Favorite VH brown sound in a pedal solutions?

  • Thread starter Thread starter mentoneman
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Don't listen to any of these guys who naysayer the shit outta your quest bro. It WILL happen one day sooner or later it will come.
 
CarlF said:
I think already mentioned but the Wampler Pinnacle Deluxe. Better than the Atomic OD. It has that high-mid spike like a Marshall.
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that is actually the pedal with the consistency of clips/demos that has appealed to me the most. you saying this may have sealed the deal!

btw your amp assortment right now is very cool!
the jake 100 watt and mark 7 were two of the last amps i’ve played that were impressive and if you’re digging the suhr it’s gotta be solid!
 
mentoneman said:
that is actually the pedal with the consistency of clips/demos that has appealed to me the most. you saying this may have sealed the deal!

btw your amp assortment right now is very cool!
the jake 100 watt and mark 7 were two of the last amps i’ve played that were impressive and if you’re digging the suhr it’s gotta be solid!
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The MK VII is killer!
I'm remembering, i got the Pinnacle Deluxe from Sweetwater and at time I had a Two Rock Classic Signature, and that pedal ripped...and I was using a stock Strat. I bet humbuckers kill thru it.
 
harddriver said:
Yes and no about the stock Marshall achieving the brown sound....The Selland arena 1978 show (Exhibit B) is completely without Ed's 12301 and the wooden headbox Super Bass because they were still missing from the airlines losing them coming back from Japan. You can clearly see newer Marshall heads on the left and the Musicman HD130's and HD65's on the right. I own an HD130 and Ed was not getting his main tone from the HD130's or 65's, he was reamping with them but that is another topic all together. I do feel my real EP3 echoplex sounded better and more correct but I sold it when it started needing more maintenance then I transitioned to the EP3 pedals which are about 90-95% there and other echo delays.

I know this will hurt some feelings but I don't really like the tone or attack of George Metropolous's 12380 amp. Maybe it's because he is still running all the original filter caps still in the amp which he admits. Hopefully I can play a Metroplex MKII one day and expereience it in person as George know's plexi's.

As for your comment about no boosts and getting VH1 album tone. The echoplex preamps and the MXR 6band EQ are boosts... but the EQ levels we see in the tour pics probably are to drive long cable lengths only DB wise and not what he would use in the studio, and I believe the MXR EQ was not always on, it was used on a looper pedal since it did not have a footswitch. The echoplex preamps are extremely important to the VH1 tone....period, when you A/B any VH1 with and then without the EP3 preamp/echoplex. I also believe Ed did not dime the volumes on the amp. If you run variaced cranked marshall on 7 with the 5000pf cap and then run it on 10, you will hear and feel difference and you don't get much more gain on 10.

What all these in room studio mics and other recent studio clips has really solidified with me is that Ed was always working with just enough gain to get those easy pinched harmonics but not so much gain that the crunch of the amp/guitar/pickup is subdued into a compressed bloated mess.
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PLEASE, FOR THE LOVE OF GOD, start a new thread about EVH re-amping procedures and tones !!! I’m dying for the details ! Thanks
 
mentoneman said:
my response to that is if it’s so easy that any common stock marshall can achieve it,
why don’t more people chasing vh tone have it nailed? it’s definitely not just because of the “tone is in the hands” thing, which i agree to in part. i’ve played a 12000 series super lead very close to eddie’s serial number. not even close. and most 70’s era marshall tones growing up in that era sounded like harsh dry crap.

in the 80s/90s every brand under the sun claimed to capture vh tone as a marketing ploy, but the closest thing to early vh tone i heard out of an amp was the first time experiencing Victor’s mojave peacemaker rig at the plexi palace. i’ve never been more stunned by a first impression of hearing an amp in my life. perfection.



but if the average shmuck like me stabbed my guitar into that amp cold turkey, after minute one i’d be bitterly disappointed. 2 of my friends bought and sold peacemakers because it didn’t have enough gain fir them. it’s a formula to get to the finish line. attenuate. PAFs. gh30s in a 4x12. the right delay. verb. and for me i had to hit the front end with the right something.

after that amp it was zach’s “brad era” cameron atomica serial #1 proto that came close.



now that amp has enough gain to be way more plug and play friendly for the average person. so the goal becomes reducing the preamp gain and cranking up the power section to balance it out, hide the distortion fizzies while preserving sustain and create more clarity and string to string definition.

i noticed when i played zach’s guitars with hotter pickups it was easier but the tone leaned towards modern metal. with my low output holmes 450 hummer loaded tyler, to my ears it was closer to vh and still super easy/slinky on the single notes.

honorable vh brown sound tone mention is the friedman steve stevens V1. no boost and cranked it starts getting plexi brown.

i haven’t played the new metro but it sounds amazing too.
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I have Atomica #7 and it does a great VHII, but I find it lacks… something, not quite sure what for VHI.
 
paulyc said:
PLEASE, FOR THE LOVE OF GOD, start a new thread about EVH re-amping procedures and tones !!! I’m dying for the details ! Thanks
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LIVMbn9.jpg
 
harddriver said:
I don't know if you can get there with rack equipment with a standalone pedal platform since you want a MAIAB solution. You might get someting close with an ADA MP1 with some type of overdrive in front like the Atomic OD but I don't know if you can dial out the compression Langer built into those.

The only thing I can think of is those Mototeddy pedals Ossie Ahsen is building.
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that is a cool sounding pedal and the tube design appears to provide more touch sensitivity and depth to the sound. but still a more modern higher gain.

for this particular run at it, i’m trying to avoid that trap of tons of preamp distortion in order to create sustain and a legato touch sensitivity. holdsworth really struck a chord with me when he mentioned in an interview that he hated distortion and the gnarl of it. thus the juice extractor and harness boxes.

when i’ve been close to vh tone in the past it’s been cranked plexi attenuated, really pure and dynamic touch response similar to high gain, without the fizzy gnarl and compressed notes when the gain is all preamps and pedals.
 
Arch Stanton said:
The worst part is, when you realize you have to be able to play like Ed to make any use of that tone.

:rolleyes:
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i can’t play like him.
i just love his old tone and being able to play clean, rhythm and lead with just a volume knob is killer!
 
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CarlF said:
The MK VII is killer!
I'm remembering, i got the Pinnacle Deluxe from Sweetwater and at time I had a Two Rock Classic Signature, and that pedal ripped...and I was using a stock Strat. I bet humbuckers kill thru it.
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i demoed the 7 at GC hollywood last october and it even at low volumes it really seemed to live up to the marketing claims. everything from clean to hi gain sounded sweet.
i know you’ve been around the block and i’m old enough to have lived through the mesa mark series evolution in real time from the IIB forward. i appreciated the IIB mode!
 
Exo-metal said:
Yes, the Harness bro. Just saw some yt clips about that.
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it’s really a bummer AH didn’t work with J. Rockett to market the Harness. there were rumors. i still have my juice extractor!
 
Exo-metal said:
Don't listen to any of these guys who naysayer the shit outta your quest bro. It WILL happen one day sooner or later it will come.
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it’s ok but mahalo for the encouragement!

“sing it Mick…”

 
mentoneman said:
that is a cool sounding pedal and the tube design appears to provide more touch sensitivity and depth to the sound. but still a more modern higher gain.

for this particular run at it, i’m trying to avoid that trap of tons of preamp distortion in order to create sustain and a legato touch sensitivity. holdsworth really struck a chord with me when he mentioned in an interview that he hated distortion and the gnarl of it. thus the juice extractor and harness boxes.

when i’ve been close to vh tone in the past it’s been cranked plexi attenuated, really pure and dynamic touch response similar to high gain, without the fizzy gnarl and compressed notes when the gain is all preamps and pedals.
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yes, IIRC, Holdsworth used distortion for sustain to make those flowing "liquid, glassy" legato passages.
 
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