Favorite amp for Jam

[Heady Jam Fan]

I definitely like the adjustment to the pickups that I made. The single coils are more balanced on the neck - the single is about even volume with the humbucker; on the bridge it is a little quieter, but the two humbuckers are about as loud so I think that is the best I can do. That being said, not all pickups have space/holes for two screws on each side in order to do this (nor do all pickup rings).

For the in-between setting with single coils, there is a bit less 'quack' since the pickups are closer, but I am ok with that.

As far as tone, it is a little more balanced between neck and bridge, which I think is helpful. I still think they could be a little closer tonally as I feel like I am still making a choice as to which pickup will be best balanced, if I try to compromise I still find the neck is just a bit too warm/dark and the bridge is to thin/bright. I supposed I could try tilting the pickups so the bridge pup is closer to the low strings than high strings and the opposite for the neck, but I don't want the volume to change based on which string I am using. Lemon - I know a lot of people like a JB with a 59 (or Golden 50, which is what I am using), it might be worth a try for me.

As for the amp (numbers are the number on the dial, not according to a clock):
I think I figured out all of Trey's settings (they vary a bit from pic to pic I found) and I have been bouncing back and forth between his settings and the ones I originally landed on, sometimes something in between.

Input volume: Trey seems to run his around 3-4 for some reason. Even at 6-7, the rhythm 1 channel is still clean and seems to be the sweet spot, especially if you use rhythm 2 as well, I find it has the best overdrive when the input is at 7. The biggest difference lowering the input volume seems to make across the whole amp (every channel) is that it gets brighter, so I have been keeping it at 6 rather than 7 for the time being.

Treble: Trey has the treble at around 5 and the bright pull (on the input volume) off it seems in most pics as far as I can tell tell - there was one pic I wasn't sure about, it could have been on. I find this to be pretty dark when the input volume is higher (6-7), but fine if the input volume is around 3-4 (Trey's setting). I originally had the bright pulled (on) and the treble around 6-7, which works great when the input volume is higher and using a TS>Ross. However, when I am not using the TS>Ross it is maybe a bit too bright, especially on the rhythm 2 channel and it can make the overdrive a little to crisp/gritty rather than smooth and crunchy. Since I would only use rhythm 1 for jam, it is easy enough to change the push/pull brightness going from jam to classic rock / blues.

Bass: Trey keeps his around 3, maybe a little lower. I find this to be pretty good, but the deep pull switch seems to include slightly higher frequencies (just a bit of low mid) which I think sounds better, but it is a little too much low end. If the GEQ is always on, then the Deep switch works great if you drop the 80hz slider and keep the bass knob off. However, Trey uses the auto setting on the GEQ, so it comes on automatically when the lead channel is used, thus he uses the Bass knob rather than the Deep or the GEQ. Its a compromise, but I am leaning in that direction, because:

GEQ: I really liked it always on (rather than the auto setting Trey uses) with the bass dropped nearly all the way (when using the deep switch), the 2nd slider (low-mids) up a bit, the mid at unity, presence up a bit and treble down a bit. It really makes things pop out and gives the guitar more punch. This sounds great on any channel and really matches the EQ I often put on tracks after recording. However, Trey does an Inverted V, but not spanning the entire range the sliders have, but more like 1/3. For example, some pics show the bass and treble around unity, the low mids just above, and mids and presence about 2/3-3/4 of the way up (mids just a bit higher). Other pics show the bass and treble nearly cut out completely and the mids around unity. This just depends how he has the lead master volume set. This gives a super thick, rich, smooth, sustaining lead that makes it sound like the amp is about to pop, whether your clean or very dirty. [I also saw a couple pics where the treble and bass were at unity and the mid sliders were all slightly boosted, but just about equally so]. It is a very cool setting and I think you would recognize that he uses it on occasion. However, the lead channel is pretty fat on its own and the EQ I described at the top of the paragraph also sounds great on the lead, just a little less fat. Plus the EQ is described can be cut in or out for lead or rhythm providing a few extra and interesting sounds.

Mid: Trey runs his mids between 3-5 on various pics I saw. I think that is really the sweet range and I have been bouncing around there too. I usually have it at 5, but 3 is nice for a slightly less fat sound, and the treble seems to come out slightly more. The Mesa has a bit of a mid hump by nature and so does a TS & Ross, so I suspect cutting through with the mids on 3 would not be a problem, especially since Trey runs the bass and treble pretty low; considering this running the input volume low, it probably allows him to open up the master volume a bit (IIRC, he still keeps it pretty low, but it is a LOUD amp even when only using the EL34s). Giving the master volume the flexibility to go up a bit higher is pretty nice since the amp is so loud and, as is common with most master volumes, it is hard to dial in the quietest settings (between 0-1, there is a point when the volume drops off, Mesa suggests keeping the master very low and definitely never over 5-6).

The only push/pull Trey uses is the treble shift, which adds upper mids to the lead IIRC. It is somewhat subtle, but I like it pulled. The only thing I am uncertain of is how he sets the presence - to be honest, I have been keeping mine very high (7-10). It sounds to me like Trey runs it pretty high - his treble is set low and this keeps him from sounding dark while avoiding the brightness of treble (which can sometimes make a TS sound harsh). I suspect he is not using the reverb since he loves is little Alesis rack units (adding reverb after he mics the amp I assume). I would guess he is only using a Lead footswitch since he probably wouldn't have much use for rhythm 2 (dirty channel) and he has the EQ on auto, though it is possible he switches the EQ in and out on the lead channel, which would add some nice versatility (using the rhyhtm channel for more tonally open lead, lead without EQ for smoother, fatter leads, and EQ on for super fat leads).

PS - running the presence much lower now.

[the_great_lemon]

I definitely like the adjustment to the pickups that I made. The single coils are more balanced on the neck - the single is about even volume with the humbucker; on the bridge it is a little quieter, but the two humbuckers are about as loud so I think that is the best I can do. That being said, not all pickups have space/holes for two screws on each side in order to do this (nor do all pickup rings).

For the in-between setting with single coils, there is a bit less 'quack' since the pickups are closer, but I am ok with that.

As far as tone, it is a little more balanced between neck and bridge, which I think is helpful. I still think they could be a little closer tonally as I feel like I am still making a choice as to which pickup will be best balanced, if I try to compromise I still find the neck is just a bit too warm/dark and the bridge is to thin/bright. I supposed I could try tilting the pickups so the bridge pup is closer to the low strings than high strings and the opposite for the neck, but I don't want the volume to change based on which string I am using. Lemon - I know a lot of people like a JB with a 59 (or Golden 50, which is what I am using), it might be worth a try for me.

As for the amp (numbers are the number on the dial, not according to a clock):
I think I figured out all of Trey's settings (they vary a bit from pic to pic I found) and I have been bouncing back and forth between his settings and the ones I originally landed on, sometimes something in between.

Input volume: Trey seems to run his around 3-4 for some reason. Even at 6-7, the rhythm 1 channel is still clean and seems to be the sweet spot, especially if you use rhythm 2 as well, I find it has the best overdrive when the input is at 7. The biggest difference lowering the input volume seems to make across the whole amp (every channel) is that it gets brighter, so I have been keeping it at 6 rather than 7 for the time being.

Treble: Trey has the treble at around 5 and the bright pull (on the input volume) off it seems in most pics as far as I can tell tell - there was one pic I wasn't sure about, it could have been on. I find this to be pretty dark when the input volume is higher (6-7), but fine if the input volume is around 3-4 (Trey's setting). I originally had the bright pulled (on) and the treble around 6-7, which works great when the input volume is higher and using a TS>Ross. However, when I am not using the TS>Ross it is maybe a bit too bright, especially on the rhythm 2 channel and it can make the overdrive a little to crisp/gritty rather than smooth and crunchy. Since I would only use rhythm 1 for jam, it is easy enough to change the push/pull brightness going from jam to classic rock / blues.

Bass: Trey keeps his around 3, maybe a little lower. I find this to be pretty good, but the deep pull switch seems to include slightly higher frequencies (just a bit of low mid) which I think sounds better, but it is a little too much low end. If the GEQ is always on, then the Deep switch works great if you drop the 80hz slider and keep the bass knob off. However, Trey uses the auto setting on the GEQ, so it comes on automatically when the lead channel is used, thus he uses the Bass knob rather than the Deep or the GEQ. Its a compromise, but I am leaning in that direction, because:

GEQ: I really liked it always on (rather than the auto setting Trey uses) with the bass dropped nearly all the way (when using the deep switch), the 2nd slider (low-mids) up a bit, the mid at unity, presence up a bit and treble down a bit. It really makes things pop out and gives the guitar more punch. This sounds great on any channel and really matches the EQ I often put on tracks after recording. However, Trey does an Inverted V, but not spanning the entire range the sliders have, but more like 1/3. For example, some pics show the bass and treble around unity, the low mids just above, and mids and presence about 2/3-3/4 of the way up (mids just a bit higher). Other pics show the bass and treble nearly cut out completely and the mids around unity. This just depends how he has the lead master volume set. This gives a super thick, rich, smooth, sustaining lead that makes it sound like the amp is about to pop, whether your clean or very dirty. [I also saw a couple pics where the treble and bass were at unity and the mid sliders were all slightly boosted, but just about equally so]. It is a very cool setting and I think you would recognize that he uses it on occasion. However, the lead channel is pretty fat on its own and the EQ I described at the top of the paragraph also sounds great on the lead, just a little less fat. Plus the EQ is described can be cut in or out for lead or rhythm providing a few extra and interesting sounds.

Mid: Trey runs his mids between 3-5 on various pics I saw. I think that is really the sweet range and I have been bouncing around there too. I usually have it at 5, but 3 is nice for a slightly less fat sound, and the treble seems to come out slightly more. The Mesa has a bit of a mid hump by nature and so does a TS & Ross, so I suspect cutting through with the mids on 3 would not be a problem, especially since Trey runs the bass and treble pretty low; considering this running the input volume low, it probably allows him to open up the master volume a bit (IIRC, he still keeps it pretty low, but it is a LOUD amp even when only using the EL34s). Giving the master volume the flexibility to go up a bit higher is pretty nice since the amp is so loud and, as is common with most master volumes, it is hard to dial in the quietest settings (between 0-1, there is a point when the volume drops off, Mesa suggests keeping the master very low and definitely never over 5-6).

The only push/pull Trey uses is the treble shift, which adds upper mids to the lead IIRC. It is somewhat subtle, but I like it pulled. The only thing I am uncertain of is how he sets the presence - to be honest, I have been keeping mine very high (7-10). It sounds to me like Trey runs it pretty high - his treble is set low and this keeps him from sounding dark while avoiding the brightness of treble (which can sometimes make a TS sound harsh). I suspect he is not using the reverb since he loves is little Alesis rack units (adding reverb after he mics the amp I assume). I would guess he is only using a Lead footswitch since he probably wouldn't have much use for rhythm 2 (dirty channel) and he has the EQ on auto, though it is possible he switches the EQ in and out on the lead channel, which would add some nice versatility (using the rhyhtm channel for more tonally open lead, lead without EQ for smoother, fatter leads, and EQ on for super fat leads).

Awesomely comprehensive and informative. Gooooo Heady!

[Heady Jam Fan]

Thanks! I know there were a lot of questions about the Mesa settings, reviewing a lot of pics revealed a lot, but I suspect there is more variability that what I found.

It lead my to think about the mid boost built into the Deluxe. Little is known about that in particular - regarding the technical aspect in the circuitry, but also the frequency. Since Trey is able to get some of the same tones on the Deluxe, I would suspect it the mid boost is modeled after the lead channel of the Mesa. It doesn't sound as fat and smooth IMO, but probably some similarities tonally. In other words, to understand the mid boost in the Deluxe, it might help to look at the Mesa.?.

[Happyorange27]

Heady I'm stoked for you and thanks for all your superb reporting.

[Heady Jam Fan]

Thanks Happy!

I figured it would be helpful for a comprehensive review of all the pics I could find of Trey's MKIII, though I am sure I have a couple things off here or there. The thing is that it is such a versatile amp, there are a handful of ways to get the same sound, so it is all about maximizing versatility, and you end up with fewer options for settings when you want all the channels to sound great (which I think you can do, though some people claim they have trouble).

BTW - Happy, how do you like your Wilson Haze Vibe? I am thinking of trading my Fulltone for a Wilson in a Wah - the Fulltone is great, but about 1/2 the time it sounds a bit thinner, or rather too bright on the top end no matter how I dial in the other settings. It can be a cool effect if you set your rig dark, but not cool if you just want to add vibe to an already balanced tone. I never know when it will sound brighter (and I use the vintage setting), it is a flip of a coin. I emailed Fulltone, not surprisingly, no reply.

[Happyorange27]

I like my Wilson Vibe a bunch.  I keep the depth at about 2 to 3 oclock.  If you go past that it is a bit too much of detuning going on for me.  But at my setting it's yummy.  It's not too bright but i know what you mean. Since it's a phaser type pedal you do get some sweeps in the high frequencies.  A simple tone knob would be night right?  Anyway mine isn't a problem.  It's hard to turn the damn thing off because i really like the swirl on damn near everything.
Also it's fun to play with the rate with the rubber knob using the old foot.

[Heady Jam Fan]

Yea, I hear that. The Fulltone was my first real vibe and I love it - I agree, it is hard to turn off, that subtle swirl just keeps a cool motion. On tracks where Trey uses the vibe, it is usually very subtle, but just adds a nice flavor. I always read people complaining about how dark a vibe can be, so I was surprised that it was too bright for me. I always thought a tone knob would be great, I find I am often looking for that swirl motion in modulation and it is hard to find without tonal sacrifice sometimes.

I also ride the speed, so I really like the Wah enclosure - I was big on foot-adjustable knobs for a while (rubber MXR ones and kickdisks), but a wah expression is much easier, at least for balance:accuracy.

[Happyorange27]

yeah the wah version should be rad.

[fulltone1989]

Heady, did you fiddle with the trim pot on the MDV2? I have a MDV and although it controls the blub brightness (read:throb) it may tweak the tone of the unit as well.

[Heady Jam Fan]

Yea, I have, I think I liked the stock setting most actually (I have a little more throb dialed in currently though). It changes the low-end/throb, but doesn't dial out the bright top end, seems kinda scooped. I tried different power supplies (including the Fulltone one), different pedal orders, no other pedals... there is no rhyme or reason as far as I can tell, but just over half the time it is bright, the rest of the time it is tonally transparent and awesome.

Note: I just got a Wilson in a Wah for $165, mint condition. The Fulltone will find a new home...

[Happyorange27]

Note: I just got a Wilson in a Wah for $165, mint condition. The Fulltone will find a new home...

Tight!

[Heady Jam Fan]

Yessir - after talking a bit with the guy I got it from, turns out he is a Phish head as well, has a cover band called A Live One.

I wanted to just be happy with the Fulltone and ignore the tonal change, but I can't! Someday, though, I still believe my rig will be perfect.

[fulltone1989]

Yessir - after talking a bit with the guy I got it from, turns out he is a Phish head as well, has a cover band called A Live One.

I wanted to just be happy with the Fulltone and ignore the tonal change, but I can't! Someday, though, I still believe my rig will be perfect.

Was his name Josh!?! I bought my Whammy II from the same guy I think.

Anyways, sorry to hear the full tone didn't work for you but good luck with the Wilson.

[Heady Jam Fan]

Lol, yea - small world!

I think Fulltone makes nice stuff, I've owned a few and tried a few others. I just can't figure out why it is so bright sometimes - today was really bad for whatever reason. Hoping the Wilson is a keeper, as much fun as trying new gear is, I really want to settle down with some stuff and just play.

[fulltone1989]

Lol, yea - small world!

I think Fulltone makes nice stuff, I've owned a few and tried a few others. I just can't figure out why it is so bright sometimes - today was really bad for whatever reason. Hoping the Wilson is a keeper, as much fun as trying new gear is, I really want to settle down with some stuff and just play.

Yeah, that is a strange issue. My MDV (small box no treadle) is a bit bright but the ES-339 is a darker-sounding guitar so it balances out. I might try the MJM 60's Vibe if I can find it for a good price. I know what you mean though about the neverending gear quest, hopefull after this weekend I will be done for awhile, or at least another week or two