Can Someone Give Me a LowDown of all their Favorite High Gain Models Added in the Last year?

Mic said:
The Euro Uber (Bogner Uberschall) is quite a beast, too, imo (perhaps the "Depth" maybe needs a bit of an adjustment tho, from it's default settings )
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Default values are just a starting point based on our preference. Your preference may be different. If you walked into a guitar shop and demoed an amp would you leave the Depth knob where the person before you set it?
 
I find the most of the mentioned models great but the popular and beloved HBE just doesn't work for me. Am I the only one?
 
FractalAudio said:
Default values are just a starting point based on our preference. Your preference may be different. If you walked into a guitar shop and demoed an amp would you leave the Depth knob where the person before you set it?
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Most certainly not.
But that's what I totally appreciate (and love) about the AxeFx .. you choose an amp and it is w/o much of a hassle ready to go from the start.
 
Recto1 Org Mdrn - very fizzy with lots of low end.
PVH 6160 block - based on the 5150, nice and tight with a harder edged distortion.

Use distortion block before the amp - T808 mod or Rat Dist with Drive: 0.0 and Tone: 5.0ish.
Both run through a German cab (F063) with null mic.
Add character at 4-5k, wide Q, around 2.0 value.
Speaker hi freq slope around 4.5 (nudged up a bit to cut the higher mids).

\m/
 
don_joe said:
I find the most of the mentioned models great but the popular and beloved HBE just doesn't work for me. Am I the only one?
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Well, if one amp worked for everyone, we'd all be playing an early Fender. Could you imagine a world with only one guitar tone? How boring.

"High Gain" is not a singular idea. You could be talking about 1980's Motley Crue or Killswitch Engage. Those are not in the same arena, but I think of them both as "high gain"
 
I've only had my XL+ since July, but I've been partial to the USA Lead (Mk IV) models for that tighter Petrucci/Hetfield rhythm sound, and if I want a more Marshall-ish type sound the Friedman HBE or BE with a drive in front of it does it.
 
I keep telling other users this: if you play modern metal and you haven't tried using the Mark IV model, you're just plain wrong! (Kidding of course) :p

Really though, I used different 5150 variations for a while, but the Fit For An Autopsy crew convinced me to try a Mark series after hearing them talk so much about the Mark V, and seeing them live. The Mark series are harder to dial in at first, because they don't work like normal 3-band EQ amps, such as the 5150. It's a bit more complex, but it gives you the options that - in my opinion - made the 5150 obsolete for high gain stuff. It's so much easier to get rid of the fat, and get a tight, polished tone.

Read the Mark IV or Mark V manual to get an idea about how the EQ controls are different, but basically your 3-band is for the "feel" and the 5-band graphic EQ is for the "tone". Along with that, some controls are very dependent on each other (gain and treble for example). Anyways, it's all explained in the manual, and once you get how to dial it in, you really see how incredible this amp is. It's my main amp for high gain rhythm work, and even a good amount of lead stuff.

Clear, articulate, organic, aggressive, tight... it's everything I could never get the 5150/6505 to be. Give it a try!
 
Pinkycramps said:
Well, if one amp worked for everyone, we'd all be playing an early Fender. Could you imagine a world with only one guitar tone? How boring.

"High Gain" is not a singular idea. You could be talking about 1980's Motley Crue or Killswitch Engage. Those are not in the same arena, but I think of them both as "high gain"
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I understand, maybe I just didn't put it right. I like all kinds of high gain tones, every one is special and applicable somewhere. I can find a decent tone with Mesa, Recto, Marshall & derivates, Engl, Peavey models, etc. but as I've tried it numerous times with a HBE, it was almost not usable every time. Maybe it's my pickups (BK Rebel Yell, 7-string) or beacause I don't play detuned, I don't know why.
 
ConnorGilks said:
I keep telling other users this: if you play modern metal and you haven't tried using the Mark IV model, you're just plain wrong! (Kidding of course) :p

Really though, I used different 5150 variations for a while, but the Fit For An Autopsy crew convinced me to try a Mark series after hearing them talk so much about the Mark V, and seeing them live. The Mark series are harder to dial in at first, because they don't work like normal 3-band EQ amps, such as the 5150. It's a bit more complex, but it gives you the options that - in my opinion - made the 5150 obsolete for high gain stuff. It's so much easier to get rid of the fat, and get a tight, polished tone.

Read the Mark IV or Mark V manual to get an idea about how the EQ controls are different, but basically your 3-band is for the "feel" and the 5-band graphic EQ is for the "tone". Along with that, some controls are very dependent on each other (gain and treble for example). Anyways, it's all explained in the manual, and once you get how to dial it in, you really see how incredible this amp is. It's my main amp for high gain rhythm work, and even a good amount of lead stuff.

Clear, articulate, organic, aggressive, tight... it's everything I could never get the 5150/6505 to be. Give it a try!
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Are these the "USA" amp blocks?
 
The ENGL Savage model is my go to for modern downtuned metal. It has super tight low end and is perfectly crunchy. Handles my seven string like a champ.
 
Man, I never see any love for the Carol Ann Triptik Modern. That amp has the tightest bottom end (oh hey) I've played! Sooo good!
 
I love Savage ii+ Mark V for a really tight metal sounds but Uber + Powerball sounds amazing for a really thick death metal sound.

The 6505+ rhythm B can get a really good carcass tone if you Dial it in right.
 
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