Hey thanks again. I run my FX now in the loops so the only pedals I would have probably would be a wah and 2 OD pedals for boosts. I normally run chorus, EQ, reverb, delay etc. in my VH4 loops.
With regard to turning FX on and off... easiest way I would think be like.... I make a preset of a Silverface with no delay as say preset 3... then preset 4 is the same amp settings but a raise the gain a bit and engage delay and save it. Then I "technically" am using the same amp but with one foot switch hit on my GC Pro I just added more gain and delay... do I have that right? Not looking to turn FX on and off while playing with an amp setting. I would make so many presets of the same amp and save different presets with some FX on and some off.
Do you use the on board EQ effect much? Is there a need for it? I do use a 12 band on my VH4 channel 1 to sparkle it up now.
Thanks!
As far as using the EQ goes, I think you might be getting a little ahead of yourself. The amp provides a lot of tools to dial in the tone and FX you want. There’s enough difference between the voicings that I don’t have a specific universal EQ setting. I have it set on some presets and on others I don’t. The ones I do have it set on, I have it set in different ways.
I think Diezel has done a really good job with how they used the digital tech in a traditional tube amp. They’ve brought the accessibility and customizability of digital tech, without the “options paralysis” that can occur with digital tech. It’s all very straightforward and consistent.
Here’s kind of how I approach the amp when I’m trying for a certain sound: You’ve got the 4 channels with their base sound. Then you’ve got the 4 different voicings: vintage, early, classic, and modern. These voicings each have a general tone that is consistent across all four channels (Vintage, for example, is always the warmest and loosest voice). Then on channels 1 and 2 you’ve got a bright switch, which function like you would imagine. Channels 3 and 4 have 3 “subvoicings”: 0 is tightest and the most dry, 2 is looser and more fluid, and 1 is in-between. This is consistent between channels 3 and 4, and between each of the main voicings.
Since everything is consistent, it’s pretty easy to go straight towards the sound you want. 0 is always the tightest option. Vintage is always the warmest, etc.
What this translates to in practice for me, is that let’s say I’m looking for a Gilmour style lead. I’ll use Channel 2, with a vintage voice, and I’ll pull the bright switch. I want an Adam Jones style rhythm, then I’ll go to channel 3, set on early, set on 0; which is the blueface setting. I already know those are the settings I should go to before I set an EQ.
Then I’ll decide on the main EQ. I know Adam Jones likes diming his mids, with his bass and treble at about 8.
Then I’ll decide if I want an EQ in the loop. Sticking with the Jones tone analogy, he uses a ton of different amps in the studio with multitracking, so sometimes the basic setting isn’t close enough. If I can’t get exactly to where I want already, then I’ll throw it in there to bring some additional seasoning. I also run an EQ into the front sometimes as a high end boost.
The VHX gives you a lot more options up front to set your tone than other amps where sometimes an EQ is needed from the beginning. Since everything is so straightforward and intuitive, I spend a lot less time trying to fine-tune each setting (but I do spend a lot of time joyfully experimenting). I’ll use an EQ when I’m trying to dial in that last 10-15%. It’s all to personal taste though, it is still a Diezel, so it’s naturally a dark amp on any voicing. But I think it’s probably best to start with a similar approach as mine. Sure you could try for a Tool tone on the vintage voice and mess around with an EQ for awhile till you get it, but since there’s already a closer option, why not start with that?
