Dearest Mick , I am happy to help you with a bit of American history. Peavey amplifiers were THE amp in the history of almost all music from the late seventies. They had a Phase effect built in because phase was the most popular effect of the 70s. And all of that came from a small company in Rochester NY called MXR. It's my memory that the MXR phase inspired Peavey. As for Music Man ? They had phase in some models. Peavey was the undisputed king across the USA though and everyone had one at one time.. Music man was there but nowhere near what Peavey was. Most accounts I have heard Waylon used a MXR Phase 45. He used a Fender Dual professional amp with 2 15 inch JBL speakers for most of his career as well. Also the Jbl metal dustcap speaker was far more popular and used on more shows and recordings than the EV's you like. Thank you so much for the content both of you. You and other youtubers have replaced television in our house.
the most I've been able to allow myself to spend on a single pedal is a dual (min) function pedal for about $150. Five out out the eight on my board fit the bill. I have not found a compelling reason to swap out any of them as yet but, I keep learning , listening and looking. The pleasure is in the learning and y'all present the info in the most palatable manner. Thank you!
I definitely found my frets wearing really quickly when I was using the Ernie Ball Cobalts. I wasn't playing all that much but they just chewed through the nickel! Switched off them afterwards.
Mick- the Teskey Brothers are awesome! They also record everything to tape at a home studio they built themselves! I saw them live in Perth and they were exquisite.
Hi guys, A while back, I was watching a video by Tom Bukovac when I noticed a comment from you mentioning a possible collaboration. I was wondering if you're still planning on ever collaborating in some way? It would be fantastic to see the three of you team up, since you're both among my favourite guitar channels.
Dan, I applaud the string discussion. That’s why I play 12’s with a wound G, piano like. No pitch diving. Did the bulk of my touring with 13’s but it was hard on the guitars and hands.
It would be very useful- maybe not glamorous or exciting- but very useful for you guys to do a show on noise. Maybe, try to set up the noisiest thing you can devise, then try to troubleshoot. One thing that happens to me on stage is that I have to plug into whatever is available- and sometimes in small places I am forced to plug my rig into the same circuit that house business is on- like overhead lights etc- and sometimes the noise get's really annoying- thanks guys!
Do Wet dry into a single stereo 2x12, with an OR15(Dry, Just past edge of break up) and Marshall Origin 20 (Wet, Clean) Signal Path is TS Mini --> Rat --> Sub n up --> GCP pumpkin Pi --> Boss TU3 -->Humdinger to Orange--> MXR micro chorus --> TREX Reptile 2 --> EHX canyon --> Boss Space Echo RE-2 --> Marshall (EHX Mod 11 in loop set to harmonic Trem), usually with a Tele Thinline or an Epiphone Coronet and its Epic
As a Canadian, I concur with Mick. Spring in Nova Scotia is more like a "Sprinter". Cool and wet. I'll take sunny and at or below freezing, but we get the former until June and the we go to London broil settings lol.
Great show Leg Ends , I've learnt so much from you guys I've heard the both of you talk about different band's and I listened to various ones some I clicked with some not so much, but this time you've gone to FAR I've just heard fruit salad by the WIGGLES!!! AAAA I am off to scrub myself with some commercial disinfectant. PEACE and LOVE to EVERYONE.
Yea that high end crackling. It happens at some mid gain territory for me. I can’t tell why it happens. Only certain drive combinations make it happen. Dunno which pedal is to blame 😂
In the PC I use Cytomic the Drop plugin with serial-parallel processing and spread-tilt controls with resonance and poles on it. No one has created this as pedal and should. It is GLORIOUS with fuzz. Also free plugin called the Carve in smaller area of focus. They work great for cool sounds
For the Fender Tonemster question: TC Electronics makes the Tube Pilot which can usually be had for under $75 U.S. and it will do light breakup to a Tweedy type sound to almost fuzz AND has an internal bias control you can tweak to customize your sound.
I watch these on a Tuesday night here in Brisbane while my partner is at work. My 4 month old baby is also a big fan, and is soothed by your dulcet tones! Mick - I loved your response to Monkeygate, particularly about the human connection to technology, you are in danger of becoming quite wise in many things sir. Dan - I love the trucker hats on you!
I’m on week 8 of the H90 and I agree that you need to give it time. The factory presets are a bit much, so I went through them all on a rainy Sunday and copied about 30 that I liked into the second user list, and just tweaked those. For covers gigs, there are some sounds that get you very close to, say, that 80s pop/rock classic that previously required 4 standalone pedals. Once you get over the novelty factor, it’s great to use sparingly to add colour/depth/width or that one-off effect (e.g. octave for a Jack White song or lo-fi crackle for the intro of Wish You Were Here). Ref. The idea of these pedals being inspirational, I’d add that the H90 inspired me on the hardware front: I had a CXM 1978 and a Tomatotone sitting on the shelf next to an MC6 and ML5 from my last, short-lived attempt at M1D1. The H90 spurred me into action and I’m now running a lovely MIDI board. A word of caution: I originally tried doing all the routing inside the H90 (it has amazing options) to get around the latency caused on a wet/dry rig by the lack of H90 analog dry through. This solved the latency issue, but made me too dependent on the H90 for every song (e.g. if you disengage the H90 you lose the dry amp!), so I went back to series and now stereo (using a Goodwood Audio Output). There is, to my ear, a small tonal impact running your signal chain through the H90, and I’ve been experimenting with the Wetter Box etc to try it in parallel and eliminate having to digitise my dry signal all the time (G3 Atom may be on the horizon). I will say that the fun of running stereo more than offsets the small tonal change whilst still avoiding the latency issue - although my heart still belongs to my little wet/dry rig. For anyone who wants to see this stuff hooked up, check @thetonehunter on IG. No sponsored stuff, just some pics of the boards as they evolve - might inspire someone else as happens to me when I look at other people’s boards. And all of this I blame entirely on 6 years of TPS 😊
Thank you for all that. I’m in total agreement so far - the relative wetness of the H9 and definitely the colour of everything being A/D’d. Came to the same conclusion about the wetter box so that’s what I’m trying next. Thank you!
@@ThatPedalShow coolio - do let us know how it goes if you get the chance. If GFI has sent you a Duophony, maybe use it to try the H90 in parallel? - would be good to know if it does the job! I saw in Joey’s latest ‘pre-build’ vid that he’s grabbed one as well. Cracking VCQ session last night BTW.
Dan, you've talked several times about the crazy output level of the FX loop on your Matchless HC30 - I've never liked putting pedals in FX loops, but I play mostly Mesa/Boogies, and you can do some very interesting things by jumping the loops, almost like inputs on a 4-hole Marshall, and using the loop-buffer tube as a variable gain stage. I wonder, have you ever tried patching the Matchless loop send straight into the return? Would it just explode?
Great show, Guys! Happy belated Birthday, Mick...hellofa B-day present to self, Congrats! I just can't help wondering, though, what that '79 Bassman set you back...💰
In the US Bassman heads are probably the most affordable higher powered “vintage” Fender amps. I got mine, a late ‘67 (early silver panel) in tip-top shape, in 2020 for under $900.
@@davidkieltyka9 I appreciate your input, sincerely..lbut I live in the States, and am familiar with Classic Bassman prices here. What I was wondering is what I posted...how much Mick paid for a '67 over THERE in he U.K..You MIGHT be able to find one for around a $1000 or a little more from the '70's here in the States in 2023, since EVERYTHING has gone up in price, post Covid, but l don't know about being in top shape, though. And, expecting to find a '67 Bassman here in the States, in 2023, for $900 or under a Grand would be expecting a little much... Maybe closer to $1400 or more, here! But, again, I'm curious what Mick paid across the Pond, not what they're going for here.
I've got a POD 2.0 gathering dust, that I should sell. Do us a favour and do a video telling everyone how great they are, so I'll get a few more sheckles for it 😉 'Pedal maker makes a Klon and a Bad Monkey case sound the same in a youtube video.' All I will say is, I had a dark brown Nova in the late '80s that looked like a 1.2 Nova, but went like a Sierra Cosworth. When you know how, anything's possible.
D&M are just good guys all around, not that I know them personally...but some people in life deserve to be successful and these guys are those sorts of people. I'd love to see if they'd be able to bring Mary Spender into the studio sometime if they never did already. She's another one.
Mick, sorry to bother you but I need advice if you have the time. I am about to head down that Strat pickup rabbit hole. I had the utmost gift to play an actual all original 57 Strat and it was glorious. I cannot afford $58,000 but I can’t get that sound out of my head. I own a 86 Custom Shop with the Clapton lace sensors in it. It is a true custom though, 62 body with a 57 maple neck. It is my pride and joy until now. I have another Strat with 69 custom shop pickups. They are good but not that sound in my head now. I have narrowed things down to four. Monty’s 54’s, Fralin real 54’s, Lollar blonds, Jesse’s kingtone bluebirds. All heard by RUclips only, except for the Bluebirds which I have heard live but not played and only because of my love for Stevie. Not really the sound but killer just the same. Any knowledge or wisdom you could share would be greatly appreciated. Thanks. The quest for my tone continues. ,!!
Hi Richard, you can probably guess the answer… I can’t really offer anything concrete. I haven’t played any of the pickups you mention or your guitar. Everything you mention is a very traditional set and will certainly be vastly different from the Lace Sensors. I would think any of them will be great so go with your heart. The Monty’s and the Fralins look truer to earlier Strat sets spec wise, whereas the Kingtones sound like more an amalgam of 50s and 60s specs. Never heard a set of Lollar Strat pickups. Weird huh. Go with your gut, no duff choice here. Cheers!
Mick, interesting you say that about the Dumbles - I have a very accurate ODS clone by a pretty well-known builder (don't want to name him and sound like I'm slagging him off), and in all honesty, I think the Cornerstone Gladio Dual through any good clean amp is much, much better than the high-gain channel on the ODS clone. It's that CLEAN thing that's amazing and, to me, still inexplicable: it's like the clean channel has all the beneficial secondary effects of a compressor (fatness, sustain, feedback), but it doesn't sound especially compressed. I'd love to hear a Dumble aficionado/cloner/modifier on TPS sometime talk about how that circuit does what it does; I wonder if it's having an extra gain stage in front of the Fender-type tone stack, so you start to push the signal into compression, but the impedance of a lossy tone stack knocks off enough signal that you don''t hear clipping, just a soft knee of compression?
I kinda know what you mean vis a vis the Gladio. I’ve deliberately never gone far into with circuits and stuff because I feel that to really understand it you have to know the whole picture, and have played them for decades to //really// know. Also our minds are extremely adept at creative explanations and narratives based on a small bit of knowledge that gets expanded into the ‘whole’ story. When I first got the TS1, I thought there might be something wrong with the OD channel - true story! It felt thin, and with not enough gain, no fatness. Pennies started to drop as I turned it up, and actually started playing music. I’ve done maybe 5 gigs with it now and every time it just cuts perfectly and has enough gain and loads of sustain, but never gets mushy. Also has a lot of ‘fizz’ and brightness up top which is what I always add back in to my live tone (and mixes) versus what I’d play in isolation. So in my case anyway, it’s the old racing car analogy. Totally useless for getting the groceries and running the kids to school. But if you wanna go round corners at 120mph and do 220 down the back straight, you need a car built for it. Be interesting to hear your clone, but it wouldn’t surprise me if that was the case! Also on the TS1, I’ve never EQ’d it post in any recording yet. Madness!
@@ThatPedalShow Wow, thanks for the very considerate reply, Mick! Oddly enough, my "Dumble" has exactly the opposite problem: it feels like all the frequency response on the overdrive channel is between, say, 150 Hz and 1kHz, and then there's this disconnected fizz up top around what I'd guess is 4k. It sounds like there's a sort of detached hard clipping way up there, and then kind of an empty zone between the high mids and that "presence" zone. (You can get a similar thing from Dual Rectifiers sometimes when people try to dial in their standard Marshall or Fender settings.) I've gunned it a couple times, and it's a little better at volume, but not meaningfully better to my ear. For all the amps I've owned or played, the one that gets closest to what I thought I meant by "Dumble overdrive" is actually a little Mesa/Boogie Subway Rocket from the early ’90s - kind of a middle ground between the Mark III or Mark IV thing and the ODS thing. Wild that you've never had to post-EQ the TS1, though! The first time I ever got a recorded tone that was just THERE, ready to go, it was the result of being stuck with only an SM57 and an SM58 - I don't hear people talk about 58s for guitar, but I found that a 57 just off the grille + ≈1.5" or 2" off the cone, plus the 58 set around the same height but 2 to 4 feet away, combined for a sound uncannily like what I was hearing in the room. Great bite from the 58 without getting into excessive fizz up top, which gnaws at me with ribbon mics.
Mick: Andre Ducant(dū•cən) Dan: əhəə Mick: or Ducant(dū•can) Dan: ahaaa Paused for 15 minutes and laughed my ass off 😂😂😂😂 I'm probably an idiot but thanks for the belly laugh Dan
Can't remember the Dawner Prince Boonar delay issue or which episode, but Mick have you tried Dan's solution for his H9 - i.e., kill-dry for the Boonar & a parallel dry-thru for the guitar on the ever-useful G3? If so, how well did that work for you? Asking as a fan of that delay pedal...
I’m about to embark on that Johnny. For sure I am finding the bypass tone of the H90, erm, sub optimal. And the no analog dry through thing is also causing other problems. So I think I’ll end up with it kill-dry and Wetter box. Now. That may well cause some other issues with some of the pitch shift patches… but I guess that’s what I’m about to find out!
@@ThatPedalShow Yeah at the end of the day the only thing the Boonar has is a smaller footprint if you have both it & the FF to choose from. Thanks again!
Sorry this is coming so late but I am on a different time zone being here in the states. I have a question about how to pick an amp when you use pedals to manipulate the sound that the amp is putting out anyway? What are the main traits you are looking for in an amp. I have just purchased a Fender 64 Princeton Custom Hand Wound. Now I am looking at putting together a pedalboard and manipulating the sound. Any recommendations? I have seen most of your videos but the pedals I am looking at you have not reviewed. Again any recommendations?
It depends on the volume you play at and whether you want the amp to overdrive. Dan and I both love the amp to be a fundamental part of the character of all the sounds, not just a ‘make louder’ device. If you’re playing at home volumes and lower practise/gig levels the Princeton will be an AWESOME choice. If you start playing loud loud, you might want a little more clean headroom - say a Deluxe Reverb/Hot Rod Deluxe etc. Or maybe not - plenty of people play that Princeton cranked with pedals. Glorious thing!
I can't believe you two cultured mates don't dig the Grateful Dead. I bet you would if you would give it a chance and take the dive. Dick's and Dave's picks would be a good place to start. Such a diverse array of amazingness. Dead and Co, with Mayer, not like the OG's, but I still dig it. Get you some Mick and Dan! Report back to us 😉Cheers!
Funny what resonates isn’t it. I think I’ve tried three or four times now and am not finding a way in. I listened a Greatest Hits compilation in iTunes twice back to back while I was doing some photography - Mick here. Didn’t feel a thing. Had to put on some Aretha afterwards to make sure I wasn’t the dead one. No feel for me, but I get that millions of people love it!
@@ThatPedalShow I had similar feelings as well (or is that no feelings?🤣). But then I heard DarkStar and I got it. Nothing like Aretha to confirm a pulse though!
Something that happens in the high end. Like a kind of crossover distortion or something that sounds like harmonics just dying in the upper part of the audio spectrum rather than folding in naturally. But it might not be that at all. It’s a plastic sound for want of a better description. Cheers
Please people, let your pick up journey be over with and just use Kinman pick ups!!! He makes everything, and his Kick in the arse humbucker in a single coil size is epic !
On the Bad Monkey, I don’t think Josh’s point is that the pedal sounds like the Klon, TS-10, Morning Glory, etc. I think he’s making the same point as you guys. People just went nuts because they didn’t understand what he was doing.
That’s a sensible way to see it Jonathan. I often wonder if I misinterpret Josh’s dryness and irony as stuff he actually believes. And perhaps like a lot of the rest of the world, I’m not really smart enough to interpret it fully. Hmmm. Mick here, obvs.
@@ThatPedalShow sorry let me clarify. You said that if you understand pedals you can make most of them sound pretty similar with playing style and what not. I think his point is that you don’t need the most expensive gear to sound good. If he didn’t think gear mattered, he wouldn’t use a real Klon on his personal board.
Mick, sounds like you're describing a bit of an ADHD-type issue with your challenges regarding, first: get focused, second: once you are focused you're locked in, but then third: if you get distracted, it's really hard to get locked in again.....
Wait, wait, wait - a - minute! Are you guys implying that Josh's Bad Monkey comparisons were faked? That the BM riffs were actually played through through a hidden Klon?
I really enjoy the show! Have also been noticing and enjoying the philosophy and the power of “the now” mick has been raising.
Man walks into town to buy shoes, comes back with a vintage guitar amp… Welcome to TPS 🤣
Dearest Mick , I am happy to help you with a bit of American history. Peavey amplifiers were THE amp in the history of almost all music from the late seventies. They had a Phase effect built in because phase was the most popular effect of the 70s. And all of that came from a small company in Rochester NY called MXR. It's my memory that the MXR phase inspired Peavey. As for Music Man ? They had phase in some models. Peavey was the undisputed king across the USA though and everyone had one at one time.. Music man was there but nowhere near what Peavey was. Most accounts I have heard Waylon used a MXR Phase 45. He used a Fender Dual professional amp with 2 15 inch JBL speakers for most of his career as well. Also the Jbl metal dustcap speaker was far more popular and used on more shows and recordings than the EV's you like. Thank you so much for the content both of you. You and other youtubers have replaced television in our house.
Boom
Thanks so much to the guys and the live chat for the sugestions on the hum problem! This community is the best! Cheers everyone and luv
the most I've been able to allow myself to spend on a single pedal is a dual (min) function pedal for about $150. Five out out the eight on my board fit the bill. I have not found a compelling reason to swap out any of them as yet but, I keep learning , listening and looking. The pleasure is in the learning and y'all present the info in the most palatable manner. Thank you!
If you get time Mick, come and drop by our booth at NAMM. Lots of fun things going on! Hopefully see you there!
Totally will do that! Looking forward to it!
Wow! Whatever you boys have done with the VIDEO QUALITY...it's just...WOW! Really good. Have you mentioned any changes to your video set up?
Wow , what a happy birthday, Mick! Many many more!!!
I definitely found my frets wearing really quickly when I was using the Ernie Ball Cobalts. I wasn't playing all that much but they just chewed through the nickel! Switched off them afterwards.
I noticed the same. I went from polishing frets maybe once a year, to weekly. I wont use them on anything but SS frets now
Mick- the Teskey Brothers are awesome! They also record everything to tape at a home studio they built themselves! I saw them live in Perth and they were exquisite.
Hi guys,
A while back, I was watching a video by Tom Bukovac when I noticed a comment from you mentioning a possible collaboration. I was wondering if you're still planning on ever collaborating in some way? It would be fantastic to see the three of you team up, since you're both among my favourite guitar channels.
Dan, I applaud the string discussion. That’s why I play 12’s with a wound G, piano like. No pitch diving. Did the bulk of my touring with 13’s but it was hard on the guitars and hands.
It would be very useful- maybe not glamorous or exciting- but very useful for you guys to do a show on noise. Maybe, try to set up the noisiest thing you can devise, then try to troubleshoot. One thing that happens to me on stage is that I have to plug into whatever is available- and sometimes in small places I am forced to plug my rig into the same circuit that house business is on- like overhead lights etc- and sometimes the noise get's really annoying- thanks guys!
Great upload guys thanks a bunch
Do Wet dry into a single stereo 2x12, with an OR15(Dry, Just past edge of break up) and Marshall Origin 20 (Wet, Clean) Signal Path is TS Mini --> Rat --> Sub n up --> GCP pumpkin Pi --> Boss TU3 -->Humdinger to Orange--> MXR micro chorus --> TREX Reptile 2 --> EHX canyon --> Boss Space Echo RE-2 --> Marshall (EHX Mod 11 in loop set to harmonic Trem), usually with a Tele Thinline or an Epiphone Coronet and its Epic
As a Canadian, I concur with Mick. Spring in Nova Scotia is more like a "Sprinter". Cool and wet. I'll take sunny and at or below freezing, but we get the former until June and the we go to London broil settings lol.
Music Man 112 50-watt was my first tube amp. Very loud. Also for sale if anybody wants it 😁
Ordered my CXM 1978 ;) Good show as always gentlemen!
Enjoy!
Great show Leg Ends , I've learnt so much from you guys I've heard the both of you talk about different band's and I listened to various ones some I clicked with some not so much, but this time you've gone to FAR I've just heard fruit salad by the WIGGLES!!! AAAA I am off to scrub myself with some commercial disinfectant. PEACE and LOVE to EVERYONE.
i use a bassman 70 since i play guitar, its the best amp, used a lot with a 63 tube revern unit... its family to me at this point
Yea that high end crackling. It happens at some mid gain territory for me. I can’t tell why it happens. Only certain drive combinations make it happen. Dunno which pedal is to blame 😂
In the PC I use Cytomic the Drop plugin with serial-parallel processing and spread-tilt controls with resonance and poles on it. No one has created this as pedal and should. It is GLORIOUS with fuzz. Also free plugin called the Carve in smaller area of focus. They work great for cool sounds
Ooh, nice! I’ll check that out 👍
Thank you, D&M! I'll go with the Vintage 30, then. Can't go wrong with that speaker. 😊
For the Fender Tonemster question: TC Electronics makes the Tube Pilot which can usually be had for under $75 U.S. and it will do light breakup to a Tweedy type sound to almost fuzz AND has an internal bias control you can tweak to customize your sound.
Hughes & Kettner Tube Factor is two stages with a tube and a voicing control. Picked that over a BK Butler even though I used a Tube Driver for ages.
Hey guys.! How about a speakers and cabs episode..? Thanks for all the episodes..!❤️👍🏼
"waving custom Gibsons around like they're spatulas" - Bork! Bork! Bork!
I watch these on a Tuesday night here in Brisbane while my partner is at work. My 4 month old baby is also a big fan, and is soothed by your dulcet tones!
Mick - I loved your response to Monkeygate, particularly about the human connection to technology, you are in danger of becoming quite wise in many things sir.
Dan - I love the trucker hats on you!
Thank you James, we appreciate that. And very glad to hear you’re dipping your baby in the right stuff. Hahaha!
Im glad, that Im not the only one, who is disappointed with sound on BIG GIGs. I feel you Mick.
I’m exactly like Dan as far as the winter weather goes.
I’m on week 8 of the H90 and I agree that you need to give it time. The factory presets are a bit much, so I went through them all on a rainy Sunday and copied about 30 that I liked into the second user list, and just tweaked those. For covers gigs, there are some sounds that get you very close to, say, that 80s pop/rock classic that previously required 4 standalone pedals. Once you get over the novelty factor, it’s great to use sparingly to add colour/depth/width or that one-off effect (e.g. octave for a Jack White song or lo-fi crackle for the intro of Wish You Were Here).
Ref. The idea of these pedals being inspirational, I’d add that the H90 inspired me on the hardware front: I had a CXM 1978 and a Tomatotone sitting on the shelf next to an MC6 and ML5 from my last, short-lived attempt at M1D1. The H90 spurred me into action and I’m now running a lovely MIDI board.
A word of caution: I originally tried doing all the routing inside the H90 (it has amazing options) to get around the latency caused on a wet/dry rig by the lack of H90 analog dry through. This solved the latency issue, but made me too dependent on the H90 for every song (e.g. if you disengage the H90 you lose the dry amp!), so I went back to series and now stereo (using a Goodwood Audio Output).
There is, to my ear, a small tonal impact running your signal chain through the H90, and I’ve been experimenting with the Wetter Box etc to try it in parallel and eliminate having to digitise my dry signal all the time (G3 Atom may be on the horizon). I will say that the fun of running stereo more than offsets the small tonal change whilst still avoiding the latency issue - although my heart still belongs to my little wet/dry rig.
For anyone who wants to see this stuff hooked up, check @thetonehunter on IG. No sponsored stuff, just some pics of the boards as they evolve - might inspire someone else as happens to me when I look at other people’s boards. And all of this I blame entirely on 6 years of TPS 😊
Thank you for all that. I’m in total agreement so far - the relative wetness of the H9 and definitely the colour of everything being A/D’d. Came to the same conclusion about the wetter box so that’s what I’m trying next. Thank you!
@@ThatPedalShow coolio - do let us know how it goes if you get the chance. If GFI has sent you a Duophony, maybe use it to try the H90 in parallel? - would be good to know if it does the job! I saw in Joey’s latest ‘pre-build’ vid that he’s grabbed one as well. Cracking VCQ session last night BTW.
I have a '68 Dual Showman Reverb head that is wonderful. Like a more powerful Twin Reverb. 😊
Dan, you've talked several times about the crazy output level of the FX loop on your Matchless HC30 - I've never liked putting pedals in FX loops, but I play mostly Mesa/Boogies, and you can do some very interesting things by jumping the loops, almost like inputs on a 4-hole Marshall, and using the loop-buffer tube as a variable gain stage. I wonder, have you ever tried patching the Matchless loop send straight into the return? Would it just explode?
Great show, Guys! Happy belated Birthday, Mick...hellofa B-day present to self, Congrats! I just can't help wondering, though, what that '79 Bassman set you back...💰
In the US Bassman heads are probably the most affordable higher powered “vintage” Fender amps. I got mine, a late ‘67 (early silver panel) in tip-top shape, in 2020 for under $900.
@@davidkieltyka9 I appreciate your input, sincerely..lbut I live in the States, and am familiar with Classic Bassman prices here. What I was wondering is what I posted...how much Mick paid for a '67 over THERE in he U.K..You MIGHT be able to find one for around a $1000 or a little more from the '70's here in the States in 2023, since EVERYTHING has gone up in price, post Covid, but l don't know about being in top shape, though. And, expecting to find a '67 Bassman here in the States, in 2023, for $900 or under a Grand would be expecting a little much... Maybe closer to $1400 or more, here! But, again, I'm curious what Mick paid across the Pond, not what they're going for here.
I've got a POD 2.0 gathering dust, that I should sell. Do us a favour and do a video telling everyone how great they are, so I'll get a few more sheckles for it 😉
'Pedal maker makes a Klon and a Bad Monkey case sound the same in a youtube video.'
All I will say is, I had a dark brown Nova in the late '80s that looked like a 1.2 Nova, but went like a Sierra Cosworth. When you know how, anything's possible.
D&M are just good guys all around, not that I know them personally...but some people in life deserve to be successful and these guys are those sorts of people. I'd love to see if they'd be able to bring Mary Spender into the studio sometime if they never did already. She's another one.
Spatula City reference for the win!!!!!!😂🤣😂🤣
UHF! Epic movie
Mick, sorry to bother you but I need advice if you have the time. I am about to head down that Strat pickup rabbit hole. I had the utmost gift to play an actual all original 57 Strat and it was glorious. I cannot afford $58,000 but I can’t get that sound out of my head. I own a 86 Custom Shop with the Clapton lace sensors in it. It is a true custom though, 62 body with a 57 maple neck. It is my pride and joy until now. I have another Strat with 69 custom shop pickups. They are good but not that sound in my head now. I have narrowed things down to four. Monty’s 54’s, Fralin real 54’s, Lollar blonds, Jesse’s kingtone bluebirds. All heard by RUclips only, except for the Bluebirds which I have heard live but not played and only because of my love for Stevie. Not really the sound but killer just the same. Any knowledge or wisdom you could share would be greatly appreciated. Thanks. The quest for my tone continues. ,!!
Hi Richard, you can probably guess the answer… I can’t really offer anything concrete. I haven’t played any of the pickups you mention or your guitar. Everything you mention is a very traditional set and will certainly be vastly different from the Lace Sensors. I would think any of them will be great so go with your heart. The Monty’s and the Fralins look truer to earlier Strat sets spec wise, whereas the Kingtones sound like more an amalgam of 50s and 60s specs. Never heard a set of Lollar Strat pickups. Weird huh. Go with your gut, no duff choice here. Cheers!
Always got to have a day off on your birthday.
Lotta space in this mall.
Mick, interesting you say that about the Dumbles - I have a very accurate ODS clone by a pretty well-known builder (don't want to name him and sound like I'm slagging him off), and in all honesty, I think the Cornerstone Gladio Dual through any good clean amp is much, much better than the high-gain channel on the ODS clone. It's that CLEAN thing that's amazing and, to me, still inexplicable: it's like the clean channel has all the beneficial secondary effects of a compressor (fatness, sustain, feedback), but it doesn't sound especially compressed. I'd love to hear a Dumble aficionado/cloner/modifier on TPS sometime talk about how that circuit does what it does; I wonder if it's having an extra gain stage in front of the Fender-type tone stack, so you start to push the signal into compression, but the impedance of a lossy tone stack knocks off enough signal that you don''t hear clipping, just a soft knee of compression?
I kinda know what you mean vis a vis the Gladio. I’ve deliberately never gone far into with circuits and stuff because I feel that to really understand it you have to know the whole picture, and have played them for decades to //really// know. Also our minds are extremely adept at creative explanations and narratives based on a small bit of knowledge that gets expanded into the ‘whole’ story.
When I first got the TS1, I thought there might be something wrong with the OD channel - true story! It felt thin, and with not enough gain, no fatness. Pennies started to drop as I turned it up, and actually started playing music. I’ve done maybe 5 gigs with it now and every time it just cuts perfectly and has enough gain and loads of sustain, but never gets mushy. Also has a lot of ‘fizz’ and brightness up top which is what I always add back in to my live tone (and mixes) versus what I’d play in isolation. So in my case anyway, it’s the old racing car analogy. Totally useless for getting the groceries and running the kids to school. But if you wanna go round corners at 120mph and do 220 down the back straight, you need a car built for it. Be interesting to hear your clone, but it wouldn’t surprise me if that was the case! Also on the TS1, I’ve never EQ’d it post in any recording yet. Madness!
@@ThatPedalShow Wow, thanks for the very considerate reply, Mick! Oddly enough, my "Dumble" has exactly the opposite problem: it feels like all the frequency response on the overdrive channel is between, say, 150 Hz and 1kHz, and then there's this disconnected fizz up top around what I'd guess is 4k. It sounds like there's a sort of detached hard clipping way up there, and then kind of an empty zone between the high mids and that "presence" zone. (You can get a similar thing from Dual Rectifiers sometimes when people try to dial in their standard Marshall or Fender settings.)
I've gunned it a couple times, and it's a little better at volume, but not meaningfully better to my ear. For all the amps I've owned or played, the one that gets closest to what I thought I meant by "Dumble overdrive" is actually a little Mesa/Boogie Subway Rocket from the early ’90s - kind of a middle ground between the Mark III or Mark IV thing and the ODS thing.
Wild that you've never had to post-EQ the TS1, though! The first time I ever got a recorded tone that was just THERE, ready to go, it was the result of being stuck with only an SM57 and an SM58 - I don't hear people talk about 58s for guitar, but I found that a 57 just off the grille + ≈1.5" or 2" off the cone, plus the 58 set around the same height but 2 to 4 feet away, combined for a sound uncannily like what I was hearing in the room. Great bite from the 58 without getting into excessive fizz up top, which gnaws at me with ribbon mics.
Mick: Andre Ducant(dū•cən)
Dan: əhəə
Mick: or Ducant(dū•can)
Dan: ahaaa
Paused for 15 minutes and laughed my ass off 😂😂😂😂
I'm probably an idiot but thanks for the belly laugh Dan
Can't remember the Dawner Prince Boonar delay issue or which episode, but Mick have you tried Dan's solution for his H9 - i.e., kill-dry for the Boonar & a parallel dry-thru for the guitar on the ever-useful G3? If so, how well did that work for you?
Asking as a fan of that delay pedal...
I’m about to embark on that Johnny. For sure I am finding the bypass tone of the H90, erm, sub optimal. And the no analog dry through thing is also causing other problems. So I think I’ll end up with it kill-dry and Wetter box. Now. That may well cause some other issues with some of the pitch shift patches… but I guess that’s what I’m about to find out!
Erm, as for the Boonar… too much hassle. I love the Future Factory and it does everything I want. Cheeers!
@@ThatPedalShow Yeah at the end of the day the only thing the Boonar has is a smaller footprint if you have both it & the FF to choose from. Thanks again!
Mick, No one in Australia pronunces Status Quo like that. We are the odd bunch tho.
Hey mick. Was Mac OS do you run on that MacBook Pro. Just got one I’m running catilena.
This is a really old one, so whatever it could run. My main machines run whatever the newest thing is. I don’t know what that’s called!
Sorry this is coming so late but I am on a different time zone being here in the states. I have a question about how to pick an amp when you use pedals to manipulate the sound that the amp is putting out anyway? What are the main traits you are looking for in an amp. I have just purchased a Fender 64 Princeton Custom Hand Wound. Now I am looking at putting together a pedalboard and manipulating the sound. Any recommendations? I have seen most of your videos but the pedals I am looking at you have not reviewed. Again any recommendations?
It depends on the volume you play at and whether you want the amp to overdrive. Dan and I both love the amp to be a fundamental part of the character of all the sounds, not just a ‘make louder’ device. If you’re playing at home volumes and lower practise/gig levels the Princeton will be an AWESOME choice. If you start playing loud loud, you might want a little more clean headroom - say a Deluxe Reverb/Hot Rod Deluxe etc. Or maybe not - plenty of people play that Princeton cranked with pedals. Glorious thing!
@@ThatPedalShow Thank you so much for your reply. I do play only at home in a small music room.
"Let me hear the choir sing...oh you pretty thing "
I can't believe you two cultured mates don't dig the Grateful Dead. I bet you would if you would give it a chance and take the dive. Dick's and Dave's picks would be a good place to start. Such a diverse array of amazingness. Dead and Co, with Mayer, not like the OG's, but I still dig it. Get you some Mick and Dan! Report back to us 😉Cheers!
Funny what resonates isn’t it. I think I’ve tried three or four times now and am not finding a way in. I listened a Greatest Hits compilation in iTunes twice back to back while I was doing some photography - Mick here. Didn’t feel a thing. Had to put on some Aretha afterwards to make sure I wasn’t the dead one. No feel for me, but I get that millions of people love it!
@@ThatPedalShow I had similar feelings as well (or is that no feelings?🤣). But then I heard DarkStar and I got it. Nothing like Aretha to confirm a pulse though!
I figured it appropriate to have a pint of Warpigs Foggy Geezer as I watch this . . .
Cheers!
What's the digital KCH! You guys are talking about?
Something that happens in the high end. Like a kind of crossover distortion or something that sounds like harmonics just dying in the upper part of the audio spectrum rather than folding in naturally. But it might not be that at all. It’s a plastic sound for want of a better description. Cheers
Danny by name denim by nature
Dead and friends? And crickets lmao
What guitar is Dan holding during this episode?
Nik Huber Krautster II. Cheers!
What guitar is that? A Fano?
Please people, let your pick up journey be over with and just use Kinman pick ups!!! He makes everything, and his Kick in the arse humbucker in a single coil size is epic !
On the Bad Monkey, I don’t think Josh’s point is that the pedal sounds like the Klon, TS-10, Morning Glory, etc. I think he’s making the same point as you guys. People just went nuts because they didn’t understand what he was doing.
That’s a sensible way to see it Jonathan. I often wonder if I misinterpret Josh’s dryness and irony as stuff he actually believes. And perhaps like a lot of the rest of the world, I’m not really smart enough to interpret it fully. Hmmm. Mick here, obvs.
@@ThatPedalShow sorry let me clarify. You said that if you understand pedals you can make most of them sound pretty similar with playing style and what not. I think his point is that you don’t need the most expensive gear to sound good. If he didn’t think gear mattered, he wouldn’t use a real Klon on his personal board.
I have a 69 Bassman... and yeah they are the real deal.
Mick, sounds like you're describing a bit of an ADHD-type issue with your challenges regarding, first: get focused, second: once you are focused you're locked in, but then third: if you get distracted, it's really hard to get locked in again.....
I wouldn’t put a label on it. But yeah, could be!
Laughing at farts. Yeeessss! Of course!
Wait, wait, wait - a - minute! Are you guys implying that Josh's Bad Monkey comparisons were faked? That the BM riffs were actually played through through a hidden Klon?
Nope. Not at all. Never even remotely implied that. Cheers!
@@ThatPedalShow Oh thank goodness! Actually, I have a Bad Monkey and like it, but it's not really a Klon clone.
So...when ya gonna do a Bad Monkey de-bunky ? 😂😂😂
I was one of the first people to get in when they came on. My question was totally passed over and ignored.
Lol
Calm down 😂
Sorry David, we do the best we can. What was your question?
@@simon_patterson 😂
@@ThatPedalShow Life isn't fair sometimes, this guy needs to understand that these guys have thousands and thousands of fans..