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Showing results for tags 'tone'.
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I've been pretty st0ked on this amp I purchased for my small practice studio. But occasionally, even with all the great sounds Line 6 Spider V technology has, I am trying to get just a "clean" signal to the driver. I have a set of the standard outboards pedals for sculpting my sound. But none of the 128 presets or any tweaks I have done to them have given me a sound that wasn't "time-smeared" and colored in a negative way. The real tell-tale is when I am using my RC-2 or RC-10r BOSS looper pedals' drum sounds. The snare and especially the cymbals are all resonating in a weird, mushy way that extends the attacks over a couple dozen ms, taking the definition away. It's not just EQ, which I can adjust for "flat" tone. They sound like crap anyway, and it takes some of the enjoyment away from practicing. This is with all the effects off (no chorus/mod, delay, reverb) in the amp, no distortion or overdrive, and using one of the "clean" amp models, with the preamp gain lowered as much as I can and still get output. If I compare it to my other practice amps - a Roland 30x and an old Fender - the clean channel sound is crisp and tight and the BOSS drum sounds (which are EQ'ed to sound fairly flat out of a guitar amp) work very well. Anybody got a clue or a hot tip how to just bypass all the DSP and feed the power stage in the Line 6 Spider V directly? Am I thinking about this in the right way? Thanks for any help, sincerely!! -JD in San Francisco
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I recently got the free trial of helix native to see if the helix was for me. I've been looking at it for a long time. Now that I have it, all my tones are muddy. When I record, the notes sound like one long jumbled and distorted mess. I record through a Scarlett 2i2 with the input gain super low because that helps. My question is, how would I fix this? Is it the Scarlett's gain that's the problem? Would the helix floor or rack have the same issues recording through that input as opposed to recording through a separate interface? Thanks
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Okkk kind of embarrassed to ask this and I'm sure its basic but can someone tell me how to achieve the guitar tone in jonas brothers year 3000? I'm sure it's not hard to get and used for a lot of pop but just that punchy, distorted but clean/smooth sounding but still hits hard .. not sure how to explain it and I'm sure a lot of it is in the production as well. It's a lame song I know it's just what I can think of as an example. I am using helix native but similar to helix floor.
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I’ve owned a helix LT for almost a year, the problem I have it since the first days, the presets pre installed sound nothing like in the videos on YouTube...so I gave up on using them, then noticed that when creating a patch, I had to add compressors or ODs before the amp to get a decent distortion... recently I found this user on YouTube called Alex.guitars, and he has this video (link below) where he shows how each amp sounds just with default settings...my helix doesn’t sound even closer to that, there is also another user commenting the same.... I went to this guy webpage and copied this settings on the helix, same...to give you an example, the tweed blues brt at 0:48, It sounds so clean on my helix, I can’t get that driven sound even setting the drive at max. Can someone try the tweeed blues bright with just a low high cut eq (400-5k)and room reverb at the end and let me know if sounds like that? thanks in advance
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The solution to all helix tone issues or any issues really is to get an Ampegg Bass amp. FRFR speakers and tube amps are inferior to this method. Simply go direct to ampegg bass amp with ultra hi and ultra low button options or try some other bass amps and prepare for the wow factor. Only use one impulse response or one cab sim when doing this and you will be blown away. I use this for guitar and had been struggling to get a tone I completely happy with that felt full, ect. Now I can officially say my tone quest is over and amp modeling has finally surpassed tube amps in my opinion. Plus bass amps are lighter, cleaner and tighter sounding with a well rounded sound and a lot of thump. It's amazing that no one else on the internet has figured this out yet. I tried everything too, multiple IR's tube amps, 4cm, 200 presets lol nothing satisfied but the bass amp I got really brought my helix to the next level. I compared to my friends Krank 4x12 tube amp and I blew him out of the water. Plus I have a bunch of IR's I like so I can switch to emulate any speaker cabinent now with superior sound quality. No more messing with tubes and multiple cords, no more noise either. 100% consistency in the tone I have been searching for. I now use a strandberg boden 8 direct into the helix direct into the bass amp. I hit the pad button on my ampegg because I have active pickups and it really is everything now. I feel like I'm playing through a 5000$ system now. I am so glad I didn't spend 1000$+ on a FRFR speaker for Stack. If you don't believe me or are in disagreement, I highly urge you to go to guitar center and try some bass amps that have aux in for playback options (meaning that odds are it has a large frequency range) I can officially say now digital modeling has surpassed the need for bulky tube amps, ect. This is the one thing that truly worked. Make sure the bass amp has a dynamic EQ section so you can fine tune your presets (which you won't have to do much to accomplish that). I don't use any distortion blocks in my chain cause the amps sims I use like the texas II or the Badonk have really high gain. I set my noise gate at around -55db or-65db so it doesn't eat at the tone of the guitar.
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What's the best way to get a better palm mute chug sound out of the Standard? The models, so far, to me don't seem to be tight enough. Seems like a fairly common problem due to the piezo being behind your palm. So is there a good setting to use on the model that works well? I'll keep playing around with my Firehawk to see if I can get a good sound from it using the single coil magnetic pickup, too. My existing patches don't sound great with the magnetic pickup, so any tips there are welcome. Last resort would be replacing the bridge pickup. Any particular ones anyone has had good success with?
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Hello, Randall Satan has been my all around favourite sounding amp since the 1st time I've heard it live. Since their availability in my country is an issue, I never got to buy an actual unit. Well, now I have a Helix - reasoning behind going digital - that I'll leave to myself. All I can say is that I sold all my tube thingys. I saw Collin from Plague Scythe Studio dial in a Randall Satan patch with the AX8. Since AX8 can do it, I bet Helix does too - "Sky is the limit" is the common phrase around this forum. I bet that we can get somewhat close to the real thing. I already cracked the Grind pedal - all it took was a 10 band EQ with specific settings (I'll post a screen later, it works great). I just don't know where to start... The Badonk? Elektrik? What amp would be a good starting point? Maybe somebody already tried tonematching the Satan? I have a wide array of IRs available - ML Sound Lab Mega Oversize, Ownhammers Mesa, Orange and the HHC2. I even laid my hand on Ola's own Hesu IR - I already use it as a "to go" IR. Truth be told, I can't even imagine using the Helix without third party IRs. I think this is where Helix fails, and if the stock cabs were better, we wouldn't hear about AXE FX eating the HX for breakfast. All advice is welcome - lets crack this thing, and prove once for all that the Helix is capable of good, modern, tight, djenty high gain. Down the rabbit hole, Cheers, Chr1s
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I apologize if this topic already exists in the forum. I was searching on how to set up tone/volume in chain: TL guitar, SpiderV 30 & Cubase at PC. I didn't find the answer in Forum. My Spider V 30 is connected correctly to PC via USB and there is a sound of TL in Cubase. In Cubase, I choosed ASIO Spider V driver. I/O is Speder V (L&R) - Active. ASIO buffer Size is set to: Extra Small. I can record my TL from SpiderV 30 via USB and reproduce my records, too. It is not a problem, it works. But, quality of record is desperate and not acceptable, too. The sound is dark, blurry, somehow smudged and does not match what I hear on Spider V 30 while playing & recording. E.g effect as drive is not OK and corrupts the recorded. This is especially pronounced when I strumming all the strings. When I am playing finger style in clear sound or near clear, it is a better. It seams to me that solution is to set properly the tone on all devices in the chain: TL guitar, SpiderV 30 & Cubase at PC. Acctually to set properly the tone/volume of input signal to PC or output signal from Spider V 30 via USB. When I am playing acoustic guitar via USB Audio Interface (UAI), I can adjust Input signal at UAI and all works fine. But at Spider V 30 there is not possibility to adjust Input signal. I can adjust tone at TL guitar as imput signal to SpiderV 30, but it changes a sound of guitar at SpiderV 30. Or I can reduce/decrease Master tone of SpiderV 30, but I can not hear what I am playing. Please, give me opinion regarding this topic. How to properly set up tone of all devices in chain: TL guitar, SpiderV 30 & Cubase at PC? What are your experiences with this? -
Hey guys. I was inspired by a fresh set of strings and came up with this bass tone in Helix Rack. Hope it can help someone!
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I have been tone chasing with this piece of equipment for quite some time now. About a year to be exact. This is definitely a complicated piece of equipment in my eyes, nonetheless, i am quite determined to learn as much as possible to fully utilize this beast. I have been reading this article http://foobazaar.com/podhd/toneGuide/ampTone#preEQ in order to try and help me better understand some aspects of this pedal. Perhaps i should sell and buy the pro as i dont really tend to use the peda effects and i am using this more for a amp/cab sim in recording my own material. Or perhaps i should sell it and invest my money elsewhere. I am not sure what to do. My problem is that when recording my tone will sound ok before i open my DAW and i am playing through my interface. Once i open my DAW the sound tends to be pushed up higher and im not sure where to compensate here. Im looking at the eq cause i have turned down the gain on my interface and the ch. volume on my cab sim. I was reading about pre-eq to get rid of some buzz/fizz and i am wondering if that is where the problem is. Does the pre-eq come before or after the amp in the chain? Where do I access the frequencies as explained in the frequency chart of this guide? please Halp. Relieve me of my ignorance.
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Hey lovely people, With 2.80 I've been trying to build a huge low-end driving, slightly rasping bass tone. Basically the audio equivalent of a cold punch in the chest. My reference is: Animals by... https://www.youtube.com/watch?v=DLYwwtPA49w Sorry. I promise I make music more interesting that this, this tone is just amazing! About 6 hours on and the closest I've gotten (without buying a Spector bass) is by splitting the path: Channel 1 an SVT 4 Pro with about 3 EQs scooping mids, and Channel 2 a clean Fender Dimension blended with the Obsidian 7000. However, I'm compromising the volume consistency across my fretboard by scooping too much, and I still can't get the right balance of thunderous low end and high end clarity heard in the song. Has anyone got any ideas on amps, amp combinations, EQs, effects etc. etc.? Literally any thoughts on the EQ of the song, ideas or advice really appreciated! Have a good one.
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Note: The Flextone II was released in 2000 and replaced by the Flextone III in 2003. The Flextone II is now a Legacy Product. Application Q: What are the presets on my Flextone II amplifier? A: The Flextone II are available from the manual download section. If you would like to return your unit to the original presets, please perform a factory reset (see the trouble shooting section). Q: What editing software works with the Flextone II? A: Line 6 Edit allows the deep editing of all the Flextone II presets. Line 6 Edit FAQ Q: How can I control my Flextone via MIDI? A: Please check the Appendix C on your Pilot's Handbook, you will have a list of MIDI program changes and their relation with the Flextone channels. So channel 1A would recall program 1 on your MIDI device. You can either overwrite program 1 on your device with the effects you want to use with channel 1A or you can go to the preset you want to use and internally reassign that preset to MIDI program 1 (if your device offer that option). You can also set the Expression pedal on a MIDI controller to the MIDI CC# you wish to control - for example if you want to control the Delay Mix with it set the CC# to 34. Q: How is the Flextone II different from the Flextone I? Are the older Flextone I amp models changed in any way, software-wise? A: The Flextone II XL has more amp models, more editing capabilities, XLR outs, external speaker outs, improved tone, and an improved power amp stage. The models in the Flextone II are changed from the Flextone I models. The new models match exactly the models in the POD 2.0, so that patches made on one are completely interchangeable with the other. Q: How can I find out which cabinet models are used by default for the amp models? A: Hold down the save and tap tempo buttons at the same time and switch between the cabinet models. The manual button will flash off when the selected cabinet model is passed on the knob. Q: What are the secondary functions for each of the Flextone II's knobs? A: The secondary function for each of the Flextone II's knobs is as follows: DRIVE: Drive Boost on/off BASS: Delay Feedback (how many times it repeats) MIDDLE: Delay Amount TREBLE: Presence on/off CHANNEL VOLUME: Volume Boost on/off REVERB: Noise Gate on/off EFFECT TWEAK: Tap Tempo time Q: How can I control the "Delay Level" on my Flextone II when using the Delay in conjunction with another effect? A: The Delay Level and Delay Feedback can be adjusted on the Flextone II by holding down the TAP TEMPO button and turning the MIDDLE knob for Delay Level and the BASS knob for Delay Feedback. Q: Will the delay feedback on the Flextone II series repeat indefinitely if it is turned all the way up? A: Yes. The delay feedback on the Flextone II series will repeat indefinitely if it is turned all the way up. To turn the delay feedback on the Flextone II all the way up, simply hold down the TAP TEMPO button while turning the BASS knob to 10. Setup/Connections Q: Does the Flextone II have a line out? A: The Flextone II has a headphone jack that doubles as a good direct out. To utilize it properly, you should use a stereo-to-dual mono insert cable and use it as a stereo out into 2 channels on your mixer/recorder. If you need XLR direct outs, you may want to check into a Flextone Plus or XL. Q: Which Line 6 floor controller(s) can I use with the Flextone II? A: Either the FB4 or Floorboard will control the Flextone II, but we recommend the Line 6 floorboard. Please be aware that the Line 6 Floorboard and FB4 are no longer in production but may still be special ordered or found through used gear dealers. Q: Does the Flextone II have an effects loop? A: Yes, the Flextone II has a stereo unbalanced effect loop, located before the Master volume. Q: What is an effect loop used for? A: An effect loop is used for 'line-level' input and output level devices. Many rack mount effect units are line level units, while most guitar effects are 'instrument level' units meant to be run between the instrument and the amplifier. Q: Can I connect an external pre-amp (i.e. Line 6 POD unit) to the Flextone II? A: You can connect an external preamp into the front of the unit or the effects loop return of the Flextone II. Be sure to use a ¼" dummy jack in the instrument input to send the amplifier output to the speakers. Q: How should I connect my speaker cabinet(s) to the Flextone II? A: : Please see the following document (or your manual) for more information on connecting cabinets to your Flextone II. Cabinet Connection and Ohm F.A.Q. Q: What speakers are used in the Flextone II? A: The Flextone II amplifiers shipped with Line 6 "tubetone" speakers, which were manufactured by Celestion. The speakers are 80 watts and either 8 or 16 ohms. See the Line 6 Store for replacement speakers. Registration/Warranty Q: What is the warranty on the Flextone II? A: The warranty on the Flextone II is twelve months from the date of purchase. Q: How can I register my Flextone II? Product Registration F.A.Q. Troubleshooting/Service Q: How can I check the version of software on a Flextone II? A:* Hold down the C button as you power up. The D channel will flash and then the SAVE channel will flash. The number of D flashes = X The number of Save flashes = .X So if the D flashes twice and the SAVE button flashes twice, your version is 2.2. Q: My guitar's sustain is cut off after several seconds. Is there a way to stop this? A: This is likely because of the noise gate on the Flextone II. To turn it off, hold the Tap Tempo button and turn the Reverb knob down. To turn it back on, hold Tap and turn the Reverb knob up. Q: How do I perform a factory reset on my Flextone II? A: The factory reset for a Flextone II is to hold the A B C D Buttons while powering the amp. Q: My amplifier will not store presets anymore. What can I do? A: We use a 3v lithium coin cell battery in the Flextone II to store the user presets, a common replacement is the Panasonic BR2325-1HG. The current battery will need to be de-soldered and replaced with a new battery. If you are not confident in doing this replacement, it should be performed by an authorized Line 6 Service Center. Q: My amp seems to be malfunctioning. What can I do as an end user? Line 6 Amp Troubleshooting Q: Where can I download a Flextone II manual? A: Line 6 Manuals
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Very sorry for the long post, but I truly feel it's necessary... Some might already know me from The Gear Page and it's been pointed out that maybe I should post this here in order to have a bigger impact, I'd reach more people really invested in making Helix better. Recently a couple of threads about Fuzz and Input Impedance came up, it seems a good time to push this idea forward and greatly improve our experience while playing w/ Helix. I'm a big fuzz fan. When I started getting heavy into dial in my tones, I found this problem... I dialed my Plexi tone, sounded great, then I added a fuzz face model in front of it, again it sounded great, but when I turned it off, the tone of the amp alone was gone, it sounded muffled. After asking around and some research I found that the culprit was the input impedance, more specifically, the auto setting. Input impedance influences tone and feel, it has to do with the interaction of you guitar signal and the first thing it hits on your pedalboard. To make a pedal behave on a modeler like its "real" counterpart, units use analog circuits to mimic the different input impedances you'd find in a regular pedalboard or amp. For example, usually amps have an input impedance of 1M, but if you put a fuzz in front of it, they usually have an input impedance around 10k, and that's what the guitar will see. A lot of people get confused and say that "well, if you bypass the fuzz, the input impedance is the same", but that's not exactly right. We have basically true bypass and buffered bypass, true bypass acts like there's nothing really there, signal goes straight through; buffered bypass makes the signal go through a buffer, and a buffer itself is actually an amp, and in this case the input impedance will be whatever the input bypass of the buffer is. We will ignore the buffered one. A buffer serves the sole purpose of avoiding signal degradation caused by long running cables - and it doesn't come without its own short comings, anyone that has triad a fuzz face after a buffer knows it - but because inside a modeler it doesn't happen, we can think Helix as a kind of paradise where there's no place for Bob Bradshaw, LA Sound Design, Gig Rig, Pete Cornish and a bunch of other companies, whose sole purpose is to make sure your guitar still sounds like your guitar after going through a metric ton of cables and gear. We'll assume everything is true bypass, because, as we don't have to worry about signal loss through cables, that's the best option, no question about it. Back to input impedance. Everything being true bypass, that means it's going straight through, so the input impedance the guitar sees is of whatever is the first block that's actually on! Going back to my example. In this ideal world, what should happen when I bypassed my fuzz? Signal would go straight through and would see the input impedance of the amp! Turn the Fuzz on and it sees the input impedance of the Fuzz Face! Nice!... Except it's not what happens in Helix. The auto setting doesn't search for the first active block, it goes for the first one, being on OR off. That's why it sounds different! When I turn the Fuzz off, Helix isn't changing the input impedance, so the guitar still sees the low input impedance of the Fuzz Face, making the amp sound just muddy, muffled. Tha auto setting as it works right now is doing pretty much nothing useful. Why? Because what it does is fixing the input impedance to whatever effect is first. If you have a compressor first, impedance will be fixed at 1M, as long as you don't change the signal path, specifically the very first effect, impedance won't change. But nobody changes the signal path while playing, so it's not really useful. Takes away the guess work to find the input impedance of the first effect, but by fixing it, makes everything that goes after have the same input impedance, making the models not nearly as accurate as they could be if the input impedance was set properly. Fixes? Two main ones are usually proposed. After a few FW updates since release the input impedance went from a global preset to the input part of every preset, great! It also can be assigned to footswitches?! GREAT! But it only works for very simple cases. It would for just fuzz-amp. I'd assign the input impedance to the footswitch that turned the fuzz on and off and make it change the input impedance from 10k to 1M. Good! But it doesn't work that great when you put just another pedal in. Let's have Fuzz-Tubescreamer-Amp, all three input impedances are different; when playing the amp it would be 1M, turning the Fuzz on would make it 10k, but now if I turn the Tubescreamer the impedance should not change, but if we assign the input impedance change to its footswitch, it will do just that. But then snapshots came and had to be it, right! Not exactly. By itself it works, but it's extremely limiting and you take in consideration the combinations of pedals I could have using the stomp mode. I'd need 4 snapshots to deal with the fuzz-ts-amp case and set the impedance accordingly, that's not really practical - and the stomp mode is still crippled. Isn't there a definitive fix? You guessed, fix the auto setting of the input impedance. If after everything I said you don't believe me, here's what the competition has to say about this: From http://community.avid.com/blogs/avid/archive/2010/04/06/the-truth-about-true-z.aspx (and a great read if you want to understand what input impedance actually does. Spoiler, it's not about bypass) "Typical guitar modeling processors have a fixed input impedance, which can limit the accuracy of the modeling. Eleven Rack's True-Z circuitry is designed to solve this problem by automatically changing the input impedance to closely match the impedance of the first active effect in the Eleven Rack signal chain." From http://www.fractalaudio.com/downloads/manuals/axe-fx-2/Axe-Fx-II-Owners-Manual.pdf "The Axe-Fx II recreates this effect by switching various (real) resistors and a capacitor in and out of the signal path. In Auto mode, the impedance is automatically set based on the first active effect the input "sees." Normally you will want to leave this on AUTO..." Here's the link to the ideascale where I proposed the auto setting fix: https://line6.ideascale.com/a/idea-v2/862873 Vote up! -
How To Create a Great Tone - Pt. 1 How To Create A Great Tone - Pt. 2 - Internal Cabs How To Create A Great Tone - Pt. 3 - Using A Split Block For Dual Cabs How To Create A Great Tone - Pt. 4 - Using Sag, Hum, Ripple, Bias etc. How To Create A Great Tone - Pt. 5 - How To Use A Compressor How To Create A Great Tone - Pt. 6 - Understanding And Using EQ's How To Create A Great Tone - Pt. 7 - Understanding And Using Delays How To Create A Great Tone - Pt. 8 - Understanding And Using STEREO Delays How To Create A Great Tone - Pt. 9 - Understanding And Using SNAPSHOTS How To Create A Great Tone - Pt. 10 - Modulation FX 1: Chorus & Vibrato How To Create A Great Tone - Pt. 11 - Stock Cabs vs. IR's How To Create A Great Tone - Pt. 12 - Using Split & Merge Blocks How To Create A Great Tone - Pt. 13 - Stock Cabs REVISITED How To Create A Great Tone - Pt. 14 - Dialing In Tones For Live Playing How To Create A Great Tone - Pt. 15 - Reamping & Audio Interface Use How To Create A Great Tone - Pt. 16 - Understanding And Using REVERB How To Create A Great Tone - Pt. 17 - Creative Use of EXPRESSION PEDALS How To Create A Great Tone - Pt. 18 - Great Acoustic Tone With Piezo Pickups How To Create A Great Tone - Pt. 19 - FX Placement Within The Signal Chain How To Create A Great Tone - Pt. 20 - Working With Harmonizers How To Create A Great Tone - Pt. 21 - Creative Use of DUAL EXPRESSION PEDAL How To Create A Great Tone - Pt. 22 - DI FOH Output While Feeding Real Guitar Cab...HOW? How To Create A Great Tone - Pt. 23 - Setting Up A Wet-Dry-Wet Tone How To Create A Great Tone - Pt. 24 - Alternate Use of SEND Outputs (W-D-W & FOH/Guitar Cab) How To Create A Great Tone - Pt. 25 - Overdrive Pedals (Comparison and Discussion) How To Create A Great Tone - Pt. 26 - Helix Microphone Models (Comparison and Discussion) How To Create A Great Tone - Pt. 27 - Tap Tempo & Setting Delay Time To Musical Note Values How To Create A Great Tone - Pt. 28 - Using High & Low Cut EQ - Comparison & Discussion How To Create A Great Tone - Pt. 29 - Global EQ - When Should I Use it? How To Create A Great Tone - Pt. 30 - How To Incorporate External FX Pedals How To Create A Great Tone - Pt. 31 - Volume Level Matching: Why It Is Crucial? How To Create A Great Tone - Pt. 32 - High Cut Filters 'In The Mix' vs. 'In The Room'
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Line 6 Tone File Compatibility Chart
Line6Hugo posted a article in Computer Audio Set Up and Troubleshooting
TONE COMPATIBILITY CHART Below is a .pdf file that contains tone file type compatibility between Line 6 hardware and software. l6_compat.pdf Misc. Notes: - POD Farm 1 tones work with Gearbox when connected to X3 but not PF2 tones - Tones created in POD Farm Plug-In will not load into Gearbox -
anyone knows the tone for motleys livewire?
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Hello, I recently bought a Gibson Les Paul and Line 6 V60 amp from guitar center. I'm having trouble with editing the options in the amp to match the tone of some of the songs that I want to learn and cover. Is there a place where I can learn about what each effect, settings ,etc does. I tried doing Since I've Been Loving You, Archilles Last Stand, Sweet Child of Mine, and Jimmy Hendrix songs but I have a hard time figuring out what I need to do. I know experience plays a big role but I really have no one that I can turn to for help/advice to help me get started. Did I mess up on my gear selection? I've literally spent hours researching online what a particular artist uses for a particular song and then try to find the right settings on my amp using the spider app but I always get stuck. Any suggestions would like tutorials, or at least gear recommendations would help. I can't go out and buy things right away but what are some essential things that I can add in the future that will help with my guitar experience? Thanks!
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Francais Deutsch How do I balance the volume of my presets? A: The best way to balance your presets is to first store your cleanest/quietest preset with the channel volume at 90-95%. You can then balance the volume of your other presets against this preset by using the channel volume control and storing each sound. This is the sole purpose of the Channel/Tone Volume knob. It does not increase/decrease gain, change tone or otherwise alter the preset - just volume. Q: How do I create a sound like an artist? A: There are a number of ways to create patches to emulate a specific guitarist. Perhaps the quickest/easiest way is to find a patch in your Line 6 unit that is similar to the sound you are trying to emulate, make the modifications necessary and then rename/save the patch (see your manual for the specifics on how to save your patches). You can also find ready-made Line 6 tones in the style of particular artists at www.customtone.com, then install these tones on your Line 6 unit. We recommend doing a bit of research on the guitarist you are trying to emulate if you are interested in creating patches from scratch. Web sites such as www.guitargeek.com and www.uberproaudio.com, list the rigs of many well-known guitarists, and Guitar and recording magazines often print accurate diagrams and layouts (sometimes with the actual microphones used and distance from the cabinet).Finding the following information will help you create an artist tone from scratch: Amplifier, speaker and cabinet. Generally speaking, open-back guitar cabinets (such as a 2x12 cabinet found on many Fender and Vox amplifiers) will have less low-end response than a closed-back cabinet (such as a 4x12 closed-back cabinet used with many Marshall® and Mesa/Boogie® amplifiers) Guitar (make/model) and pickup type. Alder or Ash bodies (commonly found on many Fender® guitars) sound different than mahogany bodies with or without maple tops (commonly found on many Gibson® guitars). Single-coil pickups (often used for bright/clean tones) sound different than humbuckers (which sound darker than single-coil pickups but not as noisy when used for higher gain tones) Pedals, effects and signal-chain placement. Effects can drastically change a guitar tone so you should know what effects were used and where they were placed (between the instrument and amplifier, or after the amplifier). Microphone type and placement. If possible, find out the kind of microphone used to record the tone and its angle and distance from the speaker. All of these play a significant role in changing the sound. On top of the following good information called out below, this website is an AMAZING resource for finding out which artist plays what gear: http://www.uberproaudio.com/who-plays-what Use the following list of artist guitar rigs to help emulate some well-known guitar tones: Ace Frehley/KISS: Gibson Les Paul Custom w/ Dimarzio Super Distortion (3 pickup version) > Vox Wah > Mutron Octave divider > Echoplex > Various Marshall heads and cabinets. Adam Dutkiewicz/Killswitch Engage: Caparison PLM-3 guitars w/ EMG 85 in the Bridge > Maxon OD808 Overdrive > H&K Triamp or Mesa Triple Recto/Roadster > Maxon AD9 Delay (FX Loop) > Mesa 412 w/ Vintage 30 speakers. Adam Jones/Tool: Dunlop Wah > Ibanez Delay > Ibanez Flanger SPLIT Mesa Dual Recto, Marshall Bass Head, Diezel VH4 w/ 4 12 cabs (GG.com) Adrian Smith/ Iron Maiden Piece of Mind Tour (1983): Gibson Guitar > Cry Baby Wah > MXR Preamp > Yamaha Flanger > Yamaha Phaser > Yamaha analog delay > Marshall Mk II 100w head > Marshall 412 cabinet with EV speakers. Guitar World December 2006: Fender Strat (HB) or Gibson SG > TS9 > Digitech Whammy Pedal > Dunlop Wah > Marshall 30th Anniversary 100w (6100LM) Head > FX LOOP (PV Tubefex) > Marshall 412 w/ Celestion 75w G12-T75 Al Mckay/Earth Wind & Fire: Tele (SC) and ES-335 (HB) > Boss PS-2 > Rat distortion > CE-2 > JC120 Albert King: 1958 Gibson Flying V > Acoustic 261 head and 261 cabinet. (Guitar Xtra Nov 2007) Albert Lee: Fender Telecaster > Echoplex tape delay > Ernie Ball 410 combo. Alexi Laiho/Children of Bodom: ESP Alexi Laiho Signature guitars w/ EMG Pickups > Lee Jackson Perfect Connection GP-1000 tube preamp > RSP 2400 Hush/Enhancer/Exciter > Rocktron Intellifex > VHT Two/Fifty/Two Stereo tube poweramp > Marshall 1960B 4×12 Cab w/ G12T-75 Speakers Allan Holdsworth: Custom SB (HB) > Boogie Mk I combo for Clean into 1x12, Dual rectos for solos - FX loop: (2) PCM 41s, (2) Yamaha 1500, (2) Roland SDE-3K, (2) Delta Lab Effectrons > Mesa Dual recto 212 cabinet. (Guitar shop 1994, The Recording Guitarist by John Chappell) Alex Lifeson/Rush * 70s rig: Gibson SB (HB) volume pedal, Cry Baby, BOSS CE-1, Mistress flanger, phase shifters, tape delays, Plexi Marshall, Marshall Cabs * Moving Picture era: Gibson or Fender > Morley Volume Pedal > MXR distortion > MXR Micro Amp > Roland 301 Echo Unit > AAD Delay > Electric Mistress > Roland chorus SPLIT (2) Marshall combos and (2) Hiwatt 100 heads > (2) 4x12 cabinets and 1 Leslie cabinet (Moving Pictures tour book) Amir Derakh/Orgy: Jackson SB (HB), Boss FZ-2, Boss PH-2, Boss PS-3, Boss GE-7, Marshall JMC 2000 (FX Loop TC 2290) > Marshall 412 w/ V30s (GG.com) Andy Summers/Police: 1961 Fender Tele > MXR Dynacomp > EH Flanger > MXR delay > Maestro Echolplex > Marshall 100w head > 412 cabinet. (Guitar Edge May/June 2009) Andrew Stockdale/Wolfmother: Gibson guitar > Fulltone Clyde Deluxe Wah > Boss Metal Zone > Fulltone Supa-Trem Tremolo > Boss Tremolo > Digitech Whammy pedal > Electro Harmonix Micro Synth > Electro-Harmonix Small Stone phaser > Orange AD30 and Thunderverb 200 and PCC412 cabinets, Marshall non-master volume superleads, Vox AC30 amplifier head Angus Young/ AC/DC: Gibson SG > Marshall JTM 45 or 1969 SLP reissues, Marshall 412 cabs w/ Vintage 30s or 25w Greenbacks (December 96 Guitar Shop, May 1996 Guitar World) A Levine/Maroon 5: Gibson SB (HB) > Line 6 DL4 > Ibanez TS9 > Boss NS2 SPLIT: Fender tone master and/or Triple Recto > Marshall 312 w/ 75w Celestions (October 2005 G1) Billy Joe Armstrong/Green Day: Black Les Paul, Les Paul Junior, Fernandez Strat (w/ SD JB) > TS-9 > Ibanez Phaser > Boss Tremelo > Marshall 100w Plexi heads (w/ Dookie Mod w/ better preamp and biasing) > Marshall 412 w/ V30. Also has a CAE Preamp > Marshall power amp rig (Jan 2005 G1) Billy Duffy/The Cult: (Dreamline and Love albums): 70s Gretch Falcon > Roland JC 120 (August 2007 Guitar Edge) (Electric album): Les Paul > Cry Baby Wah > MXR Phase 100 > Boss DM2 > Boss DD3 > Marshall JCM 800(August 2007 Guitar Edge) Billy Gibbons/ZZ Top: Les Paul (HB) > 1959 Marshall Plexi through a 2x12 cab Brad Nowell/Sublime: Ibanez S-470 > Boss OS-2 > Boss DD-3 (splitter) Marshall JCM 800 combo 212 and JC-120 (GG.com) Billy Howedel/Perfect Circle: Les Paul (Tom Anderson HB) > Lexicon MPX G2 > 1978 Marshall JPM 100w Superlead (FX Loop send) > TC Fireworx > Digitech GSP 2101 > Eventide Orville > TC Electronics G Force VHT Straight cabs w. 25w Celestion Greenbacks and Vintage 30s (Guitar World July 2004) Brad Whitford/Aerosmith: Crybaby wah, Marshall guvner, Boss CD-2, Boss CE-5, Chandler Echo, Bogner Extacy head, Bogner cabinet (internet) Brett Hinds/Mastadon: Gibson V or Explorer > Monster Effect Mastortion > Tube Screamer > Boss EQ, Delay > CS-3 > Marshall JCM800 Split channel (Guitar Edge May/June 2009) Brett Mason: Strats, Teles, Les Pauls > Bassman or Showman head or AC30 combo Brian May/Queen: Custom SB w/ 3 SC > Brian May treble booster > Dunlop Cry baby > Eventide H3K > Vox AC30 w/ TB (no EQ or Cut). Eventide H3K used for stereo flanger, 800 & 1600 ms DDL w/ no repeats (Guitar shop 1994, GG.com) Brian Setzer/Stray Cats: Signature Gretsch Semi-hollow > TS9 > Roland 301 Echo unit or Echolplex > fender tremolo > 63 Fender Bassman head > 212 cabs w/ Celestion V30. Buckethead: Superstrat > Peavey Reknown > Boss ME50, Alesis Midiverb, Rocktron Intellifex, Rockman XP100 (in FX loop) > Harry Kolbe 412 cabinets (Guitar Shop May 1997) Chuck Berry: Gibson ES335 > Fender Bassman, Fender Twin, or Fender Super Reverb (GG.com) Chuck Schuldiner/Death: 1988 BC Rich Stealth w/ Dimarzio XN2 > Marshall Valvestate w/ BBE unit > Marshall 412 (Guitar School Sep 93) Claudio Sanchez/Coheed and Cambria: Gibson Explorer with EMG-81/85 pick-ups > Dunlop CryBaby Wah > Line 6 Tremolo > Bogner Uberschall and/or Mesa Triple Rectifier >Mesa 412 Recto Cab. Clean amp: Fender 65 Twin Reverb amp. Cristiano Migliore/Lacuna Coil: ESP/LTD SC-607B Stephen Carpenter 7-strings with standard EMG pickups > Dunlop Dime Crybaby from Hell > Line 6 Hd 147 heads > Mesa Boogie Cabinets C Muncey/Jet: Gibson flying V (HB) > TS-9 > SD-1 > Boss Tremelo > 50 Marshall head > Marshall 412 (March 2005 G1) Corey Beaulieu/Trivum: Jackson with EMG HB > Dunlop Wah> MXR OD > MXR Smart Gate > Peavey 6505 > Marshall 412 with Celestion 75w speakers (Guitar World Mar 2010) Dan Donegan/Disturbed: Les Paul Standard (HB) > E Ball Volume > Whammy Pedal > Boss PH-2 > Crybaby Wah > Mesa Triple Recto > Mesa 412 w/ V30s (GG.com) Dave Grohl/Foo Fighters: Gibson SB (HB) > Boss TR-2 > Ernie Ball Volume > Boss DD-2 > MXR Phase 90 > Boss BF-2 > Mesa Road King > TC G Force (in FX loop) > Mesa 412 w/ Celestion Vintage 30s (Jan 2006, Guitar One) David Gilmour/Pink Floyd: Strat w/ EMGs, Tube driver, Rat distortion, Boss CS-2, MXR comp, Boss HM-2, Boss GE7, univibe, T.C. 2290, Lexicon PCM 70, MXR rack DDL, Hiwatt head > Marshall 412 & Doppola (miced w/ u87 and SM57s) (Guitar Shop December 1996). Dave Keuning/Killers: Electro-Harmonix Big Muff Pi > banez TS-9 Tube Screamer > Boss CE-1 chorus pedal > Ibanez Analog Delay (for shorter delay) > XR Phase 100 pedals > Hiwatt Gilmour 100 head > Hiwatt 4x12 cabs Dave Murray/Iron Maiden: Piece of Mind Tour (1983): 1957 Super Strat > Cry Baby Wah > MXR 10 band EQ > Boss FET Preamp > MXR Distortion Plus > MXR Phase 90 > Yamaha Analog Delay > Marshall Mk II 50 head > > Marshall 4x12 w/ Celestion speakers Guitar World February 07: Super Strat > JMP 1 > Marshall JFX > JCM 2K (power amp) > Marshall 4x12 w/ 75w speakers Dave Mustaine/Megadeth: ESP signature Solid bodies w/ SD HBs > Rocktron Prophesy > Marshall 100/100 (EL34s) > Marshall 412 w/ V30s (May 2005 G1) Dave Navarro/Jane’s Addition, Red Hot Chili Peppers: Ibanez or PRS > Cry Baby Wah > Boss Distortion DS-1 > Boss Phaser PH2 > Boss Octave OC2 > Boss Chorus CH1 > Boss Delay DD3 > Marshall JCM900 > Marshall 412. Dean DeLeo/Stone Temple Pilots: Gibson or PRS > Dunlop Cry Baby Wah (Fassel Inducter) > Boss CE1 >> SPLIT 1) Sib! Overdrive > VOX AC30 2) Demeter Preamp > Rocktron Intelliverb > VHT Power amp > Marshall 412 cabinet w/ Celestion Vintage 30s Note – Both rigs are powered at all times (August 2009 Guitar Edge) Derek Trucks: Custom Washburn > 1964 Fender Super Reverb (July 1998 Guitar Shop) “Dimebagâ€� Darrell Abbott/Pantera: Dean guitar (HM) > Digitech WH-1 Whammy Original > Dunlop 535Q Wah Pedal > Boss PS-3 > Boss DS-2 > Boss DD-3 > Furman PQ-3 Parametric EQ > MXR Flanger/Doubler > Randall Century 200 HD > Randall 4x12 cabinet w/ Celestion vintage 30s (March 1999 Guitar Shop, GG.com, The Recording Guitarist by John Chappell) Duane Allman/Allman Brothers: 1959 Les Paul Standard > Marshall 50 watt head Edward Van Halen (70s Rig) Superstrat w/ Gibson PAF humbucker > MXR Phase 90 > MXR Flanger > Echoplex > Unicox EC-80 echo (divebomb of Eruption only) > 1966 Marshall Superlead w/Variac > Marshall 412 > (2) SM 57 mics (one on the cone, one offset) (Guitar World May 1996) (90s Rig) Wolfgang SB (HB) > Boss SD-1 > Boss OC-2 > MXR Phase 90 > Cry baby Wah > 5150 head > (FX loop H3K > (2) Roland SDE-3K > PCM-70 > Peavey 412 w/ 75w speakers (Guitar Shop, Spring 1994) Edge/U2: (early years) Explorer or Strat > Big Muff > Boss GE-7 > Boss CS-2 > Memory Man > SPX 90 > Yamaha Rev 7 > 1964 Vox AC30 (later years) Various guitars > Digitech Whammy > Dunlop Wah pedal > Lovetone Envelope Filter > Lovetone Phaser/Vibrato > Electro-Harmonix Big Muff > Ibanez TS-9 Tuber Screamer > Boss GE-7 EQ > Boss CS-2 Compressor > Boss FA-1 Preamp booster > Eventide Ultra Harmonizer > (2) Lexicon Processors > (4) TC Electronics 2290 delay units, (2) AMS delay units, (2) Korg SDD 3000 delays units > 1964 Vox AC-30 Eric Clapton: Cream era: Gibson ES-335, Firebird, or Les Paul / SG Standard > Vox 847 Wah > Dallas Arbiter Fuzz Face, Marshall Supa Fuzz, UniVox Super Fuzz, or Vox Tone Bender > Marshall JTM-45 Head > Marshall 4x12 Cabinet (Guitargeek.com, Guitar Extra, November 2007) Eric Johnson: Strat w/ Dimarzio HS-2 single coil pickups sent to A/B boxes, to split to three (3) rigs: * Rig 1: Echoplex > Chandler Tube Driver > 1966-68 100w Marshall plexi head > Marshall 412 cabinets * Rig 2: Dallas Arbiter fuzzface > MXR DDL and/or Echoplex > 1966-68 100w Marshall plexi head > Marshall 412 cabinets * Rig 3: Echoplex > TC Electronics Chorus >> (2) Fender Vibrolux Amplifiers (Guitar Shop October 1996, September 1997, The Recording Guitarist by John Chappell) Greg Tribbett/Mudvayne: Gibson Les Paul Studio > BBE 482 Noise Reduction > Morley Wah SPLIT to JC 120 & Line 6 DL4 > VHT Pitbull Ultra Lead > Mesa 412 cabinet (May 2002 G1) H Garza/Los Lonely Boys: Fender Strat (SC) > Vox Wah > Ibanez TS808 SPLIT: Marshall 2K (w/ Fender reverb unit) > Tone Tubby 412, Fender Twin w/ Jensen speakers (Holiday 2005 G1) Head/ Korn: Ibanez 7 string > DOD Metal Distortion > Boss Super Phaser > Boss Stereo Chorus > Mesa Triple recto > Marshall 412 w/ V30s (Guitar World July 97 and GG.Com) In Flames (Bjorn Gelotte/ Jesper Stromblad): Gibson Les Paul Custom with EMG 85 > Peavey 5150 amp > Line 6 Effects > 412 cab J Garvey/Hinder: Gibson Les Paul or Explorer (HB w/ drop C tuning) > Boss CE1 > Ibanez TS9 > TC Nova Delay > Mesa Dual Roadster head > Mesa 412 w/ celestion vintage 30 speakers. Gibson J-185 acoustic to DI (Feb 2009 Guitar World). J Milligan/Anberlin: Les Paul > POD XTLive > Marshall JCM 2000 > Marshall 412 w/ 75 watt speakers . Also uses Fender Tele and Alvarez 12 string (April 2009 GW) J Valentine/Maroon 5: Fender SB > EB Volume > wah > Line 6 DL4 > MXR Phase 90 > Fulltone Deja Vibe > Z Vex SD Fuzz SPLITTER: Tonemaster 100, FTR 37, RSA 23, Two Rock Custom Reverb > 112 (V30) and 212 (V30 and Alnico Bulldog) (October 2005 G1) J.D. Conrise/ The Sword: Gibson Explorer > ElectroHarmonix Metal Muff > MXR Phase 90 > Orange OR80 head > Orange 412 cab (Guitar World Holiday 2009 Jade Puget/A.F.I.: Les Paul Studio > Dunlop Rotovibe > Dunlop Dime CryBaby from Hell > Ibanez Tube Screamer pedals > TC Electronic G Major rack unit > Mesa Dual Recto or Marshall Plexi >Marshall 412 or JC120 Jack White/White Stripes: Digitech Whammy IV > MXR Micro-Amp > Electro-Harmonix Big Muff Pi > Electro-Harmonix Polyphonic Octave Generator > Boss CS3 > 1970's Fender Twin Reverb amp. James Hetfield/Metallica: ESP guitars with EMG Pickups (10-46 string) Boss SE-50, BBE > Rocktron Juice Extractor > Aphex Parametric EQ > Hush Noise Reduction > Mesa Boogie Mk IIC+ head > Marshall 412 w/ Celestion Vintage 30s, JC-120 combo for clean (May 1996 Guitar World) James Honeyman-Scott/Pretenders: Gibson or Fender guitar > Boss compressor > Boss Chorus > Boss Overdrive > Marshall 100 watt head > 412 cabinet Jason Hook/ Five Finger Death Punch: Gibson Explorer with EMG HB > Marshall JMP1 > GCX = TC G-Major, Line 6 Echo Pro, Line 6 Mod Pro > Marshall 9200 power amp > Marshall 412 with V30 speakers (Guitar World April 2010) Jeff Beck (Guitar Shop recording): Strat or Tele > (2) Fender the Twin, Fender Princeton Reverb II. (Guitar World May 1996) Stage rig: Strat or Tele > Rat distortion Pedal > Boss DD-2 > Late 60s Marshall 50w head (Guitar World May 1996) Jerry Cantrell/Alice in Chains *Guitar Shop Spring 1994: G&L Rampage w/ Duncan HB pickup & Kahler tremolo > Dunlop Crybaby wah > Bogner Fish Preamp > Rocktron Intelliverb > Mosvalve 500 power amp > Marshall 412 w/Celestion 30-watt Vintage and 25-watt Celestion Greenback speakers. Taylor G10 acoustic guitar with Fishman preamp > Trace Elliot TA100R amplifier. *November 1992 Guitar (Dirt recording): G&L Rampage w/ Duncan HB pickup & Kahler tremolo or Gibson Les Paul split to Bogner and Marshall panned the opposite direction. Jimi Hendrix: Fender Strat (SC) > Crybaby or Vox Wah > Axis Fuzz > Arbiter Fuzz Face > Univibe (w/ pedal) > Octavia > Marshall Plexi 100w > Marshall 4x12s (Guitar shop 94, The Recording Guitarist by John Chappell) Jim Root (7)/Slipknot: Warlock guitar > Marshall JPM1 > Boss FX unit > Mesa 2:90 > Carvin 400w 412 cabinet (Guitargeek.com 2001) Joan Jett & the Blackhearts: Gibson Melody Maker > Ibanez TS-9 > Mesa Boogie mark III 112 combo sent out to vox 212 cabinet (J Jett Backline Rider - 2005) Joey Ramone/Ramones: Mosrite guitar > Marshall 1959 Superlead (no master volume) > Marshall 412 w/ 25w Celestions (rockometer.com) Joe Satriani: Superstrat > Cry Baby wah > Boss DS-1 > Whammy Pedal > Fulltone Ultimate Octave > Boss CH-1 > Boss DD-2/3 > Chandler DDL (450-550 ms) > Chandler DDL (600-800ms) > Marshall 6100 (Anniversary) head with 6550 power tubes > Marshall 412 w/ V30s. (Guitar Shop Summer 94, Nov 97, GG.com, The Recording Guitarist by John Chappell) Joe Walsh/James Gang, Eagles: Fender Tele or Strat > Heil Talk Box > Vox or Crybaby Wah > Echoplex > Fender Vibrolux, Twins, and Super Reverbs, Leslie cabinets. John 5/Rob Zombie: Fender Tele with HB > Dunlop Wah > Boss CH1 > Boss SD1 > Boss NS2 > Marshall JCM900 > Marshall 412 with 75w Celestion speakers (Guitar World Jan 2010). John Christ/Danzig: BC Rich SB (HB) > VHT Pitbull Classic Head, Rocktron Intellifex > VHT Chromeface power amp > Marshall 412 cabs (Guitar Shop 1994) John Fogerty/Creedence Clearwater Revival, Solo: Gibson Les Paul Custom or ES-175 > Fender Vibrolux silver face with two 12" JBL , Fender Concert, or Kustom amp. John Frusciante/Red Hot Chili Peppers: Rig 1: 50s or 60s Fender > Boss DS-2 > Big Muff Pi > Phase 90 > Ibanez Wah > CE-1 SPLIT to Marshall Major 200w head and Marshall Silver Anniversary head > Marshall 412 cabs. (GG.com) Rig 2: 50s Gretsch Falcon > DS-1 > Fender showman head > Marshall 412 (GG.com) John Jorgenson/Hellcasters: G& L ASAT (tele style) > Ibanez TS5 > TS 808 > Boss DC 2 > Boss DD2 (125 ms) > Boss RV-2 > Matchless SC-30 (Guitar shop 1995, The Recording Guitarist by John Chappell) John Scofield: Ibanez AS200 (semihollow) > Digitech Whammy > Vox AC 30 (March 2009 Guitar Edge) John Petrucci/Dream Theater: Guitar Shop - Summer 94: Custom Ibanez SB (HB) > Mesa Triaxis > DBX 166 > TC 2290 > PCM 70 > Mesa 2:90 > Mesa Recto cabs Guitar Edge – August 2007: Signature series Music Man guitar (9-42) > Boss DS-1 > Boss TR-2 > MXR EVH Flanger > MXR EVH Phaser > Ernie Ball Volume > DBX 266 compressor > Eventide DSP700 > TC 2290 > TC M3000 Multi-effects > Mesa Mark IV (distortion) & Mesa Lone Star (Clean) > Mesa 412 Stiletto Cabinet. Johnny Winter Early rig: Fender Mustang > Fender Twin Later Rig: Gibson Firebird (HB, open D tuning for Slide) > CE-2 (rate = 10 pm, depth = 2 pm, always on) > Musicman 410 w/ Celestion Vintage 10 (all tones @ 0 except treble at 10, no reverb) (April 2005 G1) Jonny Greenwood/Radiohead: Fender Tele Plus > Marshall shred master > Boss RV-3 > Boss SD-1 > Volume to: * RIG 1: Fender Deluxe (SS) * RIG 2: Whammy pedal > Trem (home made) > DOD envelope filter > EH Small Stone > Space echo > Mutron Mutator > Vox AC-30. Jonny Lang: 1975 Fender Thinline > Ibanez 808 Tube Screamer > Hard-on Distortion pedal > Vox Wah > Fender Vibro King (May 1997 Guitar Shop) Joshua Cain/Motion City Sountrack: Les Paul Jr with P-90 > Z-Vex Super Duper > TC Vintage Dual Distortion > Morley echo/reverb > KJ Audio head > Marshall 412 with G-12 speakers (Guitar World June 2010) Kirk Hammett (Metallica): ESP Guitar (active HB) > Ernie Ball Wah pedal > Marshall JMP-1 preamp, Mesa Triaxis preamp, and Mesa Dual Rectifier preamp > Mesa Power amp > Mesa 412 cabinet (The Recording Guitarist by John Chappell) Kurt Cobain/Nirvana: Nevermind session: Fender Mustang, Jaguar or Strat with Dimarzio humbuckers > Boss DS-1 > EH Small Clone chorus > Mesa Studio 22 miked with a Shure 57, U87, 414, or 421. Also used a Vox AC 30 for clean and Rat distortion pedal. Lithium used a EH Big Muff > Fender bassman > U87 microphone. "In Utero" Live rig: Fender "Jag-stang" > Boss DS-2 > Sansamp (as distortion) > EH Poly Flange > EH Small Tone > Mesa Studio or Quad Preamp > Crest 4801 Power amp > Marshall 4x12 cabs (May 1997 Guitar Shop) Kim Thayill/Soundgarden: Guild SG w/ HB > cry baby > DOD FX 10 preamp > CE-2 > Mesa Dual Recto head > to Mesa cabs or Fender Leslie (Guitar Shop 1994) Kenny Wayne Sheppard: Late 50s/ early 60s Strats (SC, 11-58): Dunlop CB wah > TS 808 (modded) > TS9 (modded) > Octavia > L6 DM4 > L6 DL4 > Analog Man chorus > SPLIT: Blackface Twin reissue (EVL speakers), Fuchs 100 OD supreme > Fuchs 410 (v30s), Marshall 1959 SLP reissue > Marshall 412 (V30s) (July 2005 G1) Kerry King/Slayer Guitar Shop 1995: Jackson w/ EMG HB > Bogner Shark Preamp, Eventide H3K, Boss EQ, VHT Power amps (Wet), Marshall JCM 800s (6550s) (Dry) > Marshall 4x12 w/ 75w Celestions August 2005 G1: ESP guitars (EMG pickups) > Dunlop Wah > Boss RGE-10 EQ > Yamaha SPX 900 > Eventide H3K > JCM800 w/ 6550 > Marshall 412 w/ Celestion Vintage 30s Lenny Kravitz: Gibson SB (HB) > rack splitter > Boss OC-3 > Fat boost > MXR Dynacomp > MXR Phase 90 > L6 Echo Pro > L6 Mod pro > L6 Filter Pro > L6 POD pro SPLIT > (2) Fender Deluxe reverbs > 112 Greenback, (2) Marshall 50w Plexi Heads > Marshall 412 w/ 25 greenback, (2) Twin Reverbs > 212 80w G12s. (November 2005 G1) Malcolm Young/AC/DC: Gretsch Semi hollow w/ 12-56 gauge strings > 1966 Marshall 100w Plexi > Marshall 412 w/ 25w Greenbacks. (May 1996 Guitar World) Mark Morton/Lamb of God: Jackson Custom (HB) > Dunlop wah > MXR GT-OD > MXR EVH Phase 90 > DBX compressor > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Matt Bellamy/Muse: Manson custom guitar (HB) > Digitech WH-1 Whammy Reissue > MXR Phase 90 > Diezel VH4 > TC2990 Delay > Soldano 4x12 cabinet (various research) Matt DeVries/Chimaira: ESP (with EMG 81) > Peavey 5150II/6505 (Boss CE-20 in FX Loop) > Mesa 412 cabinet with Celestion Vintage 30 (Guitar World Holiday 2009) Michael Amott/Carcass, Arch Enemy: - Dunlop Zakk Wylde wah-wah pedal > Ibanez TS-808 Tube Screamer > MXR Phase 90 > Ibanez AD-9 Analog Delay > Roland SDE-3000 Rack Delay Unit > Peavey 5150 > Krank "Revolution" cabs (loaded with Celestion Vintage 30's) Michael Schenker: Flying V (w/ HBs) > Dunlop Wah (rack mounted) > Boss DD3 > Boss CE-5 > JCM800 50w (dist) SPLIT JCM 2k (clean) > Marshall 412 w/ 75w Celestions (June 2005 G1) Mike Campbell/Tom Petty: Cry Baby > Camel Toe overdrive > Boss EQ > Line 6 DL4 > Line 6 MM4 > Fender Reverb SPLIT TO Fender Blackface deluxe, Vox AC30, Fender Tweed Deluxe, Fender Princeton > Vox 412 speaker cabinet (Guitar Edge May/June 2009) Mike Izinger/Incubus: Semi Hollow PRS > H&K Rotosphere > (2) Boss PH-2 > DOD Gonlulator (ring modulation) > Boss RV-3 > MXR Phase 90 > DOD FX25 (envelope filter) > Boss CS-3 > DOD FX75 Flanger > Boss GE7 > OC-2 > DOD overdrive > Mesa Dual Trem-o-verbs (1 clean, 1 distorted) > mesa 212 or 412 cabs w/ V30s (Sep 2002 Guitar One, GG.com) M Padget/Bullet for My Valentine: ESP Flying Vs w/ EMG 81/85 > Slash Dumlop Wah > TS9 > TC Electronics G-Force SPLIT Mesa Triple Rectifier (Dirty) > Mesa 300w 412 cab and JC120 (Clean). Mike Schleimbaum/Darkest Hour: Washburn N4 (HB) > Tubescreamer > Digitech Whammy > MXR Phase 90 > Dunlop Wah > Line 6 DL4 > 5150 III (FX loop – Alesis Quadraverb) > 5150 cabs w/ EVH Celestion G12 (Guitar World Anniversary 2010) Munkey/ Korn: Ibanez 7 string > Digitech Whammy pedal > Univibe > EH Flanger > EH Big Muff > EH Small Stone Phase Shifter > Boss Rev/DDL > DOD FX25 Envelope Filter > Mesa Triple Recto > Marshall 4x12 w/ V30 speakers (November 1998 Guitar Shop) Neal Schon/Journey: Les Paul > Crybaby Wah > Boss DS-1 > Ibanez TS9 > Boss CS-3 > Boss NS-2 SPLIT Hiwatt Custom 100 (FX Loop - Roland DDS) > Marshall 412 w/ Greenbacks, Hot Rod Deville 410 (composite of Journey 80s rig and January 98 Guitar Shop). Noodles/Offspring: Ibanez Talman > Mesa Boogie Mark IV > Alesis Quadraverb (in FX Loop) > Mesa 4x12 cabinets (September 1997 Guitar Shop) Nuno Bettencourt/Extreme, solo: Extreme: Washburn signature series > Rat distortion > Marshall JMC 800 (Guitar Xtra Nov 2007) Solo: Washburn signature series > MXR Phase 90 >Boss OC2 > Demeter Tremlator > Marshall, H&K or Fender Head w/ Boss DD3 in FX loop > Marshall 412 cabinet (May 1997 Guitar Shop) N Cester/Jet: Gibson ES 335 (Semi hollow, HB) > Z-Vex Fuzz Factory > Hot Cake distortion > Hiwatt 50w Custom > Marshall 412 (March 2005 G1) Omar Rodrugiez-Lopez/ Mars Volta, At the Drive in: Fender and Gibsons > BOSS HR-2 harmonist > BOSS CE-3 > BOSS Phaser > Boss reverb > Orange AD140HTC guitar amplifier heads > 4x12 Orange Cabinets Otis Rush: custom strat > Mesa Mk III > Mesa 412 cab (Guitar Shop Winter 1994) Oli Herbert/All That Remains: Washburn, Gibson, Ibanez guitars > Peavey 5150 and 6105 heads > Mesa Boogie 412 cabinets (Feb 2009 Guitar Edge) Page Hamilton/Helmet: ESP SB (HB) Vox Wah > MXR Dist+ > Dyna-comp > Tech 21 double drive > Z Vex Fuzz Factory > ProCo Rat > PE COB > octave Pedal > MSC Microamp > MXR Bass octave > Whammy pedal > ADA FLanger > MXR Stereo chorus > DD6 > VHT Pitbull Head > VHT 412 w/ Eminence 50w (September 2005 G1) Pete Townshend/Who (Who's Next Album): 1957 Gretsch 2180 guitar > Edwards volume pedal > late 50s tweed Bandmaster. (Guitar World May 1996) Randy Rhoads/Osbourne, Ozzy: Les Paul > MXR Distortion plus > MXR EQ (heavy midrange emphasis)> MXR Chorus > MXR Flanger > Korg Echo unit > Cry Baby or Vox wah > Marshall 1959 Super Lead Plexi heads > Marshall 4x12 cabinets with Altec speakers. Shure 57s close-miked on cabinet, Neumann U87 20' away. Robby Krieger/Doors: Gibson SG > Maestro Fuzz-tone > Fender Twin Reverb or Acoustic 260 Robert Cray: early 60s strats & Gibson 345, (2) Fender Super Reverbs Ron Thall/Guns & Roses: Vigier and Les Paul guitars w/ Dimarzio humbucking pickups and Ernie Ball Strings> Line 6 Vetta (Feb 2009 Guitar Edge). Scott Ian/Anthrax: Jackson guitar w. EMG Humbuckers > TC Distortion > JCM 800 > Marshall cabs. Slash: Les Paul (HB) > EMB Remote Wah > Marshall 25th Anniversary series head > Marshall 412 w/ Celestion Vintage 30s (Guitar Shop 1995, June 1996) Sonny Landreth: Strat (SC) > MXR Dynacomp >> Split to 1954 Fender Deluxe and Demeter TGA-3 > Demeter silent Speaker chamber with a Celestion Vintage 30 and Shure SM-57 (The Recording Guitarist by John Chappell) Son Seals: Gibson ES-335 > mid 60s Fender Super reverb (Guitar Shop 95) Steve Jones/Sex Pistols: Les Paul > Fender silverface Twin w/ Gause Speakers (May 1996 Guitar World) Steve Miller: Fender Strat > Fender Bassman (w/ SM 57)http://www.guitarplayer.com/story.aspx?id=23214&terms=steve+miller Stevie Ray Vaughan: Fender Strat (Rosewood fretboard) > Vox Wah > Diaz Square fuzz or TS808 > Tychobrahe Octavia > Boss Chorus > Split to: Leslie Speaker cabinet, Fender Vibroverb (2x10), Fender Super Reverb (4x10), Fender Bassman head with 2x12 cabinet, Marshall head (6550 power tubes) > Marshall 4x12 cab with EVM speakers ( The Recording Guitarist by John Chappell) Steve Stevens/Billy Idol: Hamer SB (HB) > crybaby wah > Rat dist > MXR Phase 90 > Boss CS-2 > 1969 Marshall head > Lexicon PCM 41 & 70, Yamaha XPS 90, Eventide 969 in looping system > Marshall 412 w/ 25w speakers. (July 87 Guitar World) Steve Vai * Guitar Shop 1994: Ibanez SB (HB) > Boss SD-1 > Cry baby wah > Whammy Pedal > JCM 8/900 > Roland SDE 3K > Eventide H3K > Marshall 412 w/ Celestion Vintage 30. * Guitar Shop 1995: Ibanez SB (HB) > Boss DS-2 > Cry baby wah > Whammy Pedal > Laney and Bogner Extacy > Roland SDE 3K > Eventide H3K & H4K > Marshall 412 w/ Celestion Vintage 30s * December 2005 G1: Ibanez SB (HB) > Morley Volume > Digitech whammy > Boss DS1 > Ibanez TS9 > MXR Phase 90 & Phase 100 > Carvin Legacy HD (loop w/ Eventide Harmonizer & TC G Force) > Carvin 412 w/ Celestion Vintage 30s. Stone Gossard/ Pearl Jam: * Rig 1: Les Paul > TS-9 > mid 70s Twin reverb (EV 75w speakers) * Rig 2: Les Paul > TS-9 > Matchless HC30 head > Marshall 412 w/ 25w speakers * Rig 3: Les Paul > TS-9 > 1968 Marshall Plexi Super bass > Marshall 412 w/ 25w speakers (Guitar Shop 1994) Tom Delong/Blink 182: Superstrat SPLIT to Marshall JCM 900 (clean) and Mesa Triple Recto (distortion) > Mesa 412 cab (GG.com) Tom Dumont/No Doubt: Hamer Explorer style guitar w/ humbucking or SC pickups (10-45 gauge) > Crybaby wah > MXR Microamp (boost for solos) > Dunlop tremolo > Univibe Split Fender Tone Master > 4x12 Tone Master Cab AND Mesa Dual Recto > 4x12 Tonemaster cab. Acoustic Guitars: Guild D25, Takamine NP65C nylon string. Tony Iommi/Black Sabbath: SG with humbuckers > Tychobrahe ParaPedal Wah > Ranger Master Treble booster > Laney 100Watt Supergroup Head > Laney 412 cabinet (Guitar World May 1996, Guitargeek.com) Tom Morello: RATM/Audioslave: Superstrat w/ EMG humbuckers> crybaby wah > Whammy Pedal > Boss DD3 > DOD EQ > Ibanez digital Flanger > Marshall JCM 2205 50w > Peavey 412 Cab (November 97 Guitar Shop) Tom Petty: Tele or Rickenbacker (SC)> Vox Wah > Red Llama OD > Ibanez TS-9 > Boss CE-2 > Boss RV-3 SPLIT TO: Fender Bassman and Vox AC 30 (GG.com) Tom Scholz/Boston: 1968 Gibson Deluxe Gold top Les Paul with Dimarzio Super Humbucker pickups > EQ > Cry baby wah > Maestro Echoplex > 100-watt Marshall head > Marshall 412 (EMT Gold Plate reverb used on mixing). Trevor Rabin/Yes (90215 Era): Fender strat (HB) > Boss DS-1 > Boss Chorus > Ampeg VT 120 (Guitar Edge November 2009) Warren Hayes/Allman Brothers: Fender Strat w/ Lace pickups, PRS (Humbuckers), Les Paul Standard w/ Pearly Gates Pickups > Soldano SLO 100 (FX loop – Alesis Quadraverb) > 412 cab w/ EV 16 ohm speakers. Amp settings: normal gain: 1 pm, Overdrive gain: 9:30, treble 2 pm, mid 11 pm, bass 2 pm, normal output: max, overdrive master: max, presence: almost maxed. 425 MS ddl, hall reverb 1.8s to 2.4 second @ ~ 50%. (Guitar Shop Spring 94) Wayne Lozinak/Hatebreed: Jackson with EMG HB > Dunlop Wah > Boss SD1 > Boss DD3 > Boss NS2 > Marshall JCM2000 > Marshall 412 with 75w Celestion speakers (Guitar World Feb 2010) Wes Borland/Limp Bizkit: Ibanez 7 string > noise Gate > MXR Bluebox > Mutron III > Morley Volume/wah > MXR Phase 90 > Boss reverb/delay > Fulltone Deja Vibe > DOD Buzz Box > Mesa Dual Recto > Mesa 4x12 cabinet (September 1998 Guitar Shop) Willie Adler/ Lamb of God: ESP Custom w/Seymour Duncan (HB) > DBX compressor > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Yngwie Malmsteen: Strat w/ HM3 pickups > BF-2 Flanger > Marshall JMP 50w MK II heads > (2) KORG DDL (DDL and Chorus) > Roland SDE 3K > Marshall 412 w/ 25w speakers. (GG.com, Guitar Shop Winter 95) Zach Myers/Shinedown: PRS signature with HB > whammy pedal > Dunlop Wah > Univibe > Boss DC-2 > Digitech Hyperphase > TS9 > CS-3 > DL4 > Micro POG split to three heads >>>Fender bassman (Clean) Diamond Spitfire (Dirty) Diezel Herbert (dirty) > Engl 212 cabinet (Guitar World Dec 2010) Zack Blair/Rise Against: Gibson with HB > MXR Phase 90 > Marshall JCM900 AND Mesa Dual Recto > Mesa 412 with Celestion V30s (Guitar Edge Nov 2010) Zakk Wylde/Ozzy Osbourne, Black Label Society: - Les Paul w/ EMG HB > Dunlop Rotovibe > Crybaby > Boss SD-1 > Boss CH-1 > Marshall JCM 800 > Marshall 412 w/ 75w speakers. (Guitar Shop 94, GG.com) Zoltan Bathory/5 Finger Death Punch: BC Rich Assassin (HB) > Diamond Nitrox HD > Digitech GSP1101 (FX loop) > Diamond 412 cab w/ V30s (March 2009 GW) Création et ajustement des sons Comment est-ce que j'ajuste le volume de mes presets? Veuillez enregistrez votre preset le plus propre et calme premièrement pendant que Channel Volume est sur 90 à 95%. Maintenant, vous pouvez égaler les autres presets avec ce preset en utilisant l'option Channel Volume. Enregistrez chaque son. Ceci est la seul fonction du bouton Channel/Tone. Cette réglage n'augmente ni réduite le Gain, change des sons ou presets, elle uniquement règle le volume. Comment est-ce que je peux créer un son comme un artiste? Il existe plusieurs chemins pour créer des Patchs afin de copier guitaristes. Le chemin le probablement plus facile et rapide est de trouver un Patch sur votre appareil Line 6 qui est similaire, ajustez et enregistrez le. (Consultez le mode d'emploi de votre appareil pour voir comment vous pouvez enregistrer et ajuster des Patchs.) Vous pouvez trouver des sons finis Line 6 de certains artistes sur www.customtone.com également. Simplement installez le modèle téléchargé sur votre appareil. Nous recommandons une recherche sur le guitariste dont vous êtes intéressé, si vous voulez créer un nouveau modèle. Les sites web comme www.guitargeek.com et www.uberproaudio.com ont des listes des Rigs des différents guitaristes. En outre, les magazines de guitare et enregistrement souvent impriment des diagrammes et des schémas détaillés, que vous pouvez utiliser également. (Parfois avec des microphones et ces distances jusqu'aux haut-parleurs.) Les informations suivantes peuvent vous aider à créer un complètement nouveau modèle: Amplis, haut-parleurs et baffles. Généralement, ce sont les amplis d'arrière ouvert (par exemple: les baffles 2x12 comme la plupart des amplis Fender® et Vox®.) qui ont une plus petite bande de fréquence basse que les amplis d'arrière fermé. (par exemple: les baffles 4x12 comme la plupart des amplis Marshall® et Mesa/Boogie®.) Type de guitare (fabricant et modèle) et micro de guitare. Corps de frêne ou aulne (souvent avec les guitares Fender®) sonnent différent que les corps acajou avec ou sans haut d'érable (souvent avec les guitares Gibson®). Les micros single coil, comme utilisé avec les sons clairs et lumineux sonnent différent que les micros humbucker, qui sonnent plus sombres que les micros single coil mais pas si bruyant aux sons avec un Gain très fort. Pédales, effets et la position dans la chaîne des signaux. Attention, les effets peuvent changer le son de guitare radicalement donc vous devez savoir lesquels effets vous souhaitez d'utiliser et ou vous les voulez placer. (Entre ampli et instrument ou après l'ampli.) Type et placement du micro. Si possible, vous devriez essayer de trouver quel microphone était utilisé pour l'enregistrement et l'angle dans lequel il a été placé. Tout cela joue un rôle majeur dans le changement du son. En plus de l'information ci-dessus, vous pouvez voir l'équipement de nombreux artistes sur le site web suivant: http://www.uberproaudio.com/who-plays-what Utilisez la liste suivante des Rigs-guitares pour copier des artistes: Ace Frehley/KISS: Gibson Les Paul Custom avec Dimarzio Super Distorsion (3 Pickups Version) > Vox Wah > Mutron Octave divider > Echoplex > Divers têtes d'ampli et baffles Marshall. Adam Dutkiewicz/Killswitch Engage: Guitares Caparison PLM-3 avec EMG 85 dans le pont> Maxon OD808 Overdrive > H&K Triamp ou Mesa Triple Recto/Roadster > Maxon AD9 Delay (FX Loop) > Mesa 412 avec haut-paleur Vintage 30. Adam Jones/Tool: Dunlop Wah > Ibanez Delay > Ibanez Flanger SPLIT Mesa Dual Recto, Marshall Bass Head, Diezel VH4 avec haut-parleurs 4x12 (GG.com). Adrian Smith/ Iron Maiden *Piece of Mind Tour (1983): Guitare Gibson > Cry Baby Wah > préampli MXR> Yamaha Flanger > Yamaha Phaser > Yamaha Delay analogue > tête d'ampli Marshall Mk II 100w> baffle Marshall 412 avec haut-parleurs EV. *Guitar World December 2006: Fender Strat (HB) ou Gibson SG > TS9 > Digitech Whammy pédale > Dunlop Wah > Marshall 30th Anniversary 100w (6100LM) Topteil > FX LOOP (PV Tubefex) > Marshall 412 avec Celestion 75w G12-T75 Al Mckay/Earth Wind & Fire: Tele (SC) et ES-335 (HB) > Boss PS-2 > Rat Distorsion > CE-2 > JC120 Albert King: 1958 Gibson Flying V > tête d'ampli Acoustic 261 et baffle 261. (Guitar Xtra Nov 2007) Albert Lee: Fender Telecaster > Echoplex Tape Delay > Ernie Ball 410 Combo. Alexi Laiho/Children of Bodom: Guitares ESP Alexi Laiho Signature avec micros EMG > préampli de tube Lee Jackson Perfect Connection GP-1000 > RSP 2400 Hush/Enhancer/Exciter > Rocktron Intellifex > ampli de puissance tube VHT Two/Fifty/Two Stereo > baffle Marshall 1960B 4×12 avec haut-parleurs G12T-75. Allan Holdsworth: Custom SB (HB) > Boogie Mk I Combo avec 1x12, Dual Rectos pour les Solos - FX loop: (2) PCM 41s, (2) Yamaha 1500, (2) Roland SDE-3K, (2) Delta Lab Effectrons > baffle Mesa Dual Recto 212. (Guitar shop 1994, The Recording Guitarist by John Chappell) Alex Lifeson/Rush *70s rig: Pédale de volume Gibson SB (HB), Cry Baby, BOSS CE-1, Mistress flanger, phase shifters, tape delays, Plexi Marshall, baffles Marshall. *Moving Picture era: Gibson ou Fender > Pédale de volume Morley > MXR Distorsion > MXR Micro Amp > Roland 301 Echo Unit > AAD Delay > Electric Mistress > Roland chorus SPLIT (2) Marshall Combos et (2) têtes d'ampli Hiwatt 100 > (2) baffles 4x12 et 1 baffle Leslie (Moving Pictures tour book) Amir Derakh/Orgy: Jackson SB (HB), Boss FZ-2, Boss PH-2, Boss PS-3, Boss GE-7, Marshall JMC 2000 (FX Loop TC 2290) > Marshall 412 avecV30s (GG.com) Andy Summers/Police: 1961 Fender Tele > MXR Dynacomp > EH Flanger > MXR delay > Maestro Echolplex > tête d'ampli Marshall 100w> baffle 412. (Guitar Edge May/June 2009) Andrew Stockdale/Wolfmother: Guitare Gibson > Fulltone Clyde Deluxe Wah > Boss Metal Zone > Fulltone Supa-Trem Tremolo > Boss Tremolo > Digitech Whammy Pédale > Electro Harmonix Micro Synth > Electro-Harmonix Small Stone phaser > Orange AD30 et Thunderverb 200 et baffles PCC412, Marshall Superleads sans Master Volume, tête d'ampli Vox AC30. Angus Young/ AC/DC: Gibson SG > Marshall JTM 45 ou 1969 SLP reissues, beffles Marshall 412 avec Vintage 30s ou 25w Greenbacks (December 96 Guitar Shop, May 1996 Guitar World) A Levine/Maroon 5: Gibson SB (HB) > Line 6 DL4 > Ibanez TS9 > Boss NS2 SPLIT: Fender tone master et/ou Triple Recto > Marshall 312 avec 75w Celestions (October 2005 G1) Billy Joe Armstrong/Green Day: Black Les Paul, Les Paul Junior, Fernandez Strat (avec SD JB) > TS-9 > Ibanez Phaser > Boss Tremelo > têtes d'ampli Marshall 100w Plexi (avec Dookie Mod et préampli et biasing augementé) > Marshall 412 avec V30. A aussi un préampli CAE > Marshall Rig d'ampli de puissance (Jan 2005 G1) Billy Duffy/The Cult: (albums Dreamline et Love): 70s Gretch Falcon > Roland JC 120 (August 2007 Guitar Edge) (album Electric): Les Paul > Cry Baby Wah > MXR Phase 100 > Boss DM2 > Boss DD3 > Marshall JCM 800 (August 2007 Guitar Edge) Billy Gibbons/ZZ Top: Les Paul (HB) > 1959 Marshall Plexi à travers d'une baffle 2x12. Brad Nowell/Sublime: Ibanez S-470 > Boss OS-2 > Boss DD-3 (splitter) Marshall JCM 800 combo 212 et JC-120 (GG.com) Billy Howedel/Perfect Circle: Les Paul (Tom Anderson HB) > Lexicon MPX G2 > 1978 Marshall JPM 100w Superlead (FX Loop send) > TC Fireworx > Digitech GSP 2101 > Eventide Orville > TC Electronics G Force baffles VHT Straight avec 25w Celestion Greenbacks et Vintage 30s (Guitar World July 2004) Brad Whitford/Aerosmith: Crybaby wah, Marshall guvner, Boss CD-2, Boss CE-5, Chandler Echo, tête d'ampli Bogner Extacy, baffle Bogner (internet) Brett Hinds/Mastadon: Gibson V ou Explorer > Monster Effect Mastortion > Tube Screamer > Boss EQ, Delay > CS-3 > Marshall JCM800 Split channel (Guitar Edge May/June 2009) Brett Mason: Strats, Teles, Les Pauls > Bassman ou tête d'ampli Showman ou AC30 Combo. Brian May/Queen: Custom SB avec 3 SC > Brian May treble booster > Dunlop Cry baby > Eventide H3K > Vox AC30 avec TB (no EQ or Cut). Eventide H3K pour stereo flanger, 800 & 1600 ms DDL sans repeats (Guitar shop 1994, GG.com) Brian Setzer/Stray Cats: Signature Gretsch Semi-hollow > TS9 > unité Roland 301 Echo ou Echolplex > Fender Tremolo > tête d'ampli 63 Fender Bassman > baffles 212 avec Celestion V30. Buckethead: Superstrat > Peavey Reknown > Boss ME50, Alesis Midiverb, Rocktron Intellifex, Rockman XP100 (in FX loop) > baffles Harry Kolbe 412 (Guitar Shop May 1997) Chuck Berry: Gibson ES335 > Fender Bassman, Fender Twin ou Fender Super Reverb (GG.com) Chuck Schuldiner/Death: 1988 BC Rich Stealth avec Dimarzio XN2 > Marshall Valvestate avec unité BBE> Marshall 412 (Guitar School Sep 93) Claudio Sanchez/Coheed and Cambria: Gibson Explorer avec micros EMG-81/85 > Dunlop CryBaby Wah > Line 6 Tremolo > Bogner Uberschall et/ou Mesa Triple Rectifier >Mesa 412 Recto Cab. Ampli Clean: Ampli Fender 65 Twin Reverb. Cristiano Migliore/Lacuna Coil: ESP/LTD SC-607B Stephen Carpenter 7-strings avec micros standart EMG> Dunlop Dime Crybaby from Hell > tête d'ampli Line 6 Hd 147> baffles Mesa Boogie. C Muncey/Jet: Gibson flying V (HB) > TS-9 > SD-1 > Boss Tremelo > tête d'ampli 50 Marshall> Marshall 412 (March 2005 G1). Corey Beaulieu/Trivum: Jackson avec EMG HB > Dunlop Wah> MXR OD > MXR Smart Gate > Peavey 6505 > Marshall 412 avec haut-parleurs Celestion 75w (Guitar World Mar 2010). Dan Donegan/Disturbed: Les Paul Standard (HB) > E Ball Volume > Whammy Pédale > Boss PH-2 > Crybaby Wah > Mesa Triple Recto > Mesa 412 avec V30s (GG.com). Dave Grohl/Foo Fighters: Gibson SB (HB) > Boss TR-2 > Ernie Ball Volume > Boss DD-2 > MXR Phase 90 > Boss BF-2 > Mesa Road King > TC G Force (in FX loop) > Mesa 412 avec Celestion Vintage 30s (Jan 2006, Guitar One) David Gilmour/Pink Floyd: Strat avec EMGs, Tube driver, Rat Distorsion, Boss CS-2, MXR comp, Boss HM-2, Boss GE7, univibe, T.C. 2290, Lexicon PCM 70, MXR rack DDL, tête d'ampli Hiwatt> Marshall 412 & Doppola (mélange avec u87 et SM57s) (Guitar Shop December 1996). Dave Keuning/Killers: Electro-Harmonix Big Muff Pi > Ibanez TS-9 Tube Screamer > Boss CE-1 pédale chorus > Ibanez Analog Delay (pour delay réduit) > XR Phase 100 Pédale > tête d'ampli Hiwatt Gilmour 100> baffles Hiwatt 4x12 Dave Murray/Iron Maiden: Piece of Mind Tour (1983): 1957 Super Strat > Cry Baby Wah > MXR 10 band EQ > préampli Boss FET> MXR Distorsion Plus > MXR Phase 90 > Yamaha Analog Delay > tête d'ampli Marshall Mk II 50> > Marshall 4x12 avec haut-parleurs Celestion. Guitar World February 07: Super Strat > JMP 1 > Marshall JFX > JCM 2K (ampli de puissance) > Marshall 4x12 avec haut-parleurs 75w. Dave Mustaine/Megadeth: ESP signature Solid bodies avec SD HBs > Rocktron Prophesy > Marshall 100/100 (EL34s) > Marshall 412 avec V30s (May 2005 G1) Dave Navarro/Jane’s Addition, Red Hot Chili Peppers: Ibanez ou PRS > Cry Baby Wah > Boss Distorsion DS-1 > Boss Phaser PH2 > Boss Octave OC2 > Boss Chorus CH1 > Boss Delay DD3 > Marshall JCM900 > Marshall 412. Dean DeLeo/Stone Temple Pilots: Gibson ou PRS > Dunlop Cry Baby Wah (Fassel Inducter) > Boss CE1 >> SPLIT 1) Sib! Overdrive > VOX AC30 2) Demeter Vorverstärker > Rocktron Intelliverb > VHT Endstufe > Marshall 412 Box avec Celestion Vintage 30s Attention, les deux rigs doivent toujours être allumés. (August 2009 Guitar Edge) Derek Trucks: Custom Washburn > 1964 Fender Super Reverb (July 1998 Guitar Shop) “Dimebagâ€� Darrell Abbott/Pantera: Guitare Dean (HM) > Digitech WH-1 Whammy Original > Dunlop 535Q Wah Pédale > Boss PS-3 > Boss DS-2 > Boss DD-3 > Furman PQ-3 Parametric EQ > MXR Flanger/Doubler > Randall Century 200 HD > Randall 4x12 Box avec Celestion vintage 30s (March 1999 Guitar Shop, GG.com, The Recording Guitarist by John Chappell) Duane Allman/Allman Brothers: 1959 Les Paul Standard > tête d'ampli Marshall 50 watt Edward Van Halen: (70s Rig) Superstrat avec Gibson PAF micro humbucker > MXR Phase 90 > MXR Flanger > Echoplex > Unicox EC-80 echo (seulement divebomb of Eruption) > 1966 Marshall Superlead avec Variac > Marshall 412 > (2) microphones SM 57 (un à la bobine et un à l'extérieur) (Guitar World May 1996) (90s Rig) Wolfgang SB (HB) > Boss SD-1 > Boss OC-2 > MXR Phase 90 > Cry baby Wah > tête d'ampli 5150 > (FX loop H3K > (2) Roland SDE-3K > PCM-70 > Peavey 412 avec haut-parleurs 75w (Guitar Shop, Spring 1994) Edge/U2: (les années précédentes) Explorer ou Strat > Big Muff > Boss GE-7 > Boss CS-2 > Memory Man > SPX 90 > Yamaha Rev 7 > 1964 Vox AC30 (plus tard) Divers guitares > Digitech Whammy > Dunlop Wah Pédale > Lovetone Envelope Filter > Lovetone Phaser/Vibrato > Electro-Harmonix Big Muff > Ibanez TS-9 Tuber Screamer > Boss GE-7 EQ > Boss CS-2 Compressor > Boss FA-1 Preamp booster > Eventide Ultra Harmonizer > (2) Lexicon Processors > (4) unités TC Electronics 2290 Delay, (2) unités AMS Delay, (2) unités Korg SDD 3000 Delay > 1964 Vox AC-30 Eric Clapton: Cream era: Gibson ES-335, Firebird, ou Les Paul / SG Standard > Vox 847 Wah > Dallas Arbiter Fuzz Face, Marshall Supa Fuzz, UniVox Super Fuzz, ou Vox Tone Bender > tête d'ampli Marshall JTM-45> baffle Marshall 4x12 (Guitargeek.com, Guitar Extra, November 2007) Eric Johnson: Strat avec micros single coil Dimarzio HS-2 qui envoyent aux baffles A/B, pour partager aux 3 rigs: * Rig 1: Echoplex > Chandler Tube Driver > tête d'ampli 1966-68 100w Marshall plexi> baffles Marshall 412 * Rig 2: Dallas Arbiter fuzzface > MXR DDL et/ou Echoplex > tête d'ampli 1966-68 100w Marshall plexi> baffles Marshall 412 Rig 3: Echoplex > TC Electronics Chorus >> (2) amplis Fender Vibrolux (Guitar Shop October 1996, September 1997, The Recording Guitarist by John Chappell) Greg Tribbett/Mudvayne: Gibson Les Paul Studio > BBE 482 Noise Reduction > Morley Wah partagent à JC 120 et Line 6 DL4 > VHT Pitbull Ultra Lead > Mesa 412 Box (May 2002 G1) H Garza/Los Lonely Boys: Fender Strat (SC) > Vox Wah > Ibanez TS808 SPLIT: Marshall 2K (avec unite Fender reverb) > Tone Tubby 412, Fender Twin avec haut-parleurs Jensen (Holiday 2005 G1) Head/ Korn: Ibanez 7 String > DOD Metal Distorsion > Boss Super Phaser > Boss Stereo Chorus > Mesa Triple recto > Marshall 412 avec V30s (Guitar World July 97 und GG.Com) In Flames (Björn Gelotte/ Jesper Strömblad): Gibson Les Paul Custom avec EMG 85 > ampli Peavey 5150 > effets Line 6> baffle 412 J Garvey/Hinder: Gibson Les Paul ou Explorer (HB avec drop C tuning) > Boss CE1 > Ibanez TS9 > TC Nova Delay > tête d'ampli Mesa Dual Roadster > Mesa 412 avec haut-parleurs Celestion vintage 30. Gibson J-185 acoustic DI (Feb 2009 Guitar World). J Milligan/Anberlin: Les Paul > POD XTLive > Marshall JCM 2000 > Marshall 412 avec haut-parleurs 75 watt. Également utilise Tele et Alvarez 12 string (April 2009 GW) J Valentine/Maroon 5: Fender SB > EB Volume > wah > Line 6 DL4 > MXR Phase 90 > Fulltone Deja Vibe > Z Vex SD Fuzz SPLITTER: Tonemaster 100, FTR 37, RSA 23, Two Rock Custom Reverb > 112 (V30) et 212 (V30 et Alnico Bulldog) (October 2005 G1) J.D. Conrise/ The Sword: Gibson Explorer > ElectroHarmonix Metal Muff > MXR Phase 90 > tête d'ampli Orange OR80> baffle Orange 412 (Guitar World Holiday 2009) Jade Puget/A.F.I.: Les Paul Studio > Dunlop Rotovibe > Dunlop Dime CryBaby from Hell > Ibanez Tube Screamer pédales > unités TC Electronic G Major rack > Mesa Dual Recto ou Marshall Plexi >Marshall 412 ou JC120 Jack White/White Stripes: Digitech Whammy IV > MXR Micro-Amp > Electro-Harmonix Big Muff Pi > Electro-Harmonix Polyphonic Octave Generator > Boss CS3 > ampli 1970's Fender Twin Reverb. James Hetfield/Metallica: guitares ESP avec micros EMG (10-46 string) Boss SE-50, BBE > Rocktron Juice Extractor > Aphex Parametric EQ > Hush Noise Reduction > Mesa Boogie Mk IIC+ tête d'ampl > Marshall 412 avec Celestion Vintage 30s, JC-120 Combo (May 1996 Guitar World) James Honeyman-Scott/Pretenders: guitar Gibson ou Fender > Boss compressor > Boss Chorus > Boss Overdrive > tête d'ampli Marshall 100 watt > 412 Box Jason Hook/ Five Finger Death Punch: Gibson Explorer avec EMG HB > Marshall JMP1 > GCX = TC G-Major, Line 6 Echo Pro, Line 6 Mod Pro > ampli de puissance Marshall 9200> Marshall 412 avec haut-parleurs V30 (Guitar World April 2010) Jeff Beck (Guitar Shop enregistrement): Strat ou Tele > (2) Fender “the Twinâ€�, Fender Princeton Reverb II. (Guitar World May 1996) Rig de stage: Strat ou Tele > Rat distorsion Pédale > Boss DD-2 > tête d'ampli Late 60s Marshall 50w (Guitar World May 1996) Jerry Cantrell/Alice in Chains *Guitar Shop Spring 1994: G&L Rampage avec micro Duncan HB et Kahler Tremolo > Dunlop Crybaby wah > préampli Bogner Fish > Rocktron Intelliverb > ampli de puissance Mosvalve 500> Marshall 412 avec Celestion 30-watt Vintage et haut-parleurs 25-watt Celestion Greenback. Guitare acoustique Taylor G10 avec préampli Fishman > ampli Trace Elliot TA100R. *November 1992 Guitar (Dirt recording): G&L Rampage avec micro Duncan HB et Kahler Tremolo ou Gibson Les Paul partagant à Bogner et Marshall, qui sont tournés dans l'autre direction. Jimi Hendrix: Fender Strat (SC) > Crybaby ou Vox Wah > Axis Fuzz > Arbiter Fuzz Face > Univibe (avec pédale) > Octavia > Marshall Plexi 100w > Marshall 4x12 (Guitar shop 94, The Recording Guitarist by John Chappell) Jim Root (7)/Slipknot: guitare Warlock > Marshall JPM1 > unité Boss FX > Mesa 2:90 > baffle Carvin 400w 412 (Guitargeek.com – 2001) Joan Jett & the Blackhearts: Gibson Melody Maker > Ibanez TS-9 > Mesa Boogie mark III 112 combo qui envoy à une baffle Vox 212 (J Jett Backline Rider - 2005) Joey Ramone/Ramones: guitare Mosrite > Marshall 1959 Superlead (sans Master Volume) > Marshall 412 avec 25w Celestions (rockometer.com) Joe Satriani: Superstrat > Cry Baby wah > Boss DS-1 > Whammy Pédale > Fulltone Ultimate Octave > Boss CH-1 > Boss DD-2/3 > Chandler DDL (450-550 ms) > Chandler DDL (600-800ms) > tête d'ampli Marshall 6100 (Anniversary) avec tube 6550> Marshall 412 avec V30s. (Guitar Shop Summer 94, Nov 97, GG.com, The Recording Guitarist by John Chappell) Joe Walsh/James Gang, Eagles: Fender Tele ou Strat > baffle Heil Talk > Vox ou Crybaby Wah > Echoplex > Fender Vibrolux, Twins, et Super Reverbs, baffles Leslie. John 5/Rob Zombie: Fender Tele avec HB > Dunlop Wah > Boss CH1 > Boss SD1 > Boss NS2 > Marshall JCM900 > Marshall 412 avec haut-parleurs 75w Celestion (Guitar World Jan 2010). John Christ/Danzig: BC Rich SB (HB) > VHT Pitbull Classic Topteil, Rocktron Intellifex > VHT Chromeface Endstufe > baffles Marshall 412 (Guitar Shop 1994) John Fogerty/Creedence Clearwater Revival, Solo: Gibson Les Paul Custom ou ES-175 > Fender Vibrolux silver face avec deux 12" JBL , Fender Concert, ou ampli Kustom. John Frusciante/Red Hot Chili Peppers: *Rig 1: 50s or 60s Fender > Boss DS-2 > Big Muff Pi > Phase 90 > Ibanez Wah > CE-1 SPLIT après tête d'ampli Marshall Major 200w et tête d'ampli Marshall Silver Anniversary > baffles Marshall 412. (GG.com) *Rig 2: 50s Gretsch Falcon > DS-1 > tête d'ampli Fender showman > Marshall 412 (GG.com) John Jorgenson/Hellcasters: G& L ASAT (tele style) > Ibanez TS5 > TS 808 > Boss DC 2 > Boss DD2 (125 ms) > Boss RV-2 > Matchless SC-30 (Guitar shop 1995, The Recording Guitarist by John Chappell) John Scofield: Ibanez AS200 (semi-creuse) > Digitech Whammy > Vox AC 30 (March 2009 Guitar Edge) John Petrucci/Dream Theater: *Guitar Shop - Summer 94: Custom Ibanez SB (HB) > Mesa Triaxis > DBX 166 > TC 2290 > PCM 70 > Mesa 2:90 > baffles Mesa Recto *Guitar Edge – August 2007: guitare Signature Music Man (9-42) > Boss DS-1 > Boss TR-2 > MXR EVH Flanger > MXR EVH Phaser > Ernie Ball Volume > DBX 266 compresseur > Eventide DSP700 > TC 2290 > TC M3000 Multi-effects > Mesa Mark IV (distorsion) & Mesa Lone Star (Clean) > Mesa 412 Stiletto Box. Johnny Winter Rig plus tôt: Fender Mustang > Fender Twin Rig plus tard: Gibson Firebird (HB, open D tuning pour Slide) > CE-2 (rate = 10 pm, depth = 2 pm, toujours allumé) > Musicman 410 avec Celestion Vintage 10 (tous les sons à 0 mais Treble à 10, pas de reverb) (April 2005 G1) Jonny Greenwood/Radiohead: Fender Tele Plus > Marshall shred master > Boss RV-3 > Boss SD-1 > vers: * RIG 1: Fender Deluxe (SS) * RIG 2: Whammy Pédale > Trem > DOD Envelope Filter > EH Small Stone > Space echo > Mutron Mutator > Vox AC-30. Jonny Lang: 1975 Fender Thinline > Ibanez 808 Tube Screamer > pédale Hard-on Distorsion > Vox Wah > Fender Vibro King (May 1997 Guitar Shop) Joshua Cain/Motion City Sountrack: Les Paul Jr avec P-90 > Z-Vex Super Duper > TC Vintage Dual Distorsion > Morley echo/reverb > tête d'ampli KJ Audio> Marshall 412 avec haut-parleurs G-12 (Guitar World June 2010) Kirk Hammett (Metallica): ESP Guitar (active HB) > pédale Ernie Ball Wah > préampli Marshall JMP-1, préampli Mesa Triaxis et préampli Mesa Dual Rectifier > ampli de puissance Mesa > baffles Mesa 412 (The Recording Guitarist by John Chappell) Kurt Cobain/Nirvana: *Nevermind session: Fender Mustang, Jaguar ou Strat avec Dimarzio micros humbucker > Boss DS-1 > EH Small Clone Chor > Mesa Studio 22 mélangé avec Shure 57, U87, 414, ou 421. Utilisez également Vox AC 30 pour Clean et Rat Distorsion Pédale. Lithium utilise un EH Big Muff > Fender bassman > microphone U87. *"In Utero" Live rig: Fender "Jag-stang" > Boss DS-2 > Sansamp (comme distorsion) > EH Poly Flange > EH Small Tone > Mesa Studio ou préampli Quad > ampli de puissance Crest 4801> baffles Marshall 4x12 (May 1997 Guitar Shop) Kim Thayill/Soundgarden: Guild SG avec HB > cry baby > préampli DOD FX 10 > CE-2 > tête d'ampli Mesa Dual Recto> vers baffles Mesa ou Fender Leslie (Guitar Shop 1994) Kenny Wayne Sheppard: Strats de fin des années 50/ début des années 60 (SC, 11-58): Dunlop CB wah > TS 808 (moddé) > TS9 (moddé) > Octavia > L6 DM4 > L6 DL4 > Analog Man Chorus > SPLIT: Blackface Twin reissue (jhaut-parleur EVL), Fuchs 100 OD supreme > Fuchs 410 (v30s), Marshall 1959 SLP reissue > Marshall 412 (V30s) (July 2005 G1) Kerry King/Slayer *Guitar Shop 1995: Jackson avec EMG HB > préampli Bogner Shark, Eventide H3K, Boss EQ, ampli de puissance VHT (Wet), Marshall JCM 800s (6550s) (Dry) > Marshall 4x12 avec 75w Celestions. *August 2005 G1: guitares ESP (micros EMG) > Dunlop Wah > Boss RGE-10 EQ > Yamaha SPX 900 > Eventide H3K > JCM800 avec 6550 > Marshall 412 avec Celestion Vintage 30s. Lenny Kravitz: Gibson SB (HB) > rack splitter > Boss OC-3 > Fat boost > MXR Dynacomp > MXR Phase 90 > L6 Echo Pro > L6 Mod pro > L6 Filter Pro > L6 POD pro SPLIT > (2) Fender Deluxe reverbs > 112 Greenback, (2) têtes d'ampli Marshall 50w Plexi> Marshall 412 avec 25 greenback, (2) Twin Reverbs > 212 80w G12s. (November 2005 G1) Malcolm Young/AC/DC: Gretsch semi-creuse avec cordes 12-56 > 1966 Marshall 100w Plexi > Marshall 412 avec 25w Greenbacks. (May 1996 Guitar World) Mark Morton/Lamb of God: Jackson Custom (HB) > Dunlop wah > MXR GT-OD > MXR EVH Phase 90 > DBX compresseur > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Matt Bellamy/Muse: guitare Manson custom (HB) > Digitech WH-1 Whammy Reissue > MXR Phase 90 > Diezel VH4 > TC2990 Delay > Soldano 4x12 Box Matt DeVries/Chimaira: ESP (avec EMG 81) > Peavey 5150II/6505 (Boss CE-20 in FX Loop) > baffle Mesa 412 avec Celestion Vintage 30 (Guitar World Holiday 2009) Michael Amott/Carcass, Arch Enemy: - Dunlop Zakk Wylde wah-wah Pédale > Ibanez TS-808 Tube Screamer > MXR Phase 90 > Ibanez AD-9 Analog Delay > Roland SDE-3000 Rack Delay Unit > Peavey 5150 > baffles Krank "Revolution" (avec Celestion Vintage 30's) Michael Schenker: Flying V (avec HBs) > Dunlop Wah (dans un rack) > Boss DD3 > Boss CE-5 > JCM800 50w (Dist) SPLIT JCM 2k (Clean) > Marshall 412 avec 75w Celestions (June 2005 G1) Mike Campbell/Tom Petty: Cry Baby > Camel Toe overdrive > Boss EQ > Line 6 DL4 > Line 6 MM4 > Fender Reverb SPLIT TO Fender Blackface deluxe, Vox AC30, Fender Tweed Deluxe, Fender Princeton > baffle Vox 412 (Guitar Edge May/June 2009) Mike Izinger/Incubus: PRS semi-creuse> H&K Rotosphere > (2) Boss PH-2 > DOD Gonlulator (ring modulation) > Boss RV-3 > MXR Phase 90 > DOD FX25 (envelope filter) > Boss CS-3 > DOD FX75 Flanger > Boss GE7 > OC-2 > DOD overdrive > Mesa Dual Trem-o-verbs (1 clean, 1 distorted) > Mesa 212 ou 412 Boxen avec V30s (Sep 2002 Guitar One, GG.com) M Padget/Bullet für My Valentine: ESP Flying Vs avec EMG 81/85 > Slash Dunlop Wah > TS9 > TC Electronics G-Force SPLIT Mesa Triple Rectifier (Dirty) > baffle Mesa 300w 412 et JC120 (Clean). Mike Schleimbaum/Darkest Hour: Washburn N4 (HB) > Tubescreamer > Digitech Whammy > MXR Phase 90 > Dunlop Wah > Line 6 DL4 > 5150 III (FX loop – Alesis Quadraverb) > baffles 5150 avec EVH Celestion G12 (Guitar World Anniversary 2010) Munkey/ Korn: Ibanez 7 String > Digitech Whammy Pédale > Univibe > EH Flanger > EH Big Muff > EH Small Stone Phase Shifter > Boss Rev/DDL > DOD FX25 Envelope Filter > Mesa Triple Recto > Marshall 4x12 avec haut-parleurs V30 (November 1998 Guitar Shop) Neal Schon/Journey: Les Paul > Crybaby Wah > Boss DS-1 > Ibanez TS9 > Boss CS-3 > Boss NS-2 SPLIT Hiwatt Custom 100 (FX Loop - Roland DDS) > Marshall 412 avec Greenbacks, Hot Rod Deville 410 (Partie du Journey 80s Rig et January 98 Guitar Shop). Noodles/Offspring: Ibanez Talman > Mesa Boogie Mark IV > Alesis Quadraverb (in FX Loop) > baffles Mesa 4x12 (September 1997 Guitar Shop) Nuno Bettencourt/Extreme, solo: Extreme: Washburn signature series > Rat distorsion > Marshall JMC 800 (Guitar Xtra Nov 2007) Solo: Washburn signature series > MXR Phase 90 >Boss OC2 > Demeter Tremlator > Marshall, H&K ou tête d'ampli Fender avec Boss DD3 in FX loop > abffle Marshall 412 (May 1997 Guitar Shop) N Cester/Jet: Gibson ES 335 (semi-creuse, HB) > Z-Vex Fuzz Factory > Hot Cake distorsion > Hiwatt 50w Custom > Marshall 412 (March 2005 G1) Omar Rodrugiez-Lopez/ Mars Volta, At the Drive in: Fender et Gibsons > BOSS HR-2 harmonist > BOSS CE-3 > BOSS Phaser > Boss reverb > préampli de guitare Orange AD140HTC> baffles 4x12 Orange Otis Rush: custom strat > Mesa Mk III > baffle Mesa 412 (Guitar Shop Winter 1994) Oli Herbert/All That Remains: guitares Washburn, Gibson, Ibanez> têtes d'ampli Peavey 5150 et 6105> baffles Mesa Boogie 412 (Feb 2009 Guitar Edge) Page Hamilton/Helmet: ESP SB (HB) Vox Wah > MXR Dist+ > Dyna-comp > Tech 21 double drive > Z Vex Fuzz Factory > ProCo Rat > PE COB > octave Pédale > MSC Microamp > MXR Bass octave > Whammy pédale > ADA FLanger > MXR Stereo chorus > DD6 > VHT Pitbull Head > VHT 412 avec Eminence 50w (September 2005 G1) Pete Townshend/Who (album Who’s Next): guitare 1957 Gretsch 2180> Pédale de volume Edwards > late 50s tweed Bandmaster. (Guitar World May 1996) Randy Rhoads/Osbourne, Ozzy: Les Paul > MXR Distorsion plus > MXR EQ (milieu de gamme très fort)> MXR Chorus > MXR Flanger > unité Korg Echo> Cry Baby ou Vox wah > têtes d'ampli Marshall 1959 Super Lead Plexi> baffles Marshall 4x12 avec haut-parleurs Altec. Shure 57s close-miked on cabinet, Neumann U87 20' away. Robby Krieger/Doors: Gibson SG > Maestro Fuzz-tone > Fender Twin Reverb ou Acoustic 260 Robert Cray: Strats des début des années 60 & Gibson 345, (2) Fender Super Reverbs Ron Thall/Guns & Roses: guitares Vigier et Les Paul avec micros Dimarzio humbucker et cordes Ernie Ball > Line 6 Vetta (Feb 2009 Guitar Edge). Scott Ian/Anthrax: guitare Jackson avec micros EMG humbucker > TC Distorsion > JCM 800 > baffles Marshall. Slash: Les Paul (HB) > EMB Remote Wah > tête d'ampli de série Marshall 25th Anniversary> Marshall 412 avec Celestion Vintage 30s (Guitar Shop 1995, June 1996) Sonny Landreth: Strat (SC) > MXR Dynacomp >> partagant à 1954 Fender Deluxe et Demeter TGA-3 > Demeter Silent Speaker Chamber avec Celestion Vintage 30 et Shure SM-57 (The Recording Guitarist by John Chappell) Son Seals: Gibson ES-335 > Fender Super reverb du début des années 60 (Guitar Shop 95) Steve Jones/Sex Pistols: Les Paul > Fender “silverfaceâ€� Twin avec haut-parleurs Gause (May 1996 Guitar World) Steve Miller: Fender Strat > Fender Bassman (avec SM 57) http://www.guitarpla...ms=steve miller Stevie Ray Vaughan: Fender Strat (Rosewood fretboard) > Vox Wah > Diaz Square fuzz or TS808 > Tychobrahe Octavia > Boss Chorus > partagé vers: baffle Leslie, Fender Vibroverb (2x10), Fender Super Reverb (4x10), tête d'ampli Fender Bassman avec baffle 2x12, tête d'ampli Marshall (tube 6550)> baffle Marshall 4x12 avec haut-parleurs EVM ( The Recording Guitarist by John Chappell) Steve Stevens/Billy Idol: Hamer SB (HB) > crybaby wah > Rat dist > MXR Phase 90 > Boss CS-2 > tête d'ampli 1969 Marshall> Lexicon PCM 41 & 70, Yamaha XPS 90, Eventide 969 dans le système looping> Marshall 412 avec haut-parleurs 25w. (July 87 Guitar World) Steve Vai *Guitar Shop 1994: Ibanez SB (HB) > Boss SD-1 > Cry baby wah > Whammy Pédale > JCM 8/900 > Roland SDE 3K > Eventide H3K > Marshall 412 avec Celestion Vintage 30. *Guitar Shop 1995: Ibanez SB (HB) > Boss DS-2 > Cry baby wah > Whammy Pédale > Laney et Bogner Extacy > Roland SDE 3K > Eventide H3K & H4K > Marshall 412 avec Celestion Vintage 30s *December 2005 G1: Ibanez SB (HB) > Morley Volume > Digitech whammy > Boss DS1 > Ibanez TS9 > MXR Phase 90 & Phase 100 > Carvin Legacy HD (Loop avec Eventide Harmonizer® & TC G Force) > Carvin 412 avec Celestion Vintage 30s. Stone Gossard/ Pearl Jam: *Rig 1: Les Paul > TS-9 > mid 70s Twin reverb (haut-parleurs EV 75w) *Rig 2: Les Paul > TS-9 > tête d'ampli Matchless HC30> Marshall 412 avec haut-parleurs 25w *Rig 3: Les Paul > TS-9 > 1968 Marshall Plexi Super Bass > Marshall 412 avec haut-parleurs 25w (Guitar Shop 1994) Tom Delong/Blink 182: Superstrat partagant vers Marshall JCM 900 (clean) et Mesa Triple Recto (distorsion) > Mesa 412 Box (GG.com) Tom Dumont/No Doubt: guitar Hamer Explorer style avec micro humbucker ou micros SC (10-45) > Crybaby wah > MXR Microamp (boost for solos) > Dunlop Tremolo > Univibe Split Fender Tone Master > 4x12 Tone Master Boc et Mesa Dual Recto > 4x12 Tonemaster Box. Guitars acoustiques: Guild D25, Takamine NP65C corde nylon. Tony Iommi/Black Sabbath: SG avec micros humbucker > Tychobrahe ParaPedal Wah > Ranger Master Treble booster > tête d'ampli Laney 100Watt Supergroup> baffle Laney 412 (Guitar World May 1996, Guitargeek.com) Tom Morello: RATM/Audioslave: Superstrat avec micros EMG humbucker> crybaby wah > Whammy Pédale > Boss DD3 > DOD EQ > Ibanez digital Flanger > Marshall JCM 2205 50w > baffle Peavey 412 (November 97 Guitar Shop) Tom Petty: Tele ou Rickenbacker (SC)> Vox Wah > Red Llama OD > Ibanez TS-9 > Boss CE-2 > Boss RV-3 SPLIT TO: Fender Bassman et Vox AC 30 (GG.com) Tom Scholz/Boston: 1968 Gibson Deluxe Gold top Les Paul avec micros Dimarzio Super Humbucker Pickups > EQ > Cry baby wah > Maestro Echoplex > tête d'ampli 100-watt Marshall> Marshall 412 (EMT Gold Plate reverb pour mélanger). Trevor Rabin/Yes (90215 Era): Fender strat (HB) > Boss DS-1 > Boss Chorus > Ampeg VT 120 (Guitar Edge November 2009) Warren Hayes/Allman Brothers: Fender Strat avec micros Lace, PRS (Humbucker), Les Paul Standard avec micros Pearly Gates> Soldano SLO 100 (FX loop – Alesis Quadraverb) > 412 Box avec haut-parleurs EV 16 ohm. Réglages de la préampli: normal gain: 1 pm, Overdrive gain: 9:30, treble 2 pm, mid 11 pm, bass 2 pm, normal output: max, overdrive master: max, presence: fast Maximum. 425 MS ddl, hall reverb 1.8s à 2.4 seconds à ~ 50%. (Guitar Shop Spring 94) Wayne Lozinak/Hatebreed: Jackson avec EMG HB > Dunlop Wah > Boss SD1 > Boss DD3 > Boss NS2 > Marshall JCM2000 > Marshall 412 avec haut-parleurs 75w Celestion (Guitar World Feb 2010) Wes Borland/Limp Bizkit: Ibanez 7 string > noise Gate > MXR Bluebox > Mutron III > Morley Volume/wah > MXR Phase 90 > Boss reverb/delay > Fulltone Deja Vibe > DOD Buzz Box > Mesa Dual Recto > baffle Mesa 4x12 (September 1998 Guitar Shop) Willie Adler/ Lamb of God: ESP Custom avec Seymour Duncan (HB) > DBX compresseur > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Yngwie Malmsteen: Strat avec micros HM3> BF-2 Flanger > têtes d'ampli Marshall JMP 50w MK II > (2) KORG DDL (DDL et Chorus) > Roland SDE 3K > Marshall 412 avec haut-parleurs 25w. (GG.com, Guitar Shop Winter 95) Zach Myers/Shinedown: PRS signature avecHB > whammy pédale > Dunlop Wah > Univibe > Boss DC-2 > Digitech Hyperphase > TS9 > CS-3 > DL4 > Micro POG partagant à trios têtes d'ampli >>>Fender bassman (Clean) Diamond Spitfire (Dirty) Diezel Herbert (dirty) > baffle Engl 212 (Guitar World Dec 2010) Zack Blair/Rise Against: Gibson avec HB > MXR Phase 90 > Marshall JCM900 AND Mesa Dual Recto > Mesa 412 avec Celestion V30s (Guitar Edge Nov 2010) Zakk Wylde/Ozzy Osbourne, Black Label Society: - Les Paul avec EMG HB > Dunlop Rotovibe > Crybaby > Boss SD-1 > Boss CH-1 > Marshall JCM 800 > Marshall 412 avec haut-parleurs 75w. (Guitar Shop 94, GG.com) Zoltan Bathory/5 Finger Death Punch: BC Rich Assassin (HB) > Diamond Nitrox HD > Digitech GSP1101 (FX loop) > Diamond 412 Box avec V30s (March 2009 GW) Die Erstellung und Abstimmung von Klängen Wie kann ich die Lautstärke meiner Presets abstimmen? Vorerst sollten Sie Ihr sauberstes und ruhigstes Preset abspeichern während Channel Volume auf 90-95% ist. Dann können Sie die Lautstärke anderer Presets mit diesem Preset abstimmen indem Sie die Channel Volume Einstellung verwenden und so jeden Sound abspeichern. Dies ist die einzige Aufgabe des Channel/Tone Knopfes. Diese Einstellung erhöht oder verringert Gain nicht, ändert keine Klänge oder verändert Presets er stellt ausschließlich die Lautstärke ein. Wie kann ich einen Sound wie ein Künstler erstellen? Es gibt mehrere Wege Patches zu erstellen, um bestimmte Gitarristen nachzuahmen. Der Wahrscheinlich einfachste und schnellste Weg ist es, einen Patch auf Ihrem Line 6 Gerät zu finden, der ähnlich dem Sound ist, den Sie versuchen nachzuahmen und passen Sie diesen Patch an dann speichern Sie ihn ab (Schauen Sie sich dazu das Benutzerhundbuch Ihres Gerätes an um zu sehen wie Sie ein Patch Abspeichern/Verändern können.). Außerdem können Sie fertige Line 6-Klänge im Stil eines bestimmten Artisten auch auf www.customtone.com finden, installieren Sie dann dieses Modell einfach auf Ihr Gerät. Wir empfehlen ein wenig Nachforschung über den Gitarristen zu betreiben, für den Sie sich interessieren, sollten Sie ein komplett neues Modell erstellen wollen. Webseiten, wie www.Guitargeek.com und www.uberproaudio.com haben Listen der Rigs der verschiedenen Gitarristen. Zusätzlich drucken Gitarren- und Aufnahmemagazine oft genaue Diagramme und Layouts aus, die Sie vielleicht auch benutzen können (manchmal sogar mit den eigentlichen Mikrofonen und Distanzen zu den Boxen, die benutzt wurden.). Folgende Informationen werden Ihnen helfen ein komplett neues Modell zu erstellen: Verstärker, Lautsprecher und Boxen. Im Allgemeinen sind dies Verstärker mit offener Rückseite (z.B. 2x12 Boxen wie bei den meisten Fender® und Vox® Verstärkern.), die einen kleineren Low-End-Frequenzbereich haben als Boxen mit geschlossener Rückseite (z.B. 4x12 Boxen wie bei vielen Marshall® und Mesa/Boogie® Verstärkern.). Gitarren- (Hersteller und Modell) und Pickup Typ. Erle- oder Eschekorpora (oft bei Fender® Gitarren) klingen unders als Mahagonikorpora mit oder ohne Ahorntops (oft bei Gibson® Gitarren). Single-Coil Pickup, wie sehr oft bei klaren und hellen Tönen verwendet, klingen unders als Humbucker, die dunkler als Single-Coil Pickup Klingen jedoch nicht so rauschig bei Klängen mit hohem Gain. Pedale, Effekte und die Platzierungen in der Signalkette. Effekte können den Gitarren-Sound drastisch verändern also sollten Sie genau wissen welche Effekte Sie verwenden wollen und wohin Sie diese plazieren. (zwischen Instrument und Verstärker oder nach dem Verstärker) Mikrofon-Art und Platzierung. Wenn möglich sollten Sie versuchen herauszufinden welches Mikrofon zur Tonaufnahme benutzt und den Winkel in dem es aufgestellt wurde. All das spielt eine große Rolle in der Veränderung des Klangs. Zusätzlich zu den oben genannten Informationen können Sie auf dieser Seite das Equipment vieler Artisten einsehen: http://www.uberproaudio.com/who-plays-what Benutzen Sie die folgende Liste von Gittaren-Rigs, da sie Ihnen helfen kann diese nachzuahmen: Ace Frehley/KISS: Gibson Les Paul Custom mit Dimarzio Super Distortion (3 Pickups Version) > Vox Wah > Mutron Octave divider > Echoplex > Verschiedene Marshall Topteile und Boxen. Adam Dutkiewicz/Killswitch Engage: Caparison PLM-3 Gitarren mit EMG 85 in der Brücke > Maxon OD808 Overdrive > H&K Triamp oder Mesa Triple Recto/Roadster > Maxon AD9 Delay (FX Loop) > Mesa 412 mit Vintage 30 Lautsprecher. Adam Jones/Tool: Dunlop Wah > Ibanez Delay > Ibanez Flanger SPLIT Mesa Dual Recto, Marshall Bass Head, Diezel VH4 mit 4x12 Boxen (GG.com). Adrian Smith/ Iron Maiden *Piece of Mind Tour (1983): Gibson Gitarre > Cry Baby Wah > MXR Vorverstärker > Yamaha Flanger > Yamaha Phaser > Yamaha analoges Delay > Marshall Mk II 100w Topteil > Marshall 412 Box mit EV Lautsprechern. *Guitar World December 2006: Fender Strat (HB) oder Gibson SG > TS9 > Digitech Whammy Pedal > Dunlop Wah > Marshall 30th Anniversary 100w (6100LM) Topteil > FX LOOP (PV Tubefex) > Marshall 412 mit Celestion 75w G12-T75 Al Mckay/Earth Wind & Fire: Tele (SC) und ES-335 (HB) > Boss PS-2 > Rat Distortion > CE-2 > JC120 Albert King: 1958 Gibson Flying V > Acoustic 261 Topteil und 261 Box. (Guitar Xtra Nov 2007) Albert Lee: Fender Telecaster > Echoplex Tape Delay > Ernie Ball 410 Combo. Alexi Laiho/Children of Bodom: ESP Alexi Laiho Signature Gitarren mit EMG Pickups > Lee Jackson Perfect Connection GP-1000 Röhrenvorverstärker > RSP 2400 Hush/Enhancer/Exciter > Rocktron Intellifex > VHT Two/Fifty/Two Stereo Röhrenendstufe > Marshall 1960B 4×12 Box mit G12T-75 Lautsprechern. Allan Holdsworth: Custom SB (HB) > Boogie Mk I Combo in 1x12, Dual Rectos für Solos - FX loop: (2) PCM 41s, (2) Yamaha 1500, (2) Roland SDE-3K, (2) Delta Lab Effectrons > Mesa Dual Recto 212 Box. (Guitar shop 1994, The Recording Guitarist by John Chappell) Alex Lifeson/Rush *70s rig: Gibson SB (HB) Lautstärkepedal, Cry Baby, BOSS CE-1, Mistress flanger, phase shifters, tape delays, Plexi Marshall, Marshall Boxen. *Moving Picture era: Gibson or Fender > Morley Lautstärkepedal > MXR Distortion > MXR Micro Amp > Roland 301 Echo Unit > AAD Delay > Electric Mistress > Roland chorus SPLIT (2) Marshall Combos und (2) Hiwatt 100 Topteile > (2) 4x12 Boxen und 1 Leslie Boxe (Moving Pictures tour book) Amir Derakh/Orgy: Jackson SB (HB), Boss FZ-2, Boss PH-2, Boss PS-3, Boss GE-7, Marshall JMC 2000 (FX Loop TC 2290) > Marshall 412 mit V30s (GG.com) Andy Summers/Police: 1961 Fender Tele > MXR Dynacomp > EH Flanger > MXR delay > Maestro Echolplex > Marshall 100w Topteil > 412 Box. (Guitar Edge May/June 2009) Andrew Stockdale/Wolfmother: Gibson Gitarre > Fulltone Clyde Deluxe Wah > Boss Metal Zone > Fulltone Supa-Trem Tremolo > Boss Tremolo > Digitech Whammy Pedal > Electro Harmonix Micro Synth > Electro-Harmonix Small Stone phaser > Orange AD30 und Thunderverb 200 und PCC412 Boxen, Marshall Superleads ohne Master Volume, Vox AC30 Verstärkertopteil. Angus Young/ AC/DC: Gibson SG > Marshall JTM 45 or 1969 SLP reissues, Marshall 412 Boxen mit Vintage 30s oder 25w Greenbacks (December 96 Guitar Shop, May 1996 Guitar World) A Levine/Maroon 5: Gibson SB (HB) > Line 6 DL4 > Ibanez TS9 > Boss NS2 SPLIT: Fender tone master und/oder Triple Recto > Marshall 312 mit 75w Celestions (October 2005 G1) Billy Joe Armstrong/Green Day: Black Les Paul, Les Paul Junior, Fernandez Strat (mit SD JB) > TS-9 > Ibanez Phaser > Boss Tremelo > Marshall 100w Plexi Topteile (mit Dookie Mod und besserem Vorverstärker und Biasing) > Marshall 412 mit V30. Hat außerdem einen CAE Vorverstärker > Marshall Endstufen-Rig (Jan 2005 G1) Billy Duffy/The Cult: (Dreamline und Love Alben): 70s Gretch Falcon > Roland JC 120 (August 2007 Guitar Edge) (Electric Album): Les Paul > Cry Baby Wah > MXR Phase 100 > Boss DM2 > Boss DD3 > Marshall JCM 800 (August 2007 Guitar Edge) Billy Gibbons/ZZ Top: Les Paul (HB) > 1959 Marshall Plexi durch eine 2x12 Box. Brad Nowell/Sublime: Ibanez S-470 > Boss OS-2 > Boss DD-3 (splitter) Marshall JCM 800 combo 212 und JC-120 (GG.com) Billy Howedel/Perfect Circle: Les Paul (Tom Anderson HB) > Lexicon MPX G2 > 1978 Marshall JPM 100w Superlead (FX Loop send) > TC Fireworx > Digitech GSP 2101 > Eventide Orville > TC Electronics G Force VHT Straight Boxen mit 25w Celestion Greenbacks und Vintage 30s (Guitar World July 2004) Brad Whitford/Aerosmith: Crybaby wah, Marshall guvner, Boss CD-2, Boss CE-5, Chandler Echo, Bogner Extacy Topteil, Bogner Box (internet) Brett Hinds/Mastadon: Gibson V oder Explorer > Monster Effect Mastortion > Tube Screamer > Boss EQ, Delay > CS-3 > Marshall JCM800 Split channel (Guitar Edge May/June 2009) Brett Mason: Strats, Teles, Les Pauls > Bassman oder Showman Topteil oder AC30 Combo. Brian May/Queen: Custom SB mit 3 SC > Brian May treble booster > Dunlop Cry baby > Eventide H3K > Vox AC30 mit TB (no EQ or Cut). Eventide H3K für stereo flanger, 800 & 1600 ms DDL ohne repeats (Guitar shop 1994, GG.com) Brian Setzer/Stray Cats: Signature Gretsch Semi-hollow > TS9 > Roland 301 Echo Einheit oder Echolplex > Fender Tremolo > 63 Fender Bassman Topteil > 212 Boxen mit Celestion V30. Buckethead: Superstrat > Peavey Reknown > Boss ME50, Alesis Midiverb, Rocktron Intellifex, Rockman XP100 (in FX loop) > Harry Kolbe 412 Boxen (Guitar Shop May 1997) Chuck Berry: Gibson ES335 > Fender Bassman, Fender Twin oder Fender Super Reverb (GG.com) Chuck Schuldiner/Death: 1988 BC Rich Stealth mit Dimarzio XN2 > Marshall Valvestate mit BBE Einheit > Marshall 412 (Guitar School Sep 93) Claudio Sanchez/Coheed and Cambria: Gibson Explorer mit EMG-81/85 Pick-ups > Dunlop CryBaby Wah > Line 6 Tremolo > Bogner Uberschall und/oder Mesa Triple Rectifier >Mesa 412 Recto Cab. Clean Verstärker: Fender 65 Twin Reverb Verstärker. Cristiano Migliore/Lacuna Coil: ESP/LTD SC-607B Stephen Carpenter 7-strings mit standart EMG Pickups > Dunlop Dime Crybaby from Hell > Line 6 Hd 147 Topteile > Mesa Boogie Boxen. C Muncey/Jet: Gibson flying V (HB) > TS-9 > SD-1 > Boss Tremelo > 50 Marshall Topteil > Marshall 412 (March 2005 G1). Corey Beaulieu/Trivum: Jackson mit EMG HB > Dunlop Wah> MXR OD > MXR Smart Gate > Peavey 6505 > Marshall 412 mit Celestion 75w Lautsprechern (Guitar World Mar 2010). Dan Donegan/Disturbed: Les Paul Standard (HB) > E Ball Volume > Whammy Pedal > Boss PH-2 > Crybaby Wah > Mesa Triple Recto > Mesa 412 mit V30s (GG.com). Dave Grohl/Foo Fighters: Gibson SB (HB) > Boss TR-2 > Ernie Ball Volume > Boss DD-2 > MXR Phase 90 > Boss BF-2 > Mesa Road King > TC G Force (in FX loop) > Mesa 412 mit Celestion Vintage 30s (Jan 2006, Guitar One) David Gilmour/Pink Floyd: Strat mit EMGs, Tube driver, Rat Distortion, Boss CS-2, MXR comp, Boss HM-2, Boss GE7, univibe, T.C. 2290, Lexicon PCM 70, MXR rack DDL, Hiwatt Topteil > Marshall 412 & Doppola (gemischt mit u87 und SM57s) (Guitar Shop December 1996). Dave Keuning/Killers: Electro-Harmonix Big Muff Pi > Ibanez TS-9 Tube Screamer > Boss CE-1 chorus pedal > Ibanez Analog Delay (für verringerten Delay) > XR Phase 100 Pedale > Hiwatt Gilmour 100 Topteil > Hiwatt 4x12 Boxen Dave Murray/Iron Maiden: *Piece of Mind Tour (1983): 1957 Super Strat > Cry Baby Wah > MXR 10 band EQ > Boss FET Vorverstärker > MXR Distortion Plus > MXR Phase 90 > Yamaha Analog Delay > Marshall Mk II 50 head > > Marshall 4x12 mit Celestion Lautsprecher. *Guitar World February 07: Super Strat > JMP 1 > Marshall JFX > JCM 2K (Endstufe) > Marshall 4x12 mit 75w Lautsprechern. Dave Mustaine/Megadeth: ESP signature Solid bodies mit SD HBs > Rocktron Prophesy > Marshall 100/100 (EL34s) > Marshall 412 mit V30s (May 2005 G1) Dave Navarro/Jane’s Addition, Red Hot Chili Peppers: Ibanez or PRS > Cry Baby Wah > Boss Distortion DS-1 > Boss Phaser PH2 > Boss Octave OC2 > Boss Chorus CH1 > Boss Delay DD3 > Marshall JCM900 > Marshall 412. Dean DeLeo/Stone Temple Pilots: Gibson oder PRS > Dunlop Cry Baby Wah (Fassel Inducter) > Boss CE1 >> SPLIT 1) Sib! Overdrive > VOX AC30 2) Demeter Vorverstärker > Rocktron Intelliverb > VHT Endstufe > Marshall 412 Box mit Celestion Vintage 30s Achtung, beide Rigs sind durchgehend eingeschaltet. (August 2009 Guitar Edge) Derek Trucks: Custom Washburn > 1964 Fender Super Reverb (July 1998 Guitar Shop) “Dimebagâ€� Darrell Abbott/Pantera: Dean Gitarre (HM) > Digitech WH-1 Whammy Original > Dunlop 535Q Wah Pedal > Boss PS-3 > Boss DS-2 > Boss DD-3 > Furman PQ-3 Parametric EQ > MXR Flanger/Doubler > Randall Century 200 HD > Randall 4x12 Box mit Celestion vintage 30s (March 1999 Guitar Shop, GG.com, The Recording Guitarist by John Chappell) Duane Allman/Allman Brothers: 1959 Les Paul Standard > Marshall 50 watt Topteil Edward Van Halen *70s Rig: Superstrat mit Gibson PAF Humbucker > MXR Phase 90 > MXR Flanger > Echoplex > Unicox EC-80 echo (Nur divebomb of Eruption) > 1966 Marshall Superlead mit Variac > Marshall 412 > (2) SM 57 Mikrofonen (eines an der Abdeckkappe, eines außerhalb) (Guitar World May 1996) *90s Rig: Wolfgang SB (HB) > Boss SD-1 > Boss OC-2 > MXR Phase 90 > Cry baby Wah > 5150 Topteil > (FX loop H3K > (2) Roland SDE-3K > PCM-70 > Peavey 412 mit 75w Lautsprechern (Guitar Shop, Spring 1994) Edge/U2: *(In frühen Jahren) Explorer oder Strat > Big Muff > Boss GE-7 > Boss CS-2 > Memory Man > SPX 90 > Yamaha Rev 7 > 1964 Vox AC30 *(später dann) Verscheidene Gitarren > Digitech Whammy > Dunlop Wah Pedal > Lovetone Envelope Filter > Lovetone Phaser/Vibrato > Electro-Harmonix Big Muff > Ibanez TS-9 Tuber Screamer > Boss GE-7 EQ > Boss CS-2 Compressor > Boss FA-1 Preamp booster > Eventide Ultra Harmonizer > (2) Lexicon Processors > (4) TC Electronics 2290 Delay Einheiten, (2) AMS Delay Einheiten, (2) Korg SDD 3000 Delay Einheiten > 1964 Vox AC-30 Eric Clapton: Cream era: Gibson ES-335, Firebird, oder Les Paul / SG Standard > Vox 847 Wah > Dallas Arbiter Fuzz Face, Marshall Supa Fuzz, UniVox Super Fuzz, oder Vox Tone Bender > Marshall JTM-45 Head > Marshall 4x12 Box (Guitargeek.com, Guitar Extra, November 2007) Eric Johnson: Strat mit Dimarzio HS-2 single coil pickups die an A/B Boxen senden, um die 3 Rigs zu teilen: *Rig 1: Echoplex > Chandler Tube Driver > 1966-68 100w Marshall plexi Topteil > Marshall 412 Boxen *Rig 2: Dallas Arbiter fuzzface > MXR DDL und/oder Echoplex > 1966-68 100w Marshall plexi Topteil > Marshall 412 Boxen *Rig 3: Echoplex > TC Electronics Chorus >> (2) Fender Vibrolux Verstärker (Guitar Shop October 1996, September 1997, The Recording Guitarist by John Chappell) Greg Tribbett/Mudvayne: Gibson Les Paul Studio > BBE 482 Noise Reduction > Morley Wah SPLIT nach JC 120 & Line 6 DL4 > VHT Pitbull Ultra Lead > Mesa 412 Box (May 2002 G1) H Garza/Los Lonely Boys: Fender Strat (SC) > Vox Wah > Ibanez TS808 SPLIT: Marshall 2K (mit Fender reverb Einheit) > Tone Tubby 412, Fender Twin mit Jensen Lautsprechern (Holiday 2005 G1) Head/ Korn: Ibanez 7 String > DOD Metal Distortion > Boss Super Phaser > Boss Stereo Chorus > Mesa Triple recto > Marshall 412 mit V30s (Guitar World July 97 und GG.Com) In Flames (Björn Gelotte/ Jesper Strömblad): Gibson Les Paul Custom mit EMG 85 > Peavey 5150 Verstärker > Line 6 Effekten > 412 Box J Garvey/Hinder: Gibson Les Paul oder Explorer (HB mit drop C tuning) > Boss CE1 > Ibanez TS9 > TC Nova Delay > Mesa Dual Roadster Topteil > Mesa 412 mit Celestion vintage 30 Lautsprechern. Gibson J-185 Acoustic nach DI (Feb 2009 Guitar World). J Milligan/Anberlin: Les Paul > POD XTLive > Marshall JCM 2000 > Marshall 412 mit 75 watt Lautsprechern. Benutzt außerdem Fender Tele und Alvarez 12 string (April 2009 GW) J Valentine/Maroon 5: Fender SB > EB Volume > wah > Line 6 DL4 > MXR Phase 90 > Fulltone Deja Vibe > Z Vex SD Fuzz SPLITTER: Tonemaster 100, FTR 37, RSA 23, Two Rock Custom Reverb > 112 (V30) und 212 (V30 und Alnico Bulldog) (October 2005 G1) J.D. Conrise/ The Sword: Gibson Explorer > ElectroHarmonix Metal Muff > MXR Phase 90 > Orange OR80 Topteil > Orange 412 Box (Guitar World Holiday 2009 Jade Puget/A.F.I.: Les Paul Studio > Dunlop Rotovibe > Dunlop Dime CryBaby from Hell > Ibanez Tube Screamer pedals > TC Electronic G Major rack Einheit > Mesa Dual Recto or Marshall Plexi >Marshall 412 oder JC120 Jack White/White Stripes: Digitech Whammy IV > MXR Micro-Amp > Electro-Harmonix Big Muff Pi > Electro-Harmonix Polyphonic Octave Generator > Boss CS3 > 1970's Fender Twin Reverb Verstärker. James Hetfield/Metallica: ESP Gitarren mit EMG Pickups (10-46 string) Boss SE-50, BBE > Rocktron Juice Extractor > Aphex Parametric EQ > Hush Noise Reduction > Mesa Boogie Mk IIC+ Topteil > Marshall 412 mit Celestion Vintage 30s, JC-120 Combo (May 1996 Guitar World) James Honeyman-Scott/Pretenders: Gibson oder Fender Gitarre > Boss compressor > Boss Chorus > Boss Overdrive > Marshall 100 watt Topteil > 412 Box Jason Hook/ Five Finger Death Punch: Gibson Explorer mit EMG HB > Marshall JMP1 > GCX = TC G-Major, Line 6 Echo Pro, Line 6 Mod Pro > Marshall 9200 Endstufe > Marshall 412 mit V30 Lautsprechern (Guitar World April 2010) Jeff Beck (Guitar Shop Aufnahme): Strat oder Tele > (2) Fender “the Twinâ€�, Fender Princeton Reverb II. (Guitar World May 1996) Bühnen-Rig: Strat oder Tele > Rat distortion Pedal > Boss DD-2 > Late 60s Marshall 50w Topteil (Guitar World May 1996) Jerry Cantrell/Alice in Chains *Guitar Shop Spring 1994: G&L Rampage mit Duncan HB pickup & Kahler Tremolo > Dunlop Crybaby wah > Bogner Fish Vorverstärker > Rocktron Intelliverb > Mosvalve 500 Endstufe > Marshall 412 mit Celestion 30-watt Vintage und 25-watt Celestion Greenback Lautsprecher. Taylor G10 akustische Gitarre mit Fishman Vorverstärker > Trace Elliot TA100R Verstärker. *November 1992 Guitar (Dirt recording): G&L Rampage mit Duncan HB Pickup & Kahler Tremolo oder Gibson Les Paul aufgeteilt nach Bogner und Marshall, die in die andere Richtung gedreht sind. Jimi Hendrix: Fender Strat (SC) > Crybaby oder Vox Wah > Axis Fuzz > Arbiter Fuzz Face > Univibe (mit Pedal) > Octavia > Marshall Plexi 100w > Marshall 4x12 (Guitar shop 94, The Recording Guitarist by John Chappell) Jim Root (7)/Slipknot: Warlock Gitarre > Marshall JPM1 > Boss FX Einheit > Mesa 2:90 > Carvin 400w 412 Box (Guitargeek.com – 2001) Joan Jett & the Blackhearts: Gibson Melody Maker > Ibanez TS-9 > Mesa Boogie mark III 112 combo sendet an Vox 212 Box (J Jett Backline Rider - 2005) Joey Ramone/Ramones: Mosrite Gitarre > Marshall 1959 Superlead (ohne Master Volume) > Marshall 412 mit 25w Celestions (rockometer.com) Joe Satriani: Superstrat > Cry Baby wah > Boss DS-1 > Whammy Pedal > Fulltone Ultimate Octave > Boss CH-1 > Boss DD-2/3 > Chandler DDL (450-550 ms) > Chandler DDL (600-800ms) > Marshall 6100 (Anniversary) Topteil mit 6550 Elektronenröhre > Marshall 412 mit V30s. (Guitar Shop Summer 94, Nov 97, GG.com, The Recording Guitarist by John Chappell) Joe Walsh/James Gang, Eagles: Fender Tele oder Strat > Heil Talk Box > Vox oder Crybaby Wah > Echoplex > Fender Vibrolux, Twins, und Super Reverbs, Leslie Boxen. John 5/Rob Zombie: Fender Tele mit HB > Dunlop Wah > Boss CH1 > Boss SD1 > Boss NS2 > Marshall JCM900 > Marshall 412 mit 75w Celestion Lautsprechern (Guitar World Jan 2010). John Christ/Danzig: BC Rich SB (HB) > VHT Pitbull Classic Topteil, Rocktron Intellifex > VHT Chromeface Endstufe > Marshall 412 Boxen (Guitar Shop 1994) John Fogerty/Creedence Clearwater Revival, Solo: Gibson Les Paul Custom oder ES-175 > Fender Vibrolux silver face mit zwei 12" JBL , Fender Concert, oder Kustom Verstärker. John Frusciante/Red Hot Chili Peppers: *Rig 1: 50s or 60s Fender > Boss DS-2 > Big Muff Pi > Phase 90 > Ibanez Wah > CE-1 SPLIT nach Marshall Major 200w Topteil und Marshall Silver Anniversary Topteil > Marshall 412 Boxen. (GG.com) *Rig 2: 50s Gretsch Falcon > DS-1 > Fender showman Topteil > Marshall 412 (GG.com) John Jorgenson/Hellcasters: G& L ASAT (tele style) > Ibanez TS5 > TS 808 > Boss DC 2 > Boss DD2 (125 ms) > Boss RV-2 > Matchless SC-30 (Guitar shop 1995, The Recording Guitarist by John Chappell) John Scofield: Ibanez AS200 (halbhohl) > Digitech Whammy > Vox AC 30 (March 2009 Guitar Edge) John Petrucci/Dream Theater: *Guitar Shop - Summer 94: Custom Ibanez SB (HB) > Mesa Triaxis > DBX 166 > TC 2290 > PCM 70 > Mesa 2:90 > Mesa Recto Boxen *Guitar Edge – August 2007: Signature Music Man Gitarre (9-42) > Boss DS-1 > Boss TR-2 > MXR EVH Flanger > MXR EVH Phaser > Ernie Ball Volume > DBX 266 Kompressor > Eventide DSP700 > TC 2290 > TC M3000 Multi-effects > Mesa Mark IV (distortion) & Mesa Lone Star (Clean) > Mesa 412 Stiletto Box. Johnny Winter Früheres Rig: Fender Mustang > Fender Twin Späteres Rig: Gibson Firebird (HB, open D tuning für Slide) > CE-2 (rate = 10 pm, depth = 2 pm, immer an) > Musicman 410 mit Celestion Vintage 10 (Alle Klänge auf 0 außer Treble auf 10, kein reverb) (April 2005 G1) Jonny Greenwood/Radiohead: Fender Tele Plus > Marshall shred master > Boss RV-3 > Boss SD-1 > Lautstärke nach: * RIG 1: Fender Deluxe (SS) * RIG 2: Whammy Pedal > Trem (selbstgemacht) > DOD Envelope Filter > EH Small Stone > Space echo > Mutron Mutator > Vox AC-30. Jonny Lang: 1975 Fender Thinline > Ibanez 808 Tube Screamer > Hard-on Distortion Pedal > Vox Wah > Fender Vibro King (May 1997 Guitar Shop) Joshua Cain/Motion City Sountrack: Les Paul Jr mit P-90 > Z-Vex Super Duper > TC Vintage Dual Distortion > Morley echo/reverb > KJ Audio Topteil > Marshall 412 mit G-12 Lautsprechern (Guitar World June 2010) Kirk Hammett (Metallica): ESP Guitar (active HB) > Ernie Ball Wah Pedal > Marshall JMP-1 Vorverstäker, Mesa Triaxis Vorverstärker und Mesa Dual Rectifier Vorverstärker > Mesa Endstufe > Mesa 412 Boxen (The Recording Guitarist by John Chappell) Kurt Cobain/Nirvana: *Nevermind session: Fender Mustang, Jaguar oder Strat mit Dimarzio Humbuckern > Boss DS-1 > EH Small Clone Chor > Mesa Studio 22 gemischt mit Shure 57, U87, 414, oder 421. Benutzte außerdem Vox AC 30 für Clean und Rat Distortion Pedal. Lithium benutzte ein EH Big Muff > Fender bassman > U87 Mikrofon. *"In Utero" Live rig: Fender "Jag-stang" > Boss DS-2 > Sansamp (als distortion) > EH Poly Flange > EH Small Tone > Mesa Studio oder Quad Vorverstärker > Crest 4801 Endstufe > Marshall 4x12 Boxen (May 1997 Guitar Shop) Kim Thayill/Soundgarden: Guild SG mit HB > cry baby > DOD FX 10 Vorverstärker > CE-2 > Mesa Dual Recto Topteil > nach Mesa Boxen oder Fender Leslie (Guitar Shop 1994) Kenny Wayne Sheppard: Late 50s/ early 60s Strats (SC, 11-58): Dunlop CB wah > TS 808 (gemoddet) > TS9 (gemoddet) > Octavia > L6 DM4 > L6 DL4 > Analog Man Chor > SPLIT: Blackface Twin reissue (EVL Lautsprecher), Fuchs 100 OD supreme > Fuchs 410 (v30s), Marshall 1959 SLP reissue > Marshall 412 (V30s) (July 2005 G1) Kerry King/Slayer *Guitar Shop 1995: Jackson mit EMG HB > Bogner Shark Vorverstärker, Eventide H3K, Boss EQ, VHT Endstufen (Wet), Marshall JCM 800s (6550s) (Dry) > Marshall 4x12 mit 75w Celestions. *August 2005 G1: ESP Gitarren (EMG Pickups) > Dunlop Wah > Boss RGE-10 EQ > Yamaha SPX 900 > Eventide H3K > JCM800 mit 6550 > Marshall 412 mit Celestion Vintage 30s. Lenny Kravitz: Gibson SB (HB) > rack splitter > Boss OC-3 > Fat boost > MXR Dynacomp > MXR Phase 90 > L6 Echo Pro > L6 Mod pro > L6 Filter Pro > L6 POD pro SPLIT > (2) Fender Deluxe reverbs > 112 Greenback, (2) Marshall 50w Plexi Topteile > Marshall 412 mit 25 greenback, (2) Twin Reverbs > 212 80w G12s. (November 2005 G1) Malcolm Young/AC/DC: Gretsch halbhohl mit 12-56 Saiten > 1966 Marshall 100w Plexi > Marshall 412 mit 25w Greenbacks. (May 1996 Guitar World) Mark Morton/Lamb of God: Jackson Custom (HB) > Dunlop wah > MXR GT-OD > MXR EVH Phase 90 > DBX Kompressor > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Matt Bellamy/Muse: Manson custom Gitarre (HB) > Digitech WH-1 Whammy Reissue > MXR Phase 90 > Diezel VH4 > TC2990 Delay > Soldano 4x12 Box Matt DeVries/Chimaira: ESP (with EMG 81) > Peavey 5150II/6505 (Boss CE-20 in FX Loop) > Mesa 412 Box mit Celestion Vintage 30 (Guitar World Holiday 2009) Michael Amott/Carcass, Arch Enemy: - Dunlop Zakk Wylde wah-wah Pedal > Ibanez TS-808 Tube Screamer > MXR Phase 90 > Ibanez AD-9 Analog Delay > Roland SDE-3000 Rack Delay Unit > Peavey 5150 > Krank "Revolution" Boxen (mit Celestion Vintage 30's) Michael Schenker: Flying V (mit HBs) > Dunlop Wah (im Rack) > Boss DD3 > Boss CE-5 > JCM800 50w (Dist) SPLIT JCM 2k (Clean) > Marshall 412 mit 75w Celestions (June 2005 G1) Mike Campbell/Tom Petty: Cry Baby > Camel Toe overdrive > Boss EQ > Line 6 DL4 > Line 6 MM4 > Fender Reverb SPLIT TO Fender Blackface deluxe, Vox AC30, Fender Tweed Deluxe, Fender Princeton > Vox 412 Lautsprecherbox (Guitar Edge May/June 2009) Mike Izinger/Incubus: PRS halbhohl > H&K Rotosphere > (2) Boss PH-2 > DOD Gonlulator (ring modulation) > Boss RV-3 > MXR Phase 90 > DOD FX25 (envelope filter) > Boss CS-3 > DOD FX75 Flanger > Boss GE7 > OC-2 > DOD overdrive > Mesa Dual Trem-o-verbs (1 clean, 1 distorted) > mesa 212 or 412 Boxen mit V30s (Sep 2002 Guitar One, GG.com) M Padget/Bullet für My Valentine: ESP Flying Vs mit EMG 81/85 > Slash Dunlop Wah > TS9 > TC Electronics G-Force SPLIT Mesa Triple Rectifier (Dirty) > Mesa 300w 412 Box und JC120 (Clean). Mike Schleimbaum/Darkest Hour: Washburn N4 (HB) > Tubescreamer > Digitech Whammy > MXR Phase 90 > Dunlop Wah > Line 6 DL4 > 5150 III (FX loop – Alesis Quadraverb) > 5150 Boxen mit EVH Celestion G12 (Guitar World Anniversary 2010) Munkey/ Korn: Ibanez 7 String > Digitech Whammy Pedal > Univibe > EH Flanger > EH Big Muff > EH Small Stone Phase Shifter > Boss Rev/DDL > DOD FX25 Envelope Filter > Mesa Triple Recto > Marshall 4x12 mit V30 Lautsprechern (November 1998 Guitar Shop) Neal Schon/Journey: Les Paul > Crybaby Wah > Boss DS-1 > Ibanez TS9 > Boss CS-3 > Boss NS-2 SPLIT Hiwatt Custom 100 (FX Loop - Roland DDS) > Marshall 412 mit Greenbacks, Hot Rod Deville 410 (Teil des Journey 80s Rig und January 98 Guitar Shop). Noodles/Offspring: Ibanez Talman > Mesa Boogie Mark IV > Alesis Quadraverb (in FX Loop) > Mesa 4x12 Boxen (September 1997 Guitar Shop) Nuno Bettencourt/Extreme, solo: Extreme: Washburn signature series > Rat distortion > Marshall JMC 800 (Guitar Xtra Nov 2007) Solo: Washburn signature series > MXR Phase 90 >Boss OC2 > Demeter Tremlator > Marshall, H&K oder Fender Topteil mit Boss DD3 in FX loop > Marshall 412 Box (May 1997 Guitar Shop) N Cester/Jet: Gibson ES 335 (Semi hollow, HB) > Z-Vex Fuzz Factory > Hot Cake distortion > Hiwatt 50w Custom > Marshall 412 (March 2005 G1) Omar Rodrugiez-Lopez/ Mars Volta, At the Drive in: Fender and Gibsons > BOSS HR-2 harmonist > BOSS CE-3 > BOSS Phaser > Boss reverb > Orange AD140HTC Gitarrenvorverstärker> 4x12 Orange Boxen Otis Rush: custom strat > Mesa Mk III > Mesa 412 Box (Guitar Shop Winter 1994) Oli Herbert/All That Remains: Washburn, Gibson, Ibanez Gitarren > Peavey 5150 und 6105 Topteile > Mesa Boogie 412 Boxen (Feb 2009 Guitar Edge) Page Hamilton/Helmet: ESP SB (HB) Vox Wah > MXR Dist+ > Dyna-comp > Tech 21 double drive > Z Vex Fuzz Factory > ProCo Rat > PE COB > octave Pedal > MSC Microamp > MXR Bass octave > Whammy pedal > ADA FLanger > MXR Stereo chorus > DD6 > VHT Pitbull Head > VHT 412 mit Eminence 50w (September 2005 G1) Pete Townshend/Who (Who’s Next Album): 1957 Gretsch 2180 Gitarre > Edwards Lautstärkepedal > late 50s tweed Bandmaster. (Guitar World May 1996) Randy Rhoads/Osbourne, Ozzy: Les Paul > MXR Distortion plus > MXR EQ (heavy midrange emphasis)> MXR Chorus > MXR Flanger > Korg Echo Einheit > Cry Baby oder Vox wah > Marshall 1959 Super Lead Plexi Topteile > Marshall 4x12 Boxen mit Altec Lautsprechern. Shure 57s close-miked on cabinet, Neumann U87 20' away. Robby Krieger/Doors: Gibson SG > Maestro Fuzz-tone > Fender Twin Reverb oder Acoustic 260 Robert Cray: early 60s strats & Gibson 345, (2) Fender Super Reverbs Ron Thall/Guns & Roses: Vigier und Les Paul Gitarren mit Dimarzio Humbucker Pickups und Ernie Ball Strings> Line 6 Vetta (Feb 2009 Guitar Edge). Scott Ian/Anthrax: Jackson Gitarre mit EMG Humbuckern > TC Distortion > JCM 800 > Marshall Boxen. Slash: Les Paul (HB) > EMB Remote Wah > Marshall 25th Anniversary series Topteil > Marshall 412 mit Celestion Vintage 30s (Guitar Shop 1995, June 1996) Sonny Landreth: Strat (SC) > MXR Dynacomp >> geteilt nach 1954 Fender Deluxe und Demeter TGA-3 > Demeter Silent Speaker Chamber mit einem Celestion Vintage 30 und Shure SM-57 (The Recording Guitarist by John Chappell) Son Seals: Gibson ES-335 > mid 60s Fender Super reverb (Guitar Shop 95) Steve Jones/Sex Pistols: Les Paul > Fender “silverfaceâ€� Twin mit Gause Lautsprechern (May 1996 Guitar World) Steve Miller: Fender Strat > Fender Bassman (mit SM 57) http://www.guitarpla...ms=steve miller Stevie Ray Vaughan: Fender Strat (Rosewood fretboard) > Vox Wah > Diaz Square fuzz or TS808 > Tychobrahe Octavia > Boss Chorus > Geteilt nach: Leslie Lautsprecherbox, Fender Vibroverb (2x10), Fender Super Reverb (4x10), Fender Bassman Topteil mit 2x12 Box, Marshall Topteil (6550 Elektronenröhre) > Marshall 4x12 Box mit EVM Lautsprechern ( The Recording Guitarist by John Chappell) Steve Stevens/Billy Idol: Hamer SB (HB) > crybaby wah > Rat dist > MXR Phase 90 > Boss CS-2 > 1969 Marshall Topteil > Lexicon PCM 41 & 70, Yamaha XPS 90, Eventide 969 im looping System > Marshall 412 mit 25w Lautsprechern. (July 87 Guitar World) Steve Vai *Guitar Shop 1994: Ibanez SB (HB) > Boss SD-1 > Cry baby wah > Whammy Pedal > JCM 8/900 > Roland SDE 3K > Eventide H3K > Marshall 412 mit Celestion Vintage 30. *Guitar Shop 1995: Ibanez SB (HB) > Boss DS-2 > Cry baby wah > Whammy Pedal > Laney und Bogner Extacy > Roland SDE 3K > Eventide H3K & H4K > Marshall 412 mit Celestion Vintage 30s *December 2005 G1: Ibanez SB (HB) > Morley Volume > Digitech whammy > Boss DS1 > Ibanez TS9 > MXR Phase 90 & Phase 100 > Carvin Legacy HD (Loop mit Eventide Harmonizer® & TC G Force) > Carvin 412 mit Celestion Vintage 30s. Stone Gossard/ Pearl Jam: * Rig 1: Les Paul > TS-9 > mid 70s Twin reverb (EV 75w Lautsprechern) * Rig 2: Les Paul > TS-9 > Matchless HC30 Topteil > Marshall 412 mit 25w Lautsprechern * Rig 3: Les Paul > TS-9 > 1968 Marshall Plexi Super Bass > Marshall 412 mit 25w Lautsprechern (Guitar Shop 1994) Tom Delong/Blink 182: Superstrat SPLIT nach Marshall JCM 900 (clean) und Mesa Triple Recto (distortion) > Mesa 412 Box (GG.com) Tom Dumont/No Doubt: Hamer Explorer style Gitarre mit Humbuckern oder SC Pickups (10-45 gauge) > Crybaby wah > MXR Microamp (boost for solos) > Dunlop Tremolo > Univibe Split Fender Tone Master > 4x12 Tone Master Boc und Mesa Dual Recto > 4x12 Tonemaster Box. Acoustic Guitars: Guild D25, Takamine NP65C Nylon Saite. Tony Iommi/Black Sabbath: SG mit Humbuckern > Tychobrahe ParaPedal Wah > Ranger Master Treble booster > Laney 100Watt Supergroup Topteil > Laney 412 Box (Guitar World May 1996, Guitargeek.com) Tom Morello: RATM/Audioslave: Superstrat mit EMG Humbuckern> crybaby wah > Whammy Pedal > Boss DD3 > DOD EQ > Ibanez digital Flanger > Marshall JCM 2205 50w > Peavey 412 Box (November 97 Guitar Shop) Tom Petty: Tele oder Rickenbacker (SC)> Vox Wah > Red Llama OD > Ibanez TS-9 > Boss CE-2 > Boss RV-3 SPLIT TO: Fender Bassman und Vox AC 30 (GG.com) Tom Scholz/Boston: 1968 Gibson Deluxe Gold top Les Paul mit Dimarzio Super Humbucker Pickups > EQ > Cry baby wah > Maestro Echoplex > 100-watt Marshall Topteil > Marshall 412 (EMT Gold Plate reverb zum mixen). Trevor Rabin/Yes (90215 Era): Fender strat (HB) > Boss DS-1 > Boss Chorus > Ampeg VT 120 (Guitar Edge November 2009) Warren Hayes/Allman Brothers: Fender Strat mit Lace pickups, PRS (Humbuckern), Les Paul Standard mit Pearly Gates Pickups > Soldano SLO 100 (FX loop – Alesis Quadraverb) > 412 Box mit EV 16 ohm Lautsprechern. Verstärkereinstellungen: normal gain: 1 pm, Overdrive gain: 9:30, treble 2 pm, mid 11 pm, bass 2 pm, normal output: max, overdrive master: max, presence: fast Maximum. 425 MS ddl, hall reverb 1.8s auf 2.4 Sekunden bei ~ 50%. (Guitar Shop Spring 94) Wayne Lozinak/Hatebreed: Jackson mit EMG HB > Dunlop Wah > Boss SD1 > Boss DD3 > Boss NS2 > Marshall JCM2000 > Marshall 412 mit 75w Celestion Lautsprechern (Guitar World Feb 2010) Wes Borland/Limp Bizkit: Ibanez 7 string > noise Gate > MXR Bluebox > Mutron III > Morley Volume/wah > MXR Phase 90 > Boss reverb/delay > Fulltone Deja Vibe > DOD Buzz Box > Mesa Dual Recto > Mesa 4x12 Box (September 1998 Guitar Shop) Willie Adler/ Lamb of God: ESP Custom mit Seymour Duncan (HB) > DBX Kompressor > Mesa Mark IV > Mesa 412 (March 2009 Guitar Edge) Yngwie Malmsteen: Strat mit HM3 Pickups > BF-2 Flanger > Marshall JMP 50w MK II Topteilen > (2) KORG DDL (DDL und Chor) > Roland SDE 3K > Marshall 412 mit 25w Lautsprechern. (GG.com, Guitar Shop Winter 95) Zach Myers/Shinedown: PRS signature mit HB > whammy pedal > Dunlop Wah > Univibe > Boss DC-2 > Digitech Hyperphase > TS9 > CS-3 > DL4 > Micro POG aufgeteilt auf drei Topteile >>>Fender bassman (Clean) Diamond Spitfire (Dirty) Diezel Herbert (dirty) > Engl 212 Box (Guitar World Dec 2010) Zack Blair/Rise Against: Gibson mit HB > MXR Phase 90 > Marshall JCM900 AND Mesa Dual Recto > Mesa 412 mit Celestion V30s (Guitar Edge Nov 2010) Zakk Wylde/Ozzy Osbourne, Black Label Society: - Les Paul mit EMG HB > Dunlop Rotovibe > Crybaby > Boss SD-1 > Boss CH-1 > Marshall JCM 800 > Marshall 412 mit 75w Lautsprechern. (Guitar Shop 94, GG.com) Zoltan Bathory/5 Finger Death Punch: BC Rich Assassin (HB) > Diamond Nitrox HD > Digitech GSP1101 (FX loop) > Diamond 412 Box mit V30s (March 2009 GW)
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THANKS, for your interest . . ( Replies, Welcome !! ) I assure you of personal experience (music production), that the following info will provide you with a satisfying result; based on the Marshall 1959/ 1987 amplifiers. That said, I have ultimately gained the sound-knowledge of these musical machines; whether such be 6L6, or EL34-based TONES. Otherwise, for practical reasons I choose to record through the orig. Line 6 Pod HD Pro modeler, as well . . Example : I have created a personal program patch which, has an uncanny sonic-resemblance to those particular EL34-loaded amps. An alternative speaker cabinet *(1x12) was substituted for the typical, matching 4 x12 (due to overall, sweeter tonality). Provided below, are the exact settings I employ for recording purposes : Vintage, Marshall-Style Amplifier 1.) Distortion/ Tube Drive : 84%, Bass 51%, Mid 2%, Treble 41%, Output 75% 2.) Dynamics/ Blue Comp : Sustain 14%, Level 98% 3.) Dynamics/ Boost Comp : Drive 70%, Bass 50%, Comp 5%, Treble 40%, Output 53% 4.) Brit P-75 : *112 BF Deluxe, 421 Dynamic 5.) Volume A : -3.0 dB, Pan A/ L 96% 6.) Volume B : +1.0 dB, Pan B/ R 91% 7.) Studio EQ : Low Freq. 700 Hz, Low Gain -1, High Freq 200 Hz, High Gain -1.1, Gain -0.4 8.) Reverb : '63 Spring, Decay 19%, P. Delay 21 Ms, Tone 27%, Mix 84%, 9.) FX Loop : Send -25.0, Return +14.0, Mix 92%.
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Today we have a Nirvana tone and playthrough for Come as You Are. This was a lot of fun to record and while the tones aren't a spot on recreation, I feel it fits the song. Of course, all guitar and bass were recorded using the Line 6 Helix using Ownhammer impulses. The Chain: PRS Tremonti SE w/Fishman Fluence Moderns - Universal Audio Apollo Twin - Presonus Studio One 4 -
Hi. First of all, sorry for possible bad english. I am about to buy helix along with some kind of speakers. I know that there are tons of topis related to speakers to use with helix but most of them are old and dont answer my specific doubt (actually most dont aproach dialing tones with recording in mind). My band have a pair of JBL EON615. I guess they might be good to dial tones to use live(most places i play already have a PA system with floor monitors) but i am not sure if tones to use live will translate well to record. For recording purposes i guess studio monitors with speakers of 5'',6'',7'' or 8'' are better suited.. am i right? if so, Could you give me some recommendations of something around $400? And the other way around would work well? i mean... tones dialed to record could be used live with good fidelity? It seens way to much effort in having to dial each patch twice. One for live use and other for recording. Finally..... Am i just thinking to much? i could just dial tones in the JBL and then record with them and the results would be good? Thank you in advance for the help
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Hey Guys, Here is the walkthrough and mix explanation of the Standard E / Drop D Metal Tone using the Line 6 Helix with Ownhammer Impulses I experimented a bit with this tone using two signal paths to blend together. Each path uses the PV Panama model. Per usual, I used Ownhammer Impulses. It is a blend of OH 412 ENG V30 421-FRED
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I was wondering, what equipment is required to get tones which were downloaded from a computer into the Floor Pod Plus? I’ve been looking and have not been able to find a straight answer for this.
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Hey guys! I have had my Helix Rack and Powercab 112 for probably a month now, and I have maybe tried to mess with getting tones for about 6-7 hours total. I am quite stumped and I'm overwhelmed with the options so I was hoping someone could guide me in creating a good tone. I have managed to find a clean tone that I like with a pedal to give me a bit of bite to it. Here is how it goes: Guitar -> Compulsive Drive (Gain 7.5, Tone 5.4, Low Peak, V2, and Level 6.5) -> Noise Gate (Threshold -67dB, Decay 228ms, Level -7.6dB) -> Essex 30 (Drive 5.2, Bass 5.6, Cut 7.1, Treble 6.4, Presence 6.3, Ch Vol 8.2, Master 10, Sag 4.1, Hum, Ripple, Bias, Bias X all at 5) -> 4x12 Greenback 20 (Mic 121 Ribbon, Distance 1, Low and High cut off, Early Reflections 0%, and level 0db) -> Searchlights (Decay 2.5, Predelay 0.0ms, Low Cut off, High Cut 7.8kHz, Mix 43%, Level 0dB, Modulation 2.1, Speed 3.7, Intensity 2.8, Trails off) However, I am trying to achieve a bit of a heavier tone for some of the songs that I like to play from some of my favorite bands. For example, I like bands like State Champs and Knuckle Puck who have a heavier tone than your more familiar pop punk bands like Green Day and Blink-182. I was able to achieve something with the Orange Rockerverb MKIII that I ditched to go modeling, but I have been having a hard time finding something similar in the helix. Everytime I try, I get really overwhelmed as well. Can someone point me in the right direction? Also, is there a way to have two amps in one setting? Like, if I want to use the Essex 30 for my cleans but use a higher gain amp for dirty, can I have them exist in the same setting and toggle between the two easily? If so, how do you do it?
