ibanezrocks
New member
I would like to nominate my doubleshot as the best distortion pedal I have played. Incredibly versatile, and its still hard to not get a good sound out of it. If anyone has played one they'll agree I'm sure.
Outlaws
New member
donkeystyle said:
Actually not that many amps.
His main rig was a TwinReverb that was always on for clean background to keep note definition, along with a Marshall for the breakup to saturation sounds.
And when listening to Nevermind, I don't think it was all that well recorded. Some of the sounds are good, but when you put on a good pair of studio quality headphone, you can hear all the overdubs and punchings clear as day.
Definately a DS-1 for a lot of that album. There is a certain caracter to that pedal that just leaves its mark.
D
donkeystyle
New member
Outlaws said:Actually not that many amps.
His main rig was a TwinReverb that was always on for clean background to keep note definition, along with a Marshall for the breakup to saturation sounds.
And when listening to Nevermind, I don't think it was all that well recorded. Some of the sounds are good, but when you put on a good pair of studio quality headphone, you can hear all the overdubs and punchings clear as day.
Definately a DS-1 for a lot of that album. There is a certain caracter to that pedal that just leaves its mark.
well i know they borrowed gear to record bleach and then he used a peavey combo up until soon before nevermind (he may have used something else before the peavey) then he changed to a crown power amp and guitar cab...he may have used some kind of guitar preamp, i dunno and then he got some marshall stuff during the tours for nevermind, but i've also heard rumors that he didn't actually use the marshalls, that they were purely for asthetics and he was still using the crown set up. i'm not sure i believe that, but i think i've read about it in multiple places.
i've never read about the fender amp. interesting.
that seems like kind of a lot for a pretty short period.....that's all i was saying.
A
a27thletter
New member
i read something similar to what your saying about him using the mashall amps just for the appearance but i read that it was the little marshall lead 12 mini stack, the orange one, that kurt brought along on the tour for in utero just for the look, he never really used it, and quite honestly, i had one up until a few months ago so i know exactly why he didnt use it, its pretty much useless for playing anything even remotely loud. mine sounded like shit , it only has one channel and its nearly impossible to get it to sound clean.
timmerman
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Hey guys we seem to have a nice discussion here, can I have a cup of tea now?
gvarko:...............have you ever tried using your tech 21 pedals in comination with another distortion pedal?
I know what you are saying about the quality of the sans, I use various ones and like the idea to use them for small amps. Here is my approach:
I will use a small amp and at the end the chain is a sansamp just to add warmth to the clean sound, but for the distortion sounds I may go to another pedal, so the distortion gets "valve warmth" from the sans. True I like Ratty distortion sounds, and the sans can give you very warm and expansive, almost glossy distortion sounds. Well these have their place, but I also do like the DS1 which can give you that trashy transitor sound, which you do not get from a valve amp.
Okay I may go for strange things here, well I do not know, as it is all about colour and variation and it all has it own value and place.
Outlaws:...............Interesting point, I have thought very often that Kurt uses a Twin Reverb as well, as I do that too, and feel I can get very close to the sounds Kobain gets on "Nevermind". Again in my senario the Twin warms up the sound of a Ratty distortion [Hey do I use the Rat for this? No! But I do like the Rat, but again the Rat is too much of a quality sounding pedal. I have an old Ada pedal, now that one can give you really nasy sounds, but then again, some of you may not like that eh?]
The thing with Kurt using a little Marshall stack on stage as gimmick......Well I can well imagine that, being the type of guy he was, and in a way it is good fun to play with these things, and also show to the world that you can get good sounds out of anything, as long as you have a vision and try to get close to that.
Oh the tiny Marhall idea...............are we talking about the ones you could wear on a belt, or do we mean slightly bigger versions. I know that Outlaws uses these tiny little ones to have some fun with.
Eddie
gvarko:...............have you ever tried using your tech 21 pedals in comination with another distortion pedal?
I know what you are saying about the quality of the sans, I use various ones and like the idea to use them for small amps. Here is my approach:
I will use a small amp and at the end the chain is a sansamp just to add warmth to the clean sound, but for the distortion sounds I may go to another pedal, so the distortion gets "valve warmth" from the sans. True I like Ratty distortion sounds, and the sans can give you very warm and expansive, almost glossy distortion sounds. Well these have their place, but I also do like the DS1 which can give you that trashy transitor sound, which you do not get from a valve amp.
Okay I may go for strange things here, well I do not know, as it is all about colour and variation and it all has it own value and place.
Outlaws:...............Interesting point, I have thought very often that Kurt uses a Twin Reverb as well, as I do that too, and feel I can get very close to the sounds Kobain gets on "Nevermind". Again in my senario the Twin warms up the sound of a Ratty distortion [Hey do I use the Rat for this? No! But I do like the Rat, but again the Rat is too much of a quality sounding pedal. I have an old Ada pedal, now that one can give you really nasy sounds, but then again, some of you may not like that eh?]
The thing with Kurt using a little Marshall stack on stage as gimmick......Well I can well imagine that, being the type of guy he was, and in a way it is good fun to play with these things, and also show to the world that you can get good sounds out of anything, as long as you have a vision and try to get close to that.
Oh the tiny Marhall idea...............are we talking about the ones you could wear on a belt, or do we mean slightly bigger versions. I know that Outlaws uses these tiny little ones to have some fun with.
Eddie
C
Cloneboy Studio
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This is off the top of my head based on what I've read. Don't quote me on 100% accuracy because I'm too lazy to re-check the facts. Most of it should be right. A few setups were left off because he didn't use them long or were one-off kind of affairs.
Cobain used Marshall 1960 4x12's with the logos covered by tape onstage, along with a Mesa/Boogie .22 preamp, a Crown power amp, and an assortment of pedals ranging from the EH Small Clone and DS1 (the classic Kurt setup), to the EH Polychorus, DS2 and Tech21 Sansamp. Guitars were mainly his 1960's Jaguars, Mustangs and Mexican Fender Strats (for show breakage).
He never played the Marshall Mini-stack live. He had it there as a joke. Just like he used to throw DOD Grunge pedals around on stage as a joke.
For studio recording he tended to use borrowed gear. Nirvana used all of Tad's equipment for the "Sliver" sessions while the band was out to lunch. Most likely a Marshall 4x12 cab, a Fender Dual Concertmate head, a Big Muff Pi, and Rat pedal (classic Tad Doyle setup).
For Bleach Jack Endino has stated that his old Fender Twin was used a lot, but some songs feature Cobain's "Jaguar" amp (possibly a Randall solid state amp--no good information on this). Guitars at this time were mostly Mosrite. Only effect pedal in use was the DS1.
For live gigs around 1990 Cobain was using a Sunn Beta series head coupled with a Bullfrog cabinet and DS1 pedal. Probably the first emergence of his Jaguar/Mustang combo as this is around the timeframe receipts have been found that he had purchased them.
On Nevermind the primary recording amp was a Fender Twin, Small Clone, DS1, Jaguars and Mustangs. It should be noted that Cobain had his Jags fitted with JB4 humbuckers; stock Jags won't get that Nirvana bite. On a few songs a Vox AC30 was used, and a Rat pedal shows up on "Lithium" instead of the usual DS1. Main mics used on guitar were U87, SM57 and MD421 according to Butch Vig. It's my opinion that "Lounge Act" is probably the AC30.
In Utero is the least understood album as far as setup goes. Possibly Fender Twin again, with the DS2 (also used for In Utero concert dates), and EH Polychorus (replacing the Small Clone). I know that a lot of Coles omni's were used recording the room, and knowing Albini lots of U87's.
Cobain used Marshall 1960 4x12's with the logos covered by tape onstage, along with a Mesa/Boogie .22 preamp, a Crown power amp, and an assortment of pedals ranging from the EH Small Clone and DS1 (the classic Kurt setup), to the EH Polychorus, DS2 and Tech21 Sansamp. Guitars were mainly his 1960's Jaguars, Mustangs and Mexican Fender Strats (for show breakage).
He never played the Marshall Mini-stack live. He had it there as a joke. Just like he used to throw DOD Grunge pedals around on stage as a joke.
For studio recording he tended to use borrowed gear. Nirvana used all of Tad's equipment for the "Sliver" sessions while the band was out to lunch. Most likely a Marshall 4x12 cab, a Fender Dual Concertmate head, a Big Muff Pi, and Rat pedal (classic Tad Doyle setup).
For Bleach Jack Endino has stated that his old Fender Twin was used a lot, but some songs feature Cobain's "Jaguar" amp (possibly a Randall solid state amp--no good information on this). Guitars at this time were mostly Mosrite. Only effect pedal in use was the DS1.
For live gigs around 1990 Cobain was using a Sunn Beta series head coupled with a Bullfrog cabinet and DS1 pedal. Probably the first emergence of his Jaguar/Mustang combo as this is around the timeframe receipts have been found that he had purchased them.
On Nevermind the primary recording amp was a Fender Twin, Small Clone, DS1, Jaguars and Mustangs. It should be noted that Cobain had his Jags fitted with JB4 humbuckers; stock Jags won't get that Nirvana bite. On a few songs a Vox AC30 was used, and a Rat pedal shows up on "Lithium" instead of the usual DS1. Main mics used on guitar were U87, SM57 and MD421 according to Butch Vig. It's my opinion that "Lounge Act" is probably the AC30.
In Utero is the least understood album as far as setup goes. Possibly Fender Twin again, with the DS2 (also used for In Utero concert dates), and EH Polychorus (replacing the Small Clone). I know that a lot of Coles omni's were used recording the room, and knowing Albini lots of U87's.
A
a27thletter
New member
the marshal amp refered to is the orange stacks(i think they also made some in black) not the little practice ones you can fit on a belt, the ones that have the three pieces, the head and two tiny cabinets that stack up, each one has a 10'' speaker in it, the head puts out a total of 12 watts, the only controlls on the head are gain, volume , treble , bass , and middle, , ... its a great amp for a beginner to practice on, i used mine between the ages of like 15 to 21 just to mess around on , it never was loud enough to use to practice with a band though. plus it had absolutely no bass. i sold the thing for 70 dollars, should have held on to it though cause i dont think you can buy them anymore,
Outlaws
New member
a27thletter said:
I doubt the is the same one, but probable the evolution of it.
http://www.musiciansfriend.com/srs7/g=home/search/detail/base_pid/482705/
gvarko
New member
Not yet...
That was my plan when I bought it, but the gain was so fine I found no need for a seperate pedal.. But I will try that at some point..
timmerman said:
That was my plan when I bought it, but the gain was so fine I found no need for a seperate pedal.. But I will try that at some point..
timmerman
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Gvarko:.................Yep I can see your point, Sans have good distorted sounds on their own, so really no need to add anything, also matters what kind of amp you will use them through, I think you will be happily surprised it you try combining your sans with a distortion- kind of pedal- as you still will get good results. I know it all takes time [ and money and energy] to try all the variations in your tonal recipe, so when you feel like it you will probably try some variations.
Hey Cloneboy Studio, really good info on this matter of Cobain's sound, nice stuff man.
Really I think anyone here has made some good point on the Cobain-sound and the little Marhall stack, cheers folks!!
Eddie
Hey Cloneboy Studio, really good info on this matter of Cobain's sound, nice stuff man.
Really I think anyone here has made some good point on the Cobain-sound and the little Marhall stack, cheers folks!!
Eddie
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CyanJaguar
New member
for what it is worth, I bought a ds1, kept it for a week and took it back for an exchange for a digitech Grunge which I much prefer.
G
geet73
OMG!
In my opinion, the Grunge pedal is one of the worst sound distortion pedals I have ever heard. Unless you really, realllllly like that SUPER scooped sound.. then you won't like it either. You can have ultra high gain, or super duper ultra high gain. It's not really a sound.. more of a shrill fuzz with notes in it.
C
Cloneboy Studio
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The funny thing is that "grunge" guitar tones involve massive mids.... almost the exact opposite of the scooped sound.