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Post by wayloud on Jan 10, 2006 17:01:39 GMT -7
I've had my 2x10 for a month, but it lives in my band's practice space. We play 1-2 times a week. More than ever, I can't wait to get to practice. Last week I hooked an OCD to it. This pedal is from before the change to the 500k volume pot ( www.fulltone.com/ocd_mods.html). Pretty loud pedal. My first response was nice but a little fizzy. The more time I spent with it, the more I liked it. I'm not 100% in love yet, but I think it's gonna work out fine. It led me to switch on the "comp cut" on the fulldrive, and I don't know... three buttons and a volume knob - that's almost more sounds than I know what to do with. But that's what I need in this band. I am (fat strat + fulldrive + OCD + maz38 2x10) Has anyone been collecting settings? The tone knobs are so, like, interdependent that I think I must be missing some possibilities. Greg
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Post by got twang? on Jan 12, 2006 18:33:40 GMT -7
I just got my red 2x10 about 3 weeks ago, and I can hardly wait to get home from work every day to play it.
I haven't been able to spend a lot of time with mine so far, but I've tried it enough to know that there's lots of tone in that red box! I'm really looking forward to experimenting with settings to really see what she can do.
Mine is a reverb model and also has the effects loop. I don't use many pedals (ever fewer now), but I plan to try several pedals at different places in the chain to see what I get. I usually just use a little compression, a sparkle drive, and an occasional tremolo or delay.
Anyway, I too am interested to see what settings others have tried & liked/disliked. I'm especially interested in finding a good overdriven sound with amp.
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arthur
Junior Member
Posts: 85
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Post by arthur on Jan 12, 2006 20:44:26 GMT -7
Play around with the volume and master. Find the right combintation for different sounds. The tone controls sound pretty good all over. Work from 12:00 and see what needs modifying. The cut changes the sound a lot. Keep it low and find your basic sound with BMT, then work the cut to right place, probably 8-10:00.
You will be able to go from a great clean sound perfect for articulate country and jazz (volume low/master high), through nicely overdriven (volume high/master low) tones. I find it easy to dial up tones reminicent of my favorite players. With the right guitar and playing sensibility you can do a lot. This week I've been teaching these tunes/styles and been dialing up great tones: 175 w/Bigsby got pretty close to Setzer's tone on "Sleepwalk." 335 gets a solid Scofield tone, minus the RAT.... "Wind Cries Mary" and "Castles Made of Sand" are in there too with a good strat. Sorry, I didn't write any settings.
My approach: 1. Tones, flat 2. Adjust amount of distortion. 3. Adjust treble, then bass, then mid. 4. Adjust cut.
It's hard to dial up a bad sound on this amp. You'd really have go out of you way, like bass and middle on 0 treble and cut on 10.
Take it from a former Mark IV user, you could spend a lifetime trying to get great sound out of that!
As far as effects go, I have a pretty elaborate board (English Muffin, Rotosphere, Boss Delay, Line 6 Delay, EH Microsynth, EH Poly Chorus, TC Reverb). Gotta say I am reluctant to use all that with the Z. The amp sounds so good on its own that I try to avoid the pedals due to the signal loss, and general degredation of tone, particulary when trying to enjoy the Z clean sound. I do have the delema of getting a great Z sound or getting the color and tonal variety from my pedals.... I will say that that English Muffin is great for heavy distored tones. Handy for when I was working on Cream's "Crossroads" and Hendrix "Red House."
I don't have an effects loop. I think now I might rig up an A/B switch to bypass my pedals when I don't need them on gigs.
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arthur
Junior Member
Posts: 85
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Post by arthur on Jan 12, 2006 20:46:38 GMT -7
Play around with the volume and master. Find the right combintation for different sounds. The tone controls sound pretty good all over. Work from 12:00 and see what needs modifying. The cut changes the sound a lot. Keep it low and find your basic sound with BMT, then work the cut to right place, probably 8-10:00.
You will be able to go from a great clean sound perfect for articulate country and jazz (volume low/master high), through nicely overdriven (volume high/master low) tones. I find it easy to dial up tones reminicent of my favorite players. With the right guitar and playing sensibility you can do a lot. This week I've been teaching these tunes/styles and been dialing up great tones: 175 w/Bigsby got pretty close to Setzer's tone on "Sleepwalk." 335 gets a solid Scofield tone, minus the RAT.... "Wind Cries Mary" and "Castles Made of Sand" are in there too with a good strat. Sorry, I didn't write any settings.
My approach: 1. Tones, flat 2. Adjust amount of distortion. 3. Adjust treble, then bass, then mid. 4. Adjust cut.
It's hard to dial up a bad sound on this amp. You'd really have go out of you way, like bass and middle on 0 treble and cut on 10.
Take it from a former Mark IV user, you could spend a lifetime trying to get great sound out of that!
As far as effects go, I have a pretty elaborate board (English Muffin, Rotosphere, Boss Delay, Line 6 Delay, EH Microsynth, EH Poly Chorus, TC Reverb). Gotta say I am reluctant to use all that with the Z. The amp sounds so good on its own that I try to avoid the pedals due to the signal loss, and general degredation of tone, particulary when trying to enjoy the Z clean sound. I do have the delema of getting a great Z sound or getting the color and tonal variety from my pedals.... I will say that that English Muffin is great for heavy distored tones. Handy for when I was working on Cream's "Crossroads" and Hendrix "Red House."
I don't have an effects loop. I think now I might rig up an A/B switch to bypass my pedals when I don't need them on gigs.
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Post by JASON (aka jgleaton) on Jan 13, 2006 10:15:15 GMT -7
"Gotta say I am reluctant to use all that with the Z. The amp sounds so good on its own that I try to avoid the pedals due to the signal loss, and general degredation of tone,"
"I don't have an effects loop. I think now I might rig up an A/B switch to bypass my pedals when I don't need them on gigs."
Arther..I use quite a few pedals but ALL are true bypass so the tone is almost = to pluggin straight in....but when I had my BOSS tuner (NOT TRUE BYPASS) in the line I used a KEELEY TRUE BYPASS LOOPER!!! I HIGHLY recommend this pedal...it's only about $70.00 I think....maybe less.... new and is exactly what your looking for..... can bypass all pedals not true bypass with it....very small and runs on boss type power supply/ plug....cool little led lights let you know where your at...check it out at the keeley website....it's a low cost (but not cheap, it's hand made) instant high quality fx loop in your signal chain pre guitar input...giving you a true bypass signal!! check it out
Jason
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Post by wayloud on Jan 16, 2006 11:10:09 GMT -7
Wonder if I'd have been happier with the 18, though I think it would be dimed in a medium-sized club and I'd go through lotsa tubes. I was a little surprised at the headroom this amp has, even when you crank up the volume before you work with the master.
I also wonder if I wouldn't be better off losing the Fulldrive and just getting an Airbrake, cranking the 38, and relying on touch and guitar volume.
The only other pedal I use is a Demeter Tremulator. I'm nuts about that thing.
Greg
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Post by wayloud on Jan 16, 2006 11:18:16 GMT -7
Oh hey - a couple other questions.
I was wondering how the new Z speakers compare with a Blue Pup or V30. I have a pair of ceramic Blue Dogs, which I freakin' love, in another cabinet (unfortunately far away right now), and I'm anxious to plug the 38 into that for comparison.
Also, any experience with Weber's attenuators out there? They seem like a bargain, and given the way his speakers sound, I get the feeling Ted knows what he's doing.
Greg
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Post by JChance on Jan 16, 2006 12:30:11 GMT -7
I have a 50 watt Weber mini-MASS that works great. It actually has a moving speaker motor in it. I've found that it works really nicely for recording- not so much for volume purposes but for mic overloading purposes. Seems to help the amp hit the mic nicely- controlled.
As far as how the Z 10's compare to the Webers- I'll give you this:
For the last few months I had a Weber 10V and 10VS in my MAZ 18 with 2 10's. The speakers sound great- but are really a little more dark & ballsy than I was looking for. The stock Z speakers are agressive- and they seem to have a little more bite... more clarity. I also had an alnico Blue Pup and Silver 10 in the amp at one time- LOVED the tone. Very "pretty" sounding. Nice detailed cleans and sounded great when the amp was more cranked- but I lost headroom compared to the stock Z's. To my ears, the Z 10's are punchy and agressive, but not harsh. The Weber 10V/10VS are low-mid heavy & dark- but sound rgeat if you are mainly using the amp for gainier tones. The Weber Blue/Silver 10's are great- but you'll lose some punch compared to the Z 10's.
J
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Post by wayloud on Jan 17, 2006 9:29:03 GMT -7
You make the Z10s sound like they fit right in the mix with the British Webers.
At rehearsal on Sunday everyone got lazy and went to watch football. I went to town with my amp. The thing is a real pleasure. I doubt I could have chosen better.
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Post by JChance on Jan 17, 2006 11:39:18 GMT -7
You make the Z10s sound like they fit right in the mix with the British Webers. Well- A lot of that has to do with the fact that Ted Weber had some input on Z's design of his 10. So yes, they are in the ballpark. I asked Ted once if Z's speaker was based on a specific Weber model, and he told me "no." But that it *is* a ballsy, British-style speaker with a 1 3/4 inch voice coil and fairly large magnet. As I said- The Z 10" has a really nice punch & bite- but is still warm and pleasing. Aggresive, but in a good way. J
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Post by wayloud on Jan 24, 2006 8:49:39 GMT -7
Ah well, on another note... trying to pick my distortion. I've got a Fulltone OCD and a Barber Direct Drive.
I like both, but will only keep one. It's going to take a while to choose. Right now leaning toward the Direct Drive, but I'll know more after I use both with the band a few more times.
Greg
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Post by wayloud on Jan 26, 2006 9:43:13 GMT -7
After Tuesday's practice... the OCD definitely sounds more open and has a gutsy bottom end. But the Direct Drive is in the lead. Every time I put the OCD on, I'd go back to the DD after a minute and feel relieved. It's less in-your-face. It's tone is warmer. It adds a little more "Marshall" color than the OCD. It cuts through the mix during leads without any harshness. The OCD is just a little more "look at me, look at me".
Next rehearsal I'm playing with the Direct Drive and taking my Fulldrive out of the equation entirely. One button, one volume knob.
Greg
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redgl
Junior Member
Posts: 62
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Post by redgl on Jan 26, 2006 15:39:48 GMT -7
Try these settings on your OCD.
Volume wide open Tone 12:00 Gain 0
HP is more pronounced but LP will get you into Marshall territory as well.
Hope it helps.
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Post by wayloud on Jan 27, 2006 12:21:33 GMT -7
Thanks - I will try that.
I have BAD HABITS. I play hard, and use buttons too much. In my defense, my band's music is all over the place, and I have to make drastic changes, often in the middle of a tune. But I hate dancing around on all these buttons.
Greg
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