Do you like your guitar tone?

Iā€™m a bedroom player Clint. Well, kinda. I play in my dining room, the biggest room in the small house. The house is 834 sq ft. Iā€™m guessing many folks have bigger bedrooms that my whole house is.
I have to play at whisper volume when the wife is home so I get it.
Granted my amps sound better above a whisper volume, but I can get them to sound what I think is reasonable at them low volumes. When playing, I try to play the amp at least a shade louder than hearing the strings of the guitar itself.
@Majik
For sure. Best I can tell, near everything effects the tones you get whether acoustic or amplified.
For me, a good example of this is where I got my supro located at.
I had to rearrange my room and the supro changed location.
I was considering selling it. Then I changed the room around again. Now, Iā€™m going back and forth whether I like my prri or my supro better. I still think the prri wins, but just that change in location of the supro was a real game changer for how that amp sounded.

I learned along time ago that I am never gonna sound like the ā€˜recordā€™ that I listen to. And thatā€™s ok. In the end, I want to sound like me, not someone else. I can get close enough, but for sure, itā€™ll never be what I hear on the record.

As for my ss amp, my red stripe bandit. It does have good tone. And it does boil down to the ss amp in question I think. I got a silver stripe bandit too and the red stripe one has notable better tone than the silver stripe one, I think.
If I really only had to have just one amp. The bandit is so versitile, I could almost think that would be the one I would keep and the tones can be varied from super clean to near death metal. Not that I play death metal thoughā€¦

Nicole @JokuMuu
Yep, physical location has much to do with it. Heck, I play outside in the summer on my back stoop. The sound just dissipates into thin air. This is another place my supro excels at imho. My supro is my most portable amp so it goes outside much. I like the sound of it outside. Iā€™ve taken my prri outside and I donā€™t get into the tones near as much as when I play it in the house. It sits elevated from my other amps in the house. Itā€™s at ear level when Iā€™m sitting in my chair. It sounds sweet like that. On the ground, outside, well, itā€™s just not as chimey is the best way I can describe it.

@jjw, John, I couldnā€™t agree more. But there is pleasing guitar tone and not so pleasing guitar tone. If I work on all them items you listed, I still want my guitar to have good tone.
That said.

That hello kitty guitar is almost a guitar and a good player can obviously make it sound pretty darn good. Iā€™d guess it sounds much better on a good guitar though. Unless, that ā€˜isā€™ the tone your looking for.

Dennis @dblinden
Yep, there are many tools (guitars, amps, on and on) available to us. And what I do for sure would be considered my hobby. But I still want what I play to sound pleasing to my ear. While that hello kitty guitar may have itā€™s place, even tone wise it may have itā€™s place, But I still am partial to a full sounding guitar, elec. or acoustic. For me, itā€™s back to good tone is more inspiration for me. And Iā€™m with you, I lack talent. But if I keep trying hard, ya never know what could happen. fwiw, I donā€™t have talent in anything I do. Some folks are just blessed with a natural talent for doing something good. I have no natural talent for anything and have to work at everything I do for it to work out. Good tools (guitar, amps, etc) helpā€¦ And they donā€™t have to be max price gear either. Much good sounding gear out there these days that donā€™t cost a arm and a legā€¦ All my gear is perhaps medium level quality. For what I do, medium level quality is more than good enough for me. I just want something a shade more inspirational than a hello kitty guitar :slight_smile: ā€¦

Iā€™m not so sure about that. A crappy slide (as some of mine inevitably are) does not sound better on a Martin or a Taylor than it does on an entry-level Yamaha. Actually, I think it sounds worse (because expectations are higher).

Hi Jim! I do love brilliant guitar tone and they are very inspiring :smiley:

Acoustic guitar wise, I find Justinā€™s Froggy Bottom really pleasant to hear and to play with. Personally own a Taylor 614CE and it is a fantastic guitar for an amateur, very mature sounding compared to the new one you get from the store as she is turning 19 this year!

Bit of exaggerated but yeah good tonewood and craftmanship makes all the differences to the guitar tone

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For acoustic, Iā€™m solidly in the ā€œyesā€ camp. My two best-sounding guitars are a Martin OM-35 and a 1990 Yairi DY-67. Theyā€™re both incredible sounding guitars with wonderful overtones. Strum a chord in a quiet room, lean close to the soundboard, and just listen: angels singing. I tend to prefer the sound from uncoated strings. (However, lately Iā€™ve also been using Dā€™addarioā€™s XT strings, too, simply because they last a lot longer. I tried the Dā€™addario XS string, too, but I didnā€™t like they way they felt.)

For electric, Iā€™d say ā€œsometimes.ā€ It depends. Sometimes Iā€™m happy with my tone, and sometimes Iā€™m not. It seems like there are more variables with electric. And for me itā€™s not just about the sound, but also the way the guitar + amp feels and responds. If you asked me to dial in a good tone that I enjoy Iā€™d probably go with a Telecaster into a wet/dry amp rig with one Marshall amp (dry) and one Fender amp (wet), set up on the edge of breakup such that I could play quietly for a clean sound, dig in and get some dirt, do the same with the guitarā€™s volume knob, and where a boost pedal would nudge it into classic rock style overdrive. On the wet side Iā€™d probably have reverb with an optional delay and optional modulation of some sort. This is basically my default setup. The Marshall amp is a DSL40 and right now the Fender is a Blues Jr., although Iā€™ve been thinking about swapping it for a Fender with more head room (maybe a Deluxe Reverb or a Super Reverb).

My pick for electric guitars kind of depends on what Iā€™m going for, but includes:

  • Telecaster. A standard Tele is my go to. I may also pick a Strat if I want one of the tones that Strats are known for, but in my heart Iā€™m a Tele guy.
  • Mustang loaded with P90s. This thing is just super fun to play because of the scale length, and the P90s sound amazing.
  • Gretsch hollow-body (I forget the model). It has Filtertrons and a Bigsby.
  • Epiphone ES-339. I tend to grab this if Iā€™m looking for a humbucker sound. If the semi-hollow isnā€™t right then Iā€™d probably grab a tele loaded with two humbuckers, instead.
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I donā€™t have a valve amp yet but thatā€™s how I feel too.

Strangely, these last few weeks it seems I prefer the tone of my Epiphone but not so much the one of my Ibanez even though the latter is (much) easier to play (thinner neck).
Both guitars might be needed a setup revision (lower action for the Epi, move the pickups down for the Ibanez) soā€¦ these days I go for the Epi more often than not.

Jason do you play at home with that? 40W or 20W mode? How is it with taming the volume?

I play it at home, but itā€™s loud. Louder than many would find acceptable for home use, I imagine. I like to play loud. If I can hear the unamplified sound of my electric guitar, or the sound of my pick on the strings, then the amp needs to be turned up. I want to feel it, and I want that sense of ā€œalivenessā€ between my guitar and amp.

As for 20W vs. 40W mode, I find that itā€™s not so much about volume and more about head room. Itā€™s loud either way, but in 40W mode you have more clean head room.

I see what you mean and I get it.
Itā€™s a beast of an amp, very nice.

If you want to play not so loud, but not whisper voume either perhaps, if you turn down the master volume, does it still sound good(-ish) or does it sound lifeless?

It doesnā€™t sound as good at low volumes, in my opinion. I mean, you can do it, but itā€™s not the same. Like you said, itā€™s not as ā€œalive,ā€ and if youā€™re playing with moderate to high gain with a low master volume it tends to sound kind of ā€œfizzy.ā€ It likes to be turned up. If I need to play quietly Iā€™d choose a different amp.

HOWEVER, one thing Iā€™ve neglected to mention. Iā€™ve got a Two Notes Torpedo CaptorX, which is an excellent little reactive load box and attenuator (as well as being a cabinet simulator and IR loader, although I donā€™t make a lot of use of those features). I can run the DSL40 (or the Blues Jr.) through that, cranked, and get lower volumes that still sound good. A little different, but still good. The only problem is that I have an 8 Ohm CaptorX, and my DSL40ā€™s speaker is 16 Ohm, but when I use the CaptorX with the DSL40 I run it into an 8 Ohm 1x12 cabinet loaded with a Creamback. (For the Blues Jr., I can use the ampā€™s own speaker ā€“ a Cannabis Rex ā€“ or I can use the 8 Ohm cabinet.)

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Iā€™m at a point where i downgraded the complexity of my gear and went as digital and compact as possible. yet Iā€™ve never felt this ā€œenabledā€;

I have everything to find a tone that suits me, in alll genres and styles I like to play in.

The more i focus on what i find interesting and let go of certain things I tried to emulate, the chiller it becomes. I noticed that al ot of it exists only in my head and that a band context flips everything upside down. when playing rhythm and singing in a band that plays rather heavy, fast and with a lead guitar, bass guitar and drum set, you stop sounding full and broad and nuanced. You want to be punching but in YOUR range without bothering the others too much.

I learned to embrace the mids again :smiley:

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Love it when I play :smiley:
Hate it in recordings :grimacing:

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Acoustic tone, I love the sound of my two good acoustics. Thatā€™s why I bought them. My el cheapo Yammie is not bad either.

Electric, I love the tone from my Fender telespaul. It can be fat or defined. My Squier before was a bit weak. But most tone comes from the amp, and Iā€™ve only had digital amps. LT25, GTX50 and now TMP (with GTX50 in FRFR mode). The LT25 was a bit thin but everything else has sounded awesome, headphones or speaker. Even at low actual volume you can have them acting like a cranked amp. Love it.

I reckon thatā€™s because of how you record, you need to up the complication level to capture good amp tone - either mic it well or capture it digitally. And both would involve a DAW.

I have a Gibson SG and Katana 50 and Iā€™m seriously thinking of getting a different amp as I just donā€™t like the tones I get with this combination. When I play chords they are muffled and muddy. I fancy a Fender Tonemaster.

Theyā€™ve got a whole series of tonemaster amps that model the original tube amps. Iā€™m a big fan of the fender modelling amps, definitely worth taking your SG in to a store and trying out a bunch of different amps.

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my SG is super picky about strings. I have mostly settled on the Dunlop Heavy Core 10-48. Those seem to be the only thing that hold that long neck in place and sound good. I donā€™t like 10ā€™s much for bends, but they sound the best on my SG.

this neck being 3-4 finger widths longer than other necks I have make it really drift and sound just a bit off. The heavy strings seem to help.

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A couple of things you might want to try:

  1. Experiment with positioning the amp in your room. Room acoustics can be tricky, and there are spots in most rooms, especially the edges and corners, where bass builds up and can sound muddy.

Thatā€™s why professional studio use bass traps to try to control this phenomenon.

Lifting the amp up and angling it can also help. There are special stands for this (Boss make one) but you can test by standing the amp on something random (milk crates were traditional, but you probably donā€™t have one of those).

  1. The Katana has a powerful global EQ which is designed to deal with such things. Itā€™s only available through the Tone Studio app, but itā€™s worth tweaking to get something thatā€™s closer to what you are looking for.

In fact, thereā€™s multiple EQ options on the Katana including the top panel EQ controls, a few FX EQ options, channel EQ, and global EQ which can all be used in conjunction with each other. For your situation, I would suggest global EQ.

FX EQ is best for where you want a specific EQ as a patch setting, or want to be able to turn it on/off.

The nice thing is, with channel and global EQ, you donā€™t have to sacrifice an effects slot to deal with issues like you would on some amps (cough Spark 40).

Cheers,

Keith

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These may be useful.

Cheers,

Keith

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That surprises me. Iā€™ve had pretty good luck with the Katana (mine is a 100/2x12). I agree that diving into the EQ options in Tone Studio is worth a shot if you havenā€™t done that already.

Those are nifty. Have you played your SG through one yet?

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@jkahn @sequences @Majik @J.W.C
Thanks for your replies guys. A few things to think about in there.

Tone studio diving isnā€™t an option for me as I donā€™t have a pc. I work with an iPad so I only use the amp controls.

I havenā€™t tried a Tonemaster but my son has a Fender deluxe reverb amp which sounds great. Itā€™s got valves and is too expensive for me! Heā€™s into pedal boards so itā€™s a different concept.
Heā€™s lent me a Wamplus Tumnus pedal which Iā€™m trying out with all the amp fx turned off.

Huh, I thought Tone Studio worked on iOS, but maybe thatā€™s only for some products. In any case, I sympathize with frustration with gear that relies on apps and external software. I just donā€™t like that kind of thing (and I run Linux and Android, so often software support isnā€™t available or is second best).

Deluxe Reverbs are great amps. Iā€™m actually considering getting one of those (I think I may have mentioned that up-thread ā€“ hard to keep track).

The Tumnus pedal is a good pedal, too. Itā€™s one of those Klon Centaur-style clones, and a very good one. I have one on my board right now.

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