Please comment after you’ve watched the video.

Thank You, Robert


Play Video

I decided to post the issue my client is having, and offer a few  solutions to his problem.
Hopefully this will help others as well. I know I’ve personally been down this road many times.

I believe every guitarist gets to a point where this issue really does need to be addressed as a problem, and then quickly handled. It’s part of growth as a musician. You’re musical growth leads to pushing the envelope harder and harder to meet the demands that you are putting out there.

There’s nothing wrong with this at all…  And I definitely agree it is frustrating.

Here’s the issue my client is having.

========================

Hey Bob, I’m having problems using my effects loop.

My gear is pretty simple.

1.       Mesa Boogie Triple Rectifier head 2 channels

2.       Digitech gnx4

3.       Dunlop Wah Pedal

4.       BBE Sonic Maximizer stomp pedal

• To start I disconnected the wah and the sonic pedal.
• I want head distortion and my gnx in the loop.

I plugged my guitar direct to amp in, loop send to gnx guitar in, left out mono to loop return.

On my gnx I turned off all amp modeling for true head tone.
I only want my gnx for effects delay reverb noise gate chorus ect..

I have set a great tone with my head, and added effects like a distortion stomp for a little extra grit, reverb, delay, gate, and chorus.

The problem is when I change channels on my head for clean tone, I have all of this still on and my clean tone is a  little distorted because of my effects.

I have a mode on the gnx for stomp box instead of presets but then I have to click my channel change then click my distortion stomp off so I get true clean.

Dude how do I achieve not tap dancing, I’m trying to figure out if there is a 1 button way for distortion and a 1 button way for clean, while using my head tone in combo with my effects.

In the past I’ve always set my distortion and clean through whatever effects processor  I had so I could preset everything to 1 click. I have never loved my dirty tone because it was a processed sound, and its just not quality.

I created a great clean tone but again it has nothing to do with my head. Can I achieve this or is it time to go midi and get even more confused?

Also I tried using my sonic max and my wah in the chain and they don’t sound good should I  use my wah in my guitar line to head?

Should my sonic max pedal be after my gnx or before it?

Sorry about the confusion

Thanks so much.

===================

As you can see this is a problem, and one I’m sure you’ve either already faced, or might one day.

Here’s a few solutions to this Tap Dancing Fiasco.

SOLUTION:

The very first thing you need to do is set-up a “Dry Patch” on your Digitech. WHY: because you need a patch that will allow your straight un-effected signal in and through the unit. This will allow the full tone of your amp to be retained.

A dry patch is not the same as the modeling amp turned off. You want to create an actual patch, and turn off every effect within that patch. You want zero effects on this dry patch – nothing.

Next, you need to find and set “unity gain” on the dry patch you’ve just created. The best way to do this is to get your amp sounding the way you want (with the effects loop empty). Then, once you get a killer sound out of the amp plug your Digitech into the effects loop with the “dry patch” on, and immediately listen for the differences.

You may notice a volume difference. You’ll want to take notice of all the differences. It could change your tone as well… Just take notice of everything that changes.

Now, unplug the Digitech from the effects loop. Once again listen to the amp on it’s own by allowing yourself a few minutes to play through just the head. Make sure your volume is balanced between the clean and dirty settings on your amp.

Next, set a comfortable stage volume level on the amp and leave it alone. Plug the digitech back into the loop and analyze the differences again.

NOTE: If you immediately need to adjust the volume, do it by lowering the output on the Digitech, not the amp. At this point DO NOT adjust the amp head for volume, use only the output of the Digitech for volume up or down.

Now, adjust the input of the digitech so it’s registering just below the red. No clipping.  If anything, adjust it lower to be certain that you are not clipping the signal.

The reason the Output knob of the Digitech becomes your Master Volume  is to keep unity signal flowing through the Digitech and the effects loop at all times. This allows the Boogie’s channel switching as well as everything else on the amp to function like it would if nothing were plugged through the loop at all.

I hope this makes sense… If you do this properly you shouldn’t even notice the digitech is in the loop at all when you’re on the dry patch. Now you can use your other programmed effects that you have within the digitech.

When you’re done with an effect, always go back to the dry patch when you leave an effected patch. This way when you go to the clean channel on the boogie it should sound as clean as it would if nothing were plugged in at all.

Each and every patch needs to be set individually, and then the master volume levels overall. You want to match each and every effects patch  so that they are all congruent with each other in terms of volume.

Example: Let’s say you had a chorus effect that blended nicely between itself and the dry patch, but you had a flanger patch that was not as loud and didn’t blend well. You would adjust the volume levels inside the flanger patch itself to match the others. The same would apply in the reverse scenario… If you had an effects patch that was too loud, you would adjust the volume levels inside the patch itself to blend with the others.

If you take your time and do this for each and every effect, you should be able to click between all of your effects and hear a great balance of volume between all of patch including the “Dry Patch”. Check your clean channel too. There shouldn’t be any additional tone coloring or distortion from digitech at this point. Your clean channel should be as clean as it would be without the digitech.

This is a solid solution that will work for the gear you’re using.

Another Quick Solution… If your amp has an effects loop bypass on the back… such as a footswitch that controls the effects loop bypass,… you could have a single button pedal controlling  two lines feeding into the effects loop bypass and the channel switching inputs together, so when you clicked the button it bypasses the loop and turns on the clean channel all at once. The only problem with this method is that if you ever want effects on your clean channel you’ve bypassed the loop so it’s not possible.

There’s more to this issue that will be discussed in Part 2.

Coming Soon…Part 2.

Please Leave A Comment below and Share Your Thoughts.

More Soon, Bob

=> Please comment If You Liked This Post.
===================================

Hi Bob,  I just recently discovered your Marshall 4×12 setup video. Thank you so much.

I not only ADORE the sound I am getting out of the cabs now, I loved doing the work on them.

My 2 cabs were very new and every screw needed tightening, center braces off center, and one actually had less than 18AWG in it.

I never imagined I’d be the one to fix them up but thanks to your inspiration, I did

Nice silicon caulk beads, re-wired both with 18AWG, resoldered all connections (No more clips). Center brace remounted to front (Removed staples and replaced with 1″ dry wall screws and wood glue to boot.

I also centered the post without drilling a new hole.  I set the back plate on askew by 45 degrees, guided the center screw into my pre-tapped centered post hole, tightened with a couple turns, then repositioned the back plate correctly, then tightened the center screw down the rest of the way.

My bottom end is marvelous

All this improvement has inspired some curiosity.
What would a 2×4 for a center brace do for my sound?

What kind of sound change would replacing the 4 GT12-75s with V30s?

Thanks again Bob, you’re a Peach!
Joey
Seattle

=======================================================

Thanks Joey for the feedback!
I wanted to answer your questions.

?????? ??????Question: All this improvement has inspired some curiosity.
What would a 2×4 for a center brace do for my sound?

Answer: We’ll that’s actually a good question and I’m glad you asked.
The more mass you have in between the front baffle and the back panel will
definitely change the focus of the sound. It should actually be a bit more aggressive
and tighter. You’ll notice a difference in the  response, and sound pressure level.

IMPORTANT: if you do this is critical that you make sure the length is the same as the
original post. It needs to be slightly longer to create the force against the back panel.
I hope this helps.

Question: What kind of sound change would replacing the 4 GT12-75s with V30s?

Answer: Another really good question. The GT 12-75’s are actually good all around
speakers for a balanced low end and a balanced top end, however if you like a really
focused mid-range sound with a punchy tight low end, the Vintage 30’s are the way to go.
I’ve used both for years and can say that the GT 12-75’s tend to get a bit saggy on the bottom
and lose the character at high volumes. The Vintage 30’s really project accurately at high
volume levels. The vintage 30-H is recommended, Or the Van Halen Vintage celestions.

Please leave your comments or questions below.
Rockin Your Guitar Success!
Robert Lee Molton

I just wanted to take a minute and say Thank You,
for all your support this year, and to let you know I
truly appreciate you being a loyal subscriber.

I plan to share many great things with you this New Year!

Let this be the year that inspiration takes hold
and opens the flood gates to great success.

I wish you and your family all the very best in 2010!

Here’s to a prosperous New Year for all of us…

Rockin Your 2010 Success!
Robert Lee Molton

Carinal Lirola is the UK artist I’ve been working with as of recent months. She is signed to Steve Vai’s label. At Namm Steve and I met and shot this photo. Steve has been a big support system for Carina’s album. Big things are expected from this album’s release in Spring of 2009. Keep your eye on Top Fuel Guitar for the latest…

steve-vai-bob-molton

Dj-ashba-Bob-Molton

Just hangin out with my long-time friend Dj Ashba. It’s always good to catch up with him when we can, as he’s extremely busy with his band Sixx A.M. as well as his media company. I’m really looking forward to checking out his new signature model Ovation Guitar. He’s got 4 different models designed to his specifications. I’ll be able to check it out thoroughly at the NAMM show in January out in L.A.

Myself, Gary Horrie, Cody Barra, and Dirk McCoy are all going to 2009 NAMM show in L.A. to support the UNK Guitar Release. We’ll also be playing a Powerhouse set with Andy Lee in Support of Carina Lirola’s debut album on Steve Vai’s Label.

The show is supported by UNK guitars and is on the same bill with George Lynch. I’ll be shooting footage from the shows, and doing several interviews as well. I’ll keep you posted on all the developments as well as reporting on the latest gear from NAMM.

More Later…
Bob
Rock Guitar Licks

Wishing all my Top Fuel Guitar players a very Merry Christmas!
Please share with me your recent guitar progress.
Let me know how I can help you get over your hurdles.
If you have any questions please ask.

I’ll be answering ASAP!

Thanks,
Robert

Vacuum tube amplifiers are some of the most sought after amps in the industry
due to their warm rich tones. For years people have compared certain types of
amp tubes for their sonic richness and warmth. More than that, it seems to be
the older vintage models that win most guitarists over for their great guitar tone.
The big problem usually occurs when trying to find new oldstock tubes, or at least
tube that may be similar in it’s characteristics.

In this article we are going to look at the KT66 power tube. This well respected
tube was introduced in the mid 1950’s by the Marconi-OsramValve Company. They
marketed their tubes under the name of “Genalex”. The KT66 was Europe’s
version of the American 6L6GC.

The KT66 tube is quite larger than the 6L6 in physical size. It also has quite
a big sound to go along with it’s size. The tube was used in the famous Marshall
Bluesbreaker Combo in 1965 – 1966. Marshall eventually changed to the more readily
available EL34.

If you’re lucky enough to find an original new old stock matched pair of KT66
tubes, you should be prepared to pay around $600.00. This is the current cost
of these “original” bad boys.

On the other hand, you can get a matched pair of the reissue Genalex KT66 tubes
for a much more affordable price of $99.00. These reissue tubes duplicate the
large clear bottle of the UK tube, as well as it’s brown base, gold-ink lettering
with prancing lion logo, gold plated screen, and huge plate structure.

The comparison between the original and the reissue are as follows:

• The early original KT66 tubes sounded big and brawny, with extended lows
  and a very rich and detailed set of mids and highs. Something all guitar players
  tend to look for in a quality tube.

• The reissiue Genalex KT66 tubes sounds incredibly similar to the original.
  They deliver an almost identical sense of presentation and focus. They didn’t
  seem to drift into the dreaded saggy zone when pushed into distortion. As
  with the original tubes, the reissues KT66’s overdrive voice is throatier
  and more british-sounding than the 6L6’s, and they respond beautifully to
  the changes in picking and volume dynamics.

It’s very easy to see why this robust-sounding tube remains so popular with
savvy musicians. With such a great-sounding reissue tube available at only a
fraction of the cost of the originals, it’s an attractive replacement for any
6L6 amp that has enough cabinet space to accommodate the KT66’s tall bottle.

As far as long-term reliability of the reissue, it’s hard to say for sure because
the superbly made original is a tough act to follow in that regard. However,
if you’re interested in getting great guitar tone with the highly acclaimed
KT66 power tube, the reissue Genalexmodel really hits the mark.

I hope this has helped shed light on the highly acclaimed KT66 power tube.

For more information on Great Guitar Tone see details below.

Thank You,
Robert Lee Molton

(PART 1 of 2)

Have you ever thought about building your own pedal effects board? Have you
actually built a pedal effects board only to discover that your guitar tone
has changed drastically? Believe me, you are not the first to run across this
problem. In fact the majority of pedal effects boards will change your tone,
and most of the time is it not for the better.

There are many things to consider when designing and building your pedal board.
If you’re careful to address critical issues during this process you’ll end
up with a great guitar tone. If you’re not careful you may end up with a guitar
tone that is less than desirable.

Here’s a few things that will affect your guitar tone when designing your pedal
board.

• Length of Cables
• Types of Cables
• True Bypass
• Buffering
• Unity Gain Structure

There are more things than this to examine in Part 2, but for now this will
get you on the right track to killer guitar tone when designing your effects
pedal board.

1. Length of cables - You should try to keep the length of
   your cables as short as possible. This includes the patch cables in between
   the pedals as well. The reason is that the longer your cables are, the more
   tone loss, gain loss, and high end loss occurs.
2. Types of cables - Just as the length of your cables can
   result in tone loss, so can the type of cables. This is something that is
   sort of a personal preference, but I will say that Mogami and Belden cables
   are always going to be a great choice. Keep in mind that the most important
   cable is the first cable used from your guitar to the first effects pedal.
3. True bypass - This can be good and bad depending on the
   rest of the pedals in the chain. If all of your pedals are true bypass, and
   they’re all turned off, you face the problem of all of your cable lengths
   adding up to one long cable going into the front of your amp. This is really
   bad if you are using vintage pickups with low output and high impedance. You
   should consider some type of buffer to keep the signal steady.
4. Buffering - Buffering the signal can help when using true
   bypass pedals along with vintage pickups, but you’ll have to play around with
   the combinations. You may run into issues of signal spikes and treble spikes
   depending on where the buffers are placed in the chain. Best solution is to
   plug your guitar directly into a fixed high-impedance load that is identical
   to the amp input. Then distribute the signal to the various effects and amps
   by low-impedance buffered feeds. This will give you constant signal level,
   and tone characteristics, which will not change when more effects are added.
5. Unity Gain Structure – This is another critical issue when
   it come to balancing out your sound. Example: if you used
   a chorus pedal and a delay pedal these devices are usually unity gain. When
   you get into pre-amps, equalizers and units with gain control, you’ll need
   to balance all of them out so that one unit is not louder that the other when
   turned on or off.

Hopefully this will give you some great insight when building your personal
guitar effects pedal board. If you carefully design and construct your pedal
board, your pedal effects will sound great every time you plug in for years
and years to come.

Be sure to check out Part 2 of Guitar Tone using Pedal Effects.

Click Here to get more insider information on Guitar Tone and Guitar Instructional Products…

Thanks, Robert Lee Molton