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What Amp Does The Best Clean To “Freakout” From Pick Attack Alone?

Longer

Silver Supporting Member
Messages
1,588
Here is a Trainwreck clone, gentle to giant, without the knob. The speaker did make a difference, I thought. The Scumnico is somewhat compressed and it did not fair as well as the Gold; which I used. When I post clips, I usually list the gear in the Soundcloud notes.

It is an iPhone clip, so take it for that it is. As far as I could see, the iPhone was not peaking; causing the distortion (see below).


Wow, from pick attack alone?
Awesome.
Now I need to research who makes the best clone for cheap. Thanks!
 

gulliver

Silver Supporting Member
Messages
10,542
Wow, from pick attack alone?
Awesome.
Now I need to research who makes the best clone for cheap. Thanks!
Yes ... but keep in mind that this was just an experiment. Riding the guitar volume or kicking a pedal will always be a more practical solution. Keeping your picking dynamics perfect is not so easy. Get the sensitive amp that you want, it doesn't necessarily need to be a Train-type. My Two Rock Sensor, THD Univalve and THD Bivalve also do this to a degree that will work well within the real world, and those are just sensitive amps that I have come across and purchased. Really, all amps do it at ear blistering volumes. This recording was at a surprisingly low volume, call it low to medium drummer volume. That's the real trick.
 

homeunit

Platinum Supporting Member
Messages
1,465
This was a weird feedback experiment I did a while back, with my Two Rock Sensor. Call it clean-to-feedback (no volume riding). I do have a Trainwreck Express clone, as a recent acquisition. I recently did a guitar volume experiment with it, and created a thread around it. I might have to mess with pick differences the next time I plug in.

That's great. I had a Fuchs OSD 100 that did the exact same thing, loved it.
 

VigilAndy

Gold Supporting Member
Messages
198
JTM-45/100 or JMP-50. Or the current versions, e.g. Greg Germino’s Monterey and Club 40.
 

Longer

Silver Supporting Member
Messages
1,588
I've been jonesing for a DSL40CR and have tried out a couple in stores but somehow haven't been able to dial in the tones I want. Maybe they had issues since they were floor models and possibly were not-so-gently used and then returned. Or maybe it was user error on my part. But I'm going to keep trying. The Origin 50 is also on my list, not as many bells and whistles, touch sensitivity was pretty decent.
Next time playing one, max the master volumes and use the channel volume to control loudness. Many say having the masters maxed is the key to the 40CR. Also, making sure the bias is around 32. Yada Yada.

I like it, but I’ve been a Fender / Boogie guy forever, so I haven’t spent time on a “real” Marshall to compare it to.

What I’m digging though, is setting the gain where it is clean when playing lightly, but when dug in hard, sounds like something is about to go horribly wrong. No guitar volume knob twisting, just clean to dramatic grit, from pick attack alone.
There has to be an amp “known” for that.
 

homeunit

Platinum Supporting Member
Messages
1,465
Had? Why did you get rid of it? Was it part of a Dumble rabbit hole?
Nope, when I got it, I didn't even know what a Dumble was. It was a great amp but it went off on me cutting into a AM radio tone. I took it to the local amp guru and he couldn't figure it so I sold it for $1000.00 and bought a XTC, which wasn't a great amp for me.

I just about pulled the trigger and a ODS, but decided on a Friedman BE100D, which I'm waiting on.
 

Aloha

Member
Messages
38
I cannot really follow @Aloha 's argument above that speakers matter, maybe low wattage ones that provide their own part of the breakup equation? But that would imply an initially drastic increase in volume going from clean to slightest breakup when the speaker compression will set in and only distortion increases, and I think part of the game is a near constant volume combined with an closest-to-linear increase in distortion.
Sorry...I just saw this...
Yes, I was talking about low wattage speakers adding to the equation.

I find that low wattage alnico speakers do an interesting thing with their compression and breakup as I play harder on an extremely touch-sensitive amplifier, even without touching the actual volume knob on my guitar or on my amp.

In case it matters, I play through an LP Jr. style guitar with a TV Jones Filtertron Plus and a Byrdland-clone (both locally handmade) with SD Seth Lover humbuckers.

This is experiential knowledge, however. I have no objective data with which to substantiate it via electronical principles or through materials science.
 

ToneProspector

Senior Member
Messages
325
Yes ... but keep in mind that this was just an experiment. Riding the guitar volume or kicking a pedal will always be a more practical solution. Keeping your picking dynamics perfect is not so easy. Get the sensitive amp that you want, it doesn't necessarily need to be a Train-type. My Two Rock Sensor, THD Univalve and THD Bivalve also do this to a degree that will work well within the real world, and those are just sensitive amps that I have come across and purchased. Really, all amps do it at ear blistering volumes. This recording was at a surprisingly low volume, call it low to medium drummer volume. That's the real trick.
that sounded great and especially impressed it was at low to med volume. Which Trainwreck Clone builder and model?
 

gulliver

Silver Supporting Member
Messages
10,542
Of the more sensitive amps I mentioned, all of which I currently own, I would say the Trainwreck Express clone is the most sensitive, followed by the THD Bivalve. The Bivalve is kind of interesting, you can put a single 6 watt 6F6G tube in it, and it will be pushed by massive transformers. Makes for some interesting options. I thought the small transformer Univalve was sensitive when I first got it, but now that I have both, going from the more sensitive Bivalve to the Univalve, I can feel the change. I recently sold a Jet City Soldano designed 20 watt combo. Great amp. Going to that, I could feel even less sensitivity (at those low to medium drummer volumes). It was more forgiving, but I would miss that sensitivity, as my fingers were used to it.

The Two Rock Sensor and Redplate Blackloop are a hair less sensitive, but if you set them up right, they can do a crazy bassy bloom. This is another opportunity to let the fingers do some neat things. This is from a recent thread where I tried to dial in a D-type tone with the Sensor. I wasn't very successful, but kind of an interesting dynamic. The first two (five of the same notes in a row) riffs are more aggressive than the second two (of that same riff) ... simply unconscious pick attack differences. Then, it gets aggressive again at the end.

 
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