Less Gain ....More Tone !

Discussion in 'The Tone Zone' started by AlvisX, Sep 27, 2020.

  1. mickeydg5

    mickeydg5 Well-Known Member

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    My MXR Distortion+ is 1977.

    I have pictures of some from 74, 75 and 76 as well.

    Mr. Kula is wrong.
     
  2. AlvisX

    AlvisX Well-Known Member Gold Supporting Member

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    Speakin of Priest , The Whistle Test performance from 75, Looks like Glenn has a Rangemaster and a wah . The resolution is not that great , but I can make out a big square box
     
  3. Solid State

    Solid State Well-Known Member

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    I thought it was pretty common knowledge - the more volume you have the less gain you want
    The ultimate result is a good guitar tone with sustain.
     
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  4. Marshall Boogie

    Marshall Boogie Well-Known Member

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    Model Effect Name Year Intro
    MX-101 Phase 90 1974
    MX-102 Dyna Comp 1974
    MX-103 Blue Box 1974
    MX-104 Distortion+ 1974
    MX-105 Phase 45 1974
    MX-106 Noise Gate Line Driver 1975
    MX-107 Phase 100 1975
    MX-108 10 Band Graphic Equalizer 1976
    MX-109 6 Band Graphic Equalizer 1976
    MX-117 Flanger 1976
    MX-118 Analog Delay 1976
    MX-120 Envelope Filter 1976
    I cut this from the wiki page.....the link is
    https://en.wikipedia.org/wiki/MXR

    Wiki tends to be what someone puts in on the website so this is not corroborated Except as I said before KK Downing saying it was on his pedalboard from the start(and no offense to you or your sources...but when KK Downing says it was in one of his earliest setups....I believe HIM and not whatever source you are attesting to. I am also not a liar or prone to just making things up like seems to be the assumption around here. Just FYI....I am not a pro....I am a 53 year old grandfather that taught himself to play guitar out of boredom around 20 years ago (after I lost the ability to play drums to a back injury)).
    MX-133 Micro Amp
    MX-134 Stereo Chorus
    MX-137 Power Converter
    MX-138 Power Plate
    MX-142 Distortion II
    MX-143 Limiter
    MX-144 Loop Selector
    MX-148 Micro Chorus 1982
    MX-152 Micro Flanger 1982
    MX-157 Headphone Amp 1982
    MX-180 Omni Multi Effects 1983
    MX-181 Omni Footswitch 1983
     
  5. Mitchell Pearrow

    Mitchell Pearrow Well-Known Member VIP Member

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    I got Sad Wings first then their next,Sin after Sin ,then fell back to Rocka Rolla.
    Thanks
     
    Last edited: Oct 25, 2020
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  6. Mitchell Pearrow

    Mitchell Pearrow Well-Known Member VIP Member

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    I thought that he used the Super Twin Reverbs ?
    Thanks
     
  7. Mitchell Pearrow

    Mitchell Pearrow Well-Known Member VIP Member

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    I have also dialed back the gain, especially when getting very loud.
    Cheers
     
  8. AlvisX

    AlvisX Well-Known Member Gold Supporting Member

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    He used Twins ,Marshalls ,then Super Twins

    The particular clip I was quoting was him and a twin
     
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  9. Mitchell Pearrow

    Mitchell Pearrow Well-Known Member VIP Member

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    Thanks for the schooling .
    I was unaware. Thanks brother


    Mitch
     
  10. AlvisX

    AlvisX Well-Known Member Gold Supporting Member

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    The definition / illumination isn't too good ,but the pedal guru says Glenn is runnin a Rangemaster. Looks like a square box on top of Ken's amp as well

     
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  11. yladrd61

    yladrd61 Well-Known Member

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  12. yladrd61

    yladrd61 Well-Known Member

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    Stained Class.
     
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  13. yladrd61

    yladrd61 Well-Known Member

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    Sin After Sin.
     
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  14. Wildeman

    Wildeman Well-Known Member

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    I'm still looking for the gain knob on my Twin:thumb:
     
  15. Frodebro

    Frodebro Well-Known Member

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    I was 13 when SFV was released, so that was essentially my initial, formative exposure to Priest (which wound up being my favorite band in my teenaged years). The came Defenders, and by that point I had your typical teenage obsession with them. Once I started delving back into their earlier stuff, though, I considered that to be a different band. Kinda like VH with Roth vs VH with Hagar. The later, heavier stuff was great for playing through a loud stereo while thrashing air guitars with your buddies, but the earlier stuff was much better for actually sitting down and LISTENING to. I still listen to all of it, but the earlier stuff gets more play time.
     
  16. Wildeman

    Wildeman Well-Known Member

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    God damn!!!:dude:
     
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  17. MonstersOfTheMidway

    MonstersOfTheMidway Well-Known Member

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    In terms of "gain" (I prefer to call it something like overdrive/distortion/dirt), I like to break-up my views on "gain" from a pedal, and "gain" from the amp (such as a high gain amp). For the sake of clarity, I'll stick to "gain."

    First, people are gonna like what they're gonna like, and vice versa. Maybe with time and development in technology, some people will have a different opinion on things like too much gain or less gain. I think that it's best to use what fits the situation and hope for the best.

    "Gain" from a pedal has it's advantages since some pedals have lots of features. The "gain" output of a crunch-type pedal with a drive/gain/distortion/etc., on full might not sound as bad as a more extreme pedal (this is where I draw the line for using high gain control settings in pedals). So in such a case, I'm not opposed to pushing a particular pedal into extreme amounts of "gain." This is all assuming that the amp channel is either on a clean channel or another crunch-type channel that is set fairly clean.

    "Gain" from an amp (such as high gain amps) can be tricky depending on the technology used in the amp as well as characteristics of the "gain" produced by the amp. Mesa-Boogie, for example, is an amp company that made it's name on particular high gain tones (though that's not all they make). M-B took it upon themselves to warn players against using too much gain control for certain channels. One of the reasons M-B gives is that at higher gain control settings, the EQ controls for a particular channel will have less effect and so the tone becomes mostly gain and very little tone (this idea is something I agree with having used various high gain amps). Additionally, too much gain is hard to control and distracting. Thankfully, M-B designs certain amp to use diodes instead of rectifier tube for some high gain channels/modes, which improves the response/feel and tone in certain situations.

    Basically, I do agree with OP that less gain is probably the way to go (at least as a starting point when dialing in an amp or pedal). One of the most impressive uses of a high gain pedal was Eric Clapton during his "Journeyman" era. I saw Clapton live when he was using a high gain amp from Soldano called the SLO-100. I was impressed how a high gain amp could be used in a different settings/genre of music. From then on, I starting hunting down high gain amps that had enough variation in tone and produce a great sound that allowed me do a variety of music. Lots of great high gain amps out there to choose from once you do some research. The temptation will always be there to slam the gain control 100%, but it's up to the player to be selective and thoughtful in search for the right settings.
     
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  18. johan.b

    johan.b Well-Known Member

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    High gain is just a substitute for stage level that let's your guitar howl... but we're in the age when live bands are seen as interfering with the sound guys mix and has to keep it down.. so here we are...
     
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  19. Rozman62

    Rozman62 Well-Known Member

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    Good practice to not hide behind your gain. Decrease your gain = increase in confidence and musicianship. Roll down your guitar volume during rhythm passages which makes the band as a whole sound better.
     
  20. houseofrock

    houseofrock Well-Known Member

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    There is a lot of mention about Ted Nugent. I have never thought of him as high gain. More pushing the power section to bloom.
     

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