Tone Sucking!
I know a large chain of effects sucks tone, but if all the effects are true bypass does it still suck your tone/signal?
# 1
A couple of true-bypass pedals shouldn't be noticeable. My rule of thumb is that a pedal is equivalent to about 5 feet of cable. So a half-dozen pedals is like playing through a 30-foot cable.
# 2
about how much does 5 feet affect the overall tone?
# 3
It's the 'Death of a Thousand Cuts" kinda thing. A 10 foot cable doesn't seem very different from a 15 foot cable, which doesn't seem very different from a 20 foot cable, which doesn't seem very different from a 25 foot cable, which doesn't seem very different from a 30 foot cable.
But if you change from a 10 foot cable to a 30 foot cable, you'll immediately notice loss of definition and openness.
But if you change from a 10 foot cable to a 30 foot cable, you'll immediately notice loss of definition and openness.
# 4
gotcha, thanks
# 5
It's alway's a good idea to use high quality cables. My chain consists of 5 pedals. I use 2 10' (sometimes a 20' if the length is needed) Georg L. cables from guitar to pedals and pedals to amp. I use Livewire cables between the pedals. The difference between plugging straight in with a 10' cable between my guitar and amp, and the full chain is noticable, but not enough to matter (at least to me). I actually preffer the full chain tone to straight in. Straight in, I have to roll off the presence a bit. When going through everything, all I have to do is boost the presence a bit, and I get the same tone as straight in.
# 6
A good buffered pedal can be used to help recover some of the signal loss from bypass pedals. I run a Klon at the end of my signal chain.
Canuck? Guitars Canada
# 7
so, on a related topic, when recording, should i use say a 5 ft cable?
and does a wireless guitar thing screw up your tone? i would think it should.
and does a wireless guitar thing screw up your tone? i would think it should.
# 8
Yes.
and
Yes.
and
Yes.
# 9
I bought a used Rocktron 'Hush' pedal. It works as advertised, but does suck off some of the highs out of my Strat. The thing is though, it does get rid of lots of hiss and electrical buzz. My stuff is all grounded very well, and this thing did the trick for a few old analog pedals that love to pick up spurious signals.
[FONT=Comic Sans MS]Still learning. One riff at a time. [/FONT]
# 10
Originally Posted by: LordathestringsYes.
and
Yes.
thought so :D
# 11
:rolleyes: Any tips on acheiving that true Les Paul sound? Amp suggestions (tube of course)? Amp settings? I'm talking about the sound of a Les Paul unplugged... That's the sound I've really been looking for lately.
# 12
If you're looking for an amp that will accurately reproduce the output of your guitar, seek out an old Roland JC amp. The JC120 was the biggest of the series, but the JC90 and JC60 also share that sound. We're talking clean, smooth, transistor stereo accurate sound here. Jazzers love these amps.
If you want a tube amp amp that will bring out the best of any guitar you plug into it, that will accept any bizarre EQ you dial in, and still sound like your guitar and your playing, then only a Magnavox-era V-series Ampeg will float your boat. I have a 1976 VT-22 and a 1977 VT-40 (rebuilt as a 1x15" combo), and I just don't see myself buying anything else. I also have an early-80's G-18 transistor amp, but it sounds like a tube-job. And it's also a Magnavox Ampeg.
Most other amps have to be set up 'just so' and pushed exactly into their 'sweet spot' to deliver the signature tone that made that brand famous. And then you sound like any other doofus who plays that amp. With a V-peg, it's all sweet, and it all sounds as individual as you do. If your skills aren't up to being presented very clearly, you had best do some woodshedding, 'cause with these amps, there's nowhere to hide. But if your chops are righteous, these amps are loud enough that the audience feels what you play as much as they hear it.
It just doesn't get any better than this. :D
If you want a tube amp amp that will bring out the best of any guitar you plug into it, that will accept any bizarre EQ you dial in, and still sound like your guitar and your playing, then only a Magnavox-era V-series Ampeg will float your boat. I have a 1976 VT-22 and a 1977 VT-40 (rebuilt as a 1x15" combo), and I just don't see myself buying anything else. I also have an early-80's G-18 transistor amp, but it sounds like a tube-job. And it's also a Magnavox Ampeg.
Most other amps have to be set up 'just so' and pushed exactly into their 'sweet spot' to deliver the signature tone that made that brand famous. And then you sound like any other doofus who plays that amp. With a V-peg, it's all sweet, and it all sounds as individual as you do. If your skills aren't up to being presented very clearly, you had best do some woodshedding, 'cause with these amps, there's nowhere to hide. But if your chops are righteous, these amps are loud enough that the audience feels what you play as much as they hear it.
It just doesn't get any better than this. :D
# 13
about how much do those go for? do are they still in production?
# 14
Musician's friend has the Roland JC amps ranging at about $350 for the JC60, $450 for the JC90, and $850 for the JC120. At least if my memory serves me correctly. I wasn't able to find a price for the Ampeg though, but with a sales pitch like the one supplied by LATS I can't imagine it being anything cheap.
The Gods Made Heavy Metal, And They Saw That It Was Good
They Said To Play It Louder Than Hell, We Promised That We Would
Hulk Smash!!
Whatever you do, don't eat limes. A friend of mine ate a lime once and BAM!! Two years later. Herpes.
They Said To Play It Louder Than Hell, We Promised That We Would
Hulk Smash!!
Whatever you do, don't eat limes. A friend of mine ate a lime once and BAM!! Two years later. Herpes.
# 15
Magnavox owned Ampeg from 1971 to 1980. This was the period that saw the introduction of the legendary SVT, among a whole slew of great tube amps. The V series amps remain the gold standard for Ampeg amps. And because they don't have the collector cachet of lesser amps (IMO) like Fender and Marshall, prices are still quite reasonable. Surf through eBay for Ampeg amps made in the 70's and you'll see what I mean.
The SVT was originally intended to be a bass amp, but the Rolling Stones used the first prototypes for both bass and guitar on their '71 tour. The V-9 was introduced as a guitar version of the SVT, but with the SVT being bought by so many guitar players, the V-9 never saw huge production. The V-4 was a 120 Watt guitar head, and the V-4B was a bass version, without reverb. The V-2 was a 60 Watt head. The V-4 amp was also built into a 2x12" combo called the VT-22. The V-2 was built into a 4x10 combo called the VT-40. There was no bass version of the V-2, since that was covered very well by the B series amps, which also sound great for guitar.
For guitar, the 'golden age' of Ampeg runs from the late 60's when Ampeg was based in Linden, New Jersey, to the late 70's as the Magnavox era wound down in Elkhart, Indianna. It's a wonderfull irony that Ampeg was started by Everett Hull, a man who hated Rock'n'Roll. The amps his company built pretty much defined the sound of Rock in the 70's.
The SVT was originally intended to be a bass amp, but the Rolling Stones used the first prototypes for both bass and guitar on their '71 tour. The V-9 was introduced as a guitar version of the SVT, but with the SVT being bought by so many guitar players, the V-9 never saw huge production. The V-4 was a 120 Watt guitar head, and the V-4B was a bass version, without reverb. The V-2 was a 60 Watt head. The V-4 amp was also built into a 2x12" combo called the VT-22. The V-2 was built into a 4x10 combo called the VT-40. There was no bass version of the V-2, since that was covered very well by the B series amps, which also sound great for guitar.
For guitar, the 'golden age' of Ampeg runs from the late 60's when Ampeg was based in Linden, New Jersey, to the late 70's as the Magnavox era wound down in Elkhart, Indianna. It's a wonderfull irony that Ampeg was started by Everett Hull, a man who hated Rock'n'Roll. The amps his company built pretty much defined the sound of Rock in the 70's.
# 16