Some help to get this Marshall rock punch (not metal chug)

Jimmykonsta said:
Holy $hit, that's damn close! Not 100% eq-wise (probably because you went for the in between tone), but the character and the response I am looking for is 100% there!

The IR pack is this one right?

https://www.yorkaudio.co/product-page/mrsh-412-m25

I am getting it ASAP!

May I ask which pick you used? Thanks so much sir, you just saved my day :)
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Man, I’m so happy to hear that it’s in the ballpark of what you’re looking for! And yes, that’s the right Cab Pack.

My pick is a Dunlop Tortex Jazz III XL in .88mm
 
York Audio said:
Man, I’m so happy to hear that it’s in the ballpark of what you’re looking for! And yes, that’s the right Cab Pack.

My pick is a Dunlop Tortex Jazz III XL in .88mm
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Man thanks so much! I new it was inside the box I just didn't know how to get it! Admins can mark thread as "solved" now!

Thanks a million for all the help, all the guys who posted here and @York Audio of course!
 
RevDrucifer said:
I’d almost think to look towards the guitar/setup/strings instead of the tone itself.

Nothing will wake a track up quicker than a fresh set of strings! This is why while I’m in recording mode, I’m changing strings about every 4-5 hours of play time on them. There’s a, what I consider, massive difference in that exact area, the punch and attack, that is highlighted with new strings and is exactly what dulls down once they’ve been played a bit.

The tone is fairly “Yep, that’s a Marshall” sound, I’m not hearing anything that’s making it that much more special than Other Marshall/Friedman type tones, which is why I’m leaning more on the side of the guitar/setup. If the strings aren’t sounding all that lively playing unplugged, I wouldn’t the pickups to inject life back into them. The action has a hand in that as well, as I used to play with stupid high action, when I lowered it, there was all that spank, snap and volume!
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Good points about strings! 4-5 hours huh? Yeah they definitely fall off in that initial "spanky-ness" pretty early on. But I hate changing strings. I'm just glad I finally found the burr that was causing my high e to break prematurely. I'm ok with using strings past that initial stage; they seem to level out to my ears for a while after that. But as soon as I hear an unwound string get that weird 'warble' sound, that's when I change them. Plus, I try to be in the habit of washing my hands before I play. I could not own a guitar with any type of locking trem. And whoever invented locking tuners needs a medal!

And tagging on to your points about strings (which definitely should be the area of focus, before thinking about changing PU's), what about string gauge contributing to what the OP is after? That's also a big contributor.
 
Jimmykonsta said:
Man thanks so much! I new it was inside the box I just didn't know how to get it! Admins can mark thread as "solved" now!

Thanks a million for all the help, all the guys who posted here and @York Audio of course!
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It’s my pleasure. Feel free to PM me if you need any help with your tones. :)

TSJMajesty said:
Good points about strings! 4-5 hours huh? Yeah they definitely fall off in that initial "spanky-ness" pretty early on. But I hate changing strings. I'm just glad I finally found the burr that was causing my high e to break prematurely. I'm ok with using strings past that initial stage; they seem to level out to my ears for a while after that. But as soon as I hear an unwound string get that weird 'warble' sound, that's when I change them. Plus, I try to be in the habit of washing my hands before I play. I could not own a guitar with any type of locking trem. And whoever invented locking tuners needs a medal!

And tagging on to your points about strings (which definitely should be the area of focus, before thinking about changing PU's), what about string gauge contributing to what the OP is after? That's also a big contributor.
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Elixir Optiweb strings are fantastic if you find that normal strings dull out too quickly. I normally destroy a set of regular strings in one or two sittings, but the Elixirs sound great and last a VERY long time. Guitars I use every day get restrung three or four times a year, and I have some guitars that haven’t been restrung in three years that still sound fresh and vibrant. Definitely something to look into if you want longer lasting clarity in your tone.
 
TSJMajesty said:
Good points about strings! 4-5 hours huh? Yeah they definitely fall off in that initial "spanky-ness" pretty early on. But I hate changing strings. I'm just glad I finally found the burr that was causing my high e to break prematurely. I'm ok with using strings past that initial stage; they seem to level out to my ears for a while after that. But as soon as I hear an unwound string get that weird 'warble' sound, that's when I change them. Plus, I try to be in the habit of washing my hands before I play. I could not own a guitar with any type of locking trem. And whoever invented locking tuners needs a medal!

And tagging on to your points about strings (which definitely should be the area of focus, before thinking about changing PU's), what about string gauge contributing to what the OP is after? That's also a big contributor.
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IMO, there’s a balance between string gauge/action/neck relief where you can find that happy combination that makes it all work. The thicker the strings, the less spank I feel I can get from them, they don’t seem to jump off the board as lively, which is definitely highlighted by playing a bass with different string gauges and the liveliness of them.

I spend 99% of my time listening through studio monitors and I’m generally recording or mixing daily these days, so the small subtleties strings losing their top end pop up pretty well. Once the pinch harmonics stop popping off the fingerboard like they’re trying to escape with their lives, I know it’s time to change them up. If I weren’t recording final tracks, I wouldn’t care.

Also, my main recording guitar the last couple weeks has an Evertune and locking tuners. It takes like 5 minutes to string it up and you don’t even have to tune it. :D Best invention since the Floyd Rose, IMO. No more tuning between takes! It cuts out like 2 hours of recording time!!
 
Jimmykonsta said:
Man thanks so much! I new it was inside the box I just didn't know how to get it! Admins can mark thread as "solved" now!

Thanks a million for all the help, all the guys who posted here and @York Audio of course!
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Just touching base to see how the amp settings and IRs are working for you? Let me know if you need any help with that stuff.

-Justin
 
York Audio said:
Elixir Optiweb strings are fantastic if you find that normal strings dull out too quickly. I normally destroy a set of regular strings in one or two sittings, but the Elixirs sound great and last a VERY long time. Guitars I use every day get restrung three or four times a year, and I have some guitars that haven’t been restrung in three years that still sound fresh and vibrant. Definitely something to look into if you want longer lasting clarity in your tone.
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I'm fine with losing that initial, brand-new brightness that new strings have, because once they have, the strings remain consistent for several weeks with my playing. They're certainly not "dull", at least to me. And I used to Elixirs on my acoustics, but hated the way the coating wore off real early. Even if they don't do that anymore, I'm past trying different strings. I posted a thread asking for feedback between Slinkys and EXL's, because those are my 2 favorites. The next time I order strings, I'm going back to the Slinkys. They seem to have a bit more "edge/bite" to them. I had switched them to the EXLs on my Enchanted Forest Majesty, then did a comparison between it and my new 20th, and the Slinkys sound better to me.
 
TSJMajesty said:
Really! Huh. do you have to stretch them at least?
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Barely. I'd be willing to bet on a guitar with pretty tight tension, you wouldn't have to. I don't fully understand how the spring mechanism works in the body nearly well enough to explain, but as you bring the string up to tension, the saddle starts moving, once it reaches the proper tension, you're good to go, however, if the string stretches too much, it won't have the required tension to keep it in zone 2 and it falls back to zone 1 which is where the tuning machine is actually tuning the string up and down. Man, that's a terrible explanation.

I was showing my uncle this week how it works, well, showing him the guitar and trying to explain it, I put a new high E on just so he could see how fast you can do string changes. I didn't tune it or stretch it, I just brought it up to tension, handed him the guitar and said "Go nuts on the high E", he went nuts for a minute and checked it, it was off by probably .4-.5 cents.

Here's a video you're going to want to watch at 1.5x or 2x speed because holy shit is it slow.


Ola's vid might be a little better at seeing an actual guitar in action with it-



IMO, a Floyd Rose is the perfect trem invention for doing whammy shit, with the Evertune being the perfect invention for the fixed bridge shit.
 
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jlynnb1 said:
in this case, no, they aren't. You don't clip the power amp, just get more saturation. I actually prefer most of the Marshalls push the power amp into saturation. That's why you'll see many people with the bass on zero on some of the older amps, to tame the flub that comes with pushing them so hard.
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You seem to be suggesting that clipping, loss of headroom (which is what happens when clipping begins to
happen when a circuit or tube is being "overdriven into "saturation" and "distortion") are actually unrelated terms?

Seems to me that whether it is power tubes being overdriven or preamp tubes (with an OD pedal or high output pickups)
they effectively follow the same principles and laws---even if they have different outcomes on tone.

Loss of headroom = introduction of clipping = what we know as distortion, compression, and saturation.
 
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I have not read everyone's suggestions, but using the proximity really adds punch, at least to me
 
Reading the initial post, my first thought is to try adjusting the pickup height. Higher gets more output and more compression. Lower gets a more dynamic, percussive, woody sound. A lot of guitar players will swap pickups and spend hours adjusting the knobs on their equipment but not take the time to dial in the pickups.
 
I know that Billy Joe is a big fan of the Boss BD-2 (Blues Driver) pedal into a Marshall. There isn't an exact model of this pedal in Fractal world, but you can try tweaking a Tube Screamer model in front of the amp block to get closer.
 
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