Here is the great document on 1980+ gear of Iron Maiden by Caio Feres: drive.google.com/file/d/1fW1XSV-ZacFyNeKujJXR17nQVC5wj5zG/view If you liked this video I cover the debut Maiden album here: ruclips.net/video/X-DUIUyyNuM/видео.html
You nailed it man, you really nailed it. Now I wanna see how they did Somewhere in Time intro. Yeah the guitar synth part too :D (Not just talking about the Gallien Krueger.) If you do that you will be the first on the internet to find out how they did that.
i own a gallien krueger 250ml that pretty much nails it. i think I'm having a slight problem getting it 100 percent because of all the cheesy petrucci pickups in my guitars and having a Dimarzio Super Distortion makes a difference (don't get me wrong, love the Steve's Special I have in some of my axes, but it's thin on some of the Maiden stuff). I bought a Dragonfire that's supposed to come close to Super D and will try that pickup. Really want to get the guitar synth, the one Maiden used though is 900 bucks or so on the bay!
I have talked about it and researched a lot of information from Somewhere in Time and Seventh Son during 3 weeks of searching, I have come to find rare images and articles about it, read the comments above that I responded to a colleague. drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
I thought of a world where Iron Maiden never existed. That is as scary as watching the exorcist alone, at night, in a thunderstorm. Where’s my teddy. ☹️
Well, to be fair, Plexis especially are more power amp driven so you might as well boost the front end to get a more heavy metal sound or just crank it. I also think it's crazy that even Plexis could be used for thrash metal and the JCM 800 has been used for thrash and death metal because of this. They're not considered to be extreme amps and they're definitely medium gain by themselves, especially by today's standards, but you can get a modern metal tone by boosting them. It's pretty awesome that Iron Maiden, Pantera, and Slayer boosted their mids while other bands scooped them.
@@pip5528 in a band-context, anything else than boosting the mids is stupid. Bass is covered by, well, bass, and drums, and Treble is covered by the cymbals. Cut the gain, boost the mids.
Right, there are too many pedals in the video for rhythm guitar, they don't use that many pedals at the same time, most of them were for clean and solos, never for rhythm, the only one they always had on was the DOD FET Preamp on the back in front of the amps (via FETs nothing to do with the MXR Preamp via diodes), there are people who say that Adrian had a Customized MXR Preamp, actually it was not an MXR Preamp it was a Boss FA-1 FET Preamp with circuit with FETs instead of diodes, Dave and Adrian they had FET Preamp pedals in front of the amp and only Dave had the MXR 10 Band EQ and Boss FET FA-1 Preamp on the pedalboard just after the Wah to equalize the Wah in solos and that's why they were put on Dave's pedalboard, Adrian it didn't use the Wah in the same way as Dave and it had no EQ. The MXR Distortion + was only used by Dave and it was for solos from 80-81 before switching to the Yamaha AD-10 delay in '82 so the MXR Distortion + was never used as a boost for rhythms, and Adrian in '81 used delay and It was a Roland Space Echo before switching to the Yamaha AD-10 in '82, and the MXR 10 band EQ was only used by Dave connected after the Wah to equalize and boost the tone and the Wah, so for rhythms there was no MXR Distortion + or any MXR EQ, for rhythm only the DOD FET Preamp via FETs or Boss FA-1 FET Preamp in front of the amp like Adrian and outside the pedalboards (the preamp was almost a second amp just before the Marshall), it was not an MXR Preamp via diodes, in the tour book from Powerslave it has been said that Adrian used Boss Chorus and Boss Delay but in reality it was Yamaha CH-01 and Yamaha AD-10 put in a Yamaha SB-100 but those pedals were unknown and in the tour book magazine they put Boss, according to the Stage images were Yamaha pedals instead of Boss. With the MXR Preamp the same thing happened, it was actually DOD FET Preamp in front of the amp, and Adrian had a Boss FA-1 FET Preamp via FETs, but it is very easy to say MXR Preamp Customized, DOD pedals and Yamaha pedals were unknown and in tour books and magazines they said MXR Preamp or Boss Delay, in the Powerslave tour book it says that Adrian Smith had Boss Chorus and Boss Delay when on stage he had a special Yamaha SB-100 pedalboard that only supported Yamaha pedals, as far as the rhythm guitar with a plexi at 10, a DOD FET Preamp or Boss FET FA-1 tight in front of the amp and a Celestion G12H-55Hz miked with Shure Unidyne in the center it would no longer be necessary to have an MXR 10 Band EQ or any MXR Distortion+ thinking from Adrian's side. It was just Dave who had MXR Distortion + and used it for solos and the MXR 10 Band EQ was to equalize the Wah after the Wah, Adrian never had MXR Distortion + or MXR EQ and sounded identical to Dave. With a plexi at 10, a Boss FA-1 FET Preamp in front of the amp, Dimarzio Super Distortion pickups, and super bright Celestion G12H-55Hz and a Shure Unidyne in the center of the cone you could already sound 22 Acacia Avenue or 2 Minutes to Midnight without needing any EQ and no boost, so for me there are too many pedals in the video and it is not thought that miking can influence a more aggressive tone in the center of the cone or darker with MIDS at the corner of the cone, and people just think about putting one more pedal, Adrian Smith does not have any MXR 10 band EQ, the video is similar making it different and with more pedals than normal, the palm mutes are too distorted in the video and MXR Distortion + and Ibanez TS-9 sound totally Different as to be a rhythmic boost, there was the DOD FET Preamp (badly named MXR Preamp). Dave's pedalboard only had 2 buttons and the Wah on Powerslave, the only ones that activate or deactivate the MXR Phase 100 or the MXR Distortion+ and Wah, and he still had the Boss FA-1 FET Preamp on it all the time and no button just like the EQ on all the time and no knob just like the EQ, but in Number of The Beast Dave's pedalboard had many more buttons because it also he had the Yamaha AD-10 Delay, DOD Flanger and the Distortion + but stopped using them and Pete Cornish made him the same pedalboard but only 3 buttons on Piece of Mind and Powerslave, on Pete Cornish's website it says that Dave Murray made a pedalboard in '82 but made another pedalboard in '83 according to testimonials. Look at these images of Maiden's early years that I have been collecting together with the gear and the tour books: drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
@@diegarrak Not exactly, at least as Dave did on the '81 pedalboard it was: Guitar -> Boss GE-10 EQ -> Boss FA-1 FET Preamp --> JEN Crybaby Wah --> MXR Distortion+ -> MXR Phase 100 --> and then the DOD 210 FET Preamp in front of the amp -> Amp Splitter Box --> 4 Marshall JMP 1987 Super Lead 50w in 10. That in reality the last pedal did not go to an amp but to an amp Splitter Box and from this it came out to 4 Marshalls Super Lead in 10. And Adrian Smith did it like this: Guitar -> EHX LPB-2 Preamp -> JEN Crybaby Wah --> EHX Deluxe Electric Mistress Flanger --> Footswitch for Roland Space Echo RE-201 --> and then MXR Micro Amp in front of the amp -> Amp Splitter Box -> 4 Marshalls JMP/JCM800 1987 Super Lead 50w in 10. Anyway, I have taken a good look at the photo of the late 1981-1982 gear, and the pedal in front of Adrian Smith's Marshalls was not exactly a DOD Fet Preamp or an MXR Preamp, it was a Boss FET FA-1 put aside in front of the Marshalls of Adrian, I have noticed because it has the 2 jacks on the same side of the pedal, and it seems that it has 3 black controls on the bottom and the Flat or Low Cut knob on top, Adrian had a Boss FET FA-1 set on aside, take a good look at Adrian's photo, Dave had the DOD 210 FET Preamp, but Adrian had a Boss FET FA-1 Preamp set aside, the 2 were FET Preamp with a gain control of up to 26db, so it was probably 1981 with Paul Di'Anno Adrian used the MXR Micro Amp in front of the Marshall's and he also had an EHX LPB-2 on Adrian's '81 pedalboard, at first they had nothing in front of the amps and maybe that's why '81 backwards sounded less gain than from 1982 onwards. Some people say that Dave Murray had the Wah modified but not really, he modified the sound of the Wah by putting the EQ after the Wah to equalize and give the Wah more punch, what actually produced more gain was the FET Preamp pedal in front of the amp, they were also buffer pedals and in addition to adding gain, they also corrected the impedance and the tone color after long cables (maybe that's why in the past most vintage pedals were made with buffered bypass systems), but the pedal in front of Adrian's Marshalls in 1982 was the Boss FET FA -1 put aside, in '81 was the MXR Micro Amp. www.woodytone.com/wp-content/uploads/2010/12/Maiden_AdrianSmith_81rig_GW.jpg www.woodytone.com/wp-content/uploads/2010/12/Maiden_DaveMurray_81rig_GW.jpg drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
Nice job! One thing to mention about Dave Murray’s tone is the use of the standard Fender 250k pots with the Dimarzio Super Distortions... that results in a lot of hi-cut and a basically useless tone knob with humbuckers. His new setup with Hot Rails still uses 250k pots.
Very interesting, but I think we can appreciate thay Murray uses tone knob on stage, and even at studio recordings; i.e., in the transition between not distorted intro and first distorted riff on Hallowed be the name, increasing treble. Isn't it?
@@miguelanxomuradolo2638 Exactly, it changed from clean to distorted from the volume control of the guitar itself, Adrian Smith also, in Children of the Damned they also had to do it that way, in the studio surely not, they would lower the volume of the Marshalls to sound much cleaner still because in the studio they can do it manually since those Marshall have only 1 channel, live it had to be done from the guitar's volume control and playing softly.
In the early to mid 90s, Dave Murray used an Ibanez TS5 Tube Screamer. I know this, as he bought it in Axe Music, Bury St Edmunds, UK. It was also my local guitar shop and I was umming and erring if to buy it or not as I couldn’t get a Maiden sound out of it. A few days later, Dave came into the store and bought it, so that made up my mind and I had to get them to order me a new one.
The bugle sounds, the charge begins ... du-dun dun du-dun But on this battlefield, no one wins ... du-dun dun du-dun The smell of acrid smoke and horses' breath ... du-dun dun du-dun As I plunge on into certain death, oh, oh IMMA BELIEFER!!
Most people fail to achieve the Iron Maiden/Judas Priest era of tone because the think it's this really high gain distortion. It's not. A Tube Screamer dialed up to about 4 to 6 is just about perfect, with a high wattage amp. I think you achieved this really well \m/ o_O \m/
I was starting to think that Maiden used some type of delay during solos. I'm kind of a noob in terms of tones, but I can't think of other ways of how to get that type of delay/echo during their solos. I am getting a TS9 very soon, that's for sure
@@samusranzerDave Murray uses a chorus and delay on solos, and I think he also always has the chorus on for rhythm too, but dialed way farther back. I’m not sure about Adrian’s effects
Well done, even on cell speakers could tell that was nailed. The 4 albums from them that really inspired me so much: piece of mind, powerslave, the number of the beast somewhere in time. Above and beyond, congrats on the birth of your daughter.
Dave Murray pulls a Tony Iommi and goes on social media saying that Circle Of Tone is way off and got everything wrong! 😂😂😂😂 You have to be slightly expecting that whenever you put these out now! Those irrational fears creeping round the corner. EDIT: And you KNOW it's not authentic Iron Maiden until you're aiming a bass at people while wearing wristbands!
@@grzesiekcze It actually happened and he made videos about it. It's quite funny!😁 ========== ruclips.net/video/MIHHiRVIsaQ/видео.html ruclips.net/video/NpGLhz0n0xM/видео.html
Congrats to you, the mom and the new earth citizen. Celestina is a good name. I had a good laugh - and have to tell you, that am not interested in seeing "the gear" that you used. Except you meant the gear that was used to create the Iron Maiden tone. Stay safe, keep on keeping on! P.S. Your Type O'Negative - tone still gives me goosebumps.
I see that Boss FA-1 hasn't got the switch so I think it was always on in Murray' pedalboard...so I think that Murray used Dist+ to boost the solo, not the FA (or the Micro Amp, in your case)
It is totally true that it is so, all the Boss FET Preamp, DOD FET Preamp or the MXR Micro Amp pedals (the latter was between 1980-1981) have always been activated, that means that the only one that had the switch for the solo was the MXR Distortion + in the case of Murray, but Adrian Smith also had another preamp boost, between 1980-1981 Adrian Smith had the EHX LPB-2, this one did have a switch but believe me it was on all the time, the one that really stepped on was the EHX Electric Mistress Flanger (for clean), and then a nice Roland Space Echo for solos, and a Crybaby Wah and that was Adrian Smith's pedalboard from '81 and the effects that did sound on the Killers, Adrian Smith had a Roland Space Echo right next to the pedal board accompanied by a black switch. But before this one, at the end of 1980, just when Adrian Smith came in he still didn't have it and the delay he had was a DOD Analog Delay 680 on a first pedalboard before '81 (this DOD delay only sounded live the first concerts when he replaced Dennis Stratton, but never got to sound in Killers or in any recording), the one that sounded in the Killers album at the end was the WEM Copicat (in the Killers tour books a WEM Copicat is mentioned but in live images I saw exactly a Roland Space Echo RE-201 next to Adrian's pedalboard) that was also on Smith's pedalboard throughout '81, but from '82 switched to Yamaha pedals, the preamp boos pedal that Smith had in '82 they say was an MXR Preamp Customized but from the pictures actually Smith had a rectangular Boss FET FA-1 Preamp in front of the amp, and Murray had the DOD 210 Preamp in front of the amp and another Boss FET FA-1 on Dave's pedalboard, I have pictures of this, about Adrian Smith's pedalboard from '81 and his Roland Space Echo, you can see it at Live At The Club in Bremen, also called Live at Beat It which was a remastering of this but the complete show. drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-
@@ivanbuendiaaguilar9588 Thank you really much! Since you are very knowledgeable, I wanted to ask you why the "Maiden Japan" and "Live At Beat" lives sound so less distorted than "Beast Over Hammersmith" but are almost from the same period? In your opinion, is it because of how they were recorded or did Dave and Adrian switch to more distorted Marshall amps in 82? Maybe from JMP No Master Volume (4 holes) to the Master Volume ones (similar to the JCM 800)? Or have they maybe changed pedals and settings? What do you think about it? Another question...So do you think that the taped pedal to the amps is a DOD FET Preamp and not a MXR Phase 90 as someone says? www.woodytone.com/wp-content/uploads/2010/12/Maiden_DaveMurray_81rig_GW.jpg Same thing for this picture www.woodytone.com/wp-content/uploads/2010/12/Maiden_AdrianSmith_81rig_GW.jpg where the rectangular box taped to the amp could be a Boss FET preamp?
@@ilredeldeserto Let's see, both Killers and Number of The Beast up to the Powerslave all had 4-hole Super Lead Marshalls, even at the first Number of the Beast gigs from '82 and even on the rack they had on stage, they had 4, and all 4 were Marshall Super Lead 4 holes. They never used a JMP Master Volume 2204 or JCM800 (which are the same only with the aesthetics changed when the 80s arrived), I want it to be clear that whatever amplifier it was, all the distortion must always come from the amplifier and just a slight booster can help push the distortion a little more, just a little more, but it was not convenient for them to do it because there are songs that needed to lower the gain to sound clean so they used clean boosters instead of a Tube Screamer or an MXR Distortion + as they say out there, to have distortion with a 4-hole plexi you need to be at least 5 or 6 to start doing it and to really saturate you have to do it at 8 or 10, if they had to put a tube screamer in front they could never clean the sound afterwards and for Children of the Damned it would be a problem, they put a clean booster to get more gain but no more distortion, only gain, because all the distortion came from the plexi at 10, but a boo ster via FETs does it better than one by diodes, a FET is almost another amp with maximum gain and is also good for sounding clean by lowering the volume from the guitar better than with a tube screamer, but the Marshall will always be to the 10. The difference between Killers and Number of The Beast and Powerslave was maybe that Killers weren't using any boost preamp pedals in front of the amps yet and Dave's pedalboard didn't have the Boss FA-1 yet either, just Distortion+, Phase 100 and the Wah but they still didn't have boost or preamp pedals in front of the amps, on Killers it was the tone of a 4-hole Marshall Super Lead at volume 10 and in 1980 it was the tone of an HH VS Musician Reverb, but from the end of the '81 with Bruce and '82 I started seeing them with a Boss FA-1 or the DOD 210 FET in front of the Marshalls and that could be the clearest difference that achieved an extra gain similar to that of a JCM800 but in reality they were 4 hole Super Lead Plexis with a preamp boost pedal in front, they got more gain but with the flavor of a plexi sound thanks to adding a preamp boost pedal in front, those pedals are not like a dirty overdrive or anything like that but that they were just a boost preamp that only added gain without an overdrive effect and nothing more than that, they were actually preamps with a FET circuit that, unlike an overdrive, a preamp pedal sounds much more like an amp color than a pedal, more thick and balanced in frequencies than a boost overdrive, it's not just a boost it's a mini amp because it adds more gain but it doesn't sound dirty or alter frequencies like an overdrive pedal but fatter and more like an amplifier than dirty distortion, very similar to how would a Tube Screamer act with maximum Gain but minimum overdrive, that sounds more like amp distortion than pedal distortion, those FET Preamp pedals did exactly that but with a thicker color and more amp flavor, and maybe that it was the difference that in the early days of Killers it sounded a bit less gain, they still weren't using preamp pedals in front of the amps and that could be the difference with the distortion in The Number of The Beast from now on using boost preamps and MXR EQ, but it was always with 4-hole Super Lead Plexis. If you listen to Live At The Rainbow from the end of 1980 it also sounded much thicker than Maiden Japan and Live at Beat Club and it's also curious , you have to think that Live At The Rainbow was recorded and edited for official sale and the others are bootlegs, you also have to think that the concert hall and the ambient air microphones of the room in general mixed with the band by the mixer could give a natural room reverb and a much fatter sound for that reason and think that there is more gain but in reality the sound lasts longer due to a natural room reverb, Maiden Japan and Beat Club are bootlegs and the sound is only from the mixer without being edited or having ambient microphones like in Live At The Rainbow or in Hammersmith where they are better rooms than the tone of the band is combined with the natural reverb of the microphone of a much longer room, maybe Maiden Japan would have sounded like 8 instead of 10 or maybe they even used different tubes, think that in each concert of each tour they were saturating the plexis from the poweramp and they could have changed the tubes, not all the tubes respond exactly the same in all the direct, and also that a longer room or a smaller room influences the sustain and that natural reverb, a church sounds different, an auditorium too and a small pub too and even an open-air concert the sound is drier and loses more easily than a closed and very long room, that has a lot to do with the tone of that natural reverb that is created by one room or another, and even to achieve the same thing that a person hears inside a concert hall, the technicians put aerial microphones inside the room to capture the acoustics of the room and mix it with the sound of the band as if you were there, and it influences from one concert to another, it's the only logical thing I can tell you.
The MXR Distortion + was never a boost for rhythms because if so, Adrian Smith should have had one too and Adrian Smith didn't have any MXR Distortion + and rhythmically it sounds exactly the same as Dave without Distortion +, he didn't have any Tube Screamer either and even less on In 1982, the only one who used the Distortion + was Dave, it was Dave's solo pedal along with the Wah, and the equalizer put it after the Wah to be able to equalize the Wah, then Dave went to delay in '82 with everything set to a Pete Cornish pedalboard, but between 80-81 the Distortion + was Dave's solo pedal with the Wah, but the Distortion + was no rhythm boost, just for solos. The only thing Dave and Adrian had really in common were the Dimarzio Super Distortion pickups on the bridge, Super Lead plexis and a Boss FA-1 FET Preamp, but all the distortion comes from the amp, the preamp pedal is just a push. From Number of the Beast to Powerslave it is true that I never saw them again with any MXR Micro Amp or any EHX LPB-2, they changed them for the DOD 210 FET Preamp and the Boss FET FA-1 Preamp, practically the same, but This time they were preamp pedals with the FETs circuit, the FETs do not sound like a pedal, they sound more like a mini amplifier with gain control that responds like an amplifier, very different than a diode preamp, the most logical thing to do. I can tell according to the images and the information of the equipment that appears in the tour books, sometimes they say that there is an MXR Preamp or that the delay pedal was a Boss when in reality the delay was a Yamaha pedal and the MXR Preamp was actually a DOD 210 FET or a BOSS FET FA-1 because they are a little unknown pedals and in interviews it is very easy to say MXR Preamp or Boss DD-2 when in reality there were other things on stage very different and you cannot believe everything that they say. In '81 Adrian Smith's delay was actually a Roland Space Echo, and in '82 Adrian switched to a Yamaha SB-100 pedalboard that was exclusively for Yamaha pedals only, and switched to the Yamaha Flanger, Yamaha Chorus, Yamaha Phaser and Yamaha AD-10 delay with him Boss FA-1 Preamp in front of the Marshalls Super Leads 4-holes, but in '83 Adrian switched to loose pedals confirming it in a 1983 Guitar World interview, although he said that in the study according to Adrian he used an MXR Micro Amp as a power booster probably to push the plexis, an Ibanez Tube Screamer that he would use it for solos, a Flanger that does not mention the brand, and a Boss Chorus, but in live, a curious fact was that on the 2nd Live After Death DVD in the Ello Texas promo video, there is the filming of the Piece Of Mind stage montage from the previous Piece Of Mind tour and on the side of Adrian Smith on stage, 3 Ibanez pedals were filmed, one green with a big silver switch, one blue and one red, and it's what he had on his feet in 1983, and the way the solos sounded at Live At Dortmund, the green pedal had to be the Ibanez TS-9 or the SD-9, and the blue and red pedals with small switch had to be the Ibanez Phase Tone and Ibanez Compressor II for clean, and surely there would be an MXR Micro Amp or Boss FET FA -1 in the backstage rack, Already in the Live After Death Booklet and magazines like a Young Player Magazine from 1985 or the International Music and Recording World Magazine from November 1985, it says that Adrian began use effects racks with a Pete Cornish pedalboard for the first time at Adrian, where he started using 1 Ibanez DDL DM2000 for solos or clean modulation effects, 1 Lexicon PCM-60 probably for dive-bombs or solos, 1 Boss CE-3, 1 Boss DD-2, and the most interesting a Furman PQ-3 that must have been on all the time, although in the Young Guitar Magazine of July '85 the photo of Adrian's rack was seen and also There was an MXR 10-band EQ that would be on all the time just like Dave, so the Furman PQ-3 must have been to have an even higher tone than Dave, Smith's guitar sounded a little brighter and sharper than Dave. PS: Seeing the photo of the Adrian Smith link, the pedal in front of the amp on the right, I thought it was a rectangular Boss FA-1 FET Preamp because I have noticed that the orientation of the IN jack and the OUT jack are on the same side and 3 black controls down, and I'd be completely sure the pedal in front of Adrian's plexis had a Boss FET FA-1 coming from a Yamaha SB-100 before it hit the amp, and in Dave's case, the pedal in front of the plexi it was a DOD 210 FET Preamp, the photo is old but the shape of the pedal and the connections match, I have another photo of Dave in color and it was a DOD 210, he also had a Boss FET FA-1 on his pedalboard also of the DOD 210 FET in front of the amp, so the correct thing is what happens to be true, not an assumption. drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing www.woodytone.com/wp-content/uploads/2010/12/Maiden_DaveMurray_81rig_GW.jpg www.woodytone.com/wp-content/uploads/2010/12/Maiden_AdrianSmith_81rig_GW.jpg
Oddly enough... I have a TS 9 and micro amp on my board, and I really had no idea that was the recipe for Trooper tone. I always go with my ears rather than research on gear. I felt like you get your own sound that way. The Trooper was the first song I learned, and Adrian’s was first solo I learned when I found somebody to jam with at 14.
I remember buying that record ON VINYL as a teenager. Loved it. Somewhere in time was the first record I heard, still the best one imo. Don't listen much to Irons these days, still some good memories of being obsessed with their stuff.
They actually used celestion g12-65 speakers, reason why the sound is much more on the dark-woody side compared to all the other albums they made. The greenback is too bright to match their sound in POM.
@@CIRCLEOFTONE It's in the same document you put in the description...anyway no need for any quote: if you know and tried all the Celestion speakers you will understand for experience that the 65 is giving you that tone while greenbacks are the wrong choice for that album. Try a 65 (current "heritage" is good too) and see for yourself if you don't believe me.
@@lovecraftmusic8717 I've found the reissues of greenbacks etc sound nothing like my originals. Not sure about the 65's though. Do you have a quote of the 65's being used on pom by the band or producer?
@@CIRCLEOFTONE Well....I use a Plexi, mostly without anything,but, I do use an EQ similar to your settings. Though the amp is wide open. I am wondering if you push it enough so the amp is the primary gain. Is it crunchy or clean before any footwork is activated? Just curious. Great info regardless, never knew what they used to achieve that Boston type sound.
Awesome video. So it sounds like the key is proper EQ and stacking the tube screamer in front of the distortion pedal, with a boost from the micro amp? So after watching your two Iron Maiden videos I decided to try this out for fun.. I don't have a Tube screamer, or a micro amp but do have an older Boss OD-2 and a newer MXR Distortion pedal (the "super baddass one. Lame name, but nice pedal). I ran that through the same EQ settings on my EQ pedal, and set the amp EQ pots on my GK 250ML amp in a similar way (maxing mids, dialing back highs and lows a bit.) and wow, wow, I got something really, really close. Then I fiddled with both the overdrive and distortion pedal knobs. I found that I could get a much nicer hard crunch by stacking the pedals than I could with my old Boss MT distortion pedal. So I just sold that sucker to the local guitar shop, and I'll just keep dialing and sculpting different crunch tones by playing with my EQ and the overdrive and MXR distortion pedals. Maybe I'll get an actual old Tube Screamer and swap out the Boss OD-2 to see what a difference that makes, but used tube screamers are hard to find around here.. Could you consider having a go at replicating Iron Maiden's Powerslave era guitar tone? Thanks for the entertaining and informative videos !
Holy shit, if you made the guitars a tiny bit quieter in the mix I would have thought you were miming along to the original. Cheers man, much love from Italy!
Thanks for posting! If you have a minute, we recorded an Eddie Van Halen tribute video. As fellow music lovers, we'd love if you'd check it out. It's on our page. Don't be too tough on us :)
The JCM800, TS9 and Super Distortion are all hailed pieces of gear for the classic (Judas Priest/Van Halen/Metallica) hard rock/metal tones. However, the true secret weapon is the Celestion greenback speakers
Marshall jmp-1 rack preamp into the power section of a DSL100 threw the effects loop return cranked really loud and then the amazing talent of the great Dave Murray and Adrian Smith......🙂....
MMMAAAAAAAAAATE!!! Your daughter is ADORABLE BEYOND LEGAL!!!! Megacongrats to both of you and looking forward seeing you wearing shades in the future videos like a proper rockstar!!! You'll be soooooo sleep deprived, you'll need them! 🤘🤘🤘
I still think it's hilarious that your first video got demonetized and your sample of you playing got claimed because it was *that* close to the original so the algorithm couldn't tell the difference. Not even the "Uses song's melody" claim that hits covers. It thought it was the real deal!
Great video as always. Loved the storytime with your new baby. If you would do an Accept song, then you woulda had an 'A'! I know everybody mocks them and dogs on 'em, but I love Udo, Wolf, Stefan, and Peter and I personally think they had some amazing tones and tunes on Breaker, Restless and Wild, and Metal Heart.
Congratulations to you and your missus on the birth of your beautiful daughter, the most fun you'll ever have coupled with the most fear. Good luck, all the best 🙂
Great video, but in the playtrough i got confused a lot, maybe different guitars for each or some text on the bottom indicating Dave murray or the other one i dont know the name of.
Sounds great! Thanks for the rundown, I've been chasing Dave's tone for some time now, and up the irons! Also, that document is priceless to me, thank you so much.
Awesome as always, I can't wait to listen to this when I have my interface hooked up in order to listen to it in the manner intended rather than through shite built-in laptop speakers! Cheers and best your way as always along with you family/loved ones in these crazy times especially. Same sentiments to everyone else too. Dean and family, Manchester, England \m/
I read Daron was influenced by satyricon guitar tone, he thought a wall of acoustic guitars in the room while recording was good tone, o and he eventually turned the guitars up, he thought it was muddy sounding
of course I miss this video by a year because RUclips never sent out a notification Lol. Fucking great video though! Never heard anyone else get so near to that classic tone.
Sounds right on man! I always wondered what they used besides the MXR distortion, which Murray made that public knowledge in the early 80`s. I prefer a more overdriven sound as opposed to the distortion/fuzz-like distortion of Maiden. But Maiden used that sonic tone for years and it was so smooth and mean at the same time! Well done ,and I think you nailed it brother!
These are really great guitar sounds. I am not as much of a metalhead as I was years ago, and I do like quite a lot of contemporary metal, but at times I think metal bands now use too much distortion and compression, where they could simply employ gain and volume.
Great!! My favourite band ever! Can you do Somewhere in Time era? I have GK 250 ML, Distortion+ and MXR 10 band but i don't know how configure it to sound like a SIT
Modern Metal - drop tuned 7 string into a Rev with multiple stacked drive pedals and noise gates. Riffs look like 0000110000001001000 Maiden - Tubescreamer, strat, Marshall and we’re off to the major scale races.
Yeah nice! I think the mxr 10 band is really the main key to the maiden tone. What ever amp is used as long it has a british voicing. But it‘s all about boosting that 500hz and 1khz! I don‘t have the mxr eq but i can repruduce a similar tone with a simple channel eq in a daw whith boosting that frequencies in front of a amp plugin. But looking for a modern mxr 10band in front of my orange or15. 🤓
Hello again, I don't see what I just found, I just found an official source that has confirmed that Dave Murray was using the 1978-81 Marshall JMP 1987 MKII Super Lead 50W, this was confirmed by Whatgear on Dec 1, 2020, and from the images of the concerts and the Marshalls rack it seems true and they coincide with the plexis of those years that had a more modern and rounded design, there were those who said that those Marshalls could have been Super Bass but the aesthetics and the The images of Marshalls may differ and vary depending on the year of Super Bass or Super Lead there has been, there have been plexis with straight and old design from '77 backwards and then from '78 to '81 there were plexis with the more rounded front design and modern with the slightly larger logo just before the JCM800 so if you've seen a modern rounded Marshall Super Bass you may also see a modern rounded Marshall Super Lead, from 1978-81 all plexis were the same, they began to be built with a more rounded front and a slightly larger logo and that is not why you should think that they were Super Bass, there was also Super Lead with a rounded front, but people pay more attention to the Solodallas website and how that on their website the only plexi that looks rounded is a Super Bass, everyone thinks the rounded plexis were Super Bass, they are wrong, there were also Super Lead plexis that were rounded front and modern that do not appear on the website from Solodallas but also exist in Super Lead. So there were also modern, rounded Super Leads instead of straight in the '79 and '80 just before the JCM800, both Super Bass and Super Leads started to be built more rounded and modern from '78 back to '81 few people know this, on the Solodallas website there is only a rounded Super Bass and that has made it confusing that they are all Super Bass, there were also rounded Super Lead which were the same, the so Maiden's nest was very bright and sharp at the beginning, so they had to be using Super Lead, not Super Bass, also this website confirms it, they were 50W Super Leads of the modern and rounded front of 1978-81, you will not say they used Super Bass again, they were Super Lead. whatgear.com/pro/dave-murray/1978-81-marshall-jmp-1987-mk-ii-super-lead-50w reverb.com/item/320761-1980-marshall-jmp-non-master-50w www.worthpoint.com/worthopedia/marshall-jmp-50-watt-1987-model-year-27140679 reverb.com/item/3263654-marshall-jmp-1959-super-lead-mk-ii-100-w-non-mv-1979-black reverb.com/news/how-to-date-a-marshall-amp drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
Great info man. If you have direct quotes or pics from the band/recording studio showing the specific amp used on the first four albums that would be great. They used all sorts of gear live.
How do you get rid of that Distortion+ Fuzz? Mine is a early eighties model and when I put the level maxed and the Distortion at 11 to 12 o'clock it's still quite fuzzy.
If I would have had this video on in the background I honestly wouldn't be able to tell if it was the real recording or not. This is the closest you've ever gotten to the actual song. EXCELLENT work!
Great video and very nice documentation you have linked to. I was thinking it could be really cool if you could do a tone video like this on Criss Oliva from Savatage. If you don't already know this guy you should check him out. His tone on the album Hall of The Mountain King is one of the greatest tones of all time.
Here is the great document on 1980+ gear of Iron Maiden by Caio Feres: drive.google.com/file/d/1fW1XSV-ZacFyNeKujJXR17nQVC5wj5zG/view
If you liked this video I cover the debut Maiden album here: ruclips.net/video/X-DUIUyyNuM/видео.html
Great! It's a jewel. Thank you both so much 😉👍
Sounds awesome. What pickups are you using on that guitar? Really nails the Maiden tone.
the 1980 document doesn't seem to be active anymore, any way we can see it?
Screeeeam for me Longbeach!!🎸🇬🇧🤘
Up the irons! 🤘
@@gregmerritt9366 This is what not to do if your bird shits on you...
@@brianboggs7455 The Rime! Of the Ancient! Mariner! If you DARE HAHA!
To me personally „Piece of Mind“ is the best sounding metal album of all times. That divine guitar tone - and not to forget the perfect drum sound.
I agree. The production on Piece of Mind is amazing. I have been chasing that guitar tone my entire life.
Graphic equalizer... the secret weapon used by most pros.
It makes THAT much difference.
Only realised when i bought one, now it stays on all the time.
You nailed it man, you really nailed it.
Now I wanna see how they did Somewhere in Time intro. Yeah the guitar synth part too :D (Not just talking about the Gallien Krueger.)
If you do that you will be the first on the internet to find out how they did that.
I can have a bash. Glad you liked it.
Here is a video of me playing all the guitars and synth parts for Somewhere in Time - ruclips.net/video/lj5S4CFoPFA/видео.html
ruclips.net/video/U7L_tjY3_Ro/видео.html
i own a gallien krueger 250ml that pretty much nails it. i think I'm having a slight problem getting it 100 percent because of all the cheesy petrucci pickups in my guitars and having a Dimarzio Super Distortion makes a difference (don't get me wrong, love the Steve's Special I have in some of my axes, but it's thin on some of the Maiden stuff). I bought a Dragonfire that's supposed to come close to Super D and will try that pickup. Really want to get the guitar synth, the one Maiden used though is 900 bucks or so on the bay!
I have talked about it and researched a lot of information from Somewhere in Time and Seventh Son during 3 weeks of searching, I have come to find rare images and articles about it, read the comments above that I responded to a colleague.
drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
I thought of a world where Iron Maiden never existed. That is as scary as watching the exorcist alone, at night, in a thunderstorm. Where’s my teddy. ☹️
Can anyone actually say that they would be able to do that? In a thunderstorm, alone... Watching that movie?
EQ, boost, and overdrive all to boost the Marshall? Damn, that's a lot of stuff.
Well, to be fair, Plexis especially are more power amp driven so you might as well boost the front end to get a more heavy metal sound or just crank it. I also think it's crazy that even Plexis could be used for thrash metal and the JCM 800 has been used for thrash and death metal because of this. They're not considered to be extreme amps and they're definitely medium gain by themselves, especially by today's standards, but you can get a modern metal tone by boosting them. It's pretty awesome that Iron Maiden, Pantera, and Slayer boosted their mids while other bands scooped them.
@@pip5528 in a band-context, anything else than boosting the mids is stupid. Bass is covered by, well, bass, and drums, and Treble is covered by the cymbals. Cut the gain, boost the mids.
Right, there are too many pedals in the video for rhythm guitar, they don't use that many pedals at the same time, most of them were for clean and solos, never for rhythm, the only one they always had on was the DOD FET Preamp on the back in front of the amps (via FETs nothing to do with the MXR Preamp via diodes), there are people who say that Adrian had a Customized MXR Preamp, actually it was not an MXR Preamp it was a Boss FA-1 FET Preamp with circuit with FETs instead of diodes, Dave and Adrian they had FET Preamp pedals in front of the amp and only Dave had the MXR 10 Band EQ and Boss FET FA-1 Preamp on the pedalboard just after the Wah to equalize the Wah in solos and that's why they were put on Dave's pedalboard, Adrian it didn't use the Wah in the same way as Dave and it had no EQ.
The MXR Distortion + was only used by Dave and it was for solos from 80-81 before switching to the Yamaha AD-10 delay in '82 so the MXR Distortion + was never used as a boost for rhythms, and Adrian in '81 used delay and It was a Roland Space Echo before switching to the Yamaha AD-10 in '82, and the MXR 10 band EQ was only used by Dave connected after the Wah to equalize and boost the tone and the Wah, so for rhythms there was no MXR Distortion + or any MXR EQ, for rhythm only the DOD FET Preamp via FETs or Boss FA-1 FET Preamp in front of the amp like Adrian and outside the pedalboards (the preamp was almost a second amp just before the Marshall), it was not an MXR Preamp via diodes, in the tour book from Powerslave it has been said that Adrian used Boss Chorus and Boss Delay but in reality it was Yamaha CH-01 and Yamaha AD-10 put in a Yamaha SB-100 but those pedals were unknown and in the tour book magazine they put Boss, according to the Stage images were Yamaha pedals instead of Boss.
With the MXR Preamp the same thing happened, it was actually DOD FET Preamp in front of the amp, and Adrian had a Boss FA-1 FET Preamp via FETs, but it is very easy to say MXR Preamp Customized, DOD pedals and Yamaha pedals were unknown and in tour books and magazines they said MXR Preamp or Boss Delay, in the Powerslave tour book it says that Adrian Smith had Boss Chorus and Boss Delay when on stage he had a special Yamaha SB-100 pedalboard that only supported Yamaha pedals, as far as the rhythm guitar with a plexi at 10, a DOD FET Preamp or Boss FET FA-1 tight in front of the amp and a Celestion G12H-55Hz miked with Shure Unidyne in the center it would no longer be necessary to have an MXR 10 Band EQ or any MXR Distortion+ thinking from Adrian's side.
It was just Dave who had MXR Distortion + and used it for solos and the MXR 10 Band EQ was to equalize the Wah after the Wah, Adrian never had MXR Distortion + or MXR EQ and sounded identical to Dave.
With a plexi at 10, a Boss FA-1 FET Preamp in front of the amp, Dimarzio Super Distortion pickups, and super bright Celestion G12H-55Hz and a Shure Unidyne in the center of the cone you could already sound 22 Acacia Avenue or 2 Minutes to Midnight without needing any EQ and no boost, so for me there are too many pedals in the video and it is not thought that miking can influence a more aggressive tone in the center of the cone or darker with MIDS at the corner of the cone, and people just think about putting one more pedal, Adrian Smith does not have any MXR 10 band EQ, the video is similar making it different and with more pedals than normal, the palm mutes are too distorted in the video and MXR Distortion + and Ibanez TS-9 sound totally Different as to be a rhythmic boost, there was the DOD FET Preamp (badly named MXR Preamp).
Dave's pedalboard only had 2 buttons and the Wah on Powerslave, the only ones that activate or deactivate the MXR Phase 100 or the MXR Distortion+ and Wah, and he still had the Boss FA-1 FET Preamp on it all the time and no button just like the EQ on all the time and no knob just like the EQ, but in Number of The Beast Dave's pedalboard had many more buttons because it also he had the Yamaha AD-10 Delay, DOD Flanger and the Distortion + but stopped using them and Pete Cornish made him the same pedalboard but only 3 buttons on Piece of Mind and Powerslave, on Pete Cornish's website it says that Dave Murray made a pedalboard in '82 but made another pedalboard in '83 according to testimonials.
Look at these images of Maiden's early years that I have been collecting together with the gear and the tour books:
drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
@@ivanbuendiaaguilar9588 Hi Ivan, so... the chain of Pedal is: Guitar ---> DOD Fet ---> EQ ---> WAH ---> Marshall in 10
Its correct?
@@diegarrak Not exactly, at least as Dave did on the '81 pedalboard it was: Guitar -> Boss GE-10 EQ -> Boss FA-1 FET Preamp --> JEN Crybaby Wah --> MXR Distortion+ -> MXR Phase 100 --> and then the DOD 210 FET Preamp in front of the amp -> Amp Splitter Box --> 4 Marshall JMP 1987 Super Lead 50w in 10.
That in reality the last pedal did not go to an amp but to an amp Splitter Box and from this it came out to 4 Marshalls Super Lead in 10.
And Adrian Smith did it like this: Guitar -> EHX LPB-2 Preamp -> JEN Crybaby Wah --> EHX Deluxe Electric Mistress Flanger --> Footswitch for Roland Space Echo RE-201 --> and then MXR Micro Amp in front of the amp -> Amp Splitter Box -> 4 Marshalls JMP/JCM800 1987 Super Lead 50w in 10.
Anyway, I have taken a good look at the photo of the late 1981-1982 gear, and the pedal in front of Adrian Smith's Marshalls was not exactly a DOD Fet Preamp or an MXR Preamp, it was a Boss FET FA-1 put aside in front of the Marshalls of Adrian, I have noticed because it has the 2 jacks on the same side of the pedal, and it seems that it has 3 black controls on the bottom and the Flat or Low Cut knob on top, Adrian had a Boss FET FA-1 set on aside, take a good look at Adrian's photo, Dave had the DOD 210 FET Preamp, but Adrian had a Boss FET FA-1 Preamp set aside, the 2 were FET Preamp with a gain control of up to 26db, so it was probably 1981 with Paul Di'Anno Adrian used the MXR Micro Amp in front of the Marshall's and he also had an EHX LPB-2 on Adrian's '81 pedalboard, at first they had nothing in front of the amps and maybe that's why '81 backwards sounded less gain than from 1982 onwards.
Some people say that Dave Murray had the Wah modified but not really, he modified the sound of the Wah by putting the EQ after the Wah to equalize and give the Wah more punch, what actually produced more gain was the FET Preamp pedal in front of the amp, they were also buffer pedals and in addition to adding gain, they also corrected the impedance and the tone color after long cables (maybe that's why in the past most vintage pedals were made with buffered bypass systems), but the pedal in front of Adrian's Marshalls in 1982 was the Boss FET FA -1 put aside, in '81 was the MXR Micro Amp.
www.woodytone.com/wp-content/uploads/2010/12/Maiden_AdrianSmith_81rig_GW.jpg
www.woodytone.com/wp-content/uploads/2010/12/Maiden_DaveMurray_81rig_GW.jpg
drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
Nice job!
One thing to mention about Dave Murray’s tone is the use of the standard Fender 250k pots with the Dimarzio Super Distortions... that results in a lot of hi-cut and a basically useless tone knob with humbuckers.
His new setup with Hot Rails still uses 250k pots.
Good info. Thanks man.
Very interesting, but I think we can appreciate thay Murray uses tone knob on stage, and even at studio recordings; i.e., in the transition between not distorted intro and first distorted riff on Hallowed be the name, increasing treble. Isn't it?
@@miguelanxomuradolo2638 Exactly, it changed from clean to distorted from the volume control of the guitar itself, Adrian Smith also, in Children of the Damned they also had to do it that way, in the studio surely not, they would lower the volume of the Marshalls to sound much cleaner still because in the studio they can do it manually since those Marshall have only 1 channel, live it had to be done from the guitar's volume control and playing softly.
Don’t forget that he modded his original black strat to only have a 3 way switch instead of the standard 5 way too
To me Piece of Mind is the best guitar sound Maiden has ever had
In the early to mid 90s, Dave Murray used an Ibanez TS5 Tube Screamer. I know this, as he bought it in Axe Music, Bury St Edmunds, UK. It was also my local guitar shop and I was umming and erring if to buy it or not as I couldn’t get a Maiden sound out of it. A few days later, Dave came into the store and bought it, so that made up my mind and I had to get them to order me a new one.
Great info
Do the Scorpions. They had kick-ass tone.
Absolutely do the Scorpions
50 watt Marshalls (2204), Celestion G12M 25 watt Greenbacks. Pretty basic.
yesh
Uli John Roth Scorpions...
Congrats on being a new dad!
And the tone is sick!
Thanks Kaine.
The bugle sounds, the charge begins ... du-dun dun du-dun
But on this battlefield, no one wins ... du-dun dun du-dun
The smell of acrid smoke and horses' breath ... du-dun dun du-dun
As I plunge on into certain death, oh, oh IMMA BELIEFER!!
Still waiting on that Chris Holmes vid
Yep it's coming eventually
Dude would do the video, but he has to work up the courage to drink that much alcohol first to really get in the spirit of things.
@@austinfailz yep I'll be filming the pool shot.
Me too. Love Chris’s raw tone.
Most people fail to achieve the Iron Maiden/Judas Priest era of tone because the think it's this really high gain distortion. It's not. A Tube Screamer dialed up to about 4 to 6 is just about perfect, with a high wattage amp. I think you achieved this really well \m/ o_O \m/
I was starting to think that Maiden used some type of delay during solos. I'm kind of a noob in terms of tones, but I can't think of other ways of how to get that type of delay/echo during their solos. I am getting a TS9 very soon, that's for sure
It's not exactly low gain either, especially with hotter pickups. But not crazy like modern stuff either, just a good metal tone.
@@samusranzerDave Murray uses a chorus and delay on solos, and I think he also always has the chorus on for rhythm too, but dialed way farther back. I’m not sure about Adrian’s effects
@@blamingfish432 I think he also used a Univibe for that wah-ish tone in the solos?
Well done, even on cell speakers could tell that was nailed. The 4 albums from them that really inspired me so much: piece of mind, powerslave, the number of the beast somewhere in time.
Above and beyond, congrats on the birth of your daughter.
Adrian Smith used a chorus pedal quite a bit too (Ibanez CS9 Stereo Chorus), which was all over the Piece Of Mind album.
Dave Murray pulls a Tony Iommi and goes on social media saying that Circle Of Tone is way off and got everything wrong! 😂😂😂😂 You have to be slightly expecting that whenever you put these out now! Those irrational fears creeping round the corner. EDIT: And you KNOW it's not authentic Iron Maiden until you're aiming a bass at people while wearing wristbands!
Hehe
Where did you see that?
@@grzesiekcze It actually happened and he made videos about it. It's quite funny!😁
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ruclips.net/video/MIHHiRVIsaQ/видео.html
ruclips.net/video/NpGLhz0n0xM/видео.html
Naah, Maiden are way too chill man. haha Especially Dave.
Did Dave actually do that? Would be interesting to hear about actual Maiden tones from him.
That's great... When Judas Priest again?
Beyond the Realms of Death solo tone!
Congrats to you, the mom and the new earth citizen. Celestina is a good name.
I had a good laugh - and have to tell you, that am not interested in seeing "the gear" that you used.
Except you meant the gear that was used to create the Iron Maiden tone.
Stay safe, keep on keeping on!
P.S. Your Type O'Negative - tone still gives me goosebumps.
Sounds perfect. Just like the original
Yeahh!!!!!! Congrats on becoming a dad!
I see that Boss FA-1 hasn't got the switch so I think it was always on in Murray' pedalboard...so I think that Murray used Dist+ to boost the solo, not the FA (or the Micro Amp, in your case)
It is totally true that it is so, all the Boss FET Preamp, DOD FET Preamp or the MXR Micro Amp pedals (the latter was between 1980-1981) have always been activated, that means that the only one that had the switch for the solo was the MXR Distortion + in the case of Murray, but Adrian Smith also had another preamp boost, between 1980-1981 Adrian Smith had the EHX LPB-2, this one did have a switch but believe me it was on all the time, the one that really stepped on was the EHX Electric Mistress Flanger (for clean), and then a nice Roland Space Echo for solos, and a Crybaby Wah and that was Adrian Smith's pedalboard from '81 and the effects that did sound on the Killers, Adrian Smith had a Roland Space Echo right next to the pedal board accompanied by a black switch.
But before this one, at the end of 1980, just when Adrian Smith came in he still didn't have it and the delay he had was a DOD Analog Delay 680 on a first pedalboard before '81 (this DOD delay only sounded live the first concerts when he replaced Dennis Stratton, but never got to sound in Killers or in any recording), the one that sounded in the Killers album at the end was the WEM Copicat (in the Killers tour books a WEM Copicat is mentioned but in live images I saw exactly a Roland Space Echo RE-201 next to Adrian's pedalboard) that was also on Smith's pedalboard throughout '81, but from '82 switched to Yamaha pedals, the preamp boos pedal that Smith had in '82 they say was an MXR Preamp Customized but from the pictures actually Smith had a rectangular Boss FET FA-1 Preamp in front of the amp, and Murray had the DOD 210 Preamp in front of the amp and another Boss FET FA-1 on Dave's pedalboard, I have pictures of this, about Adrian Smith's pedalboard from '81 and his Roland Space Echo, you can see it at Live At The Club in Bremen, also called Live at Beat It which was a remastering of this but the complete show.
drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-
@@ivanbuendiaaguilar9588 Thank you really much!
Since you are very knowledgeable, I wanted to ask you why the "Maiden Japan" and "Live At Beat" lives sound so less distorted than "Beast Over Hammersmith" but are almost from the same period? In your opinion, is it because of how they were recorded or did Dave and Adrian switch to more distorted Marshall amps in 82? Maybe from JMP No Master Volume (4 holes) to the Master Volume ones (similar to the JCM 800)? Or have they maybe changed pedals and settings?
What do you think about it?
Another question...So do you think that the taped pedal to the amps is a DOD FET Preamp and not a MXR Phase 90 as someone says?
www.woodytone.com/wp-content/uploads/2010/12/Maiden_DaveMurray_81rig_GW.jpg
Same thing for this picture www.woodytone.com/wp-content/uploads/2010/12/Maiden_AdrianSmith_81rig_GW.jpg where the rectangular box taped to the amp could be a Boss FET preamp?
@@ilredeldeserto Let's see, both Killers and Number of The Beast up to the Powerslave all had 4-hole Super Lead Marshalls, even at the first Number of the Beast gigs from '82 and even on the rack they had on stage, they had 4, and all 4 were Marshall Super Lead 4 holes. They never used a JMP Master Volume 2204 or JCM800 (which are the same only with the aesthetics changed when the 80s arrived), I want it to be clear that whatever amplifier it was, all the distortion must always come from the amplifier and just a slight booster can help push the distortion a little more, just a little more, but it was not convenient for them to do it because there are songs that needed to lower the gain to sound clean so they used clean boosters instead of a Tube Screamer or an MXR Distortion + as they say out there, to have distortion with a 4-hole plexi you need to be at least 5 or 6 to start doing it and to really saturate you have to do it at 8 or 10, if they had to put a tube screamer in front they could never clean the sound afterwards and for Children of the Damned it would be a problem, they put a clean booster to get more gain but no more distortion, only gain, because all the distortion came from the plexi at 10, but a boo ster via FETs does it better than one by diodes, a FET is almost another amp with maximum gain and is also good for sounding clean by lowering the volume from the guitar better than with a tube screamer, but the Marshall will always be to the 10.
The difference between Killers and Number of The Beast and Powerslave was maybe that Killers weren't using any boost preamp pedals in front of the amps yet and Dave's pedalboard didn't have the Boss FA-1 yet either, just Distortion+, Phase 100 and the Wah but they still didn't have boost or preamp pedals in front of the amps, on Killers it was the tone of a 4-hole Marshall Super Lead at volume 10 and in 1980 it was the tone of an HH VS Musician Reverb, but from the end of the '81 with Bruce and '82 I started seeing them with a Boss FA-1 or the DOD 210 FET in front of the Marshalls and that could be the clearest difference that achieved an extra gain similar to that of a JCM800 but in reality they were 4 hole Super Lead Plexis with a preamp boost pedal in front, they got more gain but with the flavor of a plexi sound thanks to adding a preamp boost pedal in front, those pedals are not like a dirty overdrive or anything like that but that they were just a boost preamp that only added gain without an overdrive effect and nothing more than that, they were actually preamps with a FET circuit that, unlike an overdrive, a preamp pedal sounds much more like an amp color than a pedal, more thick and balanced in frequencies than a boost overdrive, it's not just a boost it's a mini amp because it adds more gain but it doesn't sound dirty or alter frequencies like an overdrive pedal but fatter and more like an amplifier than dirty distortion, very similar to how would a Tube Screamer act with maximum Gain but minimum overdrive, that sounds more like amp distortion than pedal distortion, those FET Preamp pedals did exactly that but with a thicker color and more amp flavor, and maybe that it was the difference that in the early days of Killers it sounded a bit less gain, they still weren't using preamp pedals in front of the amps and that could be the difference with the distortion in The Number of The Beast from now on using boost preamps and MXR EQ, but it was always with 4-hole Super Lead Plexis.
If you listen to Live At The Rainbow from the end of 1980 it also sounded much thicker than Maiden Japan and Live at Beat Club and it's also curious , you have to think that Live At The Rainbow was recorded and edited for official sale and the others are bootlegs, you also have to think that the concert hall and the ambient air microphones of the room in general mixed with the band by the mixer could give a natural room reverb and a much fatter sound for that reason and think that there is more gain but in reality the sound lasts longer due to a natural room reverb, Maiden Japan and Beat Club are bootlegs and the sound is only from the mixer without being edited or having ambient microphones like in Live At The Rainbow or in Hammersmith where they are better rooms than the tone of the band is combined with the natural reverb of the microphone of a much longer room, maybe Maiden Japan would have sounded like 8 instead of 10 or maybe they even used different tubes, think that in each concert of each tour they were saturating the plexis from the poweramp and they could have changed the tubes, not all the tubes respond exactly the same in all the direct, and also that a longer room or a smaller room influences the sustain and that natural reverb, a church sounds different, an auditorium too and a small pub too and even an open-air concert the sound is drier and loses more easily than a closed and very long room, that has a lot to do with the tone of that natural reverb that is created by one room or another, and even to achieve the same thing that a person hears inside a concert hall, the technicians put aerial microphones inside the room to capture the acoustics of the room and mix it with the sound of the band as if you were there, and it influences from one concert to another, it's the only logical thing I can tell you.
@@ivanbuendiaaguilar9588 very interesting! Thanks
Only one thing...Are you sure that in Powerslave they didn't use JCM800?
The MXR Distortion + was never a boost for rhythms because if so, Adrian Smith should have had one too and Adrian Smith didn't have any MXR Distortion + and rhythmically it sounds exactly the same as Dave without Distortion +, he didn't have any Tube Screamer either and even less on In 1982, the only one who used the Distortion + was Dave, it was Dave's solo pedal along with the Wah, and the equalizer put it after the Wah to be able to equalize the Wah, then Dave went to delay in '82 with everything set to a Pete Cornish pedalboard, but between 80-81 the Distortion + was Dave's solo pedal with the Wah, but the Distortion + was no rhythm boost, just for solos.
The only thing Dave and Adrian had really in common were the Dimarzio Super Distortion pickups on the bridge, Super Lead plexis and a Boss FA-1 FET Preamp, but all the distortion comes from the amp, the preamp pedal is just a push.
From Number of the Beast to Powerslave it is true that I never saw them again with any MXR Micro Amp or any EHX LPB-2, they changed them for the DOD 210 FET Preamp and the Boss FET FA-1 Preamp, practically the same, but This time they were preamp pedals with the FETs circuit, the FETs do not sound like a pedal, they sound more like a mini amplifier with gain control that responds like an amplifier, very different than a diode preamp, the most logical thing to do. I can tell according to the images and the information of the equipment that appears in the tour books, sometimes they say that there is an MXR Preamp or that the delay pedal was a Boss when in reality the delay was a Yamaha pedal and the MXR Preamp was actually a DOD 210 FET or a BOSS FET FA-1 because they are a little unknown pedals and in interviews it is very easy to say MXR Preamp or Boss DD-2 when in reality there were other things on stage very different and you cannot believe everything that they say.
In '81 Adrian Smith's delay was actually a Roland Space Echo, and in '82 Adrian switched to a Yamaha SB-100 pedalboard that was exclusively for Yamaha pedals only, and switched to the Yamaha Flanger, Yamaha Chorus, Yamaha Phaser and Yamaha AD-10 delay with him Boss FA-1 Preamp in front of the Marshalls Super Leads 4-holes, but in '83 Adrian switched to loose pedals confirming it in a 1983 Guitar World interview, although he said that in the study according to Adrian he used an MXR Micro Amp as a power booster probably to push the plexis, an Ibanez Tube Screamer that he would use it for solos, a Flanger that does not mention the brand, and a Boss Chorus, but in live, a curious fact was that on the 2nd Live After Death DVD in the Ello Texas promo video, there is the filming of the Piece Of Mind stage montage from the previous Piece Of Mind tour and on the side of Adrian Smith on stage, 3 Ibanez pedals were filmed, one green with a big silver switch, one blue and one red, and it's what he had on his feet in 1983, and the way the solos sounded at Live At Dortmund, the green pedal had to be the Ibanez TS-9 or the SD-9, and the blue and red pedals with small switch had to be the Ibanez Phase Tone and Ibanez Compressor II for clean, and surely there would be an MXR Micro Amp or Boss FET FA -1 in the backstage rack, Already in the Live After Death Booklet and magazines like a Young Player Magazine from 1985 or the International Music and Recording World Magazine from November 1985, it says that Adrian began use effects racks with a Pete Cornish pedalboard for the first time at Adrian, where he started using 1 Ibanez DDL DM2000 for solos or clean modulation effects, 1 Lexicon PCM-60 probably for dive-bombs or solos, 1 Boss CE-3, 1 Boss DD-2, and the most interesting a Furman PQ-3 that must have been on all the time, although in the Young Guitar Magazine of July '85 the photo of Adrian's rack was seen and also There was an MXR 10-band EQ that would be on all the time just like Dave, so the Furman PQ-3 must have been to have an even higher tone than Dave, Smith's guitar sounded a little brighter and sharper than Dave.
PS: Seeing the photo of the Adrian Smith link, the pedal in front of the amp on the right, I thought it was a rectangular Boss FA-1 FET Preamp because I have noticed that the orientation of the IN jack and the OUT jack are on the same side and 3 black controls down, and I'd be completely sure the pedal in front of Adrian's plexis had a Boss FET FA-1 coming from a Yamaha SB-100 before it hit the amp, and in Dave's case, the pedal in front of the plexi it was a DOD 210 FET Preamp, the photo is old but the shape of the pedal and the connections match, I have another photo of Dave in color and it was a DOD 210, he also had a Boss FET FA-1 on his pedalboard also of the DOD 210 FET in front of the amp, so the correct thing is what happens to be true, not an assumption.
drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
www.woodytone.com/wp-content/uploads/2010/12/Maiden_DaveMurray_81rig_GW.jpg
www.woodytone.com/wp-content/uploads/2010/12/Maiden_AdrianSmith_81rig_GW.jpg
Oddly enough... I have a TS 9 and micro amp on my board, and I really had no idea that was the recipe for Trooper tone. I always go with my ears rather than research on gear. I felt like you get your own sound that way.
The Trooper was the first song I learned, and Adrian’s was first solo I learned when I found somebody to jam with at 14.
That's a hell of a first song to tackle.
I did get a Gallien-Kruger head based on Maiden’s use of them on Seventh Son.
I remember buying that record ON VINYL as a teenager. Loved it. Somewhere in time was the first record I heard, still the best one imo. Don't listen much to Irons these days, still some good memories of being obsessed with their stuff.
Man I was 14 in '79 tnwobhm was my soundtrack !!!!!! Maiden priest sabbath saxon motorhead list goes on !!!!!! 🤟🤟🤟🤟
Hell of a time to be alive.
Any chance we could see Tool or Dire Straits?
Yes to both. I tried and failed Dire Straits in the past.
Congrats on the new human, mate! And we all know you named her after Celestion speakers😂
Dimarzio super distortion is essential . Thanks for the upload
They actually used celestion g12-65 speakers, reason why the sound is much more on the dark-woody side compared to all the other albums they made. The greenback is too bright to match their sound in POM.
Do you have a quote etc of that?
@@CIRCLEOFTONE It's in the same document you put in the description...anyway no need for any quote: if you know and tried all the Celestion speakers you will understand for experience that the 65 is giving you that tone while greenbacks are the wrong choice for that album. Try a 65 (current "heritage" is good too) and see for yourself if you don't believe me.
@@lovecraftmusic8717 I've found the reissues of greenbacks etc sound nothing like my originals. Not sure about the 65's though. Do you have a quote of the 65's being used on pom by the band or producer?
How is the JMP set? Would like to hear it for reference.
6...6.6, the nhambr ouf tha beust.
Seriously though I don't remember off hand but it may be in the vid/description/pdf etc.
@@CIRCLEOFTONE Well....I use a Plexi, mostly without anything,but, I do use an EQ similar to your settings. Though the amp is wide open.
I am wondering if you push it enough so the amp is the primary gain.
Is it crunchy or clean before any footwork is activated? Just curious.
Great info regardless, never knew what they used to achieve that Boston type sound.
You absolutely NAILED the vocals.
8:30 Blitzkrieg in an Iron Maiden video XDD?
Why all this second half of the video?..
Awesome video. So it sounds like the key is proper EQ and stacking the tube screamer in front of the distortion pedal, with a boost from the micro amp?
So after watching your two Iron Maiden videos I decided to try this out for fun.. I don't have a Tube screamer, or a micro amp but do have an older Boss OD-2 and a newer MXR Distortion pedal (the "super baddass one. Lame name, but nice pedal).
I ran that through the same EQ settings on my EQ pedal, and set the amp EQ pots on my GK 250ML amp in a similar way (maxing mids, dialing back highs and lows a bit.) and wow, wow, I got something really, really close.
Then I fiddled with both the overdrive and distortion pedal knobs. I found that I could get a much nicer hard crunch by stacking the pedals than I could with my old Boss MT distortion pedal. So I just sold that sucker to the local guitar shop, and I'll just keep dialing and sculpting different crunch tones by playing with my EQ and the overdrive and MXR distortion pedals. Maybe I'll get an actual old Tube Screamer and swap out the Boss OD-2 to see what a difference that makes, but used tube screamers are hard to find around here..
Could you consider having a go at replicating Iron Maiden's Powerslave era guitar tone? Thanks for the entertaining and informative videos !
Awesome work, nailed it! Congrats CoT. Glad the document helped a bit. Keep up the amazing work, Owen!
Cheers! Great work.
Holy shit, if you made the guitars a tiny bit quieter in the mix I would have thought you were miming along to the original.
Cheers man, much love from Italy!
Glad you liked it man.
I am down with you brother!!! #SausagesUnite
Congratulations to you and your wife on your beautiful baby girl :) I am so happy for you my friend
I like the same bands of you. Siouxsie, Voivod, Type, Iron, Queen. Exactly the same bands. Keep up the good job. From Brazil 🇧🇷
6:51 nailed it.
Thanks for posting! If you have a minute, we recorded an Eddie Van Halen tribute video. As fellow music lovers, we'd love if you'd check it out. It's on our page. Don't be too tough on us :)
The JCM800, TS9 and Super Distortion are all hailed pieces of gear for the classic (Judas Priest/Van Halen/Metallica) hard rock/metal tones. However, the true secret weapon is the Celestion greenback speakers
Congratulations on fatherhood. It's a foregone conclusion that the odds are in her favor on having proper taste in music.
Haha. Thanks man.
Damn. Spot on
Really close dude. Great job.
Marshall jmp-1 rack preamp into the power section of a DSL100 threw the effects loop return cranked really loud and then the amazing talent of the great Dave Murray and Adrian Smith......🙂....
MMMAAAAAAAAAATE!!! Your daughter is ADORABLE BEYOND LEGAL!!!! Megacongrats to both of you and looking forward seeing you wearing shades in the future videos like a proper rockstar!!! You'll be soooooo sleep deprived, you'll need them! 🤘🤘🤘
Guys, seriously, join the FB group page, we have amazing fun there and we learn stuff along.
I still think it's hilarious that your first video got demonetized and your sample of you playing got claimed because it was *that* close to the original so the algorithm couldn't tell the difference. Not even the "Uses song's melody" claim that hits covers. It thought it was the real deal!
The first video sound is spot on, really uncanny.
I liked this video based on the title before I even watched it :-)
Great video as always. Loved the storytime with your new baby. If you would do an Accept song, then you woulda had an 'A'! I know everybody mocks them and dogs on 'em, but I love Udo, Wolf, Stefan, and Peter and I personally think they had some amazing tones and tunes on Breaker, Restless and Wild, and Metal Heart.
Congratulations to you and your missus on the birth of your beautiful daughter, the most fun you'll ever have coupled with the most fear. Good luck, all the best 🙂
Nice baby!Congrats from Russia, dude!
Thanks man.
The Document is great but I still can't find info on the Gibson SG's!
Great video, but in the playtrough i got confused a lot, maybe different guitars for each or some text on the bottom indicating Dave murray or the other one i dont know the name of.
That is such a great sound, the mxr pedals and the marshall... It made me take out all my old mxr pedals again.. great video!
Thanks Steve. They are awesome.
Sounds great! Thanks for the rundown, I've been chasing Dave's tone for some time now, and up the irons! Also, that document is priceless to me, thank you so much.
Glad you like it dude.
Wonderful cover at the beginning! The Trooper always makes me smile
Greath vid and what a nice family you’ve got Bro💪
Awesome as always, I can't wait to listen to this when I have my interface hooked up in order to listen to it in the manner intended rather than through shite built-in laptop speakers!
Cheers and best your way as always along with you family/loved ones in these crazy times especially.
Same sentiments to everyone else too.
Dean and family, Manchester, England \m/
Cheers Dean.
Can you do System Of A Down(Last 2 albums)tone in the future?
I will be doing them eventually
I read Daron was influenced by satyricon guitar tone, he thought a wall of acoustic guitars in the room while recording was good tone, o and he eventually turned the guitars up, he thought it was muddy sounding
@@massttrshrdrharmonicminor2002 yes he even produced some music i think for them on his label
Congratulations on the new arrival! Fantastic video. Rainbow rising tone next please! 😉😉
of course I miss this video by a year because RUclips never sent out a notification Lol. Fucking great video though! Never heard anyone else get so near to that classic tone.
Thanks man
Instant like.
Man, I would love to hear more of your thoughts on how RUclips preferentially promotes Disney/“the big 3.”
what’s the setting for presence?
Good question. I really need to fix that knob. Gun to my head around 4
Man, that tone is perfect. It just sings. There are some good tone hunters on YT but IMO you have them all beat.
22:24 Ladies and gentlemen please welcome to the stage Mr. Bill Hicks!
Sounds right on man! I always wondered what they used besides the MXR distortion, which Murray made that public knowledge in the early 80`s. I prefer a more overdriven sound as opposed to the distortion/fuzz-like distortion of Maiden. But Maiden used that sonic tone for years and it was so smooth and mean at the same time! Well done ,and I think you nailed it brother!
Adrian may have recorded a lot of PoM on the black melody maker you see in the Flight of Icarus video
Any info on the settings of those Marshall heads? Please and thank you.
Love your stuff, got in with the Danzig tone ❤❤❤
These are really great guitar sounds. I am not as much of a metalhead as I was years ago, and I do like quite a lot of contemporary metal, but at times I think metal bands now use too much distortion and compression, where they could simply employ gain and volume.
Great!! My favourite band ever! Can you do Somewhere in Time era? I have GK 250 ML, Distortion+ and MXR 10 band but i don't know how configure it to sound like a SIT
Yep I'll do that one for sure in the future.
Modern Metal - drop tuned 7 string into a Rev with multiple stacked drive pedals and noise gates. Riffs look like 0000110000001001000
Maiden - Tubescreamer, strat, Marshall and we’re off to the major scale races.
Yep. I've covered that ruclips.net/video/lyRFGCaOlMM/видео.html
I am Iron Maiden fan i started to listen to metal because of them. And you abosolutelly nailed The trooper Sound
Thanks Simon.
Gefeliciteerd man! Great vid as usual. Take it easy
late congrats!! best wishes 4u! 🙌🙌
Congrats! I became a dad earlier this year. At the age of 40, I want to learn Metal rhythm guitar and play some of my fav Maiden songs
Musicism Rabea does the best lessons imo. It's a monthly fee but the quality of lessons is amazing.
How's the family doing dude? Looking forward to next video.
She's perfect. Hopefully the new boys will be done in a week.
Are you running the eq in the loop or straight in ?
I always have an eq in my loops.
Congrats Owen on the new addition to the family, Cheers
Can you make classic 80s Judas Priest era tone? I love Tipton's guitar tone so much.
Great Video as always! Congratulation on being a dad, and greetings from Germany🤘
Thanks man. She's amazing.
Yeah nice! I think the mxr 10 band is really the main key to the maiden tone. What ever amp is used as long it has a british voicing. But it‘s all about boosting that 500hz and 1khz! I don‘t have the mxr eq but i can repruduce a similar tone with a simple channel eq in a daw whith boosting that frequencies in front of a amp plugin. But looking for a modern mxr 10band in front of my orange or15. 🤓
Yep it's a great option.
I have a lot of trouble playing the riffs to this song even after 3 years.
It's a bitch to play.
Dude, I've been playing since 1987 and still warm up before playing The Trooper.
those extra room mics make it sound fuckin ginormous
What's the video of the one where you played that White P-Bass?
Hello again, I don't see what I just found, I just found an official source that has confirmed that Dave Murray was using the 1978-81 Marshall JMP 1987 MKII Super Lead 50W, this was confirmed by Whatgear on Dec 1, 2020, and from the images of the concerts and the Marshalls rack it seems true and they coincide with the plexis of those years that had a more modern and rounded design, there were those who said that those Marshalls could have been Super Bass but the aesthetics and the The images of Marshalls may differ and vary depending on the year of Super Bass or Super Lead there has been, there have been plexis with straight and old design from '77 backwards and then from '78 to '81 there were plexis with the more rounded front design and modern with the slightly larger logo just before the JCM800 so if you've seen a modern rounded Marshall Super Bass you may also see a modern rounded Marshall Super Lead, from 1978-81 all plexis were the same, they began to be built with a more rounded front and a slightly larger logo and that is not why you should think that they were Super Bass, there was also Super Lead with a rounded front, but people pay more attention to the Solodallas website and how that on their website the only plexi that looks rounded is a Super Bass, everyone thinks the rounded plexis were Super Bass, they are wrong, there were also Super Lead plexis that were rounded front and modern that do not appear on the website from Solodallas but also exist in Super Lead.
So there were also modern, rounded Super Leads instead of straight in the '79 and '80 just before the JCM800, both Super Bass and Super Leads started to be built more rounded and modern from '78 back to '81 few people know this, on the Solodallas website there is only a rounded Super Bass and that has made it confusing that they are all Super Bass, there were also rounded Super Lead which were the same, the so Maiden's nest was very bright and sharp at the beginning, so they had to be using Super Lead, not Super Bass, also this website confirms it, they were 50W Super Leads of the modern and rounded front of 1978-81, you will not say they used Super Bass again, they were Super Lead.
whatgear.com/pro/dave-murray/1978-81-marshall-jmp-1987-mk-ii-super-lead-50w
reverb.com/item/320761-1980-marshall-jmp-non-master-50w
www.worthpoint.com/worthopedia/marshall-jmp-50-watt-1987-model-year-27140679
reverb.com/item/3263654-marshall-jmp-1959-super-lead-mk-ii-100-w-non-mv-1979-black
reverb.com/news/how-to-date-a-marshall-amp
drive.google.com/drive/folders/1ZcdPHZSsn08YLnr7JxmR1DQgQyhFjhn-?usp=sharing
Great info man. If you have direct quotes or pics from the band/recording studio showing the specific amp used on the first four albums that would be great. They used all sorts of gear live.
Didn't attempt the vocals on this one? can't blame you🤘 ....congrats again on being a dad Owen..yeah Circle of Tone Bitch!
I tried but his range was out of my comfort zone. I sounded like Brian Johnson taking a dump.
hell yeah buddy, great content, sounds fantastic. congrats on the bairn!
Cheers man.
The one ive been waiting for 🤘 cheers mate!
All i wanted very pleased
Cheers
How do you get rid of that Distortion+ Fuzz? Mine is a early eighties model and when I put the level maxed and the Distortion at 11 to 12 o'clock it's still quite fuzzy.
That's the nature of the pedal. To get rid of the flub you can have a crunch on the amp and boost the vol to 9 and only use distortion on 3
If I would have had this video on in the background I honestly wouldn't be able to tell if it was the real recording or not. This is the closest you've ever gotten to the actual song. EXCELLENT work!
Awesome, love this channel 🤘
nailed it! is this basically the same for somewhere in time era but with chorus/reverb/delay?
Somewhere in time they switched to solid state gallien Krueger heads
Great video and very nice documentation you have linked to. I was thinking it could be really cool if you could do a tone video like this on Criss Oliva from Savatage. If you don't already know this guy you should check him out. His tone on the album Hall of The Mountain King is one of the greatest tones of all time.
Savatage is a great suggestion.
Congrats!!!!
Keep up the amazing work dude
Thanks man.