Quote by gerraguitar

This. Flatwounds feel amazingly smooth.
Hey guys, if I write up a basic "BEFORE posting about amp problems, try these steps" primer, would it be candidate for sticky?

I'm seeing a lot of needless threads about problems that end up being simple tube issues or cable problems.
Quote by bassmastamitch

Dude, I love you.

Jerry Cantrell uses those Friedmans too. I need one.

Jerry used them very briefly before going back to his Bogners. I detest everything Friedman that has to do with guitar amps.
Amplitube is awesome for getting some great generic guitar sounds. The only problem is they don't faithfully model the amps they are portraying, so if you're looking for authentic JCM 800 tones, the Marshall model in Amplitube isn't going to astound you, but it does a nice British style crunch. I use later versions of Amplitube for demos, practice, and actual tracking in some cases. I've got some presets that I've developed that rival most amps I've played.
Quote by mmolteratx

RT is really chummy and laid back, though like 99% of them are Tea Party enthusiasts and they like to gang up on people who they don't like. I can't take much more than small doses, mostly because they just consume and consume and consume and it gets a little nauseating when they go through like 20 different Cameron mods in 2 months and then gang up on some kid who made a mistake and charged too much for shipping...

Yeah they do consume like mad. Every day there's a NAD with a Kemper, Diezel, or Cameron.
I scored a Peterson 450 Strobe tuner, and the display was kinda funky. The strobe was rather fuzzy and undefined when trying to tune a note, so I replaced all the electrolytics, and now the display is okay, but the calibration is so far off it thinks my A2 should be a G2, which sucks because the calibration seemed fine before I recapped it, and I can't for the life of me adjust the interal Vernier trim pot to calibrate it closer to correct.
Quote by 311ZOSOVHJH
for an '08r you should know the answer already

I never paid that much attention to them.
Quote by tubetime86
Feel free to ignore this, but I browsed briefly and that site comes off really, really egocentric to me. I guess it is about you, and you're trying to promote yourself... But you lay it on pretty thick. Switching to third person might help. Just a thought.

I looked at the site again, bearing in mind what you said, and I honestly don't see it. I'm just being positive and confident. That's how you sell yourself. In writing the site as first person, I just wanted to keep it real. It's too easy to sound douchey when you're writing about yourself in the third person, IMO.

Thanks for the feedback.
Just wondering. They seem fairly harmless to me.
That's a neat track! Some cool textures going on there.
Quote by gumbilicious
digging it, great tones. what you use for drums?

bass could prob come down in the mix a bit, but i'd have to listen to it on a couple more systems to be sure.

It's honestly just some backing track I snaked off a random site. The only thing I did was play lead over it and bounce it down to one track.
If you have the courage and the attention span to sit through this, I just uploaded this to Soundcloud.
Crank the Noise Gate all the way up until you have to lunge downward to hit the strings hard enough to get sound. You are now ready for teh bre4kd0wnz.
Quote by tubetime86
Hey man, don't talk shit on pentatonics. If it weren't for pentatonics I wouldn't be able to do anything with a guitar.

I'm just hating on them because it's the cool thing to do. In reality the plain minor pentatonic scale with no b5 or chromatics is just about the hardest damn scale (other than some diminished scales) to play fast and clean without it sounding hokey. At least for me. The flopping back and forth between my index finger and ring finger is just not a movement my hand is naturally proficient at. I literally have to work at it for half an hour before my left hand begins cooperating at the speed EJ or Bonamassa plays that scale. Maybe it's because I'm getting old.
Quote by MatrixClaw

Better get on that.

Meh, it needs it anyway. I've had this guitar since I was 14. That's like......

*does math*

A long time.

I'm totally owning these Eric Johnson Penturdtonics right now.
I just removed all the frets from my Les Paul on a whim. I guess I better learn to refret it or pay someone else to do it.
Congrats Craig. Johnny Hiland is a beast!

Speaking of beasts, I was about to begin recording some clips of this prototype high gain channel i built into this Egnater Renegade and my lady called with car trouble, so this random power chord mic placement test was all I got out of it.

I love the clarity in the top end and the harmonic content. I'll get some real clips done tomorrow.
Quote by 311ZOSOVHJH
i want to hear your amp with the mods and then with this new Satchy

You got it man! Itll be a couple weeks though. Got a morning flight to minneapolis, and ill be home on the 17th.
Quote by OliOsbourne
What does the pad switch do?

It's supposed to "maximize dynamics" of bright effects placed before the pedal, which means ****all to me.
Yes is. Its my shop. Got my bench, tech toolz, cables, ampz, guitars, pedulz, and shrine to Min.
After some more playtime with it, I had a few more add-ons to the review.

This pedal is incredibly versatile for a couple of reasons.

Number one, you can get classic or modern feel from this pedal by choosing where you control your treble response. Dialing back the amp's treble and using the Satchurator's tone to control your highs results in a more modern tone with plenty of attack, grind, and overall tighter sound.
However, rolling back the Tone control on the Satchurator and using your amp's treble EQ to control your highs gave a more classic tone and feel, akin to a Marshall.

Number two, the Satch cleans up VERY well when rolling back the volume knob on your guitar. I was able to achieve an almost bypassed (clean) sound when rolling back the volume on my guitar. It retains the lower end of the guitar tone surprisingly well while dialing back the gain.

To me, the best modern metal tone was achieved by diming the gain in standard mode (not "more"), rolling back the amp treble and having the Satch's tone at 1 O clock and the pedal Volume dimed.

In my initial review I mentioned that layering a tubescreamer with the Satch helped fill in the midrange scoop that the Satch is naturally voiced for. However, for those who don't own a TS or just don't want to go this route, diming the amp's mid control also works very well without being overly middy. This is, of course, with the Satch on. I can't guarantee dimed mids would sound good with the Satch off. It really depends on the amp.

Which brings me to my (I think) final assessment of this pedal:

It's an extremely versatile, capable pedal, but it's not the kind of pedal you mark your settings on if you plan on using it on more than one kind of amp. Getting the best tone out of this pedal is very dependant on tweaking it along with the amplifier it is running through, and that can be either a blessing or a curse, depending on how you look at it. A few minutes of initial tweaking on both the pedal and the amp are ideal for achieving the best tone.

A note on build quality: The Satchurator is a surface mount component circuit board, and despite the looks from the outside, the footswitches are not barrel, Carling style switches. Inside the chassis, the round, durable footswitches you see terminate into springs which actuate momentary tactile switches on a narrow board which is fly-lead connected to the main board. Kinda cheap, and cheesy, but there ya go. The tactiles are easy enough to replace.
So, I had been contemplating getting one of these for about two weeks now. The main reason being that I'm sometimes a hired gun musician, and these days, getting hired for a fly-in gig is often dependant on a few things, among them being that you can bring the tones and the skills that are needed, and that you can do it with as little equipment as possible. Air freighting your half-stack, pedalboard, rack, etc is just too much of a hassle, and it's very expensive.

So what one is typically left with is being at the mercy of whatever backline is provided. The most common of which are the '65 Twin Reissue, Fender Hotrod Deluxe or Deville, or, if you get lucky, a Marshall JCM2000.

So, taking all this into account, I needed a two-button dirt pedal that gave me a broad range of distortion tones through any amp with a clean channel.


Brand new. I brought it home, popped the included battery into it, and ran it into the clean channel of this setup:

I initially tested it with a Gibson Les Paul with 498T bridge and Duncan SH-2 in the bridge.

Build quality looks reasonably sturdy. Switches are non-latching, so there's no mechanical pop when you step on it. I didn't notice any tone-sucking when bypassed, so that's a plus. LED's could be brighter when engaged, but I'm used to ultra bright blue LED's like I have installed in all my other pedals.

First off, this pedal has the capability of getting very bright. Keep your amp treble at noon or earlier. Leave any bright switches off. Otherwise, she gets very thin and very ratty sounding. With the treble in check on the amp, I control the brightness with the tone knob on the pedal. What I ended up with was a very pleasant range of balanced, bluesy overdrive, up to chuggy, searing gain.

The pedal is not particularly Mid-heavy, like a tubescreamer, but by dialing back the drive and tone on a tubescreamer and running it in series with the Satchurator, you can layer the two and fill in that mid range void to achieve with a killer high gain sound that cuts through the mix.

The volume control on the Satchurator doesn't behave linearly like most. I found that, after 1 O clock on the dial, the volume behaved more like a presence control.

The "More" switch is most effective when the gain is at noon or below. Here, it takes you from rock n' roll rhythm to singing lead/ pinch harmonic land. After that, engaging the "More" switch just sacrifices clarity and adds upper frequency noise to the tone.

Overall, the Satchurator is an awesome value capable of great tones (and lots of them), and is a great selection for people wanting the functions is has to offer without dropping hundreds on the likes of a Wampler or Catalinbread. I'm an amp-distortion-first kind of guy, but idealism takes a backseat to pragmatism sometimes, and whereas this pedal won't give you the punchy, powerful grind of a cranked JCM800 or 5150, it'll turn that Twin Reverb into a snarling monster with enough dynamics and control to make you happy.
Do yourselves a favor and check THESE guys out. This is the kind of country im listening to. **** pop country.
Start with replacing the phase inverter tube, which is the one closest to the power tubes, or the one labeled V4. Since the presence control works by injecting negative feedback from the output into the phase inverter's secondary input, I'm willing to bet that tube is the source of your problem.
Quote by ECistheBest
dam wtf. why is it raining in so-cal now. i was about to go out there and spray the last few coats of lacquer on my guitars. wtfwtf. now its thunder.

i thought i lived in southern california!!!

Oh this is good news. Im gonna be at the El Rey theater in a couple of weeks. I like rain.

Goth Country. Coolest. Genre. Evar.
Taylor Swift is NOT awesome. She's a mediocre-looking, hunched over little skinny blonde with squinty eyes who makes annoying music.
I haven't really played another amp that sounded or behaved like a Super Sonic. They're pretty unique. Pretty cool, too.
I actually really like the 2205/10's. Not as much as I like the Silver Jubilees, but they are solid amps and with a few tweaks to improve the reverb and channel isolation, they're totally tour-worthy and recordable.
Quote by Robbgnarly

-Peavey 5150/6505s are extremely overrated amps

Yeah they're only one of the amps responsible for starting the high gain amp trend.

-JCM800's don't sound all that great for modern music styles like Metal-core.

A Splawn Nitro is essentially a hot-rodded JCM800. Most of the amps you hear in Metalcore borrow most of their pages from the 800 playbook. A properly EQ'd 800 with an overdrive pedal on the front end is about as heavy as anything.
Quote by AcousticMirror
that's only cuz people don't use the right circuit.

if it's transformer coupled from a 9 pin tube you should usually just use what your supposed to use.

not a lot of reverbs use a straight plate drive.

You'd be surprised what an improvement a 12AT7 or AU7 is in a JCM800 2205/10 reverb circuit. I'm actually surprised at how many amps have a reverb circuit that can be improved either with choice of driver or change in recovery coupling or summing stage values. You'd think they would have doped out all the best values and types in R&D.
Quote by ikey_

another topic? what are the thoughts for a reverb driver etc. not that i have one, but im so wrong about everything else might as well get the consensus on the tube for that one as well.

12AU7 or AT7 is better suited for reverb drive than an AX7, but it really depends on your reverb circuit, along with your reverb tank size. For reverb drive that's taken off the tube plate (a dumb idea if a 12AX7 is spec'd) it's better to use an AU7 or AT7. A lot of circuits use both halves of a twin triode in parallel to drive the reverb circuit.

Me personally, I prefer solid state-driven reverb. Some solid state devices are capable of much more efficient current drive than a 9 pin twin triode.
Actually I do need to mention what a bad idea it is to use a 12AT7 in the CF position of most amps. Why? Like EC explained, it's the heater-to-cathode voltage. Your typical 12AX7A is rated for 200v heater-to-cathode. Many amps, like already mentioned, can easily have 180V at the follower's cathode. That's damn close.

BUT, max spec'd h-c voltage for a typical 12AT7? Around 90 volts.
In the Egnater I butchered, I'm running a DC Cathode Follower tonestack stage on a 400V B+ node. Wanna guess what the cathode voltage is on the follower?
Quote by CodeMonk
I prefer delay after chorus.
But I have 2 delays so I have both

For me it doesn't really matter. I never run both at the same time.
Funk is all about the Fenders. I'd look for a well used Twin or Bassman.
K, so I've decided I need to get my serious hat on with my pedalboard for fly-in dates. So here's what I'm planning.

All of this is going on a Trailer Trash solid top 24x12 Pro Series board w/ the ATA case.

Guitar -----> Boss TU-3--------->Keeley Compressor-------> Modded Crybaby Wah-------->Vox Satchurator------>Ibanez TS9--------->Boss DD7------>Red Witch Empress Chorus--------->Amp

I may add an extra OD like a Wampler Plexi Drive for an extra flavor.
I've officially begun scheming out the design to my personal amp. I can't afford a Diezel, so screw it, I'll build one and then some for around $800. Better components, even. That includes CADing out a custom chassis and having it bent and punched. Faceplates, and custom Transformers.
Quote by Ippon
Kyle, you need this type, too:

Used to be Min's. Isn't he done with his paper?

WOW. That splawn absolutely DWARFS that Herbert.