Marty robbins blown amplifier tube

Fuzz bass , also called " bass overdrive " or " bass distortion ", is a style of playing the electric bass or modifying its signal that produces a buzzy, distorted , overdriven sound, which the name implies in an onomatopoetic fashion. Overdriving a bass signal significantly changes the timbre, adds higher overtones harmonics , increases the sustain, and, if the gain is turned up high enough, creates a "breaking up" sound characterized by a growling, buzzy tone. Two well-known examples are the Beatles ' song " Think for Yourself " from Rubber Soul , which marked the first instance of a bass guitar being recorded through a distortion unit, [2] and the Rolling Stones song " Under My Thumb ". Album or performance credits for fuzz bass can be found from every decade since then see examples below.

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Content:

• Breaking down the science and history behind your favourite fuzzy tones
• Nobsound NS-02E Review (Tube Headphone Amp)
• What Makes an Electric Guitar Sound Like an Electric Guitar
• Zu Audio Essence Owner's Manual page 3
• The History of the Fuzz Pedal: Part One
• “Don’t Worry ‘Bout Me”: Randy Travis and Marty Robbins
• 【新品】Mizuno ミズノ 野球スパイク 28.0cm

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Breaking down the science and history behind your favourite fuzzy tones

BlindBlake: surf music discography days ago. Skiltrip: SurfyBear is Life days ago. BearJW: Hey groovy people!! ProfRadar: SurfyBear compact 7 days ago. Please login or register to shout. But I am trying to sort this surf tone thing out.

I enjoy playing with light to medium gain for rhythm, and more gain and delay for lead stuff. My delay is a slap back. But the gain level Now, I realize that a lot of surf is almost totally clean. I have to have a little more cut and gain.

So, how do you guys get that? Pedals or amp? I have mostly 70s sf fender amps twin, super, pro. I could get them black faced for a little more grit, I suppose. I dunno. Just curious how much gain you guys use, and how you get there? Gain is a matter of taste. How you get there is a matter of experimentation.

You have a treble, mid and bass control plus output and gain controls. It's the best pedal I have used to add anything from boost, slight grit, to full blown overdrive while being able to eq to match your amp settings.

Using my pick attack, and guitar's volume knob I can go from clean to a bit of crunch. I use an Xotic EP booster set at zero to just warm up the tone a bit, but otherwise dig in and hit harder with my pick when I want a more 'overdriven' sound. You know, the same way Dick Dale did it! Sam, I'm pretty sure than in the 60s there was no separate gain control on amps, just volume.

There would be dons natural distortion if turned up loud, and also as Mike n Ivan stated, just playing harder. I use pretty much gain almost all the way. The original sound was clean with occasional crescendos into a bit of natural overdrive. One sound I dislike, whether in Surf or other genres, is the sound-change when a distortion pedal is kicked in. IMHO, natural is where it's at. Above is my pedalboard. Both the Blue Nebula and the Topanga have the ability to serve as a clean preamp.

Because the Topanga is used in buffered mode the preamp is operative whether the pedal is engaged or not. The Blue Nebula has something a bit more complex. There is a Level control to match the volume of the pedal when engaged with the volume when bypassed. These can be used to overdrive the signal, but they aren't really made to function that way. If you push the first FET up a ways, there will be a richer spectrum of overtones highlighted in the clean signal. This can give you an "on the edge of breakup" sound, but isn't really made to bring you into breakup.

In fact, the pedal has a red LED which illuminates when the pedal begins to clip. Using overdrive or distortion well is a high art that VERY few have mastered. Low power Class A all-tube amps can sound good. Most common distortion effects and overdriven amps are crude. I use distortion only for a few songs that seem made for it e. For real surf guitar songs, no distortion please except briefly in the bridge perhaps. However, rehearsing with lots of distortion is sometimes great fun.

I seem to sound good with lots of distortion, even on recording. But then when I listen a day or two later I feel disappointed. The Insanitizers! One effect of this was that the sound of a twangy clean guitar became associated with Country and was not likely to be successfully used in maintstream Top 40 material although Folk Rock continued to use clean guitars mostly accoustic. When The Doors Riders On The Storm came out in the use of a clean electric guitar with tremolo was quite unusual.

Personally, the heavier distortion which dominated for so many years left me cold. In the meantime, distortion-producing devices proliferated and the lexicon of guitarists came to have more words to describe forms of distortion than Inuit have to describe snow.

After about 30 years of playing Jazz, I returned to Rock because Surf had once again become fashionable and there were some Rockabilly artists out there using relatively clean sounds. BTW, my ideal rig, in fact the one I used at my last gig, utilizes a 5 watt, Class A, amp with a Vox-like front-end, complete with an EF pentode in the first preamp stage. This gives me a wide plateau between clean and broken up.

EFs have a different response curve than 12AX7s amp this amp has a sweet spot where is sings, but. Not to the point of breakup. Indeed, in "Satisfaction" changed pop music forever. Several years previous country-pop singer Marty Robbins' hit "Don't Worry" included a unique heavily distorted guitar in the bridge. It was so mysterious that it motivated me to see him perform in Carnegie Hall. Just for that bridge they brought out a Danelectro longhorn bass guitar.

I guess they connected it to a non-bass guitar amp. In the studio they probably used a different method. Great music, but not surf instro. One thing you experiment with is the height of your pickups. Closer to the string can give you some cool heavy crunch, especially when you pick hard. Then without touching anything, just dial up the picking and get your crunch. I understood your comment that way.

All amps are distorting to some degree all of the time, but the loss of definition which makes heavy distortion sound as it does is not something I find attractive. Jeff Beck is an amazing player with abilities that I greatly respect. When he plays Rockabilly or Les Paul covers, I think he sounds fantastic. However, on some of his Fusion and Heavy Metal, he gets a sound which seems to mimic heavy industrial equipment malfunctioning.

He could setup for a cleanish sound, perhaps with a bit of chorus and sound much better. The worst part, IMHO, is that some young players learn to play distorted all of the time. I'm both sides of the coin on gain. I got it because it had the best 3-pot tone solution I'd ever seen in a pedal.

When I do use it, the gain is barely cracked at all. It is used to get the sound in a small house room that I would get turning the amp up in a working situation. If I had my Vibrolux up where it's really happy and I've done that the pedal wouldn't get touched - the sound of the amp's output stage really working is the goal, however it's arrived at.

I can see Mr. Fender who loved clean sine waves rushing up to the stage of someone in a club, waving his arms, "You're over-modulating, you're over-modulating!!! I asked him about his Ghastly gear and he said he just cranked the amps BF Showman and later Blonde Bandmaster for that in-your-face Dick Dale attack and switched to the neck pickup of his vintage Mosrite Ventures guitar for overdriven leads. He never mentioned any pedals or attenuators used on the recordings. I mentioned it in other threads but the only gain I add these days is from using my Quilter as a pre via the effect send to my 63 bandmaster.

On the pedalboard is a clean boost that is always on that gives a slight boost to the drip of the surfy bear, then into the SB, then into the PB, then into the bandmaster.

It's the smoothest, warmest, most organic gain I have found to make the amp sound like it's on 7 when it can be set low volume wise. Is it too gainy for your taste? Theres pretty much gain. All comments and user contributed articles are property of the posters. Thanks to all the surf bands, past and present. And thanks to all the fans who care about and keep surf music alive. Login Register. Hella Vader. ShallowEnd is empty. Need help getting started?

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Nobsound NS-02E Review (Tube Headphone Amp)

I've done this before. My question is: will using the leftover winding with a resistor to gnd to give some opposing DC current benefit? The resistor will burn power and increase waste. But are there any benefits sound wise? Will this create crossover distortion in the OPT? As I write this I am thinking this is a bad idea unless the idle current needs to be higher than the rated for the core.

What Makes an Electric Guitar Sound Like an Electric Guitar

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Zu Audio Essence Owner's Manual page 3

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The History of the Fuzz Pedal: Part One

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“Don’t Worry ‘Bout Me”: Randy Travis and Marty Robbins

Log in or Sign up. Gretsch-Talk Forum. I love this old song Stefan , Jan 13, Gretschman2 , ZackyDog , Random and 5 others like this.

【新品】Mizuno ミズノ 野球スパイク 28.0cm

Most will probably own at least one fuzz pedal, and if not, they can definitely identify a fuzzy tone on a record. But what is fuzz and how does it differ from overdrive or distortion effects? What makes fuzz so easily identified amongst a myriad of drives and other distorted signals?

BlindBlake: surf music discography days ago. Skiltrip: SurfyBear is Life days ago. BearJW: Hey groovy people!! ProfRadar: SurfyBear compact 7 days ago. Please login or register to shout. But I am trying to sort this surf tone thing out.

Post by modman » 16 Dec , Post by analogguru » 16 Dec , Post by IggY » 16 Dec , Post by JiM » 16 Dec , Post by Solidhex » 16 Dec , Post by modman » 17 Dec ,

Fuzz bass , also called " bass overdrive " or " bass distortion ", is a style of playing the electric bass or modifying its signal that produces a buzzy, distorted , overdriven sound, which the name implies in an onomatopoetic fashion. Overdriving a bass signal significantly changes the timbre, adds higher overtones harmonics , increases the sustain, and, if the gain is turned up high enough, creates a "breaking up" sound characterized by a growling, buzzy tone. Two well-known examples are the Beatles ' song " Think for Yourself " from Rubber Soul , which marked the first instance of a bass guitar being recorded through a distortion unit, [2] and the Rolling Stones song " Under My Thumb ".