Any recs on getting my D-Moll to cut in the mix a bit better?

C

CurlOfTheBurl

Active member
I'm playing in a two guitar group and just getting buried. The other guitarist is using an Orange Rockerverb 50 into the PPC212OB (open back with Vintage 30's).

I'm running my D-Moll into a Fryette Fatbottom with Fane F70Gs. Generally alternating between an Edwards Les Paul Cystin style with a JB/59 (or Jazz... not quite sure) and a Strat with the Fender 50's pickups. I'm using a L6 Helix for effects in 4CM and midi control, and am not using the mid-cut feature at all.

Bassist is using a 6 string into a GK1001B and Mesa Powerhouse 410 setup.

I'm open to new speaker/cab suggestions, tubes, EQ tips, etc. It has JJ KT77's in it, but I haven't retubed the amp in the 7 years that I've had it (I know, I know). I've been curious about swapping out for a different tube type but am curious at your thoughts.

FWIW, it sounds amazing/massive when I'm the only guitar playing in a 3 piece context. The rig I'm competing against in this group is just cutting in the mids and the open backed cab is filling the room in a way that's just beating the D-Moll out.
 
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Turn the bass completely off, and then turn it back up to where you can just hear it come on. Turn up the mids and turn down the gain. Without hearing your tone is impossible to say, but sounds “massive” on it’s own is likely why isn’t working in mix.
 
I owned one for a few years. The GOOD news is that the D-Moll is an absolutely fantastic sounding amplifier. The BAD news is that it's inherent voicing does not seem to lend itself to competing well in the room in the context of a two guitar band. I found this to be true to some degree with the Herbert as well. They sound amazing, record very well...But have a tough time competing for space in the room. Upper-mid voiced amps like Marshalls and 5150s will overpower them by way of frequency.
 
Use more mids and lees mid cut live . It will cut in the mix better if you just re eq the amp for how it sounds with the full band . Can’t stress enough about how too much mid cut with a drummer will kill your tone.
 
Techdeth said:
Use more mids and lees mid cut live . It will cut in the mix better if you just re eq the amp for how it sounds with the full band . Can’t stress enough about how too much mid cut with a drummer will kill your tone.
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I've been trying to do this. My mids have been cranked and bass is relatively low. It just seems like there's a gap in the EQ where a guitar should really cut through and it just isn't. And I keep the ch 2 and ch 3 gain in the 9-10:00 area (so really low).

I know it's kind of a cliche term, but it really does sound hollow. Clean or dirty, it doesn't seem to matter. That "piano" like clean just disappears.

When I used to play with another guitarist who used a Trem-O-Verb, the D-Moll cut a lot better. That Orange just seems to be the D-Moll's kryptonite.
 
CurlOfTheBurl said:
I've been trying to do this. My mids have been cranked and bass is relatively low. It just seems like there's a gap in the EQ where a guitar should really cut through and it just isn't. And I keep the ch 2 and ch 3 gain in the 9-10:00 area (so really low).

I know it's kind of a cliche term, but it really does sound hollow. Clean or dirty, it doesn't seem to matter. That "piano" like clean just disappears.

When I used to play with another guitarist who used a Trem-O-Verb, the D-Moll cut a lot better. That Orange just seems to be the D-Moll's kryptonite.
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Switching sides can help . Also move away from drums more
 
D-Moll is Herbert's lil' brother, sorta - but has the same "cut in the mix" challenges like its big brethren.

Mid-cut is NOT your friend onstage,
Presence and mids are.

It's all I can offer - the D-Moll is a powerhouse of an amp, and will destroy most anything else onstage, but the moment you start toggling that mid-cut, oddly enough, it loses its teeth in a live setting (recorded is a totally different animal, just to be clear).

Hope this helps.
 
Ventura said:
D-Moll is Herbert's lil' brother, sorta - but has the same "cut in the mix" challenges like its big brethren.

Mid-cut is NOT your friend onstage,
Presence and mids are.

It's all I can offer - the D-Moll is a powerhouse of an amp, and will destroy most anything else onstage, but the moment you start toggling that mid-cut, oddly enough, it loses its teeth in a live setting (recorded is a totally different animal, just to be clear).

Hope this helps.
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I appreciate it. Only way I ever use the mid cut is to actually use it as a mid boost for solos (intensity at 0, then use level to bring it up).
 
CurlOfTheBurl said:
I'm playing in a two guitar group and just getting buried. The other guitarist is using an Orange Rockerverb 50 into the PPC212OB (open back with Vintage 30's).

I'm running my D-Moll into a Fryette Fatbottom with Fane F70Gs. Generally alternating between an Edwards Les Paul Cystin style with a JB/59 (or Jazz... not quite sure) and a Strat with the Fender 50's pickups. I'm using a L6 Helix for effects in 4CM and midi control, and am not using the mid-cut feature at all.

Bassist is using a 6 string into a GK1001B and Mesa Powerhouse 410 setup.

I'm open to new speaker/cab suggestions, tubes, EQ tips, etc. It has JJ KT77's in it, but I haven't retubed the amp in the 7 years that I've had it (I know, I know). I've been curious about swapping out for a different tube type but am curious at your thoughts.

FWIW, it sounds amazing/massive when I'm the only guitar playing in a 3 piece context. The rig I'm competing against in this group is just cutting in the mids and the open backed cab is filling the room in a way that's just beating the D-Moll out.
Click to expand...
I had the same issue until I started using a Friedman 4x12 with two GB’s and two V30’s. The cut Was coming from the amp but I couldn’t hear it before……the dual speaker mix picks up the entire sound spectrum…..
 
CurlOfTheBurl said:
I've been trying to do this. My mids have been cranked and bass is relatively low. It just seems like there's a gap in the EQ where a guitar should really cut through and it just isn't. And I keep the ch 2 and ch 3 gain in the 9-10:00 area (so really low).

I know it's kind of a cliche term, but it really does sound hollow. Clean or dirty, it doesn't seem to matter. That "piano" like clean just disappears.

When I used to play with another guitarist who used a Trem-O-Verb, the D-Moll cut a lot better. That Orange just seems to be the D-Moll's kryptonite.
Click to expand...
If You changed all EQ setting in your amp, there are some another possibilities:

1. using Pete Cornish style treble boost pedal. You can find cheaper versions.

2. Changing the guitar cabinet for 2x12 type with brighter speakers.
 
Old grey Engl front v30 4x12 cabs..
Or new Marshall v30 4x12 cabs

Start with all eq at 12 o clock
Master 10-11(pushing speakers brings „the Diezel Cut“)
Presence 12-2 (more your ears like to listen to)
Use mid eq as a Volumen ..

Ernie Ball strings for 2 hours ( their cut dies really fast…) or Elixir optis strings for 3 months (they sound like 1 hour played EBs)

One hi end Cable from Guitar to amp..(more highs from your Guitar)
 
I’m in agreement with all of the other comments here. I would bring a V30 loaded cab, swap out the JB pickup in your Les Paul for something brighter, less bassy. Replace your power tubes, because after 7 years they are likely worn out. Changing the type of tube won’t dramatically change your sound. Changing out the cab for a brighter one is probably the most significant change you can make.
 
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