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Amp Tone News - New Information to Incorporate

http://members.home.com/tspellman/aikenfiles.htm - good amp tone mp3s of Aiken Invader amp





Line 6 FM4 Filter Modeler

web pages: http://www.google.com/search?q=%22line+6%22+fm4

newsgroup threads: http://groups.google.com/groups?q=%22line+6%22+fm4&meta=site%3Dgroups

Ad in Guitar Player and Guitar World mags Jun 2001.


Behringer V-AMP Modelling Amp

16 virtual amp models. Blue Tele-shaped blob. Aux stereo in for external music sources. $269 list. http://www.behringer.com/eng/default.htm [link to official product page when uploaded] - ad page 65, Guitar World magazine, June 2001.

newsgroup threads: http://groups.google.com/groups?q=Behringer+V-AMP&btnG=Search&meta=site%3Dgroups


http://www.harmony-central.com/Newp/2001/Overdrive-Supreme-Mod.html - Fuch amp mods (extreme)


Sabine NexFX - stompboxes with 5 controls. Sales reps to find dealers (added to my effectslinks.htm page)

Add this note: covered p.178 Guitar World Jun 2001. (a feature survey, not a playing review)


http://www.rumblemag.com/ - Rumble - a new guitar gear magazine targeting the same young demographic as MC2 techno-gear mag - from the Guitar Player publisher. Announced in intro of Jun2001 GP issue.


http://www.badcatamps.com/guitar_amplifiers.htm - Bat Cat Amps - related to Matchless.


http://www.overbuiltamps.com/ -- Overbuilt Amps


>Apparently the brand has been revived; the effort involves or is led by Phil Jamison, an ex-Matchless employee who briefly had his own line of Matchless-style amps (but the web page is dead, I noted today). The one product they're making that I'm aware of is the DC30 - apparently unchanged from the "original". I haven't found a web site for the company - just some dealers.


>Another Matchless guy, Rick Seccombe, has started Overbuilt Amplifiers and is doing some interesting products. http://www.overbuiltamps.com/ has contact info, but nothing else (yet).


>Mark Sampson and Rick Perotta, the founders of Matchless, are involved in the Bad Cat (originally Panther) company: http://www.badcatamps.com/. It's interesting to note that he site is careful not to mention the word "Matchless" - it's referred to as "a Class A amplifer company".


>The Bad Cat product line looks good, and a friend heard one recently and gives it the thumbs up. I just wish they'd thought of a different name for the company - Bad Cat? It doesn't have the same ring as "Matchless" or even "Overbuilt".


>Dave Blevins



recording the guitar - miking: http://www.musician.com/feature/showfeature.asp?feature=52&cat=recording&subcat=dranalog&page=1



Artist Profiles - Van Halen's rig, good
Recording - some advice on a needed topic
Sound Files
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Tone Tips

>I've played with a LOT of attenuators and they do tend to make the signal sound, "not so good". I've just picked up a THD Hot Plate however and the thing is amazing. No tone loss, has a feature for setting as a "Load" so you don't have to plug into a speaker, has a direct out with level control. Bright and bass contour e.q. switches and a noise-reduction circuit that actually works. Again, none of the "muddy" tone of other attenuators (Marshall Power Brake anyone?) I plan to review this at my site at http://www.legendarytones.com/ soon.

>Check it out if you haven't been there as the site is all about guitar tone and has product reviews, artist profiles, sound files, tone tips, etc. It's still new and there's lots to do, but I'm trying to update as often as possible.

>Also as an aside, Mr. Van Halen himself was very big on the "dummy load" setup and I have a newly revised article that talks about his early setup (the Peavey 5150 stuff just doesn't sound great to my ears anymore...). Check it out.

>Dave Szabados

Used gear stores









Kendrick Power Glide Attenuators in stock and ready to ship. Save your ears! Turn your amp up and your speakers down.  Choose 2/4 ohm or 8/16 ohm.  Has two output jacks, plus a slave output with slave trim [use in a 3-stage amp rig like EVH/Guytron/Rail Rocket].  Use also as direct box for recording. $399 plus $12 ship

Kendrick Buffalo Pfuz Boxes in stock and ready for immediate shipment. These overdrive pedals sound exactly like an overdriven output stage.  They are touch sensitive and totally transparent.  You will hear all of the nuance of your guitar - the wood, the pickups, the strings - but overdriven. It also features a clean boost mode! $169 plus $8 ship


http://www.carlmartin.com/products.htm - parametric eq pedal

The Contour'n Boost by Carl Martin is especially designed to boost up and change the Sound (contour) on electric guitar/bass. The circuitry is designed as a High-and Low pass filter, with a fixed X-over frequency at 440 Hz, so that the High pass filter operates from 65Hz to 440 Hz, and the Low pass filter from 440Hz to 8kHz. Both filters are individually sweepable, with a boost range of up to 12dB. With these two filters it is possible to change the Sound (contour) in any way your creativity allows you. Features a built in regulated power supply.

The Fuzz, sets new standards for distortion with its revolutionary wave guide. By using the wave guide's deep and high controls [pre-dist I guess - or, these could be freq controllers for the bass/tr controls], it is possible to clean up the distortion, and with the 3 band EQ shape the Sound, in any way needed. [must be pre-dist eq, because you can "clean up distortion" with pre-dist eq but not with post-dist eq. If so, this is my Frequalizer distortion-pedal concept, having both pre- and post-dist eq - mh] With the wave guide, the 3 band EQ, and the extraordinary high maximum gain, it is possible to create distortion sounds going from an old blues fuzz, over the mid 80's hard rock to more hard core metal. Featuring a built in regulated power supply.


Todo: Add page for Greg Fryer "Brian May Treble Booster".




http://www.btinternet.com/~may.be/brian/gtrstfeb99/gtrstfeb99.html - "EACH FRYER GUITAR COMES with Greg's own version of the famous treble booster used by Brian since day one. Greg: "My own analysis of Brian's sound is that it's 40% guitar, 30% treble booster and 30% Vox AC30. His original treble booster was a Dallas Rangemaster but this was left at a gig by a roadie and lost. Brian's father Harold then made a replacement with some slight modifications to the circuitry; this seems to have occurred between 'Queen II' and 'Sheer Heart Attack' because you can hear the difference in tone. Both used germanium transistors which were inconsistent, noisy and unreliable. In late 1975 Pete Cornish upgraded the design and used a silicon transistor, which gave even more boost (around 30dB), was quieter, and introduced its own subtle sound. Brian has used these until recently. During 1997 and '98 Colin Bloxom and I have continued to refine the design, reducing he noise and his further and developing transistor selection, because this type of device is extremely dependent upon each transistor's individual characteristics. We now have a testing treble booster whereby we can establish each transistor's gain, noise and tone characteristics and then select the ones we feel are most suitable."


http://www.jackfunk.net/equipment.html - "Treble/Power Booster (preamp) - Brian's famous sound could not be totally achieved without, yet another, home/custom made pieces of equipment. Brian has used a treble booster ever since his early days of playing gigs. Brian's first treble booster was a Dallas Rangemaster, which was left at a gig, and lost right after the Queen II album came out. His second treble booster, (get ready for this... again) was made for him by his father. The third and probably most famous of all the treble boosters Brian has used was the unit that Pete Cornish (pictured above) made for Brian in late 1975. Cornish's design would later, supposedly, become challenged by Guild, who in 1993 made some similar copies of, to coincide with their Brian May Signature guitar line. Never the less, it was Pete Cornish's treble booster that really propelled Brian's sound into what we know it to be today, that is as of 1998. In 1998, Greg Fryer, most notably known for refurbishing and replicating The Red Special for Brian, created Brian a copy of the Pete Cornish treble booster as well. Greg refined his version with various circuitry modifications to cut down on noise. The new Fryer unit is Brian's newest and most favored choice of all the treble boosters."



http://www.markglinsky.com/ManualManor.html - Manual Manor. Manuals for guitar gear.


http://www.tonygoodall.clara.net/music/pickups.htm - wiring



Distortions in parallel - doesn't the BOSS booklet show this with the LS-2 Line Switcher?


Re: Re: Re: Multiple circuits?
>This is a very old trick, when applied to amps. Running a Fender Champ at full blast plus a Twin clean, that sort of thing. Plugging a couple of boxes into a mixer, feeding them parallel, can open up some really nice and subtle textures. I know of one guitarist who (by his own account)took a cardboard box full of his old distortions to the studio - when the engineer asked "how many channels d�ya want?" he looked into the box, did a quick count and replied "Eight?"

>Mike Burgundy

People do the same with multi-miking. - mh

>>I would have thought series, rather than parallel.

>That works too, but differently; harmonics (distortion) generated by each pedal will affect and mask harmonics generated by the previous pedals. Putting them in parallel preserves all of what every pedal does, and then adds it all up for a very rich sound.




http://www.guitarplayer.com/archive/gear/stampede.shtml -- must read effects review.

Stompbox Stampede!

A User's Guide to Vintage Effects

By Art Thompson

Fuzzes, Distortions, Overdrives & Compressors

Chorus, Delay, Flange, Phase & Tremolo

Wahs & Weirdos



todo: extract my email and ng posts.




New page: Reamp.htm - The Re-amp Project: Library of direct/dry guitar tracks and album excerpts of great amp Tone. Amp Tone reference tracks and test input signals.


<a href="reamp.htm">Reamp Project: Direct/dry guitar samples and amp Tone reference library</a>



[research techniques pg]

My latest newsgroup postings (Deja.com query) - is often more up-to-date than this site, for latest concepts.




Never record gneeral variety of chords/notes. Instead, set up tuning and settings in terms of *licks*. In studio, craft *licks*. That's the direction I'm going. Each string is its own universe of Tone with its optimum very far from the other strings. Each chord, each note has its own unique Tone needs. Studio treatment respects this -- else you end up tending to play single-style like most artists do with their "signature tone" *and* signature playing style. They stay in a single spot of playing style and gear settings... one that is a single coherent combination. "Can't get A and D shapes both in tune for chording with strings 2+3+4.



List such concepts and create articles... make list of articles to add. (pending)



Live, switching timbres is just too hard except with elab rack setup or future virtual rack system.




Pointing to Amptone

Ask/thank friends at AGA to point people/newbies to amptone... not to stop conv but for a lot of background info/links/resources about:

o power attenuators

o DI techniques

o modelling gear

specific urls aren't needed -- for most needs, the root domain Amptone.com is *plenty* of help.


It's good news that they can simply say "Amptone.com" and the original post'er will reply "wow that's perfect beyond belief, thanks!" So you see I've made life good and simple by offering this domain as a useful token to give people.


su: To help newbies, can simply say Amptone.com


"If you want to help newbies on basic questions about gear hookup, attenuation, modelling amps, here is the easiest solution for you. Simply hit Reply, write "check Amptone.com", and hit Send. This simple action is extremely helpful, the typical response is "wow, thanks for the perfect link!". I can see that people would like such a simple solution. Don't hesitate to do this. Amptone.com then has many links to the official product page and other resources. I see people point newbies to a single link such as official page but it's striking how much more useful it would be to point them to the amptone site or page instead, which includes research links beyond that.


Amptone.com is not a standalone site -- it's a major hub connected with many other relevant sites for guitar gear. So by pointing to AT you point to more sites than if you point to some other link.



People *have* pointed others there, but sometimes they don't even when they wish to provide a good URL... they point to the manuf site but my Url is better because it has manuf site *and* research links and *fast* pic/overview.


Just hit Reply, type "See Amptone.com for info/links", then hit Send.


I'm so busy, I used to be proud to be in conversations with gear designers and gear company managers, but now I'm ashamed that they contact me and I don't find the time to reply to them. [write this at contacts page .. how not even pres's are able to get timely replies.]




Consider creating a separate large category for Switching.



Add psychedelics-music culture books/links ... such as sep editorial.





Per email, add a page for not Bradshaw, but UK guy Pete Cornish. Perhaps page for both, with research.





Just like a/b looping of reamped signal versus alb clip is sonically humiliating, it is also humiliating in terms of performing the passage on the guitar. One unexpected outcome is that signal geeks will be inspired to greatly tighten up their playing and riff-copying skills -- because a/b reamp loop provides such *ideal* comparison and focuses attention like the listening state, inspecting a passage repeatedly via headphones listening as closely as possible.


Buy video on flash-guitar playing -- such as EVH inspired. That is more "gear" oriented than the music theory videos or general song videos. Focus on style rather than a partic artist/group/album.


Write page about BOSS buffer.








At sw prod pgs, add listserv. Make sure I'm on all such listservs.









Re-amp my riff of For Whom the Bell Tolls, through... TS9!!! and try again to emu album... thought that rather lousy sound was from mic out of phase trick, now it's evidently TS-9, I would never have thought of that for Metallica rhythm. It's like the other night when I set up a very close VH sound, then came back to the room and seriously played the guitar thinking it was on the bridgehum, when it was actually switched to neck single. Try such "wrong" combinations of voicing and pickup selection/ prerecorded guitar playing.


Use wrong combinations of:

o playing style

o pickup selection

o amp processing style (type of dist pedal)




Sound-damping studio baffles

Switch from using rare term "gobo" to "baffle" and re-research. Mention blankets and smoke, and advantage of separates over combo. Or, how to use two combos together (amp in one driving cab of other in blanket/box/closet.




Importance of Using EQ before AmpSim

Tell importance of eq pedal in chain, for extra control:









http://www.harmony-central.com/Newp/2001/Melodyne.html - software to shift note, pitch, or voicing of audio, like MIDI. What could you do with a guitar amp'd track?!




H-C announcements: Roland U8


Roland ED U-8 USB digital studio bundled with Steinberg's Cubasis U-8 software or The Roland ED U-8 and Cakewalk Home Studio 9 package


Complete PC based hard disk recording system. intuitive front panel design includes sliders, faders, transport controls, and pan pots providing direct control of software mix and control functions. hands-on approach


The most powerful desktop recording device on the market. No more mixing with a single mouse or computer keyboard.


EZ recording function provides 4 step interactive recording setup procedure. press the EZ record button on the U-8 at it will guide you through the record process from selecting an input source, digital effect, to adjusting your record levels.


130 onboard 24-bit DSP effects controlled through the effect window in the U-8 controller software. Adjust each individual effect parameter such as amp simulation, compression, distortion, chorus, reverb, delay, EQ, and noise suppression with 3 assignable effect knobs on the U-8.


inputs for microphone, guitar and line. Optical digital in and out is included for digital recording with no signal loss.





H-C announcements: Switchblade latest






H-C announcements:


Sounds Logical - WaveWarp


http://www.harmony-central.com/Newp/2000/Sounds-Logical-WW-12.html - manipulate your live audio signals in virtually any conceivable manner. For example, speak into your computer and hear your voice backwards in real-time, or plug your guitar in and create a real-time multi-dimensional multi-layered surround sound effects box. Lite version (without multirate or multichannel I/O) is available for US$99, and can be upgraded to the full version for the difference of US$100.


Modular, real-time, audio effects processor for Windows 95/98/NT, running native on a Pentium-class PC with any Windows-compatible soundcard. With over 260 modular components, WaveWarp provides the essential building blocks for creating elaborate audio effect algorithms from scratch. Sample by-sample execution of all components allows arbitrary connections in series, parallel, feedforward, and feedback networks. The multirate engine supports "on- the-fly" sample rate conversion between components.


WaveWarp supports live audio inputs and 8-, 16-, 20-, 24-, and 32-bit WAV files of any sample rate. All internal calculations are performed in 32-bit floating point precision. For added flexibility, the WaveWarp distribution includes a suite of MATLAB m-files for importing/exporting digital filters, wavetables, envelopes functions, etc.


WaveWarp is designed for audio engineers, musicians, sound designers, or educators who require a high level of control over the signal processing / effect algorithm architecture and design.





http://www.harmony-central.com/Effects/Data/TC_Electronic/G-Force-rev.html - w/ mp3 samples




http://www.harmony-central.com/Newp/1999/StudioPC.html - music production pcs




http://www.harmony-central.com/Newp/103AES/WaveMechanics/PurePitch.html - pitch-shift (consider 1 use: chorus without modulation; more subtle and can use smaller detune)



http://www.harmony-central.com/Newp/2000/miniMusic_BeatPad.html - seq for ppilot



deluxe.mp3 patch is straight out of the Guitar World Tone Trip page, while the boogie.mp3 is a minor tweak of patch 8C to sound similar.


Recording Notes: Ibanez JS1000BTB-->POD-->Echo Gina20-->Cakewalk Pro 9.0



Amp Tone MP3s











Cakewalk Guitar Studio 2.0 More Info Download 13120 KB 5/8/2000

Multitrack recording software for guitar players.








gs-43.zip 4.3 More Info Download 3377 KB 6/26/2000

Guitar Studio is a powerful program for musicians playing guitar, bass, or any fretted instrument.



Guitar Studio 4.3 More Info Download 3376 KB 12/17/2000




MIDI Guitar software:



Guitar Synth 1.1 More Info Download 1480 KB 12/17/2000




Guitar Synth is a software only polyphonic guitar synthesiser.

Plug an electric guitar into the microphone input of your soundcard,

play the guitar and produce piano chords and lead lines.


System Requirements: 100MHz CPU, 800x600 display with 256 colours

Status: Shareware DEMO (some options restricted), full version is �23 or $35

Restrictions: slower sampling rate [no kidding -- 8bit 8KHz], restricted note range, unable to

save to midi files. [no bending, chords et cetera]




Roland GI-10/GK-2A Control Panel More Info Download N/A 10/11/1997

Control panel for Roland GI-10 Guitar-MIDI interface.



This program allows you to fully configure and save/load presets for

your Roland GI-10/GK-2A Guitar to MIDI interface. The author's

web page can be found at http://solair.eunet.yu/~sasho/





WAV-2-MIDI 1.0 More Info Download 5175 KB 4/5/2000

converts guitar .WAV file to MIDI



WAV-2-MIDI 1.0

Windows 95 / 98 / NT


Wav-2-Midi is a stand-alone application that converts a wav

file containing audio of a guitar playing, to a Midi file with

the same information.


This version of Wav-2-Midi is capable of monotonic note detection,

as well as an auto-velocity detection feature (which can be turned

off, if the user wishes). Also the sensitivity of the note detection

algorithm is adjustable, allowing you to configure the conversion to

your own playing style.


The appearance of the application is also user-specific, allowing you

to adjust the colors and appearance of all text and buttons. Other

options for display incorporate skins which you can make yourself to

make the application look like you want it to, with a personal touch.


Also included is a Wav Editor for playing and recording wav files, as

well as a Midi File Player for listening to the Midi files produced by

the conversion.


Shareware: unregistered Version will only convert Wav file less than 10

seconds long. Also the unregistered version will not allow you to turn

off the splash screen on startup.




-- try playing in a very rock guitar way, then producing MIDI with other inst voicing, then re-amp that. Result will sound too expressive to be [piano, brass, etc] and too fat-distorted... yet it will not have the guitar voicing. More like a vocorder. - mh






Slowing, accompaniment


Musician's CD Player 1.71 More Info Download 141 KB 10/9/1999





Slow Speed CD Transcriber 1.21 More Info Download 139 KB 10/9/1999

Slows down tracks from a CD to aid in transcription.





SlowGold II Demo More Info Download N/A 1/7/2001

Slows down music from CD or .wav files without changing the pitch.







Info Download 398 KB 10/11/1997

Tuner with scope display and variable reference pitch.

This is a great utility -- the best tuner I've used, after some 5 conventional tuners. It's not currently working at the same time as Cubasis VST on my system. -- MH




learning program, includes: metronome, tuner, Virtual Effects Rack - Engineer your own masterpieces with PlayPro's Virtual Effects Rack. Real Time DSP lets you customize your performance using Distortion, Reverb, Chorus, Flanger, and Digital Delay.




Shame on guitar community for not knowing about preserving treble via buffer. No listening skills! (I'm struggling to wake up and learn to listen.) Also, for not knowing how to record a zero-distortion, minimal-noise track *dry*. Hi-fidelity dry... bright... and don't know how to listen to it, nor play in such a way


Rangemaster treble booster




Hallo Michael,
Have you explored my site http://www.mif.pg.gda.pl/homepages/tom . How do you estimate it?
Don't worry, Polish, overall site only :-)

Dear Valued Kendrick Supporter,

Call me if you need me for anything. When my 8 year old daughter, Helen Kendrick Weber, was asked what her dad did for a living, she said he just talks on the phone about amps and plays guitar all the time. That's what I do, and I am glad to help you with your tonal needs.

We have just about unpacked the last boxes from the move. Just in time to start the new year right. Here's some of what you'll see from Kendrick soon.

New Kendrick Sirius Guitar Unveiled - There is a review in the Feb 2001 Guitar Player (Lenny Kravitz won the cover), of the all new Kendrick Sirius Guitar (page 147).

New Website - In four weeks, we will be launching a completely new website. All new graphics with cartoons etc. Same web address http://www.kendrick-amplifiers.com. Any amps ordered before this website launching will be guaranteed old pricing.

New Catalog - There will be a new catalog. Expect this in March.

New Book I have been working on another book. It is written now, but it will take me another 6 months to edit it and a few months to get it printed. Look for this by the fall.

New Gerald Weber Signature Edition Amplifier - I will release a "Gerald Weber Signature edition" amplifier in 2001. This Canarywood tone mosheen will be my idea of what a perfect amp could be.

New Black Gold 5 Combo Amp - This 5 Watt Canarywood 1X10" speaker combo with tube/spring reverb could be just what you been needin'. Look for it in March.

New Black Gold Gusher 2X12 Combo - This will have the same circuitry as the Kendrick Texas Crude Gusher, but in a Black Gold Format.

Two Beaumont Texas Crude Piggyback Gushers - When we were moving, I found some of the correct moulding to make two 2X12" Texas Crude Beaumont style Piggy-back Gushers ( or Spindletops). I had turned down orders for these for years, because I though we were out of this special moulding. They will be built with chrome chassis. If you are interested, let me know, cuz I only have two. These are among the finest amps in the world.

Last Six Trainwreck Climax amps still available. Only 100 of these were made as a limited edition. Some cosmetic seconds. One in 4X10 Canarywood cabinet. These amps nail the "El Mocamba" Stevie tone. And they nail the "Just Got Paid" ZZ tone. Call for more info. Kendrick Power Glide Attenuators in stock and ready to ship.

10% Discount or $20 off (whichever is greater) Service promotion. Send me your amp, I'll make it sound great. Call for more info. Or just send your amp to our new factory: Kendrick Route 2 Box 871 Kempner, Texas 76539 (512) 932 3130

If there is anything I can do for you, just let me know.

-- Gerald Weber



Getting Great Guitar Tone - electronic musicianship. By Peter Swiadon, the Roland and BOSS Guitar Product Manager. (made local backup)

Secrets and Secret Holders: A Report on Intellectual Property in the Musical Instrument Amplifier Industry - By Kevin O'Connor, 2000, ISBN 0-9698-6086-2. 30 pages, 51/2 x 81/2", soft cover. Price: $15 US, $19 CDN within Canada. Clearly explains, in text only, the circuitry behind simulclass, sag control, power scaling, speaker emulators, tube fat, amps that sing, amps with multiple voices, damping response, and tube simulation. Patents, how patents work, the value of various patents, who holds them, what they cover and what they don't -- 48 patents.

Nov. 2000, Kevin wrote:

>The SESSION and SESSION-3D amps should be listed in your site, as they both have Power Scaling and a lot of features to make them versatile tonally. Both have a full effects loop, 3-way EQ, Body control for dialling between single-ended and push-pull, and accept any type and combination of power tube. The -3D has reverb. Both are available as 0-10W or 0-50W just like the STUDIO.

>We also have a 0-100W version of our SPECTRUM bass amp, with or without reverb. This amp can go way quieter than any 1W amp, just as any Power Scaling amp can, and also accepts any type or combination of power tubes.

>Also, we have two amp switchers: The STAGE LINK allows one of two amps to be connected to a single speaker. There is a tube buffer that is splittable at the input, allowing one or two sources to feed the respective amps. The footswitch input is expanded through the Sync outputs.

>The SORCERER is a dual effects loop with fully featured independent loops. Each accommodates -20dB or 0dB signals, can switch pre or post-effect, can be set for series or parallel operation, and has Send and Return controls. The loops can be used in parallel, series or completely independent from one another. All audio path circuits are tube. Each footswitch is expanded through its own Sync output.

>There will be the 0-50W STANDARD coming out shortly, with two switchable channels, each with its own 3-way EQ, Drive, Level, effects loop, reverb level, 2-way active EQ, and Power Scale control. As usual, any type or combination of power tubes can be used.

>Complete info is on our site London Power. We will add a link to you (I thought there already was one).
Have fun
Kevin O'Connor

Clark Amplification - What's New page

>Coming soon will be two new amps. They will be available as heads only. One will be a two EL84 head and the other will be a four EL84 head. Both will come stock in a finished pine cabinet and will be available with more exotic hardwoods upon request.

>We now are building a power attenuator with 3, 6, and 9db levels of attenuation. Very transparent.

>A new AB switching box will be out by the end of October.

>Our newest amp is a striking replica of the 18 watt Marshall combo of old.

>AC-15 replica coming soon. This amp will feature the entire circuit. The cabinet and chassis will be accurate to the early 60's AC-15.

ZVex Wah Probe - new, Oct 2000

Guitarage - good guitar info site

Guitarage: Guitars section - Info about building, modifying, maintainence, pickup wiring diagrams

[pt vs. preamp dist]

Tubes: Mechanics & Mystique - Reprinted from Guitar Player (June 1983) - In the case of a tube amp, preamp and power amp tubes have different distortion characteristics due to the difference in both their tubes and their circuit design. For example, relying on a master volume distortion circuit by itself will yield less sensitivity to variations in a player's touch than if the amp is attenuated (has its volume limited) after its power stage (that is, with a power attenuator). This is due to the contribution of the output transformer to the sound of the amp and also to the difference in sonic qualities between different power tubes compared to preamp tubes. Leaving some of the distortion to the power amp section rather than relying mainly on the preamp section gives a broader range of sensitivity. In addition, the nature of the tube allows the player to vary his touch, producing different tonal responses from the amp according to the manner in which he plays. [pt vs. preamp dist]

Tubes: Mechanics & Mystique - Reprinted from Guitar Player (June 1983) - In the case of a tube amp, preamp and power amp tubes have different distortion characteristics due to the difference in both their tubes and their circuit design. For example, relying on a master volume distortion circuit by itself will yield less sensitivity to variations in a player's touch than if the amp is attenuated (has its volume limited) after its power stage (that is, with a power attenuator). This is due to the contribution of the output transformer to the sound of the amp and also to the difference in sonic qualities between different power tubes compared to preamp tubes. Leaving some of the distortion to the power amp section rather than relying mainly on the preamp section gives a broader range of sensitivity. In addition, the nature of the tube allows the player to vary his touch, producing different tonal responses from the amp according to the manner in which he plays. A little of each factor

The "all of the above, a little" approach: the best tone is a balance of factors:

A little string springiness (heavy strings)

A little compression

A little pre-distortion EQ

A little preamp distortion in each preamp tube stage

A little power-tube saturation

A little speaker distortion

A little room response

A little mic compression and distortion

A little multi-mic blending

A little tape saturation

A little monitor-speaker smoothing

A little eardrum compression

Ideally, all of these factors are present and balanced.


Add link in site to sustainiac -- cross-link between sustainiac and ibox areas.

[metal tone]

Metallica's gear - add to Met page

[blues harp amp tone] See also the power attenuator FAQ found on home page -- a thread about power attenuators is shown, from the garply listserv.


Zoom PS-02 Palmtop Digital Multitrack Recorder

Weber speaker terms

Harmony Central guitar forum FAQ including amp questions. Must-read.

[new tube mic pre pg?]

dwfearn.com/vt2man.htm vac tube mic pre

[7-string gear]

gear used by the hard 7-string bands


(http://www.cosmik.com/aa-november98/phil42.html - phil dirt, surf guitar dj

[accessories of note] show chrome patch cables

Kensington colored wallWart surge protector 6-jacks (new entry) - These "adapter" surge suppressors are sized for wall-warts, and are cool gray with colored accents. I suspect the Adapter Basic model would be good for guitar, but for your digital processors you might want the more expensive models.

Kensington Power Adapter Strip Page

Kensington Tabletop Surge Protector Page

Kensington Wall-mount Surge Protector Page


Don't just link to; archive any must-read articles. Link to sites, or articles?

[various important pgs]

Mark the key local pages and bring them up to snuff.

[identify my kay] upload pic of my Kay

[home pg]

mix prod pages with concept pages


Divide Links page? Divide Books page? Look at the topic architecture of the site. Taking a fine granularity approach, reorganize the site.

Reduce # clicks to get to cool places... work carefully on the hierarchy of presentation....... fill screen horiz more.... pack with small links to *useful* places. D Dashboard concept.


Empty out the News file.

In future, put dates in the News file


Switch some newsgroup links from deja.com to remarq.com.

[search] Finding What Gear an Artist Uses - I have not found a single site good for all research of what gear an artist uses. Harmony Central, Deja.com, askjeeves.com, Yahoo, google.com.

You should be able to use the Amptone.com Ultra Search page http://www.amptone.com/search.htm to find about gear for a particular artist. Try searching with and without the alt.guitar newsgroup.




FX Links

http://www.pedalman.com - Hard to find vintage and new effect units since 1989. 90,000 hits/month.




This page has a variety of good postings on attenuation, input buffer impedance...



From:�� vs880
Sent:�� Friday, October 17, 1997 10:49 AM
To:���� vs880
Subject:������ Re: [VS880] OT - Recording from guitar-preamp
In a message dated 97-10-13 21:44:55 EDT, skconrad@pacificnet.net writes:
<< Find a used Altair power attenuator, Tom Sholtz Power soak, or Marhall
Power Brake. The best one is from a company called THD and like the out of
 Altair, it features it's own recording output with "color" controls.>>
The THD is probably the best one. They ripped off the design, patented by
Groove Tubes but they don't use any filters. Hooray! Having to EQ the
Emulator for so many years was a big hassle. BTW, Eddie Van Halen uses a
modified GT Speaker Emulator. The filter section is taken out.


From:�� vs880 [vs880@mooncafe.com]
Sent:�� Sunday, October 05, 1997 7:10 PM
To:���� vs880
Subject:������ Re: [VS880] OT: RE: Guitar FX Under $500
Categories:��� gear comparisons
Thanks for the advice all on what your using,,
In a message dated 05/10/9713:46:27, you write:
> I really don't think that you'll ever get the sound that makes your
>hairs stand on end unless you mic up an amp.DI'ing is not an
>option except for rough ideas and stuff, I think (I know you need
>somewhere to turn up your amp though).
>James Traxler
yeah , i agree, i always mic on valve amps for bluesy, crunchy tones, i use
the sansamp gt2 which is a good pedal ,, i'll try out thezoom 8080. thanks


From:�� vs880 [vs880@mooncafe.com]
Sent:�� Sunday, October 05, 1997 1:10 PM
To:���� Roland VS-880 Mailing List
Subject:������ [VS880] OT: RE: Guitar FX Under $500
Categories:��� gear comparisons
Sherif writes...
>can anyone recommend a guitar effects box under $500
>that they personally like, and use with the VS ?
Well I don't personally use this (yet... but if I had some money) but
I have tried out several multi-fx stomp boxes and this one came up best:
Zoom 8080.It's around 350 English pounds, which'll be under $500 US.
The Digitechs always sound fizzy, the Roland (GP5 or something) is
about 600 quid and although very robust (you could bludgeon someone
to death with it without damaging it - I know :-), it is not in my opinion
worth the extra over the Zoom.
I want to get the Zoom but I have been using a Boss SE-50 plus
various pedals for quite a few years now.I wouldn't recommend the
SE-50, I find it quite noisey (hiss) and it is not really for guitar use
particularly, you would only get one second-hand anyway (but don't).
I really don't think that you'll ever get the sound that makes your
hairs stand on end unless you mic up an amp.DI'ing is not an
option except for rough ideas and stuff, I think (I know you need
somewhere to turn up your amp though).
James Traxler.


From:�� vs880 [vs880@mooncafe.com]
Sent:�� Sunday, October 05, 1997 11:46 AM
To:���� jtraxy; vs880
Subject:������ Re:[VS880] OT: RE: Guitar FX Under $500
Categories:��� gear comparisons
 I've been using the Boss GX-700 for a couple of years and it has great
sounds, flexibility and even sounds good direct. You can find it new for
$450.00 (or less).
 I also use a SansAmp PSA-1, Digitech 2101, Zoom 505 and an ADA MicroCab and
the Boss stands up to the more expensive units and has some very good


From:�� vs880 [vs880@mooncafe.com]
Sent:�� Tuesday, September 16, 1997 6:32 PM
To:���� vs880
Subject:������ Re: [VS880] recording acoustic guitar/recording crappy instruments
In a message dated 16/09/9706:20:13, you write:
> And while we are talking Beatle guitar stuff, the "feedback" at the
>begining of "I Feel Fine" from 1965 was the result of John leaning a
>Gibson J160e "Acoutic/Electric" with the volume still up against his Vox
>AC 30 during a break. George Martin sliced this sonic anomally to the
>front of the track, and it certainly must have hit a nerve with Pete
>Townsend, Jeff Beck, Jimi Hendrix, etc.... 
>Steve Conrad
the others might argue they were deliberately feedbacking in clubs by 1965!,
but yes, i think that might be the first example of recorded feedback.


From:�� vs880 [vs880@mooncafe.com]
Sent:�� Tuesday, September 16, 1997 6:29 PM
To:���� vs880
Subject:������ Re: [VS880] recording acoustic guitar/recording crappy instruments
In a message dated 16/09/9703:52:38, you write:
> Question:I thought John Lennon played a Les Paul through a chorus unit
>on Across The Universe, no? (Is anyone on this list a beatlemaniacs and
>able to answer that question?) (I heard that he called his Les Paul "Mor
No,, in mark lewisohn's book "Beatles Recording Sessions", p133,he
indicates that john played acoustic guitar, while George played a
tamboura/sitar,,, i must admit i only think its a Gibson acoustic becuase i
have seen pictures of John with a Gibson during the 1968 period when
"Across..."was first recorded. A lot of manual flanging (using the tape
reel) was done on the guitar/sitar as well. Thinking about it, maybe they get
that sound becuase of John/George's combination!
PS, i'm not really a techno nerd, but that book is such an inspirational
read, especially when u get fed up with the technology! ! :)
> << Question:I thought John Lennon played a Les Paul through a chorus unit
>on Across The Universe, no? (Is anyone on this list a beatlemaniacs and
>able to answer that question?) (I heard that he called his Les Paul "Mor
>�� >>
> Les Paul, Mor John? LOL!
An intrument may sound crappy on its own, but may sound great in a mix.The 
converse is true: an instrument may sound great on its own but crappy in the 
mix.Speaking in an amplified guitar context, often designers of multi FX 
guitar processors will boost the effect to the extreme to highlight them in
store.This may sound great alone, but one may have to cut the FX way back 
when actually using the processor in the mix.
The reason that I bring up the fact that crappy stuff can sound good in the
is because I recently had such an experience.I have come pretty damn close
my dream tone by using a piece of shit cabinet with an Ibanez RG550 (which I 
always thought was too midrangey).The speaker that I mic'ed was torn at a 
gig, tossed in the snow, recovered by my bass player, patched with wood glue, 
and placed in a 2x12 cabinet that has poor resonance.
While I hate the tone alone, the tone worked perfectly in a recent recording.


From:�� vs880
Sent:�� Friday, October 10, 1997 10:30 PM
To:���� Roland VS-880 Mailing List
Subject:������ [VS880] SV: Loud Guitar on the VS-880
 Hi everybody!
Regarding re-recording guitar via an amp to get a better sound, MegaChew
>The last time I tried this I got a bunch of noise and hum. I'm not an
>impedance guru or anything like that.... just how do you get it to work
>into a Marshall?
I've done this with nothing but a microphone and a guitar amp, but in my
reel-to-reel days. Worked fine for me.
I don't know if the following applies to Mega's problem, it's about
recording, not re-recording:
 A trick I had not to disturb my neighbours, was using a big old tube radio
(a Grundig 3D) as an amp toghether with my favourite distboxes.
That way I could drive the amp and internal speaker hard, still the output
volume was resonably low. Miking the Grundig up got me a full, warm tube
sound. I used this setup (with various dists/settings) to get sounds ranging
from really heavy stuff to crisp and clear pop sounds. The sustain was
As the basement I was recording in had concrete walls, I didn't even use a
reverb! :-)
Lately I've been using
more individual stomp boxes in conjunction with the VS880 amp sims withnice


From:�� vs880
Sent:�� Sunday, October 12, 1997 9:14 PM
To:���� vs880
Subject:������ Re: [VS880] SV: Loud Guitar on the VS-880
In a message dated 97-10-10 16:53:13 EDT, jonas.osterlof@mailbox.swipnet.se
<<A trick I had not to disturb my neighbours, was using a big old tube
 (a Grundig 3D) as an amp toghether with my favourite distboxes.
That way I could drive the amp and internal speaker hard, still the output
 volume was resonably low. Miking the Grundig up got me a full, warm tube
 sound. I used this setup (with various dists/settings) to get sounds ranging
 from really heavy stuff to crisp and clear pop sounds. The sustain was
 great. >>
Interesting... so basically, you were able to turn the Grundig up and distort
the power tubes or was it just the preamp? My amps aren't too loud, in fact I
can record very quietly since I'm using a power attenuator. It goes like
Guitar -> Rat Distortion Pedal -> Marshall JCM-800 MV 50 wt EL34s (speaker
out) -> THD Hotplate Attenuator (now line level) -> Rane PE-15 (5 band
parametric EQ, boost bass, cut mids, unused bands are bypassed) -> Rocktron
Hush IIB -> Peavy Classic Series 120/120 all tube power amp (not used for
output tube distortion, strictly clean) -> Marshall JCM-800 4x12 cabinet with
65 watt celetion speakers -> Shure SM57. This tone kicks ass over any stock
Marshall tone. Well, it's really the same except for the EQ. Although I can
record at low volumes and still get a good tone I turn the amp up (the
Peavey) so I can get distort the speakers.

Fingernails, Fingerpicking, and Tone

Fingernails can be used with electric, steel, or nylon strings. One good remedy I've heard for classical and flamenco guitarists with nail problems is clear nail polish. medical article about nails

Wye Shimamura wrote:

>I'm here to ask for advice on how to maintain the nails in ready condition. At age 63 under treatment of diabetes, I'm having more trouble keeping my nails long enough - the trouble I never used to have before. Very seldom I have all the four playing nails in good enough shape.

>What happens is that the tip of the finger chips off or the surface peels off making that particular part of the nail too thin to apoyando firm enough. Does anyone have similar problems and have a good remedy to offer?

The only way to go is glue-on or build-up plastic nails. Go see a fingernail boutique and bring your guitar. Just keep your natural nails short.

Fingernail care tips

Noise.html - A page with some tricks for creating strange noises with your guitar.

Anywhere there is a barrage of notes, Eddie is likely to use tapping. Shredders might be inclined to pick each note in a Van Halen lick, but tapping is used in many more licks than you would guess.

Night Ranger, 1-lick wonder, had Brad Gillis for whammy and the other guy for the famous but limited 8-finger tapping lead. The song suggested a revolution beyond Eruption, but the technique was too difficult and inflexible, and tapping fell out of favor.

I have some wild tapping patterns that are more complex that the simple tapping I've heard. Tapping is a largely untapped technique and guitarists should use it more.

I think that we should continue to evolve flash guitar and repeat techniques that Eddie Van Halen basically invented. It's ridiculous to say that Eddiesque riffing should be prohibited because it's unoriginal. Great technique should be extended, not avoided.

Hendry Kaiser says that active pickups hear more high-treble.

Actodyne - Lace Sensor Silver. pickup. Fat Strat sound with increased mids.

Amptone.com ultra gear-search page

Home (amp tone and effects placement)