UPDATE:The original post is below, but I figured it might make sense to put some updated thoughts at the beginning of thread. The settings I've been using are as follows:
Volume: 4.5
Treble: 4.5 Pulled
Bass: 1.9
Middle: 5.5
MV: 1.95
Lead Gain: 3
Lead Master: 4 Pulled (Trey has this on 6, pulled, which seems loud)
Reverb: 7
Presence: 2.5
GEQ: Auto
Set to Class-A (using all 6L6's)
I think the lower input volume, which Walker had indicated (see below), sounds more like Trey's earlier Mesa tones. The ProAudioStar pics of Trey's rig show the input volume set to 4.5 pretty clearly. At some point, Trey stated he started using more amp distortion, and the pics from his "rig-talk" look like he has the input volume marked at 8.5 on the blue gaffers tape. This makes the clean channel a but edgier and punchier, but really has a big effect on the lead channel; with the input volume at 8.5, the lead channel is notable distorted when set at 3. Trying to clean up the lead channel by turning the lead gain down leaves that channel sounding somewhat too mellow IMO. However, with the input volume at 4.5, the lead is clean but present with the lead gain set at 3.
As far as the "P" symbols on the gaffers tape indicating a knob is pulled, I think he wrote "p" on each side of the number for that specific knob. The letter "P" can be seen 4 time on the gaffer tapes, but only indicating 2 knobs are pulled: the 2 knobs sandwiched by the "P's." This is the treble shift adding upper mids to the lead, and the lead master adding brightness to the leads. Pulling the lead master adds a fair amount of treble and volume that makes the leads jump out compared to the rhythm, but keeping it pushed it gives a more mellow fusion lead.
Original Post:Having just busted out my Mesa again for the first time in about a year, I figured I would look over some of the past discussions on the settings.
First, here is what I deduced from the Rig Video:Quote from: Heady Jam Fan on January 23, 2013, 04:07:06 PM
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/b6280ddf-a60b-4b1c-a2cd-fd122fc87696_zps2052aa66.png)
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/f5d3c5b2-bdee-4b82-9874-d67a4059ab19_zpse87ead0a.png)
From left to right, what I see on the tape is:
8.5P - 5.1P - 1.8 - 5.5 - 1.93 - 3 - 3.5p - 3
The "p" corresponds to pull - each knob can be pulled for a specific effect.
8.5P - Volume w/ treble boost (bright) pulled for a shimmer on R1 channel (clean)
5.1P - treble w/ treble shift pulled for upper-midrange drive on the lead channel
1.8 - Bass
5.5 - Midrange
1.93 - Master Volume
3 - Lead Drive
3.5P - Lead Master w/ treble / bright pulled - adds brightness to lead channel
3 - Reverb
[IIRC, I think someone decided the gaffer tape near the back of the amp reads "2.5" for the presence, the reverb setting actually reads 7, the arrows on the right side indicate the GEQ is set to "AUTO" and the amp is set to "half power".]
Here is what Hoody deduced from the same rig video:Quote from: Hoody on July 22, 2014, 09:21:19 PM
Vol. 8.5
Treble: 5.1 pulled
Bass: 1.8
Middle 5.5
Master 1.95
Lead Drive 3
Lead Master 6.5 pulled
reverb 8
Presence 2.5
And Walker's settings from pics on ProAudioStar:Quote from: Walker done done on August 29, 2012, 08:41:44 PM
Volume: 4.5
Treble: 5
Bass: 2
Middle: 5.5
Master: just under 2
Lead Drive: 3
Lead Master: 5
Reverb: off (not 100% on that)
EQ: Auto or off, making the "upside down V" irrelevant except when the Lead channel is on (off as in the middle position)
1/2 Power (at least in one pic I saw)
These are all remarkably close. Some thoughts:The lead master settings each of us came up with differ. This won't effect how the amp sounds, just the balance between rhythm and lead. Set to have a nice lead boost.
The volume Walker saw in pictures is much lower than the volume written on the gaffers tape. I think this is accurate; the volume setting Trey used changed over time. The higher setting is more aggressive, maybe just a touch of overdrive at 8.5, punchier, less smooth, and the lead channel would be a bit distorted too. I prefer the volume at 7, especially if you ever use Rhythm2/Crunch. Although I don't think Trey ever uses the rhythm 2 (crunch) channel.
Its impossible to see if knobs are pushed or pulled from pictures. So the only info available regarding whether knobs are pushed or pulled is from the pictures with the blue gaffers tape. These push/pull settings make a HUGE difference. As far as which knobs are pushed/pulled, Hoody and I came to the same conclusions EXCEPT regarding the volume knob. I see a "P" on the gaffers tape after the volume setting, indicating the knob is pulled. However, this makes the amp too bright and harsh. Maybe the "P" is written before the setting for each knob that is pulled?
If the "P" goes before the settting for each knob that is pulled...
- This would still mean the treble knob is pulled for more upper-mids in the lead channel.
- I would read the lead master setting the same as Hoody: "P6.5" or 6.5 and pulled, giving the lead channel more treble.
- However, this would mean the bass knob is pulled for more punch in the bass. I personally prefer setting the bass knob low and pulling it out for more bass. I set mine at 1 and pulled. Pulling the knob gives a more percussive bass than turning the knob higher. Yet, setting the knob at 1.8 and pulling it would be more bass than Trey uses, at least to my ear. Its a usable setting, but a little on the fat side IMO.
Additionally, the push/pull settings answer the common question about how Trey gets a lead tone that isn't too pinched/midrange-focused with the GEQ set like an upside-down V. The pulling the treble knob adds upper midrange to the lead channel, and pulling the lead master adds treble to the lead channel. So even though the GEQ makes it look like the mids are boosted compared to everything else, its actually that the mids, upper-mids and treble are boosted compared to the bass. I can match this on my EQ pedal by cutting a few DB's bass, leaving the low-mids at unity, and boosting the mids, upper-mids and treble by a few DBs. This keeps the treble in the signal so his tone is still aggressive and stays in the band-mix, and the bass is attenuated so it doesn't get muddy. So why does Trey use the push/pull knobs rather than the GEQ to boost the treble and upper mids? I think it sounds and feels a little different. The boost from the push/pull knobs - I believe - occurs in the preamp while the GEQ is after the preamp.
Lastly, I sometimes find these settings have a bit too much grit in the lead channel if I am playing a clean lead like the that of Dirt. The lead drive setting interacts with all the other settings, so I just adjust it so its at the 'edge of breakup;' I turn it up until I start hearing overdrive then just back it off slightly. However, I am using an EQ pedal for my lead boost just because I put it in a True Bypass Loop with a Delay pedal; when I turn on the TB Loop, it turns on my EQ/Boost and Delay, so I only have to stomp once for my lead setting. Instead, I set my lead channel to heavy distortion just for fun ;)
My settings:
Volume: 7
Treble: 5 Pulled
Bass: 1 Pulled
Mids: 5.5
Master: 2
Lead Drive: 10 (or 2-3 to match Trey).
Lead Master: 3 (or about 5 for Trey's settings)
Presence: 2.5
Reverb: 10 (my reverb is particularly quiet)
Last thing worth noting. If you are ambivalent between a completely clean and a slightly dirty lead channel, set the lead channel at the edge of breakup and then turn on the rhythm 2.
Great thread.
The only thing I would add is that when the volume is at 8.5, "pulling it" should be less significant at that volume level/gain level.
I have a purple stripe, and isn't has hot.
Quote from: express50express on January 13, 2015, 04:20:30 PM
Great thread.
The only thing I would add is that when the volume is at 8.5, "pulling it" should be less significant at that volume level/gain level.
I have a purple stripe, and isn't has hot.
Thanks!
Yes - good point. With the volume at 7, the pull bright is too much treble, but I can't remember if its too much (to my ear) when the volume is at 8.5 (I'll try it again, maybe Sunday). It definitely would be if the volume was at 4.5!
Its hard to tell (for me at least) by sound whether the Volume is pulled. I think it could be but he tames the treble just by turning down that volume knob a good deal. That's really the only way I can get his sound, even with the same guitar, pedal, amp.
I'm still really curious about the DR amp settings. I haven't seen any good pics of it. For me that 97/98 tone was always the best and it wasn't even close. I love the Mark III tone I get, but its still to my tastes not as good as his DR sound.
I would love to see/know his DR settings too! I have a Vintage Sound Vintage 22 which has the mid channel and a few other mods that are similar to what we know of treys. I have a hard time getting good loud cleans before the amp breaks up - I'm not sure how he does it!
One question is what level his mid knobs are set at. Some people set it so that all the way to 0 sets it to the default, and you can go all the way up to 25k. Others have the mid knob set where noon is the default, and you can go up to 10k, or 25.
I don't think he actually gets that loud of clean tones. They usually don't play all that loud really. But the weber 50 watt helps get cleaner, warm volume. Other than that I don't really know how he gets that really great clean sound.
It's documented in the Mesa Boogie Mark III guide, that when the volume high, the pulled volume has zero impact. I have proven this over and over on my Purple Strip.
I feel like when Trey is playing through his Mesa these days, the sound is going through so much other stuff, including the monster PA; therefore the Mesa is playing such a small part of his overall tone.
I find that the Mesa Mark III is a great Amp. However, even if I could get it to replicate Trey's sound to my ears satisfaction, it just lacks that sweetness that the DR or many others amps can deliver by themselves. And for me, that is why I think the Mesa is sometimes hard to get along with. Not to mention, one day it sounds awesome, the next it sounds like poop. A fender always sounds good.
Trey has a very unique tone, and other than people like us who have at one point in time tried to chase, most professional guitar players would have no desire whatsoever to chase his tone.
When I was going for the Trey tone, people always told me I nailed it with the Mesa. So on one hand, I agree there is more to the equation, but I disagree that you can't get satisfactorily close to his tone with just the hollowbody with PAFS > TS9 > Comp > Amp > Celestion. Though at this point, I kinda do my own thing, influenced by him (rather than trying to cop his tone).
When the volume is at seven, pulling the volume knob for bright has a big effect (at least to me on my Mesa), but maybe not at 8.5. Although, then I don't know why he would have it marked as pulled out if it didn't have an effect at 8.5? Or do you think the first "P" there is for the treble knob (not the volume/bright)? Your right about it having less effect as the volume knob goes up (or no effect when the volume knob is at 10), I have seen the Mesa manual where it says the bright has less effect higher the volume is. Same with most bright caps like on a Fender; I think the way they work is that the more resistance on the volume potentiometer (the lower the volume is set), the more signal goes through the bright capacitor.
I do love the sweetness of the Fender tone too! That's why I also have a DR. But the "about to explode" punchiness of the Mesa is incredible. It cuts through much better and my band prefers that tone. I think that "in your face" punchiness can get fatiguing, which i think leads to that experience where the Mesa doesn't sound right some days.
The tricky part about matching the Fender tone is that each vintage Fender can sound pretty different. I keep my treble at about 8 and my bass around 3 to 3.5. At one point, I added a mid potentiometer, but liked it stock, so I removed the pot. Your right, a wide range of pot values work. I used a 15k, so in the middle of the knob's range was the stock amount of mid-range. Though I kind of liked it more when I left the resistor, so the lowest setting on the mid knob was the stock amount of mid-range. The fact is the mid knob doesn't add mids so much as bypass the other tone controls. At 25k, your getting into the RAW control range, but you can even use a higher value like 50k. Seems unnecessary to me though (and hard to dial in the setting you want - its too sensitive).
I don't think we will ever know the mods to the reverb channel of his DR.
I don't think Trey engages the GEQ. I think the upside down V plays no part in his tone.
Quote from: Walker done done on January 14, 2015, 02:16:24 PM
I don't think Trey engages the GEQ. I think the upside down V plays no part in his tone.
What is it that makes you think that? With the above settings, the lead channel sounds good with or without the GEQ, so you could certainly be right. But, if my memory serves me correctly, any pics of the switch show it in the auto setting.
You can see the switch is in the up (auto) position here, and the there is a plug in the lead footswitch jack. So it looks like he uses the lead channel with the GEQ in the auto setting, set to an upside-down V.
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/Trey-Anastasio_2009_zpser0drms7.jpg)
From TAB 2012 I believe.
(http://i.imgur.com/KDWp1e7.jpg)
Great pic Sco!
My question is, when the F does Trey use the lead channel on his Mesa. I know the footswitch is connected, but has anyone seen the footswitch in his floor rig? I haven't. I only see him playing with his TS9's for overdrive and boosts. From what I hear, he has the lower drive TS9's on almost all the time, and plays with guitar volume and switches. Anyways, I'd love to see any picture of a footswitch or something labeled "lead or boost" in his rig.
I'm guessing he only channel switches when he wants to get crazy wild.
Also, did I say yet, that I love this thread!
I read somewhere the list off all the mods he had done, and it was endless.
I think the most important mod can make on a DR to achieve Trey's tone or improve whatever else your after is to swap the speaker, remove the bright clip, and add a mid pot control to the reverb circuit. I wish I never sold my DRRI!!!!!
I now switch between a Mark III and a 68 Bandmaster. Trying to get a combo build for the head.
Question for you folks who are obviously much more knowledgeable than me. How's a mid pot different from using an EQ to boost mids?
Quote from: express50express on January 15, 2015, 10:32:01 AM
I read somewhere the list off all the mods he had done, and it was endless.
I think the most important mod can make on a DR to achieve Trey's tone or improve whatever else your after is to swap the speaker, remove the bright clip, and add a mid pot control to the reverb circuit. I wish I never sold my DRRI!!!!!
I now switch between a Mark III and a 68 Bandmaster. Trying to get a combo build for the head.
For the Bandmaster or Mark? I thought the Bandmasters were the same chassis as a Super or a Pro Reverb, but could be mistaken. Anyways the DR circuit in my Carr has a mid knob and it's by far my favorite. I've tried a few DRRI's and the Headstrong offering, so my playing experience is a bit limited.
Quote from: express50express on January 15, 2015, 10:27:17 AM
My question is, when the F does Trey use the lead channel on his Mesa. I know the footswitch is connected, but has anyone seen the footswitch in his floor rig? I haven't. I only see him playing with his TS9's for overdrive and boosts. From what I hear, he has the lower drive TS9's on almost all the time, and plays with guitar volume and switches. Anyways, I'd love to see any picture of a footswitch or something labeled "lead or boost" in his rig.
I'm guessing he only channel switches when he wants to get crazy wild.
Mesa REV, R2, & GEQ footswitches on the far left, right here, and the Lead CH is in front of the Boomerang:
V
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/ts9board-1.jpg)
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/Lead_zpshb8sgdor.jpg)
Quote from: Down_With_Sco on July 24, 2014, 04:56:29 PM
Trey does have custom footswitches for his Mesa... they are all black and to the right of his Tremolo expression control. So it's possible he uses the EQ by footswitch as Hoody stated, he has his EQ switch up in the 'Auto' setting. Trey definitely only uses the clean channel from the Mesa/Boogie these days..
these guys waay over here:
vvvvvvvvv
(http://i195.photobucket.com/albums/z78/sereantpepper/Treysfloor2012.jpg)
Thanks for pointing that. Wow, I really didn't even think he used that lead channel until now. How often do you think he actually stomps on the channel switcher? I'm sure one is for EQ, one is for Lead, and the other is Reverb. Do you think he ever touches channel 2?
Maybe he is on channel 2 all the time and we don't even know it :)
Quote from: Jkendrick on January 15, 2015, 10:42:44 AM
Question for you folks who are obviously much more knowledgeable than me. How's a mid pot different from using an EQ to boost mids?
There are several differences to consider.
First, the impact on the signal would happen at a different place in the circuit. An EQ pedal would typically go before the amp while the midrange control in a Fender comes after a bit of other circuitry. I use my EQ pedal in the FX of my Badcat Unleash, so it actually goes between the amp and the speaker.
Second, the EQ pedal has more additionally circuitry than a
simple midrange control in a Fender circuit. The added circuitry of one pedal has little noticeable effect on tone, but if you add that on top of several other pedals, eventually you will hear a difference between your guitar plugged straight into the amp.
Third, the typical midrange control on a Fender amp doesn't actually add mids so much as it effects how strong the other tone controls impact your tone. The Deluxe Reverb has a resistor instead of a potentiometer. This resistor is 6.8K. IIRC, Fender amps with a midrange control use a 10K potentiometer. So a DR has a fixed midrange about 70% of the way up; a Twin can be more scooped or slightly more full in the midrange. Higher than 10K resistance really starts to diminish the effect that the treble and bass knobs have; it essentially takes the tone controls out of the circuit. At around 25+K, its becomes a "raw" control where the treble and bass knobs really have not effect, the amp will sound grittier and more (well...) raw. Some people describe this as a Tweed-like sound. But it will never have the midrange punch of a Mesa with this type of passive midrange control.
However, whether this is true or not, there are implications that Trey's DR was modded for some sort of active midrange control. The Tremolo circuit was removed from his amp; a simple mod that gives more gain. Yet some information implies that one of his amp tech's used that gain as a midrange boost (rather than just a boost in volume/distortion). I have no idea, it might even involve using the extra tube that was for the tremolo? If it is true that there is an active mid boost, the actual specs of this mod probably won't ever be on the internet IMO.
So here is the tricky part. If there is an actual mid boost (and not just a passive midrange control), the closest way to match the tone would a Graphic EQ pedal (like my Ibanez GE9). However, there is a catch. For the Fender Deluxe Reverb to have enough bite and cut through when your sound is dirty, the volume has to be set at the sweet spot where there is just a touch of overdrive from the tubes as well; the "edge of breakup." The problem is that if you want a clean lead, like the lead in the song Dirt, the amp will be too distorted as soon as turn on a lead/midrange boost EQ in front of the amp (it will push the tubes to overdrive more than the "edge of breakup" you already dialed in). I avoid this problem because my lead boost EQ is in my Badcat Unleash's FX Loop (after the amp, before the speaker). Even in the studio, I had to change the setting on my amp between dirty and clean tracks; if I set my amp too clean on dirty rhythm tracks, it wouldn't cut through in the mix and would sound dull, but if I didn't turn down the volume for clean tracks, my amp would be too gritty. Its just such a fine sweet spot; you need a slight overdrive from the amp to have enough upper-treble to cut through, while the Mesa cuts through even completely clean.
Quote from: express50express on January 15, 2015, 11:37:21 AM
Thanks for pointing that. Wow, I really didn't even think he used that lead channel until now. How often do you think he actually stomps on the channel switcher? I'm sure one is for EQ, one is for Lead, and the other is Reverb. Do you think he ever touches channel 2?
Maybe he is on channel 2 all the time and we don't even know it :)
Lol, I kinda doubt he uses Rhythm 2, BUT, if he does...
I'll bet he uses it for a touch more dirt on heavy leads (and thats only if he uses R2). For example, maybe setting the lead channel just below the point where there is some overdrive, so he can get those completely clean leads he sometimes uses, then, when he wants an aggressive/rock/dirty lead, popping on rhythm 2 (along with the lead channel) for a touch of extra distortion.
Quote from: express50express on January 15, 2015, 10:27:17 AM
My question is, when the F does Trey use the lead channel on his Mesa. I know the footswitch is connected, but has anyone seen the footswitch in his floor rig? I haven't. I only see him playing with his TS9's for overdrive and boosts. From what I hear, he has the lower drive TS9's on almost all the time, and plays with guitar volume and switches. Anyways, I'd love to see any picture of a footswitch or something labeled "lead or boost" in his rig.
I'm guessing he only channel switches when he wants to get crazy wild.
As far as his dirt pedals, I'm sure you've seen his little tap-dance thing when he goes from the lower-gain TS to the higher-gain TS? Watch a couple videos of some live tunes and you'll seem him stomp one TS then the next really quickly. I think he has the lower gain TS on 70% of the time, the higher gain TS on 25% of the time and both on about 5% (or less). I know some people think he turns the TS off for cleans - I'm sure he sometimes does - but I get my tell-tale Trey-tone when I keep the TS on. I actually have 3 Tubescreamers on my pedalboard right now to get a better, cleaner clean. I modified a TS5 to be completely clean with more output; it sounds better than using my guitar's volume knob for cleans.
NYE Miami 2009:
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/4241240259_c607364b5d_o_zps7a7731fc.jpg)
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/4241245097_e9aec565ff_o_zps23feaebe.jpg)
(http://smedia.pnet-static.com/front-page/Aaronson2_American-Airlines-Arena-Miami-NYE__12-31-2009.jpg)
- Looks like the tubes are all the same to me. Big old 6L6's.
- Hard to see if anything is plugged into the Rhythm 2 or Reverb/EQ footswich jacks
- Nothing plugged into the FX Loop.
- His amp does have a reverb pan.
Here is from the front side:
(http://upload.wikimedia.org/wikipedia/commons/4/49/Phish_2009-12-30.jpg)
You can see the Lead footswitch is plugged in.
Those 3 black pedals must be for the R2 channel, EQ, and Reverb and this is why, Trey uses a Boss footswitch for the Mesa lead channel.
(http://i.imgur.com/EUofYJB.jpg)
And if anyone's interested I think this is also from TAB 2012:
(http://i.imgur.com/SMOW0A8.jpg)
Excited to try those settings on my Carr
Any guess as to the volume on the DR?
I'd guess that number must be 5 or 6 based on what I can see.
Nice work Sco!
Those settings would be pretty dark on my DR, but any two vintage DR's can be pretty different. I'm surprised how high the bass is set.
If the input volume is 5 or 6, there would be quite a bit of overdrive. I keep mine between 3 and 4, and I use a 12AY7 (40% as much gain as a 12AX7 and 60% as much gain as a 12AT7).
Also surprised he has the reverb at 0.
Thanks, I forget where I found those amp pics but I know they're legitimate.
I suppose that Volume could also be set at 3.
Quote from: Heady Jam Fan on January 15, 2015, 04:58:32 PM
Also surprised he has the reverb at 0.
I was surprised too, but does he still use the rack reverbs?
Quote from: Buffered on January 16, 2015, 10:38:46 AM
Quote from: Heady Jam Fan on January 15, 2015, 04:58:32 PM
Also surprised he has the reverb at 0.
I was surprised too, but does he still use the rack reverbs?
I know he was using the Alesis Microverb in the Reverse setting as an ambient (more like a delay than a reverb) for leads. Not sure if he is using those for reverb otherwise. I swear there are some live shows where I can hear the distinctive springiness of a Fender reverb when he is using that amp. Not to mention, he has the Mesa Boogie reverb marked at 7 or 8 - I can't believe he use the Mesa's semi-decent reverb and not the Fender's superb reverb.
Is that the mid pot to the far left where the input 2 is on my DR? These settings are pretty different from mine, but i don't have a mid pot.
Quote from: Jkendrick on January 16, 2015, 11:12:51 AM
Is that the mid pot to the far left where the input 2 is on my DR? These settings are pretty different from mine, but i don't have a mid pot.
Yep. And who knows why value pot it is, and whether the mid range resistor is still in there.
Treys is not an active boost on his DR mid knob. And it's a 25k. The info on this site about it isn't entirely accurate. And he used a celestion blue in the DR blew it, and then used a v30 sometime, and then the weber blue dog 50 watt alnico with light dope.
Great pics of the settings whoever posted them. Thanks so much for sharing. Best I've ever seen. He tinkered a bit with the settings from time to time but I'm pretty sure that volume must be 3. He couldn't get that clean sound otherwise and the stage volume is usually not that loud.
I wonder how much he has the light dist ts9 on, I don't think it's all that often. The volume jump and distortion would just be too much to get that tone he has on clean songs. Maybe if he really rolls back volume, which he does, but still would seem unlikely he has it on a lot.
Quote from: Hoody on January 16, 2015, 08:39:57 PM
Treys is not an active boost on his DR mid knob. And it's a 25k. The info on this site about it isn't entirely accurate. And he used a celestion blue in the DR blew it, and then used a v30 sometime, and then the weber blue dog 50 watt alnico with light dope.
Great pics of the settings whoever posted them. Thanks so much for sharing. Best I've ever seen. He tinkered a bit with the settings from time to time but I'm pretty sure that volume must be 3. He couldn't get that clean sound otherwise and the stage volume is usually not that loud.
I wonder how much he has the light dist ts9 on, I don't think it's all that often. The volume jump and distortion would just be too much to get that tone he has on clean songs. Maybe if he really rolls back volume, which he does, but still would seem unlikely he has it on a lot.
Definitely interested in any info you think isn't right - and why!
Any reason you think its a 25k pot?
I know he switched the speaker around in the DR and that he used a Blue Dog at some point, but I thought the Bruno cab was probably loaded with Celestion Blues? Just a guess though.
Quote from: express50express on January 13, 2015, 04:20:30 PM
The only thing I would add is that when the volume is at 8.5, "pulling it" should be less significant at that volume level/gain level.
I tried the Pull Bright my Red Stripe today with the volume at 8.5 and I agree with you - it doesn't make a difference when the volume is that high. I also decided I think I like my tone more when the volume is at 8.5 than at 7.
So, since the Pull Bright on the volume knob makes no difference when that amp is set to 8.5, do we think the "P" is written before the setting for the knob? So the treble, bass and lead master are pulled?
I put some 6L6's in place of the EL34's and I'm digging that tone. Class A is now a usable setting on this amp and, at least last night, I found myself preferring that over Simul-Class. It has a smooth, tight bass. Tighter than Simul-Class, and smoother than EL34's. I thought I liked the EL34's in combo with 6L6's in Simul-Class mode, but that mode has more bass than needed, and the EL34's have a nice warm low-mid, but they are less smooth (a slight rattiness or something). To the best of my knowledge, Class-A with 6L6's is the setup Trey uses (see my post on page 2, and this thread: http://strangedesign.org/forums/index.php?topic=2514.0).
I recently thought my sound was off and I thought it may have been the power tubes Eurotube(JJ 6L6). I felt like I was swapping them to much. (I run half power so I swap the inside and outside from time to time).
I ordered a Big bottle EL34 from eurotube. It's supposed to have characteristics of both tubes. So far I'm pretty impressed. It was nice because eurotube can get the tube correct for Mesa bias and you don't have to worry about voltage affecting the life of the tube. (Supposedly you see less life with a 6L6 on the outside)
Only been a month but time will tell.
http://www.eurotubes.com/store/pc/viewCategories.asp?idCategory=63
Quote from: seriesnuns on February 20, 2016, 08:53:27 AM
I recently thought my sound was off and I thought it may have been the power tubes Eurotube(JJ 6L6). I felt like I was swapping them to much. (I run half power so I swap the inside and outside from time to time).
I ordered a Big bottle EL34 from eurotube. It's supposed to have characteristics of both tubes. So far I'm pretty impressed. It was nice because eurotube can get the tube correct for Mesa bias and you don't have to worry about voltage affecting the life of the tube. (Supposedly you see less life with a 6L6 on the outside)
Only been a month but time will tell.
http://www.eurotubes.com/store/pc/viewCategories.asp?idCategory=63
I talked with Eurotubes, Doug's tubes and some people on the amp tech forum on TGP. Per the thread I linked to above, Doug said he would only really suggest an out-of-spec set of Russian tubes that run cool (early distortion), so I was turned off of trying 6L6's. However, a thread on Grail Tone mentioned talking to a tech at Mesa and he said the 6L6's in the 90's were not durable, hence Mesa's change in their manual strongly suggesting not to use 6L6's in the outer slots, but current production 6L6's are more robust. The people on TGP all use 6L6's in those outer positions and had no concerns about running 6L6's. Likewise, Eurotubes folks are not hesitant in using 6L6's. In fact, they sell 6L6 quads without specifying a matched pair that runs cooler to go in the outer slot (akin to their suggestion to you to rotate the tubes). They told me the Mark series amps run the power tubes so cold anyway, it wouldn't be a concern. Those guys also said they don't know why I was asking and they wouldn't sell 6L6's for the outer slots of their was a risk to the tubes or amp, so I sent them the PDF manual that strongly suggests not using 6L6's. They never responded.
I'm looking forward to playing a bit more in Class A with 6L6's.
In regards to the reverb issue... I must say I really love the sound of a microverb in front of, or in the effects loop of my boogie (50 caliber plus). I also use I in front of my small rig (5f1 clone and 80's fender sidekick 15) with much success. In the latter rig, the champ clone gets the microverb alone, and I add a bit of the fender spring in the mix. To me there is something special about warm tubes and digital 'verb.
Quote from: Down_With_Sco on January 15, 2015, 01:35:38 PM
Those 3 black pedals must be for the R2 channel, EQ, and Reverb and this is why, Trey uses a Boss footswitch for the Mesa lead channel.
(http://i.imgur.com/EUofYJB.jpg)
And if anyone's interested I think this is also from TAB 2012:
(http://i.imgur.com/SMOW0A8.jpg)
I like the MD409U3 on the Fender. I've been using an e906, which I believe is basically a reissue of the MD409U3, using the same capsule. Great mics, easier to use than the SM57, a little more open and natural sounding (while SM57 adds some mids that some guitarists like). Probably my favorite dynamic mic.
Quote from: Down_With_Sco on January 15, 2015, 01:35:38 PM
Those 3 black pedals must be for the R2 channel, EQ, and Reverb and this is why, Trey uses a Boss footswitch for the Mesa lead channel.
I think your right about the footswitches. Looking at concert pics, I only see those three footswitches when the Boogie is on stage. However, the GEQ Switch on the front of the amp seems to, relatively clearly depending on the specific pic, be set to "Auto" in every picture I can find. I tested this with the GEQ footswitch plugged in, and when the amp is in "Auto" the GEQ still automatically turns on with the lead channel. The GEQ footswitch can turn the GEQ on when in rhythm modes, or off when in lead mode, but the lead footswitch still toggles both the lead channel and the GEQ when the switch is set to Auto. Not to mention the "Boogie Lead CH" switch is front and center - Trey uses it often, for his leads - but the GEQ, R2 and REV switches are off to the side because I don't think he uses them much. Additionally - and this is really hard to see in pics - but I think the Lead Master switch is pulled in every pic I can find. The GEQ's curve (which takes out a lot of treble) is necessary when the Lead Master is pulled, or the amp would be WAY too bright, so I'm pretty sure Trey uses the GEQ and the Lead Master knob pulled at the same time. The only thing I'm confused about is that the Lead Master appears to be set to "6" which is REALLY loud when the knob is also pulled. Maybe that is fine in a band mix with compression from speakers, mics, and the sound guy's gear.
A few more images with the 3 custom toggle footswitches:
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/Crowd_zpsl39z1bo9.jpg)
You can also see the Boogie Lead CH switch here too:
(http://i1185.photobucket.com/albums/z342/Jon_Weingarden/Trey/ts9board-1.jpg)