Amp And Pedal Combinations We Like...

Then there's the TC Electronic M5000. Very expensive at the time, but unbelievably good for echo and delay in a rack system. The reverbs are among the best I've ever heard. An unsung hero box.

Practically forever ago, I used to run a pair of those with the Mastering package, plus the final upgrade converter set.

When it went, along with the studio, I missed it so much that I got a 4000 Reverb to try and replace it. I should get the 4000 out again, and maybe try running up a mini-Mayer wet rig with my little ATC 20s.

Or maybe just buy a Bricasti and a pair of 100ASLs: though on second thoughts, probably better not.
 
I agree: I used to have a gorgeous rosewood pair of 100ASLs in my old studio, which we sold off lock, stock and ...er, two smoking Neumann mics (Decca-FET 47s), some ten years or so ago. My 20SLs, on the end of some decent power amps and accompanied by a big REL sub, can still do very well, but all the same.........

I'm having my Crimson amps rebuilt from the ground up - they'll "out-Naim" a newer Naim at this point, hopefully - to drive the small passives. However, the breadth of ability that the 100s possess isn't that easily conjured up by smaller chassis, and in a box a fifth of the size.

I'm also having my big old Chord amps re-built, and may well have a go at building a pair of passive 100s (non-SL) from the 100ASL's original drivers and passive crossover. Those were removed when we upgraded our original mains, and I kept all the passive bits except the mid-domes - those I'll have to buy, and they'll be veeeeeeery expensive I expect. Like a new PRS-expensive, probably.

Hard choices........;)
 
I have a few pedals in the drawer. Many more in a box that don’t see the light of day much anymore. The ones that have stayed wired in are:
- J Rocket Blue Note that I use as a bright boost. Works especially well livening up the clean mode of the Electra Dyne.
- J Rocket Archer when mids are called for.
- Friedman Buxom Boost just for the Racktifier.

I have also been using a Friedman Smallbox and BE-OD for crunch and high-gain into the Electra Dyne. The best straight distortion pedals I’ve owned, at least into my amps. But after recently trying the Synergy system with a SYN2 and Fryette 2/50/2 and a couple preamp modules, I think I’m happily back to amp gain for those tones.

All effects are from the 19” format variety. PCM80, PCM91, and H3500. They can be a tough act to follow for a pedal, admittedly.

59-E03-B04-59-E8-40-F8-A628-348-C971-E3-AAD.jpg
 
I have a few pedals in the drawer. Many more in a box that don’t see the light of day much anymore. The ones that have stayed wired in are:
- J Rocket Blue Note that I use as a bright boost. Works especially well livening up the clean mode of the Electra Dyne.
- J Rocket Archer when mids are called for.
- Friedman Buxom Boost just for the Racktifier.

I have also been using a Friedman Smallbox and BE-OD for crunch and high-gain into the Electra Dyne. The best straight distortion pedals I’ve owned, at least into my amps. But after recently trying the Synergy system with a SYN2 and Fryette 2/50/2 and a couple preamp modules, I think I’m happily back to amp gain for those tones.

All effects are from the 19” format variety. PCM80, PCM91, and H3500. They can be a tough act to follow for a pedal, admittedly.

59-E03-B04-59-E8-40-F8-A628-348-C971-E3-AAD.jpg
I love saying 'nice rack'...

Seriously, what a nice rig! My '90s rig had the H3000 and Lexicon stuff along with a Mesa preamp gizmo that I don't remember the model name/number for, but it could be switched into various topologies.

The hairpin legs on the racks are a super-nice touch!
 
I agree: I used to have a gorgeous rosewood pair of 100ASLs in my old studio, which we sold off lock, stock and ...er, two smoking Neumann mics (Decca-FET 47s), some ten years or so ago. My 20SLs, on the end of some decent power amps and accompanied by a big REL sub, can still do very well, but all the same.........

I'm having my Crimson amps rebuilt from the ground up - they'll "out-Naim" a newer Naim at this point, hopefully - to drive the small passives. However, the breadth of ability that the 100s possess isn't that easily conjured up by smaller chassis, and in a box a fifth of the size.

I'm also having my big old Chord amps re-built, and may well have a go at building a pair of passive 100s (non-SL) from the 100ASL's original drivers and passive crossover. Those were removed when we upgraded our original mains, and I kept all the passive bits except the mid-domes - those I'll have to buy, and they'll be veeeeeeery expensive I expect. Like a new PRS-expensive, probably.

Hard choices........;)
I admire the perseverance on this kind of thing. I've never had the patience to build studio gear. Well, I've made cables. That's about as far as I've gone.
 
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My '90s rig had the H3000 and Lexicon stuff along with a Mesa preamp gizmo that I don't remember the model name/number for, but it could be switched into various topologies.
If it was a real fancy gizmo, probably the Triaxis. Looks like you were a Petrucci fan and didn't even know it.
 
If it was a real fancy gizmo, probably the Triaxis. Looks like you were a Petrucci fan and didn't even know it.
Yes, that was it! The Triaxis!

I got it because I used a DAW called Performer, and could set up all the presets I used in recording via MIDI, and switch them from the DAW (I did this with all of my gear including the Lexicon stuff, H3000 and M5000). The beauty was that the DAW could recall the presets without my having to manually reset everything if a client called requesting changes if they changed the cut of the picture or VO.

I recorded sitting at my console, surrounded by the thickly-wired remotes for my tape machines (audio machines and Sony U-Matic video), and tied in place with a headphone cable and a guitar cable. Lots of things to trip over.

Switching or adjusting amps meant taking off the headphones, taking off the guitar, avoiding all the wires laying around, walking into the recording booth, adjusting the amps, and putting the cans and guitar back on. I figured, "Eureka! What could be better than being able to choose my tones right from the DAW screen?" At the time I had 6 Mesa amps, so what could be simpler...seemed like a great way to do it all from one spot.

Unfortunately, after having done all of this rigging work, and setting up the Triaxis to respond to all of these MIDI commands (all of which took quite a few days), I preferred the tone of the preamps in my actual amps, and wound up selling it.

By the early 2000s I moved my amp heads near my workstation and ran cables to the cabs, the way Tim Pierce does. This was also an attempt at not having a 'trip over all the cables getting to the amps to adjust them' goat-f^ck in my studio, but after spending a lot of time and dough making that happen, I discovered that the best way to dial in a tone is to have the amp, the cab, and me in the same room (not saying Tim Pierce does it wrong, we're simply all doing our own things).

At this point I think that I could actually incorporate one of those into my rig in a different way, but it's long gone.
 
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Tim Pierce is one of the greats, and my methods have probably been pretty similar to his over the years; and yet I have friends who do things in completely different ways, and get awesome results too.

If anyone ever says that there's one definitive way to nail something as personal as recording a killer guitar tone or track, do pass my regards on to them: then tell them they're a complete aris (it's Cockney rhyming slang - you can probably guess the meaning, but do look it up anyway :)).

Probably unsurprisingly, I have a TriAxis as well: it's currently being repaired :mad:
 
I have a variety of amps, usually Dr. Z Z-28, Therapy or Maz 18. I have Barber Dual Discrete pedals for the board and at home. The pedals have 2 Direct Drive Super Sports and the switching is on/off and channel A or B. This gives me a purely clean, mild overdrive and what I call "over the top." It has worked well for me for 10 years or so. I have other amps the pedal works great with and many other pedals, but the Dual Discrete pedals always get me where I want to go.
I wish Dave would go back to dual format pedals!
 
I wish Dave would go back to dual format pedals!
I completely agree. He has a few newer versions of pedal that I messaged or replied to posts asking for dual versions and he was vague about if/when they would or could be done, but he posts about enclosure finishes and knob colors. To me, I don't care about fancy finishes and knobs. I want great circuits in a format that work for me.
 
Bogner XTC and an Empress Para-EQ in the loop. :)

Roccaforte HG-100 and a Pro Tone Gary Holt Boost out front. Thrash Heaven right there!
Have you experienced any clipping problems with the Para-EQ in the Bogner XTC loop? I've recently acquired an XTC amp, and seems there's a lot opinions on how best to set up the FX loop to avoid clipping w/certain pedals. I'm running a wet/dry set up (w/ separate power amp/cab for pedals in mono), so the only pedal that will be inserted in the amp loop is the ParaEQ. My goal is to have EQ pedal shape Channel 2+3 for higher gain/dirt specific to my single coil guitars. The main challenge from other users seems to be that once the loop is engaged, the XTC Channel Volumes can't be past say 11 o'clock, or any pedal in loop clipping will occur. My channel 1, Volume is maxed and I'm using the gain knob to control volume, sounds very 'Fender' like this way, but haven't yet tried with Empress ParaEQ in the loop. My ParaEQ is on its way, just ordered, so I'm trying learn as much as possible to get it right the first time. Any input greatly appreciated!
 
Have you experienced any clipping problems with the Para-EQ in the Bogner XTC loop? I've recently acquired an XTC amp, and seems there's a lot opinions on how best to set up the FX loop to avoid clipping w/certain pedals. I'm running a wet/dry set up (w/ separate power amp/cab for pedals in mono), so the only pedal that will be inserted in the amp loop is the ParaEQ. My goal is to have EQ pedal shape Channel 2+3 for higher gain/dirt specific to my single coil guitars. The main challenge from other users seems to be that once the loop is engaged, the XTC Channel Volumes can't be past say 11 o'clock, or any pedal in loop clipping will occur. My channel 1, Volume is maxed and I'm using the gain knob to control volume, sounds very 'Fender' like this way, but haven't yet tried with Empress ParaEQ in the loop. My ParaEQ is on its way, just ordered, so I'm trying learn as much as possible to get it right the first time. Any input greatly appreciated!
No Clipping. I Am Not A Single Coil Player So I Don't Know If That Could Be An Issue But I Just Thought I Would Mention It. When You Break It All Down Everything Is About Levels And Frequency So When All Of That Is Dialed In Properly There Should Be No Issues. I Also Use A Gate And Make Sure My Wall Voltage Is Right And That HAs Solved A Lot Of Problems As Well. I know I Threw Out Some Side Notes But They Are Worth mentioning IMO. Another Thing Is Overall Rig And Other Pedals (If Any) You May Be Using May Or May Not Place Nice Together. That Is Something Else To Be Aware Of.

Which XTC Do You Have?

The Para - EQ Is A Great Pedal. I Hope That It Meets And Exceeds All Your Needs In That Type Of A Product.

I Am Sure You Are Aware Of The Other Things I mentioned But I Did So For People Who May Stumble Across This Thread And Have Other Questions Or Need The Info To Help Them Along Their Way. :)
 
Really appreciate your input, thanks! Any shared knowledge from actual users really help clarify things. My Bogner is an early 1996 XTC and it's a tone machine, exceeding my expectations. When I read that the XTC clean channel was based off a Fender Super Reverb, I must admit, I was a little skeptical, having owned a 1967 Super that just dominated tone-wise. That said, it's absolutely true, the Green Channel 1, once really dialed in, is spot on, and I don't miss my Super at all. In fact, I'm loving the clean channel so much, I haven't even dived in to Channels 2+3 yet...soon. I play a lot with humbucker equipped guitars, so I already know the gain on Channels 2+3 is gonna rule.

But know that I know this amp can make single coil guitars shine, that's where the ParaEQ is going to be put to work. I'll use it to reshape the XTC amp tone when I want to use a Strat for the dirty channels, for example. It will be the only pedal in the loop. I was advised to max the master volume on back panel and adjust the volume for each channel individually on the amp front. Thoughts? How did you set yours? Then, as far as the Return/Send knob, suggestions? I'm only using the ParaEQ pedal, so I'm thinking just max that knob too, but not sure. Any input appreciated!
 
Really appreciate your input, thanks! Any shared knowledge from actual users really help clarify things. My Bogner is an early 1996 XTC and it's a tone machine, exceeding my expectations. When I read that the XTC clean channel was based off a Fender Super Reverb, I must admit, I was a little skeptical, having owned a 1967 Super that just dominated tone-wise. That said, it's absolutely true, the Green Channel 1, once really dialed in, is spot on, and I don't miss my Super at all. In fact, I'm loving the clean channel so much, I haven't even dived in to Channels 2+3 yet...soon. I play a lot with humbucker equipped guitars, so I already know the gain on Channels 2+3 is gonna rule.

But know that I know this amp can make single coil guitars shine, that's where the ParaEQ is going to be put to work. I'll use it to reshape the XTC amp tone when I want to use a Strat for the dirty channels, for example. It will be the only pedal in the loop. I was advised to max the master volume on back panel and adjust the volume for each channel individually on the amp front. Thoughts? How did you set yours? Then, as far as the Return/Send knob, suggestions? I'm only using the ParaEQ pedal, so I'm thinking just max that knob too, but not sure. Any input appreciated!
Sounds Like You Have A 101B. Yes, The Way You Mention Is One Way To Go About It. As I Said Previously, A Lot Of It Is Volume and Rig Dependent In Alignment With Your Desired Tones, Gain Levels, Output Levels Etc. I Wish It Were As Simple As Saying Turn This To 2 And This To 8 And You Are Golden But That Isn't Reality. It Also Depends On How Much You Want To Rely On The EQ Pedal...(A Lot Of Impact Or Some Slight Dusting With It If You Will). I Found The Key For Me Was Getting All Of The Amp Working In Unison As Close As I Could Get It To My Liking On All Channels And Then Use The EQ Pedal And Guitar Volume Roll Off From There. A Lot Of That Approach Depends On How Much You Switch Channels And How Many Tones Do You Really Use The Amp For. Also, Don't Forget The Significance Of The Footswitch And Its Functions In Shaping Things As Well. I Would Think With The Amp Options, The Para EQ And The Footswitch Options You Would Find Usable Tones A Few Ways And Without Having To Lose Your Sanity To Acquire Them. That IS For Good Usable Tones...It Takes A While To Really Learn All The Nuances Of The Amp And Some Of The Little Tweaks Here And There You Can Do Can Really Help You Dial In Those Last Few Bits That Are Really Important To Building Your Overall Tone. Additionally, The Owners Manual Is Very Helpful. I Don't Know How Loaded Feature Wise Your Particular Amp Is But If It Is Fully Loaded Then There Are A Lot Of Little Things To Mess With On It And That Will Simply Take Time And Experience To Get It Where You Want It To Be. I Say That To Encourage You As Good Tones Are Plenty And Not Incredibly Hard To Find In The Amp But Even Better Tones Are Available If You Are Willing To Dig In A Little Bit And Spend Some Time On It. Even If Your Amp Is The Bare Bones Version Feature Wise, There Are Still A Lot Of Options On It. I Also Encourage You To Try The Amp Without The EQ Pedal Initially To Simply See What You Can Get From It That Is Useful On Its Own And To Help You Learn The Amp Better. By Itself. You May Discover You Don't Need It As Much Or As Heavily As You Initially Thought. I Also Admit It Is Nice To Use The EQ Pedal And It Does Help In Many Cases So I Am Not Against It By Any Means. :)

Another Thing I Just Remembered Was Getting Everything Set Up At The Volume You Will Be Playing At. If You Will Gig The Amp Then Set It Up For Gig Volume, Etc. The Control Interaction Is Going To Shift Along With The Volume In A Way So Set It Up For The Volume You Will Be Using. Not Doing This May Require A Lot More Than A Knob Twist Or Two Overall To Go From Gig Volume To Bedroom Quiet Volume Levels. This Has Been Incredibly Helpful To Me For The Various XTC Models I Have. :)

Hopefully This Helps And Doesn't Confuse. :)
 
Not confusing at all, thanks for your input! Yes, my XTC is a 101B. While it has a lot more switches than amps I've owned in past, it's pretty intuitive and there's really useful setting suggestions from other users online. I knew this amp was going to have a learning curve and some built in trial and error but I've been so well rewarded dialing in an amazing Green Channel Clean tone, that I am now confident I will reach the same level of satisfaction on Channels 2+3. The plan is definitely to dial in the entire amp, channel by channel first with no help from the ParaEQ. That's a solid approach. The ParaEQ will be used sparingly and for a very specific purpose, to reshape the amp tone when I'm playing single coil guitars.

The 2x12 cab I'm using is contributing greatly to the tone as well. Conrad Viva, the owner of V Boutique in Orange County, CA built me an oversized Euro style 2x12 with Dumble style oval open back that is second to none. V Boutique does a lot of OEM builds for several of the big name companies and his craftsmanship is stellar, plus he's just a good dude. Check him out! Anyhow, you've been so helpful figured I'd try and share some helpful info too, in case you ever need a cab built. Thanks again!
 
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