Amp Tone Part 4: Getting Good Tone Out of Your Amp

The almost finale of the Amp Tone posts……and another boring and technical post. Remember, for every boring and technical post, I’ll have a light-hearted, tra-la-la (in the best possible way) post up above. But some people dig this stuff……tone is like candy for us. No, really. We can literally taste tone. So we’ve had both parts of the effects tone posts, now we’ve got the fourth of five parts of the amp tone posts, and it’s just about time to move into what I feel to be the most important part of tone–the guitar. That’s debatable, of course, but that’s for a later post. So we’ll finish up the amp stuff right now in this post and in another soon……or until I think of something else that I just can’t live with unless I spit it out on this blog. Which is where most of these posts come from anyway. Me spitting.

So by this point, if you’re reading this, I’m assuming you’re agreeing with (or at least patronizing with) the views on getting a tube amp, deciding on the style of tube you want, and changing out the tubes. So now it’s time to set the amp. And this depends absolutely and unarguably upon your personal setup. Which begins with your hands. If we had the exact same amp and even the same guitar, we would still want to set our amps differently because of the way we play. You want the tone journey to be an organic, liquid experience, rather than a staunch, mathematical experience. Remember, there is no magic setting for any particular amp. For instance, a hollowbody guitar will cause you to roll off some bass on the amp. But if you’re playing jazz, you may want to emphasize the bass on your amp to accentuate the bassiness of the hollowbody. It all just depends. And please remember, these are my views……they could be wrong. They’re not, but for the sake of argument, they could be. (Come on! I’m just kidding!! Don’t hate…appreciate.)

So the first rule is unequivocably this: use your ears. And the second goes right along with it: keep your tone as pure as possible. Every piece of gear has a way it ‘wants’ to sound. A strat has a thinner feel. Trying to eq up the bass and mids on your amp will not give you the thicker Les Paul tone. It will sound muddy. Same way in trying to boost treble with a Les Paul to sound like a strat. That’s why some of us wackos are such gearheads……we’re looking for gear that doesn’t have to be tweaked like crazy to get the sound we’re looking for. The more you tweak, the more fake it will sound. And that doesn’t mean spending a ton of money……it just means doing some research and playing a lot of stuff in order to find the sound you want, and not just buying whatever is most popular or convenient.

NigelTufnel1.jpg picture by rypdal95
(The purest tone possible……guitar directly into amp. Directly. Ah, this is probably one of the best satire photos on us tone junkies that I’ve ever seen.)

So after using your ears and trying to keep your tone pure, try setting your eq knobs straight up and down. Again, as a general rule, if you have to tweak the living daylights out of your amp’s eq to get a decent tone, you’d be better of getting a new amp. The eq section is for minor changes to set the amp to react best to the guitar, and pedals if that’s your deal (and if you’re here at this blog, I’m guessing, on the average, that it is. 😉 ) Now, make minor changes on the eq to set the amp to your guitar, hands, and taste. In general, you’ll want treble up a bit, mids up a very small bit, and bass down a bit. And just for the record, on my main amp, I break this eq rule quite a bit. It’s a sacrifice I make because of an amp with tone I can’t find elsewhere. This stuff happens. If you try to set your amp according to this post, and the sound sucks, disregard this post immediately. The rules are here to help tone; if they don’t work, throw ’em out.

Next, and this is something I wish I could say until the end of the world (hehe, that’s a U2 song), use the gain knob as your master tone knob. What I mean is, the gain is not your volume, and it’s not your distortion. It’s your ‘tone.’ Set the gain where you think it sounds best with your guitar and for your style. If you’re looking to play something really, really clean, set it low. If you’re looking for a really overdriven, distorted, gainy sound, set it higher. For me personally, I like my amps set just on the verge of breakup. Where it sounds clean, but with just a little bit of edge (hehe…more accidental U2 references……no, with me and U2, there are very few accidents). Then, I use overdrive pedals to ‘push’ the amp into it’s own natural breakup. The amp’s overdrive will always sound better than a pedal. So set your amp to where the pedals can push it into its own overdrive. But when you go back to clean, the sound is clean with a bit of bite. If you lower your picking dynamics, you’ll get clean. If you dig in, you’ll get a hint of overdrive. You can also do this without pedals by setting your amp to be clean with your guitar’s volume knob at about 6 or 7, and then overdriven with your guitar’s volume knob up at 10. And lastly, remember that if you don’t like your amp’s natural overdrive, no pedal will ever fully rectify that. Just try it……try using pedals not for their own sound per se, but to push your amp into it’s overdrive sound. You just might like the results.

(Ya, I know. Another U2 clip. But this is a great example of an amp just barely pushed into a sweet, edgy overdrive. Edge’s hollowbody is doing a great job with that. Not to mention, this is one of the musicaly tightest and most passionate songs ever written. Again, just my U2-loving opinion, hehe, but this is also a great song for those who have ever only heard Joshua Tree-era U2. And, uh…don’t pay attention to what they’re wearing. The PopMart tour had amazing music and not so amazing wardrobes.) 

Also, when dealing with gains, remember that there are some low settings on gain knobs at which the amp will just not be driving the power tubes hard enough to sound good. Most amps have two ‘click points.’ You’ll turn the gain up and hear the amp kick in. And it’s like, ‘Oh, there’s my tone.’ And then as you keep turning it up, there will be another, more subtle one, where it feels like you just had a jump in tone.

So now we have a problem. Most likely, with this method, you’ve got a tone that you’re just digging. But, dpending upon the wattage of your amp, this tone may be really, really, really loud. Which is why a lot of people dig the lower wattage amps. The tone they’re after happens to be high on the gain knob……so in order to not kill people (sometimes literally……ever hear those trebly Marshalls that literally make the room swim?), they’ll get lower wattage amps. I used to have a 100 watt amp that just didn’t sound good until it was almost all the way up. Sounded great the one time I played in a huge outdoor venue (and by ‘huge outdoor venue’, I mean a big picnic at a park)……but for all the other clubs and small churches? Ya……good tone ceases to matter if people can’t hear it because they’re covering their ears.

BacktotheFutureAmp.jpg picture by rypdal95
(Micheal J. Fox of ‘Teen Wolf’ fame. Playing, for most of us, the dream amp. I still think this is one of the greatest scenes in movie history. But I might be biased.)

So now this is where the master volume comes in. A good master volume will preserve the gain tone that you set, at any volume. Now, there’s not any amp I’ve ever played where that is entirely true. Even the power scaling master volume amps or the post phase-inverter master volume amps. Your tone will always sound just slightly better with your amp running at full throttle…i.e., with the master volume all the way up. (Again, the reason for lower wattage amps.) But some amp builders have done very well with their master volume circuitry, and you can turn them down to lower volumes, and still preserve almost all of the tone of the gain knob. Now, some will argue that you should set your amps by having the master volume and gain knobs work together as two volume knobs. I’m not a huge fan of this…I’ve gotten way better results by using the gain knob to get my main ‘sound’ or ‘tone’, and the master volume as just that……a master volume.

And if you’ve got an amp with just a gain knob, and no volume, I really hope you happen to like a lower gain setting. :) hehe Or get a smaller amp, or take your amp to a tech to have a master volume installed. The other thing you can do is to get a half power switch. I run my main amp with a half power switch. So, if I’m in a small venue, I flip the switch down to 15 watts, which disables 2 power tubes. Then I can maintain my tone by keeping the master volume all the way up. If I’m in a bigger venue, or playing with a drummer who’s beating his drums like they told him he couldn’t play on tempo, I flip back up to 30 watts and use all 4 power tubes.

HollandTwins.jpg picture by rypdal95
(My amps. And as is my custom, this picture was taken not even a month ago, and the pedalboard is changed, and I’ve gone through speakers for the Holland Brentwood on the left. And sorry for my mad skills, ’80’s new wave, motion sickness camera shot.)

And lastly, some amps have a couple random knobs. The presence knob and the reverb knob. And both can be daunting when trying to dial in your tone. But presence is just what it sounds like…presence. It is how ‘or ‘small’ your amp sounds in the mix. Too little and your amp will sound far away. Too much and your amp will sound mushy. So set it moderately. Play your strings open as you turn the presence knob back and forth to get a feel for it. It will be different for every rig and in every room. And for the reverb knob, my advice is, if you’re looking for a surf sound, a cool ’60’s sound for a solo, or a drowning in the ocean tone for a certain song where you plan to have the guitar just sitting behind the band, go ahead and turn it up. Other than that, set it very, very low to just sweeten things. Too much reverb can make the guitar sound just washy and stand out in the mix for all the wrong reasons.

That’s it. Remember, try to find out how your rig ‘wants’ to sound, and where it is ‘happiest.’ If you’re making drastic changes, you’ll get bad results 9 times out of 10. And again, I’m no one to talk because I do break that rule a bit, because I try to use the first rule almost exclusively: use your ears. Take this stuff as a basics course that is a good starting point. Then let your ears do the rest of the setting for you. And not just your ears. If you’re playing only for yourself, then fine. But if you’re also trying to reach people with your music, try to find out what they’re hearing in your rig, and what they would like to hear as well.

Hopefully the boredom wasn’t too bad. Soothe yourself with tone.


32 thoughts on “Amp Tone Part 4: Getting Good Tone Out of Your Amp

  1. Yeah, back to future was one of my inspirations for playing guitar. That and Johnny B Goode scene with the Van Halen riffs!

    I guess this is the best place as any to post this– but thanks for the heads up on tubes. I ordered some JJs, and the Tung Sol’s have been nice. They breakup earlier than the Electro Harmonix, but provide a very musical sparkle. They are a touch louder as well. I had to reconfigure my rig to it….

    And wow, the TS9 has a really nice thing going. The Zen sounds phenomenal, and the Zen or TS9 into the Analogman DS1 sounds like pure tube distortion/compression—- like my Hughes & Kettner Tubeman or probably the SIB Varidrive. WOW.
    Only downside is the Mosferatu doesn’t seem to fit in anymore. I think I just don’t like it. heh….I’ll give it another month, but It may be going on ebay!

    Thanks for the posts, very informative. Silly me- I thought all I did was take it to the guy at the shop and say “give me tubes!”
    Now I know thats as ludicrous as taking your guitar to shop and saying “give me strings!”

  2. No problem, brother. Ya, I’m always incredibly surprised how big of a difference tubes make.

    Good times! And selling the Mos? No way!! hehehe 😉 Let me know if you sell it…I might be in the market for a second one for some reason.

  3. heh, yeah, so far for what I need the Analogman DS1 is the best fit for high compressed smooth leads (which is why I want to try the SIB Vari). The Mos just hasn’t impressed me like the Zen did!
    And I’m seriously surprised how good the AM DS1 is. I keep taking it off my board to use something else, but it keeps coming back!

  4. Ya, the Mosferatu is definitely a higher gain sound than the Zen. For blues, I prefer Zendrive; for distortion, I prefer the Mos.

    And yep, I have a couple pedals like that, too…I just can’t keep them off my board. 😉

  5. props for 3 things that you mentioned here …

    1. “Which begins with your hands.”
    very very true, it starts with proper technique!

    2. Amp EQ … “will not give you the thicker Les Paul tone”
    haha! a lot of people are doing this, just like me when i first started. if you want an LP tone, get an LP. if you want Strat, get Strat. its that simple 😉

    3. “if you don’t like your amp’s natural overdrive, no pedal will ever fully rectify that”
    i agree, though one thing to add. always start with a clean tone then very very slowly start pushing it to overdrive, then, adjusting EQ to taste. no clean guitar sound, no good tone. that’s my philosophy anyway …

  6. I love my Mosferatu!!! And the Zendrive sounds incredible going into it by the way.

    And darn that Alf Hermida – he’s got some products on the way. A special edition Zen in a cherrywood enclosure, a dual booster, and a distortion pedal simply named “Distortion”. I’m on the waiting list for that one.

    Anwhoo – Karl, great tips. I have a two channel Traynor YCV40T that I have always just run my pedal board into the clean channel. This idea of using the gain channel, turning up the volume and reducing the gain really intrigues me. I have constantly struggled with volume control on the clean channel while running overdrives etc. Anything past “1” becomes hugely loud.

    I’m going to give this a try tonight. I’ll let you know how it turns out!

  7. hey guitartoma! i have the YCV40WR and i had a webber mini-mass to keep the levels manageable while pushing the tubes into saturation. yours has the 2×10 and can sure benefit from an attenuator :)

    @karl – sorry to hi-jack your blog, just a little excited about these Traynor amps :)

  8. hmmm.. Zen INTO the Mos? Hehe….

    I did that, and the AMDS1 stole the show…

    That said, after my new tubes I still need a bit more tweaking- I sound awesome in tone, but had to reconfig some pedal settings as they behaved differently with the new tubes. I may have not set the Mos right yet…

    in any rate, I will post back or hit Karl if I don’t get it to work and someone wants a Mos without the wait :)

    Thanks for the tip, will try!

  9. I posted this over at Church Audio and Sound and JB suggested I might post here for more feedback:

    I lead worship with an electric guitar in a fairly small church — seats 150 with a small raised stage at the front of an essentially square room? Also, in-ears are not available.

    I lead with an electric guitar ( usually Carvin AE185 ) going through a pedal board with some chorus/delay, cab modeling. I recently retired my small tube amp ( carvin Vintage 16 ) in favor of just using a full-range wedge monitor for both vocal and guitar. When using the guitar amp ( ran in either 5 or 15 watt mode with a 12 inch speaker ) I had it on an amp stand pointing back up at my head, away from the congregation, but it was partial open-back. When you’re trying to get a somewhat smoother guitar sound for church, even with overdrive, the guitar amp just seemed to be a one-trick pony designed for blues in a bar. The full-range monitor may not handle overdrive quite like the amp, but overall I like it better — if I can get our non-musician sound guy to give me enough volume that I don’t feel like I’m playing through a $3 transistor radio sitting in the next room. I’ve got to have enough feedback that when I strike a chord it responds.

    The sound tech is a nice older guy ( just got hearing aids ) who quit on me once — partially due to me being somewhat of a perfectionist I suppose. Got to have tone !! :-) He took to heart the advice out there about keeping stage volume down, but I think sometimes he also keeps house mains down. Fine for a single acoustic guitar playing folk music but obviously we have some new songs now that need some power. I’ll bet many here can relate.

  10. Randy–welcome! Great to have you here.

    And yes, I can definitely relate. I’ve gone through so many incarnations of rigs trying to get low enough volume, be smooth enough, but still be able to drive when needed. I finally landed on EL84 amps, with low power output, and modded tubes and speakers. I’d totally suggest a little EL84 Blues Junior, get it retubed with JJ’s, and stick a Celestion V30, greenback, or Blue in there. That’ll get nice and smooth, be low volume, but still be able to drive when needed if you stick a couple boost/low od pedals in front of it. Or you could even go to a Swart or Carr amp for the low volume stuff.

    For a 150 person church, I hear ya; you’ve really got to drive sometimes! What types os music does your sound tech listen to?


  11. Thanks for the ideas Karl. I may have to consider selling the Carvin Vintage 16 amp since I’m not using it at church. Or save it for a jam group I’m trying to form. I need to play some of my old rock favorites outside of church so I don’t bring pent up baggage to the worship team. Now who can relate to that?

    Our sound guy’s musical tastes..?? Not sure but I doubt it’s Third Day, MercyMe or Lincoln Brewster — although he does like a version of Victory Chant (‘hail Jesus you’re my king ‘) that I do with what can only be called a Bo Diddley rhythm.

    The Boss OD-3 on my pedal board sounds reasonably good through the wedge monitor. I think the Carvin amp is just designed to be cranked and not reproduce the full range.

    My pedal board is probably odd-sounding. Boss CS-2 compressor into RC Booster into ABY switch with one output to tuner. Other output goes into OD3 to Boss DD7 into an older Korg AX1500G mfx. The korg is usually using the acoustic simulator amp model, plus Vox AC30 cabinet model plus chorus and some hall reverb. The left right outputs go into two separate mixer channels via direct boxes, although we currently have no way to pan those left/right. I use pretty much this arrangement whether leading with my Carvin AE185 or supporting another leader with my 74 Strat with Gold Lace Sensors.

    Surprisingly ( especially considering the acoustic simulator model ) it works. I’m just going to have to sweet talk my sound guy into pumping up the guitar volume since normally I’m accompanied onky by two female vocalists, an older gentleman on keys and a box drum ( cajon ). Now if I can get the box drummer to emphasize the 2 and 4 beats instead of acting like one of Santana’s conga percussionsts, life will be grand !! :-) Life in a small church. I need to price some of the smaller Roland V drum sets.

  12. Karl,

    I have a dilemma here… Hope you can tell me what you think. I own a stock fender hot rod deluxe and as of right now I put all my pedals through the front, OD, delay, reverb… I’ve never had to use the amp’s drive channel because
    1. It sucks
    2. The more drive channel sucks even more
    And I’ve encountered this mod called Omega mod for these Hot Rod series which makes the drive tone so much better from what I hear. Which leads to my question. If I start using the amp’s drive channel this means I would have to use the delay and reverb type effect pedals in the amp’s fx loop instead of feeding it through the front. I’m not sure if this is a good thing to do specially with no gain control in the fx loop feed.

    Should I just keep it the way it is and see if speaker and tubes change would make the tone better?

  13. I know you just got back and possibly missed the above question per me, so when you get a chance could you let me know what your thoughts are? Thanks a bunch karl!

  14. Javier–thanks, bro! :)

    Jonathan–I totally did miss it during the trip! Sorry about that!

    I would:

    A) Try a tube and speaker change first. And as a side note, you’ll notice more change with the speaker swap than the tube one, so that may be the place to start.

    B) This might sound extremely silly, and maybe it is, but I dig the Fender Blues Junior and the Peavey Classic 30 much more than the Hot Rod Deluxe. And if you sell the Hot Rod and pick up either the Blues Junior or the Classic 30, you can probably even make a little money. Then swap tubes and speakers in either the Peavey or the Blues Junior.

    Best thing to do, if possible, is to pick one of these up used, so you don’t lose any money when you resell it, and then test it against the Deluxe before you change speakers and tubes in either amp. Then that way, you’ll know definitively and can sell the other one. And I believe there’s a Peavey and a Blues Junior on GearPage right now for right around $300. And you may hate them…no worries. I just tend to like them a bit better, in my humble opinion.

    C) Try the mod. And yes, if you run amp overdrive, you will need to run the effects in the loop, which may take away some tone…or it might sound great. It just depends on the amp.

    D) Check into exactly what the mod is going to do and how the amp is wired. You might have to call. If it’s going to mod out the actual power amp section of the amp, then this will also make the amp sound better on the clean channel when pushed with overdrive pedals. In which case, you could just run all your pedals out front into the clean channel, and rely on overdrive pedals to push your Deluxe into its now ‘modded’ natural overdrive. However, if the overdrive mods are only done to the ‘drive channels’, and the drive channels are totally separate channels in the Deluxe (which I don’t think they are), then ya, you would need to still do the effects loop thing.

    You can probably call and just ask if the drive mods he does will improve the overdrive on the clean channel when cranked or when pushed with od pedals.

    Hope that helps! :)

  15. Karl,

    Hey! Thank you for your comment on this. I will definitely try the tube and speaker change first. And If I still do not like the tone I might just sell the HRDx and upgrade to a different amp. Maybe a Dr. Z MAZ 18… If I can afford it.

  16. lol I was going conservative with the suggestions on the Blues Junior and Peavey. lol But ya…I think a Z might work, too. 😉 Sorry to suggest the cheap ones first, but I always start out with recommending the best tone/cost ratio gear first, because I never know what anyone has to spend.

    hehe I’m thinking……great choice. :)

  17. Haha! No worries I would like to upgrade to a nicer amp some day.

    You know, I should stop coming here and block both this site and The Gear Page site from my computer… I’m always Gassing for boutique stuff now haha! I thought I wanted a Matchless DC-30 or a Dr. Z Maz 28… But now I want a Divided by 13 EDT 13/29! Maybe even a Suhr Badger… I’m in trouble, I thought I’d be happy with my Fender HRDx but after hearing demos… This will never end, the journey to the perfect tone…

  18. hehe Truer words were never spoken. :)

    And I must say, Divided by 13’s seem to be worth every bit of the hype. 😉 In my humble opinion. hehe

  19. So, I know this is an old thread, but a word on using 2 power tubes on an amp designed for 4. (Karl, I know yours was a mod done by a pro, so I’m considering you an exception). There is an issue with turning off (or removing) power tubes. In a typical 4 EL84 setup, if you remove 2 tubes, you are doubling the primary impedance of the output transformer. This will overheat the tubes. They sound super great that way… for about 2 minutes. Then there is a lot of hissing (from the amp) some screaming (from you), sometimes a loud bang, and then the quiet sound of crying (again from you). This was my experience after some bad advice (except for the crying thing, I am a man. Even though I did just blow 2 really nice JJs). I never learned that when you remove half the tubes, you have to double the speaker impedance. In my *cough* Crate (VC30, great amp for free), it only has a single 8 ohm tap. So last week, I take out 2 tubes, and swap the original ceramic 8 ohm Crate cheapness for a Weber VST alnico 16 ohm. And tone, wonderful tone. I can play my amp in all its glory without anyone trying to kill me. So, the lesson is always do your research. And try any amp mods on crappy tubes first. Also, secondary lesson: alnico speakers sound better. Way better. Maybe.

  20. Great point! Yes, there is an impedance change when you just manually pull tubes. But Jerry took care of all that in the mod. I don’t understand it all, haha, but he did the Matchless-style half power switch where the impedance switch is all taken care of internally.

    And Weber’s are great speakers! I’ll bet that really took that Crate to new levels. Right on. Cheers, brother!

  21. Great stuff here! But I was surprised you didn’t mention attenuators. I can’t even express how much I love my Hotplate. In my opinion attenuators KILL every master volume I have played. Also, when I use masters, the amp behaves differently with my guitar, my pedals, and just my playing in general.

    One time I was scheduled to play at a church, and Bob Taylor (owner of Taylor guitars) was nice enough to let me use his Badcat instead of my Bassman (which is nonmaster volume and WAY too loud for this church… This was also before I owned a Hotplate)..

    So I rehearsed with the Badcat a bunch and cranked that baby up. Really sounded great!!!! Finally, when I got to the church, I had to turn the master down. Wow. What a complete waste of tone on such a great sounding amp. The tone was nonexistent. Such a let down.

    The attenuator is such a better option. I never have volume issues. Even when I have to turn it way way down, I don’t even lose that much tone.

  22. David, that’s a great point. This article was more so how to get great tone out of any amp, with the assumption for the purpose of the article that loudness was not an issue. I deal with the loudness issue in two separate posts:


    I’m stoked that the attenuator is getting you such great tone! :) For me personally, I just might not be an attenuator guy. I’ve owned a Weber and the Ho (supposed to be the holy grail of attenuators last month…this month there’s some new flavors…lol), and while they did sound better than some master volumes I’d tried, they didn’t exceed all of them, in my humble and limited opinion. The Holland I had, had a superb master volume, and the ppimv mod Jerry did on my D13’s was just amazing.

    But that’s just me. Bottom line is, if the Hotplate is giving you sweet tones, rock it. :) In the posts above, I’m just simply sharing some of the stuff that’s worked for me.

    Cheers, brother!

  23. Ok wait… is this why you don’t like M13? Because it isn’t a circuit that pushes your amp into overdrive naturally but digitally tries to make it sound that way? This is all starting to come together for me now! 😀 I feel… enlightened?

  24. haha That’s one of the main reasons, my friend. I just tend not to like sounds that are approximations, rather than the real thing. But that’s just me, and I’m wrong a lot! :)

  25. I totally didn’t even know that was what was happening! IT MAKES SO MUCH SENSE!! So for things like digital delay and modded delays though the M13 would be useful because it isn’t trying to push the circuitry but for OD it doesn’t work as well! Man… I feel like a new man.

  26. Right on! Ya, and it can sometimes apply to delays and modulations as well. For instance, wanting a sound that ‘effects’ your clean sound of Guitar–>Amp, that you’ve worked so hard on, rather than completely changing it. My rule is that a guitar and an amp will give you better tone than any pedal ever could. So you want your pedals to ‘enhance and effect’ for certain passages, but still stay true to your original tone. And that’s where this gear junkie thing starts to come in…trying pedal after pedal to get that right. hehehe 😉

  27. Fishing for advice — thought this might be a good spot. Ok so I’m ready to start taking a tube amp to church again after a year without one. Lately its been two channels through direct boxes to two PA channels. I’m planning to modify the pedal board layout a bit and run one channel into a miked amp.

    Guitar > RC Booster > ABY
    A channel: Barber Small Friday>DDY>miked amp
    B channel: Tech 21 Liverpool>Memory Boy delay>2nd PA Channel

    More detail for those who haven’t clicked on already:
    I lead worship so 99% of my playing is rhythm. I occasionally use the DD7 for the dotted eighth tapped to tempo. I’ve been using chorus but not impressed so far with the Memory Boy’s ability to do that so might just use plain delay on both channels generally.
    Although better tone is always on the agenda, right now its a monitoring problem I’m really trying to solve and with a Cajon banging away to my left, the good wedge in front of me just isn’t getting it done when you play electrics that don’t put out much sound on their own.

  28. Hi superb blog! Does running a blog similar to this take a massive amount work?

    I’ve virtually no knowledge of programming however I was hoping to start my own blog soon.
    Anyway, if you have any recommendations or techniques for new blog owners please share.

    I know this is off topic but I just wanted to ask. Appreciate it!

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