Synchro/gain/JFET vs. Tube/amp in a box

Bertotti

Friend of Fred
Jul 20, 2017
9,785
South Dakota
I have said this several times but after My Aerodyne Strat and Peavey Triple XXX super forty the next piece of gear O bought should have been a Fryette. I now have a PS100 and with it I could have gone without several pedals I purchased, not that I would have because they can change the character of what I’m doing but the reason for having them would be different.
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
I have said this several times but after My Aerodyne Strat and Peavey Triple XXX super forty the next piece of gear O bought should have been a Fryette. I now have a PS100 and with it I could have gone without several pedals I purchased, not that I would have because they can change the character of what I’m doing but the reason for having them would be different.
I looked the features of the PS100 and really liked the specs. It wouldn't work for me though because I do not like tube amps for gigging ever since my Tech 60W Tech21 really got me to where I want....only effects used was a Wah and TS9

With the Roland Blues Cube, I love the attenuator which I know is a great asset with the PS100. The investment in a tube amp was just not in the cards. I even grabbed the Tech 21 years ago over the amp that produces my favorite tone which is the now discontinued Mesa Lonestar.

Even if I wasn't starting the new project, I would still be looking for the tone and searching for the other tones the pedals I have bought thus far have brought me. Since I do love the tone of the Blue Note by J Rockett with very little gain, I might just need a booster.......I like the boost my Vertex SSS gives it.
 

Waxhead

Friend of Fred
Aug 30, 2014
5,186
Australia
THAT!!!! Ruger knows the Mesa Lonestar is my favorite amp and the day the music died for me was when I heard it was discontinued. As for the Lonestar... Yes, Yes and triple yes!!! That is the sound.

Well if Lonestar thick mode is "the sound" you want why not get a used one?
they're still around on the used market ... and pretty cheap too. Mark V delivers the mega fat tone also.

I doubt you'll find a pedal, or preamp, that clones it well.
Many companies have been trying to clone various Mesa amp tones for decades without success. The copy attempts include Mark 1 violin leads, Rectifier metal tones, Mark IV crunch etc etc.

But as us Mesa fanboys know - there's no substitute for the real thing :D
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
Well if Lonestar thick mode is "the sound" you want why not get a used one?
they're still around on the used market ... and pretty cheap too. Mark V delivers the mega fat tone also.

I doubt you'll find a pedal, or preamp, that clones it well.
Many companies have been trying to clone various Mesa amp tones for decades without success. The copy attempts include Mark 1 violin leads, Rectifier metal tones, Mark IV crunch etc etc.

But as us Mesa fanboys know - there's no substitute for the real thing :D
I know me all too well. Know matter how well the solution is, it won't be 100% and then let the tweaking begin.....which is really what I am doing now.

I love the Mesa but until a 2 lb./$350 or less solution is proven that it fails to do the trick, I'll still opt for searching for the less expensive option. Even with that, there is no way I am bringing in a new/used/or even a shell of an amp into the house without my wife turning into Michael Myers from Halloween.

Pedal = nasty look. An amp = a dimension in time and space that David Lynch created in Twin Peaks as my new reality!
 

Waxhead

Friend of Fred
Aug 30, 2014
5,186
Australia
I know me all too well. Know matter how well the solution is, it won't be 100% and then let the tweaking begin.....which is really what I am doing now.

I love the Mesa but until a 2 lb./$350 or less solution is proven that it fails to do the trick, I'll still opt for searching for the less expensive option. Even with that, there is no way I am bringing in a new/used/or even a shell of an amp into the house without my wife turning into Michael Myers from Halloween.

Pedal = nasty look. An amp = a dimension in time and space that David Lynch created in Twin Peaks as my new reality!

hehehehe Okkkk good luck :D
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
Have you considered a Pettyjohn PreDrive? I've also been on a tone quest and recently bought one off Reverb (will post the NPD soon). I'm liking it quite a bit but also still getting acquainted with it. There's a function on it he calls Harmonic Drive. It's an on/off toggle with a mix pot to blend in. It compresses and thickens in a way that I think would be very well matched with single coils. I'm currently using the Harmonic Drive function to go after a Neil Young type of amp blowing up sound by stacking some other pedals with it. It also warms up a bright overdrive pedal that I like to use for finger picking. Food for thought.
Saw a video by Josh from JHS and he raved about everything Pettyjohn offers. So I went looking for what you were talking about and am now viewing Shawn Tubbs' review of the CHIME MKII by Pettyjohn. I'm almost done and love what it offers. Touch sensitivity comes into play but I'll get the girth soloing with "punch" and "boom" as he speaks about (very TV show Batman-ish) but the dynamics are really surprising and advanced....there is a lot going on here. It can get very aggressive in the clipping setting but he opens up the box and turns the clipping off to use as more of a preamp/boost and sound-enhancer.



The Harmonic Drive function is actually in the LIFT MKII which I will discover next with some demos.
 

Synchro

The artist formerly known as: Synchro
Staff member
Jun 2, 2008
26,399
Tucson
Just for the heck of it, go plug into a Fender Pro Jr IV. The pre IV Pro Juniors won’t do the trick, or will at least drown you in hum. It’s worth a try, and not expensive.


There may not be a singular secret sauce, but there are probably a few important ingredients. Setting an amp near edge of breakup and then punching the front end sounds with a mid forward boost like a TS ...to me that sounds like the a plausible combination of ingredients to fatten up the tone.
I would agree. The basic sound is the cake, and everything else is frosting.

As I have mentioned in previous posts, I have a couple of lower gain overdrive pedals, both of which sound great, at least for some applications. The EHX Soul Food, sounds good at lower gain settings, but it’s a bit ratty at higher gain settings. The MXR Sugar Drive sounds good at lower gain settings, but at higher gain settings is sounds a bit thin, to my ear.

My point here is that pedals are useful, but are partial solutions. Stevie Ray Vaughan used some fairly thick sounding amps. The Super Reverb is a midrange machine, if one ever existed. A Vibroverb with a single 15” speaker is another midrange machine. My Twin Reverb RI with a single 15 in a closed-back cabinet is another midrange machine. Anything I plug into it will come out with stronger midrange than I would get from my Winfield Elizabeth (which is more in keeping with the classic Fender sound). One of the reasons I suggested playing a Pro Junior IV, is that is has a natural thickness in its sound.

One problem, is that it’s hard to describe sound accurately. There are all sorts of factors, including the tone response curve (think graphic EQ), compression, overdrive, the phase inverter, the power tubes, the output transformer and the response of the speakers.

Most amps use 12AX7s in the preamp, although there are lower gain 12AY7s used, as well. But there are other solutions. The EF-86 pentode can be used in the front of an amp and that gives a completely different response to the signal coming from the pickups. I have this in a Winfield Cyclone, which sounds Vox-like, and responds uniquely, with a very broad plateau between clean and broken up. That’s an example of the sort of variable which is easy to overlook.

I have no absolute solutions to offer, by any means. There are nearly infinite variables and a pedal or amps which sound good with one guitar might not sound as good with a different guitar. For example, I like the Boss Blues Driver with Dynasonics, but not so much with Filtertrons. While amps are amazingly compatible, in the sense that virtually every mainstream electric guitar will function when plugged into virtually any mainstream amp, there will be differences in response that may not be easy to quantify.

My personal solution is simple, in that I choose a guitar, choose whatever amp seems most appropriate for the situation, make some rough settings at the amp (I always start my guitar at 75% rotation on the Master Volume with both pickups selected) and then I use pedals the way a chef uses seasonings. The basic sound is always my guitar and my amp, with reverb used in almost every situation. One more thought would be to use a pick that contributes to a thicker sound. You might want to look at some of V-Picks products. There’s nothing quite like 2.8, or even 4.0 mm so acrylic pick for a warm sound. If you want to experiment with something that can usually be found locally, try a Dunlop 205.
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
Just for the heck of it, go plug into a Fender Pro Jr IV. The pre IV Pro Juniors won’t do the trick, or will at least drown you in hum. It’s worth a try, and not expensive.



I would agree. The basic sound is the cake, and everything else is frosting.

As I have mentioned in previous posts, I have a couple of lower gain overdrive pedals, both of which sound great, at least for some applications. The EHX Soul Food, sounds good at lower gain settings, but it’s a bit ratty at higher gain settings. The MXR Sugar Drive sounds good at lower gain settings, but at higher gain settings is sounds a bit thin, to my ear.

My point here is that pedals are useful, but are partial solutions. Stevie Ray Vaughan used some fairly thick sounding amps. The Super Reverb is a midrange machine, if one ever existed. A Vibroverb with a single 15” speaker is another midrange machine. My Twin Reverb RI with a single 15 in a closed-back cabinet is another midrange machine. Anything I plug into it will come out with stronger midrange than I would get from my Winfield Elizabeth (which is more in keeping with the classic Fender sound). One of the reasons I suggested playing a Pro Junior IV, is that is has a natural thickness in its sound.

One problem, is that it’s hard to describe sound accurately. There are all sorts of factors, including the tone response curve (think graphic EQ), compression, overdrive, the phase inverter, the power tubes, the output transformer and the response of the speakers.

Most amps use 12AX7s in the preamp, although there are lower gain 12AY7s used, as well. But there are other solutions. The EF-86 pentode can be used in the front of an amp and that gives a completely different response to the signal coming from the pickups. I have this in a Winfield Cyclone, which sounds Vox-like, and responds uniquely, with a very broad plateau between clean and broken up. That’s an example of the sort of variable which is easy to overlook.

I have no absolute solutions to offer, by any means. There are nearly infinite variables and a pedal or amps which sound good with one guitar might not sound as good with a different guitar. For example, I like the Boss Blues Driver with Dynasonics, but not so much with Filtertrons. While amps are amazingly compatible, in the sense that virtually every mainstream electric guitar will function when plugged into virtually any mainstream amp, there will be differences in response that may not be easy to quantify.

My personal solution is simple, in that I choose a guitar, choose whatever amp seems most appropriate for the situation, make some rough settings at the amp (I always start my guitar at 75% rotation on the Master Volume with both pickups selected) and then I use pedals the way a chef uses seasonings. The basic sound is always my guitar and my amp, with reverb used in almost every situation. One more thought would be to use a pick that contributes to a thicker sound. You might want to look at some of V-Picks products. There’s nothing quite like 2.8, or even 4.0 mm so acrylic pick for a warm sound. If you want to experiment with something that can usually be found locally, try a Dunlop 205.
Good input but all of the ground I have covered. I like the Soul Food and the Boss BD-2 but my Blue Note by J. Rockett does what I want slightly better. Also, most of Stevie's Cleans did come with a Dumble, Fender blackface amps, and 2 different Marshalls.

I was not thinking of Stevie though with this thread. It was an "itch" left over from my pedal purchasing parade for the "pregame" a few months ago for a project I have just started. Your name in the title comes up because of some very valuable detail you shared in a past thread about how gain/overdrive/distortion pedals don't just provide varying levels of breakup, but really have a distinct tonal characteristic and can greatly vary from different pedals. That point arose again when I was deeply attracted to the tone and dynamics of the Keeley Super Phat Mod where the claim is the secret ingredient to be a specific Toshiba FET. Except for the RAT which is paired with compression and chorus, my drive/gain/distortion pedals rarely see the gain past 11:00 and really only at around 9:00. It is the clean tones out of these that have me. Note even specific to this thread I am hot for both the Wampler Euphoria and Wampler Belle.

Back to the focus though, I am trying to bloom a clean blues tone with just a slight hint of breakup. I think a good tube preamp might help along with an EQ.......I think the EQ really will get me to where I want to go.

However, an Atomic Brain and a Fender blackface-type preamp in a pedal may be a good idea too. I'm having fun with the research too which is an added plus!!

Overall, much of what I will be creating is "Moby/Gilmour/Mayer/Wilsey/Devin Townsend" mashup....if one could categorize it.

The final straw to create the thread aside from the Phat Mod by Keeley is the new Crossfire pedal by Crazy Tube Circuits.
 
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NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
Good input but all of the ground I have covered. I like the Soul Food and the Boss BD-2 but my Blue Note by J. Rockett does what I want slightly better. Also, most of Stevie's Cleans did come with a Dumble, Fender blackface amps, and 2 different Marshalls.

I was not thinking of Stevie though with this thread. It was an "itch" left over from my pedal purchasing parade for the "pregame" a few months ago for a project I have just started. Your name in the title comes up because of some very valuable detail you shared in a past thread about how gain/overdrive/distortion pedals don't just provide varying levels of breakup, but really have a distinct tonal characteristic and can greatly vary from different pedals. That point arose again when I was deeply attracted to the tone and dynamics of the Keeley Super Phat Mod where the claim is the secret ingredient to be a specific Toshiba FET. Except for the RAT which is paired with compression and chorus, my drive/gain/distortion pedals rarely see the gain past 11:00 and really only at around 9:00. It is the clean tones out of these that have me. Note even specific to this thread I am hot for both the Wampler Euphoria and Wampler Belle.

Back to the focus though, I am trying to bloom a clean blues tone with just a slight hint of breakup. I think a good tube preamp might help along with an EQ.......I think the EQ really will get me to where I want to go.

However, an Atomic Brain and a Fender blackface-type preamp in a pedal may be a good idea too. I'm having fun with the research too which is an added plus!!

Overall, much of what I will be creating is "Moby/Gilmour/Mayer/Wilsey/Devin Townsend" mashup....if one could categorize it.

The final straw to create the thread aside from the Phat Mod by Keeley is the new Crossfire pedal by Crazy Tube Circuits.
Honestly though, I always watch out for the happy surprises that suddenly gets me something I was looking for but not immediately focused on.

The latest such surprise came when I just by accident duplicated Johnny Winter's Erlewine Lazer tone (non-slide playing) from the "Hey Where's Your Brother" album. A few other albums around that time carried the same tone but that album was really "alive"!

Anyway, I paired my '06 Fender HWY 1 Strat with the Keeley w/o compression, dialed the right settings and ...BAM, I heard it. All by accident too. It was another tone I was chasing and never would've guessed this route.
 

Synchro

The artist formerly known as: Synchro
Staff member
Jun 2, 2008
26,399
Tucson
Good input but all of the ground I have covered. I like the Soul Food and the Boss BD-2 but my Blue Note by J. Rockett does what I want slightly better. Also, most of Stevie's Cleans did come with a Dumble, Fender blackface amps, and 2 different Marshalls.

I was not thinking of Stevie though with this thread. It was an "itch" left over from my pedal purchasing parade for the "pregame" a few months ago for a project I have just started. Your name in the title comes up because of some very valuable detail you shared in a past thread about how gain/overdrive/distortion pedals don't just provide varying levels of breakup, but really have a distinct tonal characteristic and can greatly vary from different pedals. That point arose again when I was deeply attracted to the tone and dynamics of the Keeley Super Phat Mod where the claim is the secret ingredient to be a specific Toshiba FET. Except for the RAT which is paired with compression and chorus, my drive/gain/distortion pedals rarely see the gain past 11:00 and really only at around 9:00. It is the clean tones out of these that have me. Note even specific to this thread I am hot for both the Wampler Euphoria and Wampler Belle.

Back to the focus though, I am trying to bloom a clean blues tone with just a slight hint of breakup. I think a good tube preamp might help along with an EQ.......I think the EQ really will get me to where I want to go.

However, an Atomic Brain and a Fender blackface-type preamp in a pedal may be a good idea too. I'm having fun with the research too which is an added plus!!

Overall, much of what I will be creating is "Moby/Gilmour/Mayer/Wilsey/Devin Townsend" mashup....if one could categorize it.

The final straw to create the thread aside from the Phat Mod by Keeley is the new Crossfire pedal by Crazy Tube Circuits.
This is a long shot and you’d probably have to rely on YouTube videos for a demo, but the Surfy Industries Blossom Point might be of interest. https://www.surfyindustries.com/blossompoint Basically, it’s meant to emulate the characteristics of a Brownface Showman, with the presence control. These are amps with more midrange than the Blackface Fenders which followed and can yield the elusive sound Freddie King got on Hideaway. IMO, that sound all but defines fundamentally clean, but with a touch of breakup.

Freddie King’s sound always impressed me by its degree of control. It was always right on the edge, but never actually broke up. I guess that is what I mean by having a broad plateau between clean and broken up.

I shoot for a fundamentally clean sound, but the downside is the Icepick Effect, which can really wear down an audience. A lot of newer Surf bands fall victim to this effect because they go for a caricature of the early Surf sound and overdo the highs and overdo the reverb. It sounds like a band imitating another band that is imitating a Surf band, and can be quite harsh. But Surf peaked before the Blackface Fender was ever released and the first wave Surf bands usually played Brownface Fenders. If you look at the publicity photos of Surf bands in 1962, most, if not all, had a line of Showman amps in their rough blonde tolex, and frequently with one, or two 15” speakers per cabinet.

In any event, the Blossom Point might be of interest in your quest.
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
This is a long shot and you’d probably have to rely on YouTube videos for a demo, but the Surfy Industries Blossom Point might be of interest. https://www.surfyindustries.com/blossompoint Basically, it’s meant to emulate the characteristics of a Brownface Showman, with the presence control. These are amps with more midrange than the Blackface Fenders which followed and can yield the elusive sound Freddie King got on Hideaway. IMO, that sound all but defines fundamentally clean, but with a touch of breakup.

Freddie King’s sound always impressed me by its degree of control. It was always right on the edge, but never actually broke up. I guess that is what I mean by having a broad plateau between clean and broken up.

I shoot for a fundamentally clean sound, but the downside is the Icepick Effect, which can really wear down an audience. A lot of newer Surf bands fall victim to this effect because they go for a caricature of the early Surf sound and overdo the highs and overdo the reverb. It sounds like a band imitating another band that is imitating a Surf band, and can be quite harsh. But Surf peaked before the Blackface Fender was ever released and the first wave Surf bands usually played Brownface Fenders. If you look at the publicity photos of Surf bands in 1962, most, if not all, had a line of Showman amps in their rough blonde tolex, and frequently with one, or two 15” speakers per cabinet.

In any event, the Blossom Point might be of interest in your quest.

Wow Synchro!!! Recommending this is like a golfer consistently drilling 70 foot putts....but better. I have yet to hear a sample or setting that I don't like and can say I would use them all and would pair so very well with the Roland BC Artist. Start with "Hideaway" and add a dozen+ others and Freddie King has delivered some of my favorites.....I'm also a huge Freddie King fan.....and Dick Dale!!!!

The best is that I too love the chime of cleans, but walk the tightrope b'ween clean punch and icepick(which adding bass doesn't even things out but rather can mess it up even more). This takes that away. I'll spare mentioning everything I'm looking for but this delivers exactly what I was talking about an sooooo much more.

You mentioned midrange, I thought "mids" and then yuck! It appears I need to get better acquainted with terms and their COMPLETE tonal attributes because this tackles thick bluesy dynamics, gets me past to where I am at and seeking, tackles the Keeley PHAT Mod tone I love but not at the expense of being a "one-trick pony", delivers "the smooth", and a ton more points of goodness. At times, I used "blooms" to paint the picture but maybe "blossom" was the better label.

I thought there was the possibility of someone delivering "the solution", knew that it would kick up some great ideas from the folks here, which I truly appreciate, but really didn't expect to find what I was looking for. That 2nd video in the link you provided blew me away.

I just found a dealer that has it in stock so my order will soon be in!!!
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
@Waxhead Synchro pulled the rabbit out of the hat and delivered what I thought was undeliverable without dropping big$$$. In line with the Federation of Supreme U.S. & Australian Guitarists Extraordinaire, the rules state that because you offered the more expensive option (Mesa Lonestar), you must buy me one w/ my initials engraved in 24k gold PLUS a year supply of the very best meat pies in the land of varying flavors.

You need to deliver this to remain in good-standing with the by-laws.

Should you choose to break the rules, there is a clause within a clause to excuse you that stating Rich @thunder58 must buy me a new Martin D-28 with NJ DEVIL in mother-of-pearl on the fretboard and platinum binding.

I'm just trying to abide by the rules!!!!;):cool::rolleyes:
 
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stevo

Friend of Fred
May 1, 2012
7,167
Atlanta
What about a Klone? Thick, saturated tube-like tone. At lower gain settings, it’s a preamp that adds fatness. I have a Rimrock Mythical and really like it.
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
What about a Klone? Thick, saturated tube-like tone. At lower gain settings, it’s a preamp that adds fatness. I have a Rimrock Mythical and really like it.
I like it but different as the mids are a different flavor.....more for rocking rhythm vs. bluesy and smooth/thick solos w/ the headroom I'm looking for. I also think a Klone is better paired with a tube amp vs. my Tech 21 or Roland. For that kind of "fullness", I would opt for more Bluesbreaker vs. Klone........My next pedal would then be the Protein by Browne Amplification.

Also, I am looking into really textured single note soloing dotted with triads in the right places. When I think Klone, I hear Soundgarden in my head and like it but just not what I am playing right now.

I just put together a track (friend's house w/ his equipment as I am buying my first recording gear ever in mid 2022) where the melody of the song is shaped by long/wet reverb soundscapes via Ventris and the solo using a compressor, RAT, Gemini chorus. The bluesy extra thick blues Blues Driver-ish tone of the Keeley Phat Mod was tasty for a lot of my playing but it's focus is limited vs. the Blossom Point by Surfy that gets me there and way more. Definitely not Blues music but dialing some bluesy tone.

I like that Rimrock Mythical but would probably want it after my current project and with a tube-powered clean preamp first.
 

stevo

Friend of Fred
May 1, 2012
7,167
Atlanta
I like it but different as the mids are a different flavor.....more for rocking rhythm vs. bluesy and smooth/thick solos w/ the headroom I'm looking for. I also think a Klone is better paired with a tube amp vs. my Tech 21 or Roland. For that kind of "fullness", I would opt for more Bluesbreaker vs. Klone........My next pedal would then be the Protein by Browne Amplification.

Also, I am looking into really textured single note soloing dotted with triads in the right places. When I think Klone, I hear Soundgarden in my head and like it but just not what I am playing right now.

I just put together a track (friend's house w/ his equipment as I am buying my first recording gear ever in mid 2022) where the melody of the song is shaped by long/wet reverb soundscapes via Ventris and the solo using a compressor, RAT, Gemini chorus. The bluesy extra thick blues Blues Driver-ish tone of the Keeley Phat Mod was tasty for a lot of my playing but it's focus is limited vs. the Blossom Point by Surfy that gets me there and way more. Definitely not Blues music but dialing some bluesy tone.

I like that Rimrock Mythical but would probably want it after my current project and with a tube-powered clean preamp first.

Not sure how Klons are quite Soundgarden. You want textured single note soloing dotted with triads and that is what they’re good at. Although blustery isn’t what I think of.
 

Synchro

The artist formerly known as: Synchro
Staff member
Jun 2, 2008
26,399
Tucson
Wow Synchro!!! Recommending this is like a golfer consistently drilling 70 foot putts....but better. I have yet to hear a sample or setting that I don't like and can say I would use them all and would pair so very well with the Roland BC Artist. Start with "Hideaway" and add a dozen+ others and Freddie King has delivered some of my favorites.....I'm also a huge Freddie King fan.....and Dick Dale!!!!

The best is that I too love the chime of cleans, but walk the tightrope b'ween clean punch and icepick(which adding bass doesn't even things out but rather can mess it up even more). This takes that away. I'll spare mentioning everything I'm looking for but this delivers exactly what I was talking about an sooooo much more.

You mentioned midrange, I thought "mids" and then yuck! It appears I need to get better acquainted with terms and their COMPLETE tonal attributes because this tackles thick bluesy dynamics, gets me past to where I am at and seeking, tackles the Keeley PHAT Mod tone I love but not at the expense of being a "one-trick pony", delivers "the smooth", and a ton more points of goodness. At times, I used "blooms" to paint the picture but maybe "blossom" was the better label.

I thought there was the possibility of someone delivering "the solution", knew that it would kick up some great ideas from the folks here, which I truly appreciate, but really didn't expect to find what I was looking for. That 2nd video in the link you provided blew me away.

I just found a dealer that has it in stock so my order will soon be in!!!
I’ll be looking forward to your report, once it arrives.

@Waxhead Synchro pulled the rabbit out of the hat and delivered what I thought was undeliverable without dropping big$$$. In line with the Federation of Supreme U.S. & Australian Guitarists Extraordinaire, the rules state that because you offered the more expensive option (Mesa Lonestar), you must buy me one w/ my initials engraved in 24k gold PLUS a year supply of the very best meat pies in the land of varying flavors.

You need to deliver this to remain in good-standing with the by-laws.

Should you choose to break the rules, there is a clause within a clause to excuse you that stating Rich @thunder58 must buy me a new Martin D-28 with NJ DEVIL in mother-of-pearl on the fretboard and platinum binding.

I'm just trying to abide by the rules!!!!;):cool::rolleyes:
I concur, and as facilitator, I should be entitled to at least one Blossom Point, free of charge. :)
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
Not sure how Klons are quite Soundgarden. You want textured single note soloing dotted with triads and that is what they’re good at. Although blustery isn’t what I think of.
I haven't been the best at verbally translating what I want specifically but the thick tones are created from a Mesa and heavy on the mids. Klons are kings of mids so my ears made that connection. Stevie Ray blasted the heck out of his clean amps to get that breakup tone. The pedal I am looking for brings that but at whatever volume I want and not so much for just my Stevie Ray material but for a range of stuff where this specific tone has been elusive. Blues Drivers are close but not enough.

The "eureka moment" came when I heard the Keeley Super Phat Mod where the Toshiba JFET transistor transfer the resistance in just the right way to create that tone at any volume when the "Phat" switch is flipped.
 

NJDevil

Country Gent
Jul 9, 2014
1,528
Commack, NY
Watched a bunch of videos and think I want to waste money on more pedals I don't need, but since it sounds like you're looking for what I heard in those videos... Wampler Pantheon (or maybe even the Deluxe.)
I know both well and have played them but they are different beasts altogether where I want tone not the actual distortion. I want the early '60s Fender amps pushed to the limit....or the tone it produces which is where the Surfy Blossom Point (blossom point coined by Dick Dale). With that, I can alter tone, attenuation with the input dial, tone and balance of mids and highs.

I like the Deluxe for sure but have had my eye on the Protein by Browne Amplification for that when I get the itch. I've borrowed my hardware for gigs and have played in my home clean for almost 32 years. The expansion of tonal dynamics now in my grasp has helped my playing expand as I am no longer trying to coax tones that aren't there playing guitar-to-amp w/ the amp's reverb for headroom.

30+ years of clean and now I want my fun!
 

michelb

Synchromatic
Mar 27, 2020
765
Belgium
You can give the TC Electronic Tube Pilot a run. It won't break the bank, so doesn't hurt to try and contains an actual 12AX7 valve.

 


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