definition of the notes. Most of the OD stomps I've used have problems with that, even at low settings.
I currently have about fifteen or twenty analog OD & distortion stomps, including most of the usual ones and not counting numerous digital effects.
I have to say I hate all of them. I fool around with them a bit and always feel better when they're switched off. I don't just hate the way my instruments sound with them, I hate the way everyone sounds with them.
About the only guitar distortion I've ever heard that doesn't annoy me to death is the controlled native distortion in a low-wattage vintage Fender amp or vintage AC30 (or boutique reproductions of them).
Whether you like stomp distortion or not, an awful lot of them just aren't very good circuits for most applications. What I technically look for is the ability to pass a complex chord without the harmonics muddying-up and losing the tonal definition of the notes. Most of the OD stomps I've used have problems with that, even at low settings.
NL5
Unpossible!
Keeley's are badass!
Absofrickenloutley! I never understood why until I played through a non Master amp. Wow! What a difference. My entire guitar chain consists of an LP-->Keeley 808-->1974X - friggen beautiful!
Light
New member
No, I mean the amp should not have one. Period.
Every time I play a master volume amp, I'm disappointed. Every time. Even amps that are supposed to be some of the best amps out there. Through extensive research, my conclusion is that master volume sucks.
Also, an amps circuitry should be as simple as possible. The less crap in the circuit, the better.
But the real trick is to play an amp without a master volume, and play an amp which is size right for the space.
Light
"Cowards can never be moral."
M.K. Gandhi
Light
New member
Well, on my purest days, I'm a guitar into the amp kind of guy, and my favorite amp is a clone of yours (well, of the originals - I'm assuming yours is one of the reissues). I've also got an AC30ish thing that I made, and if I ever get a band together to turn all the songs I've been writing into music, I may well end up building a 50 watt Marshall of some variety. Or I might make myself a tweed Twin. Who knows.
Most days I have a wha and a digital delay in the way, though. When I'm practicing, I also have a looper, so I can ... um... play with myself.... uh, yeah.
Light
"Cowards can never be moral."
M.K. Gandhi
WhiteStrat
Don't stare at the eye.
So opening the master volume all the way doesn't mitigate the damage to the tone? It has it's effect regardless of the position?
I just ask because I usually record w/an attenuator anyway--thought not with the master volume on 10--more like 4 or 5 to get those tubes warming up. I just wonder if it's worth cranking it all the way up (attenuating more of course).
I know--try it and see...