Amps with the most saturated gain structure

[Ventura]

BOGNER UBERSCHALL

this

This +1

Especially the older revisions, channel 2, gain maxed, channel volume maxed, master low - super thick saturated gain.

V.

 

[Ancient Alien]

My old Engl Powerball & SE EL34 were the most saturated (preamp) amps I ever played. The Cali can get really saturated but it doesn't sound and feel as sterile as the Engl amps.

I found the same thing with the Engl amps I've owned.
Very sterile sounding.
Almost like the notes die immediately even in high gain settings.

 

[lolzgreg]

My old Engl Powerball & SE EL34 were the most saturated (preamp) amps I ever played. The Cali can get really saturated but it doesn't sound and feel as sterile as the Engl amps.

I found the same thing with the Engl amps I've owned.
Very sterile sounding.
Almost like the notes die immediately even in high gain settings.

This is why I sold my Savage and used the money for the deposit on my Natas

 

[HerbieTheRadDorklift]

Mesa Mark IV... gotta love that lead sound

 

[mentoneman]

5150 always had the "dropping the chainsaw into the grinding wheel" effect for me--the dirtbike whine ala wolf hoffman accept meets nuno pornographitti powerchord. drier/marshallier yet similar to mark III coli.

uberschall and twinjet have their own brand of molten going on as well. more chunky lows. herbert had the most tight punch with the grind

havent heard a fortin in person but those sound in the realm for sure.

camerons are a personal favorite for saturated metal tone...brown and honky with a dynamic sharpness to the pick attack.

 

[guitarslinger]

what do you use really saturated amps for then?

Most people I have seen use them to cover up their sloppy playing

well...I need one then bahahaha.

A HA!

Nothing wrong with admitting that, man. I like you more now, than I did before.

You want a gainy amp that lets you sound awesome, but still works in a band setting.

GET A PEAVEY 5150/5150 II/6505+/or 6505!

Don't even bother with a Diezel, VHT/Fryette. Soldano, Recto, etc. assuming you are finding the Cobra unforgiving. FWIW, I like the 5150 III. It's very saturated, but it's not going to be any easier to play than an old Peavey 5150.

 

[Shask]

I dunno, guess I define the term saturation differently, I would assume that if you have enough pre-amp distortion to overtake the amp out of clarity that would be saturation, no? If not then explain it to me like I'm a 5 year old..

There are 2 major conflicting definitions of "saturation". I personally consider the 5150 and Recto to be saturated, and the Mark III/IV to be dry. But, as you see on here, many people agree with an opposite definition.

 

[gibson08]

I dunno, guess I define the term saturation differently, I would assume that if you have enough pre-amp distortion to overtake the amp out of clarity that would be saturation, no? If not then explain it to me like I'm a 5 year old..

There are 2 major conflicting definitions of "saturation". I personally consider the 5150 and Recto to be saturated, and the Mark III/IV to be dry. But, as you see on here, many people agree with an opposite definition.

I agree with you, but going by previous definition it would have to be an old Crate I had way back when. Everybody is different.

 

[JakeAC5253]

I dunno, guess I define the term saturation differently, I would assume that if you have enough pre-amp distortion to overtake the amp out of clarity that would be saturation, no? If not then explain it to me like I'm a 5 year old..

There are 2 major conflicting definitions of "saturation". I personally consider the 5150 and Recto to be saturated, and the Mark III/IV to be dry. But, as you see on here, many people agree with an opposite definition.

When in doubt, you are probably right. I don't really have any basis for my definitions, just what comes to mind when I think of playing the amps.

 

[smucarolina]

what do you use really saturated amps for then?

Most people I have seen use them to cover up their sloppy playing

well...I need one then bahahaha.

A HA!

Nothing wrong with admitting that, man. I like you more now, than I did before.

You want a gainy amp that lets you sound awesome, but still works in a band setting.

GET A PEAVEY 5150/5150 II/6505+/or 6505!

Don't even bother with a Diezel, VHT/Fryette. Soldano, Recto, etc. assuming you are finding the Cobra unforgiving. FWIW, I like the 5150 III. It's very saturated, but it's not going to be any easier to play than an old Peavey 5150.

thanks man! i might be building a pedal/rack rig for the 5153 so I might have to come to ya for some questions since you are the rack guru around these parts haha.

i do miss my 6505+ I had...that is why I am coming back to the 5150 line of amps even though the 5153 and the 6505/5150 models still have there differences. Three channels was nice addition though. And I am hoping that the loop on the 5153 is a bit better than the cobra as well.

 

[diagrammatiks]

are there other types of gain other then saturated = engl
dry = fryette i guess?

?

 

[Ancient Alien]

are there other types of gain other then saturated = engl
dry = fryette i guess?

?

Flubby-Bogner?

 

[diagrammatiks]

are there other types of gain other then saturated = engl
dry = fryette i guess?

?

Flubby-Bogner?

Lol. I guess I'm just trying to understand it myself. I don't have a preference one way or another. These things are all tools and I do want to be able to use whatever effectively.

I guess it comes down to the concept of usable gain?

I've got an ultralead and a slo. On both amps you can turn the gain all the way up, plug in whatever and play open chords, fingerpick, do some jazz, or whatever and it sounds clear and articulate. Of course there's distortion but there's very clean boundaries between the fundamentals.

I've brought my guitar to stores to test amps and I've plugged into Peavey 6505s and XXXs. I've owned an XTC, a tremoverb, an orange rockerverb100, a rivera ktre, orange tt and a couple others where that just wasn't possible.

I don't get that thumpy awesome palm muted rhythm on my amps though.

I prefer clarity and string definition but I'm just wondering is there a convention for which type of music each type of amp is best for?

 

[Shask]

I've got an ultralead and a slo. On both amps you can turn the gain all the way up, plug in whatever and play open chords, fingerpick, do some jazz, or whatever and it sounds clear and articulate. Of course there's distortion but there's very clean boundaries between the fundamentals.

I've brought my guitar to stores to test amps and I've plugged into Peavey 6505s and XXXs. I've owned an XTC, a tremoverb, an orange rockerverb100, a rivera ktre, orange tt and a couple others where that just wasn't possible.

I don't get that thumpy awesome palm muted rhythm on my amps though.

I prefer clarity and string definition but I'm just wondering is there a convention for which type of music each type of amp is best for?

I would say the amps where you hear open chords are dry/not saturated. VHT and Mesa Mark series are great at this.

Your other example where the amps are not as clear, but bring the thump I call saturated. 5150/Recto, etc.

I would say it just depends on what you like, and the style you play. People usually prefer one or the other.

 

[RaceU4her]

my favorite saturated tone

 

[diagrammatiks]

so what's the driest amp?

 

[Wizard of Ozz]

so what's the driest amp?

VHT UL for me.

Engl SE or Savage get my "most saturated vote".

 

[Heritage Softail]

are there other types of gain other then saturated = engl
dry = fryette i guess?

?

Flubby-Bogner?

Lol. I guess I'm just trying to understand it myself. I don't have a preference one way or another. These things are all tools and I do want to be able to use whatever effectively.

I guess it comes down to the concept of usable gain?

I've got an ultralead and a slo. On both amps you can turn the gain all the way up, plug in whatever and play open chords, fingerpick, do some jazz, or whatever and it sounds clear and articulate. Of course there's distortion but there's very clean boundaries between the fundamentals.

I've brought my guitar to stores to test amps and I've plugged into Peavey 6505s and XXXs. I've owned an XTC, a tremoverb, an orange rockerverb100, a rivera ktre, orange tt and a couple others where that just wasn't possible.

I don't get that thumpy awesome palm muted rhythm on my amps though.

I prefer clarity and string definition but I'm just wondering is there a convention for which type of music each type of amp is best for?

What you are describing is how I have come to have the two heads I have now. An SLO and a Rivera K Tre, one is a lead player and the other is a chugger. The K Tre will do great compressed sounding leads but it is diff than the SLO. And the same for the chugga on the KT vs. the SLO crunch.

It is just a two amp deal if you really want to have excellence in the 4 areas of dynamic leads, compressed leads, chug, and that awesome SLO crunch. Just my .02. Oh yeah, and then get the correct cabs to maximize the head voicing

Check with Mailman. He has probably owned all of the amps and most of the cabs!!

 

[diagrammatiks]

are there other types of gain other then saturated = engl
dry = fryette i guess?

?

Flubby-Bogner?

Lol. I guess I'm just trying to understand it myself. I don't have a preference one way or another. These things are all tools and I do want to be able to use whatever effectively.

I guess it comes down to the concept of usable gain?

I've got an ultralead and a slo. On both amps you can turn the gain all the way up, plug in whatever and play open chords, fingerpick, do some jazz, or whatever and it sounds clear and articulate. Of course there's distortion but there's very clean boundaries between the fundamentals.

I've brought my guitar to stores to test amps and I've plugged into Peavey 6505s and XXXs. I've owned an XTC, a tremoverb, an orange rockerverb100, a rivera ktre, orange tt and a couple others where that just wasn't possible.

I don't get that thumpy awesome palm muted rhythm on my amps though.

I prefer clarity and string definition but I'm just wondering is there a convention for which type of music each type of amp is best for?

What you are describing is how I have come to have the two heads I have now. An SLO and a Rivera K Tre, one is a lead player and the other is a chugger. The K Tre will do great compressed sounding leads but it is diff than the SLO. And the same for the chugga on the KT vs. the SLO crunch.

It is just a two amp deal if you really want to have excellence in the 4 areas of dynamic leads, compressed leads, chug, and that awesome SLO crunch. Just my .02. Oh yeah, and then get the correct cabs to maximize the head voicing

Check with Mailman. He has probably owned all of the amps and most of the cabs!!

Hmm the Ktre definitely had a chug to it but I thought it had pretty good string to string definition on the gain channel. It's very liquid if I remember correctly, I guess the Engls would be more in that direction?