squirrel211
New Member
"I'd have to say the foundation tones of my favorite amps are Fender Tweed with a little Plexi thrown into the mix."
My rig at one point was a Tone King Comet on the LEAD channel, and a Tone King Majesty/Royalist in stereo. I think you would have loved it Les!!!
Had the Comet set at 4 Vol, 4 Mid Bite, 4 Tone, and the Majesty was 6 Vol, 2 Bass, 5 Mid, 5 Treble, 5 Presence. Both amps cleaned up to almost pristine clean with my Custom 24 turned down to 4, and on the #2 pick up selector switch. Good and dirty with the guitar's volume on 10, but still able to wildly vary the amount of dirt with by picking lightly vs digging in. Both amps had effects loops, which made delays and verbs easy to manage.
The Comet wasn't as sensitive to the guitar's volume as the Majesty. It was probably "more" of the core tone, and the Majesty really made up more of the upper mid/high end with the guitar volume down. With the volume up, both amps' distortion signatures combined into this wonderfully rich tone that felt super easy to play. Unfortunately, lugging both amps around became a chore, and the thick tone of both amps running together led to our bass player constantly turning up. I went to the Majesty as my only amp on stage, and that seems to leave plenty of room for the keys and bass.
My ear has always loved the clean guitar tone that Billy Corgan had on 'Today,' in the very beginning of the song, and my favorite dirty tones are "softer" but with the ability to still palm mute. Two examples would be 'Shellshock' by Ballyhoo! and 'We Are What We Are' by Angels & Airwaves. I do love a plethora of dirty tones though!
So I guess the foundations of my favorite amps are Marshall? I do love Fender cleans too though, like Jeff Buckley's version of 'Hallelujah.'
My rig at one point was a Tone King Comet on the LEAD channel, and a Tone King Majesty/Royalist in stereo. I think you would have loved it Les!!!
Had the Comet set at 4 Vol, 4 Mid Bite, 4 Tone, and the Majesty was 6 Vol, 2 Bass, 5 Mid, 5 Treble, 5 Presence. Both amps cleaned up to almost pristine clean with my Custom 24 turned down to 4, and on the #2 pick up selector switch. Good and dirty with the guitar's volume on 10, but still able to wildly vary the amount of dirt with by picking lightly vs digging in. Both amps had effects loops, which made delays and verbs easy to manage.
The Comet wasn't as sensitive to the guitar's volume as the Majesty. It was probably "more" of the core tone, and the Majesty really made up more of the upper mid/high end with the guitar volume down. With the volume up, both amps' distortion signatures combined into this wonderfully rich tone that felt super easy to play. Unfortunately, lugging both amps around became a chore, and the thick tone of both amps running together led to our bass player constantly turning up. I went to the Majesty as my only amp on stage, and that seems to leave plenty of room for the keys and bass.
My ear has always loved the clean guitar tone that Billy Corgan had on 'Today,' in the very beginning of the song, and my favorite dirty tones are "softer" but with the ability to still palm mute. Two examples would be 'Shellshock' by Ballyhoo! and 'We Are What We Are' by Angels & Airwaves. I do love a plethora of dirty tones though!
So I guess the foundations of my favorite amps are Marshall? I do love Fender cleans too though, like Jeff Buckley's version of 'Hallelujah.'