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Discussion in 'Gear & Equipment' started by noodles, May 1, 2008.
Can anyone help with a good thick metal rhythm sound for a randall rh200 g2 half stack?
I'm almost positive that amp is a solid state so your going to have to turn the volume up some to really get the tone out of it. Mess around with your settings close to this:
Bass - 6-8
Mids - 5-7
Treble - 4-7 ( depending on what you prefer )
Gain - 6-7 (adjust just enough to where you can get the gain you want with minimum hiss )
Presence - keep below 6 because then it gets grainy and hissy
I have had an X2,V2,RH100, and an RG!100ES that I restored. So if you need more help just ask.
I just picked up a triaxis & 2:90. If anyone wants to suggest good presets I'm all ears!
Right now I'm using the Lead 2 Yellow Mode with:
Lead 1 Drive: 0
Lead 2 Drive: 8
Dynamic Voice: 4
Going back and forth between running a tube screamer in the front or not...definitely helps push the gain!
Start with the Meshuggah preset in the artist section and tweak it from there. It seems to work decent. Also if you haven't already hook your footswitch (if you have one) to you amp and then hook the usb to the footswitch and download the Spider Injection effects bundle and use the Boost + EQ on it. Hope that helps. lol
REALLY sparkles with a 5 knob compressor in front
hey guys, im looking for a tone for my spider 3 (laugh now, please) that would give me a sound even kinda close to Ihsahn. so i can get that 8th string sounding epic.
To make a Mako Mak2 Dorado sound like this:
Preamp 2, Gain 2, Bass 3, Mids 3, Treble 3, Freak setting 2, ch vol 10, Presence 2, Deep maxed, Sub off, Output maxed.
Orange Rockerverb 100 MKII w/ Orange PPC412 and Fender HM Strat
Dist channel, EL34
Channel volume.. 7
Gain 1.. 6.5
result.. super pushed hard rock/metal tone.. sounds like my rig is gonna break everything around it.
Mesa DC-10, 2xMarshall 1960A w/ V30's, Ibanez 7620 w/ D-Sonic, Radial Switchbone using +5db mid boost
Dist Channel, 6L6 100w
Channel Volume.. Dist Master at 2.5.. Level knob at 3
Gain 2.. 6.5
GEQ somewhat flat with a slight rise from flat low, flat low-mid, slightly raised mid/high-mid/highs
result.. my tone holygrail... I.. need.. new.. pants..
Peavey 3120 and 4x12 Basson cab with Septor Elite 727
my GSP1101 rack preamp/processor Dual Rectifier tone - sounds badass with my Les Paul or my Dean Michael Schenker V(EMG 81 in bridge)
amp model - '01 Dual Rect
cab - Vintage 4x12 (V30s)
gain - 70
bass - 6.4
middle - 2.3
treble - 8.6
amp level - 75
Screamer (Ibanez TS9)
drive - 50
tone - 70
level - 65
threshold - 40
attack - 0
release - 0
attenuation - 99
predelay - 0
decay - 40
liveliness - 40
level - 25
left/right wet level - 99
Chorus (optional - adds 'girth' or 'breath') -
position - post amp
speed - 20
depth - 70
waveform - Sine
level - 30
left/right wet level - 99
Matt Pike (Sleep, High on Fire) EXACT amp settings as seen in the rig run-down video with Premiere Guitar.com:
(He runs a dual-amp rig)
Kerry King 2203 JCM800
presence - 9
bass - 8
middle - 0
treble - 5
master volume - 5
master preamp - 8/9
gate - 5
assult/intensity - 10
'the Beast' switch - ?
Soldano SLO 100
normal(preamp) - 7
overdrive(preamp) - 11
bass - 11
middle - 6
treble - 4/5
normal master - 4/5
overdrive master - 4
presence - 4
MXR Carbon Copy Analog Delay
regen - 11 o'clock
mix - 12 o'clock
delay - 3:30 o'clock
BOSS TU-3 Tuner
He runs 3 or 4 Emperor 4x12 speaker cabs, depending on the size of the venues(not sure of the speakers inside).
The Bloody Murder pedal is the main ingredient here so ALL channel settings are set to interact with the pedal through the amps high gain input. Without the pedal or a different pedal, and without the high gain input the settings may sound way off. Also keep in mind that the DTX (Peavey JSX) is heavily modded. Because of this I've provided an explanation to the settings. Also note that I'm using a Marshall MF280 cabinet and the Hellatone 60L speakers are a factor. With basic V30s, or Mesa V30s you still wouldn't be too far off. The DTX has a lot of mids, as do the Hellatones, and the Bloody Murder as well. With less mid oriented gear you may have to adjust settings.
Bloody Murder Settings:
Explanation: The BM is a very clear pedal and has been designed as a "flub filter". Unless you have a really thin amp or guitar tone, I find that 0-10 can all be used in a practical setting. The input level maxed punches your preamp tubes and I find it gives your signal the most response. The tone at 10 cuts out all the "bad" low end frequencies, giving my guitar, which has passive pickups, a sort of active benefit without actually being active. The gain is slightly under 1 because I don't need a lot. I need enough for dirty cleans, and just enough to add teeth to the gain channels. On 1 it's too much for the gain channels, so just under it is just enough. The pedal set this way gives the signal maximum aggression and responsiveness without going overboard.
Current DTX settings:
Master and channel volumes should always be equal however:
For more "ass" bring the master up a little higher
For more "teeth" bring the channel up a little higher
I find that keeping the volumes level gives the right blend of both
Volume: Depends on how loud you need it
Explanation: I like dirty cleans, and the balance is getting a dissonant kind of sound that has some character to it. The mid knob on the clean channel makes the channel go from bright to dark..it's not really a "mid" knob, and with my Bloody Murder pedal adding gain, mids, aggression and brightness, I find I can completely take the treble out of the equation and just bring up the "mids" on the clean channel for clarity. Seems like crazy settings but it works. Dial with ears, not eyes
Fat Switch: On
Explanation: With all the "bad" lows being taken out of the signal, and with the speakers and pedal providing emphasis on mids, these settings work just fine. The fat switch gives girth, the mids are scaled back on the amp because for this amp that's more than enough, and the bass in conjunction with the resonance provides the low end that's big without being woofy. There's already gain going into the signal and the tubes are being driven hard so the gain only needs to be at about 4 or even less.
Fat Switch: On
Explanation: This channel had a lot of gain reduction done to make the scope more sane. The character of the channel makes it seem to have less gain than the crunch which is why it's brought up a bit more, but it's actually dryer than the crunch channel. The gain on 5 with the BM up front gives it just enough saturation for metal but it still has clarity. The settings otherwise are pretty much the same, and this channel acts as the low mid oriented "clone" of the crunch which is a more high mid oriented tone.
Engl savage 60:
depth boost, lead boost & bright - off
Presence - 3
Hi-range suppressor - 10
Bass - 5.5
Middle - 5.5
Treble - 6.5
Gain - 5
Lead - 5
drive - 0
level - 10
run through a Harley Benton g212 vintage with v30's of course
Marshall JVM 210h
Ch2 , Orange/Yellow Mode
Master Volume 2 10
Channel Volume 4 - 5
Ibanez Ts9dx , Ts9 mode , Gain 0 , Tone 4.5 , Volume 5
Boss NS-2 , Gate 8 , Decay 0
I use Drop G Sharp (A Flat) Tuning on an Ibanez RG7321 with one EMG81-7 in the bridge.
Krank Krankenstein cab with 4 Eminence Texas Heats 600w
Surprisingly the marshall Jvm is a very very djenty amp. It has too much gain though.. I use the boost to compress it alittle more so I leave the volume at 5.
i use these settings @ my weekly guitar lesson with my teachers peavey vyper 30.
tight brootal metal tone:
pedal: tube screamer
effects: envelope filter (or maybe its a limiter... i forget lol)
master volume: 2.5 (this amp is hot and can get really loud really fast)
bass: 12 o'clock
mids: between 12 o'clock and 1 o'clock
highs: between 1:30 and 2:30
pre gain:4 o'clock
post gain: 9 o'clock
too much lows and you lose tightness so those are kept to a conservative level, mids to help cut through the mix, and just enough highs to not sound shrill.
Mark Okubo (Veil of Maya) tight sound
Hot Channel with X mode on and Overdrive
Gain: 11 o clock
Bass: 12 o clock
Middle(Freq): 8 o clock
Middle(level): 1 o clock
Treble: 2 o clock
Volume: crank it up!!
Hue: 2 o clock
This makes a very cheap head sound pretty good. Turning the volume up brings out the tone. I have a noise gate pedal which helps with the tightness. Running out of a v30 cab 4x12
+ 1. Marshall JVM are great amps for djent. They also sound great with flat eq and gain on around 3-4 on the orange mode. The red mode is overkill but has a deeper bass voicing.
Please correct me if i am wrong but are these tone setting for LIVE or RECORDING purposes?? Which obviously are going to be different, and i see some settings on these amps that make me think for live?? sorry to ruin the flow of the thread just seemed important to know
Peavey 5150 (tone by settings sound same to my ear for 6505)
Gain @ 4
Low @ 5
Mid @ 4.5
High @ 5
Lead Channel Vol @ 4
Resonance @ 3.5-4
Presence @ 6.5-7
Used with Dean Stealth Snakeskin and B.C. Rich Draco, both loaded with DiMarzio D Activator X pups in the bridge and a 4x12 cab loaded with 75-watt Eminence Red Coat "The Governor" speakers @ 16ohms each. As stated in other posts, YOUR tone will vary depending on pickup, speaker type, etc. I run all my rig with ZERO effects. Other pieces i run are a Korg DTR-1000 rack tuner (always on), a Line 6 Relay G90 (IMO the VERY BEST wireless on the market, ZERO TONE LOSS OR SUSTAIN LOSS!!!) and a Furman M8DX Power Conditioner. The only pedal i have in my setup is the Boss NS-2 to quite the rig down I have it to wired so that there is ZERO tone loss OR hiss inbetween notes or when the volume is cut on my guitar AND i can still hold sustain for HOURS AND HOURS AND HOURS.......I am 100% happy with my rig and will NEVER change it up, for me it doesnt get any better
A lot of that depends on the venue. If you are playing a small club and using a tube amp, IMO its better to have a powerbrake to saturate the tubes and really get the great tone out of the amp without the people in the front row just hearing the distance between them and the speakers. But in my situations, i have had very little change that i have had to make in order to tweak the tone out between live and studio settings, usually its just a number forward or backward. A little goes a long way another thing to remember is that if you're being mic'd up, it should sound just as close, if not spot on to when you are in a studio.