firejack
Well-known member
camrock":nno1e7ci said:
Cheers Cam.
Cheers Cam.
firejack
Well-known member
Mesa\Kramer":3aif1fa3 said:Zero difference, both sounded exactly the same.
Listen without watching the video and no one could ever tell.
Great tone though
Thanks M/K.
To my ears, the HotHeads mids make the VHII sound almost scooped in comparison.
And there's a noticeable difference in each pickup's attack. The parts where you can hear a clear difference are the way the pickups respond to arpeggiated picking under high-gain (0:45-1:26) and also the off-beat palm-muting at the outro (2:30-2:51).
firejack
Well-known member
gtr31":2ckmr4ep said:
Heya mate, I'll be back with a detailed response later.
Beyond Black
Well-known member
Does the Hot Head have a predominant, pissed off midrange like the Detroiter? Is it like a hotter Detroiter?
JamesPeters
New member
Gavin sent me 3 versions of this (so I could record bass with one and use it on my site). One clip has pickup A, the second has pickup B, and the third one has both (left/right). It's really easy to tell the differences for me with these, since I'm used to picking a part of the song which I want to listen for a difference in and then A/Bing them at that exact part. The VHII pickup sounds more open and less thick with "saturation", but has a more vocal something-or-other to it. I like both. Each has something I really like, which is different from the other.
firejack
Well-known member
Yep I have the Crunch switch engaged. I think it's called the crunch switch? The switch with the Chilli picture on it.gtr31":35g54kmy said:
It's a tough choice choosing a Peters high-gain channel.gtr31":35g54kmy said:
I've had the Gryphon, Hydra and now the GNL and they are all awesome in their own way.
Thanks mate, appreciate your kind words.gtr31":35g54kmy said:
Yeah you nailed it. The GNL has the same type of growl as my old Gryphon but with a more focused attack. And it may interest you to know that you can dial the aggression back enough to get the GNL to do the more relaxed, darker, medium-gain Gryphon thing. Just not quite as well as the Gryphon does it though, but close enough that I don't miss my Gryphon anymore.
firejack
Well-known member
Heya thanks Chad.gibson5413":3ft7pobn said:
Good to see you still hanging out here.
Same. I really dig the character of the HotHead's mids.
firejack
Well-known member
Beyond Black":349rglgb said:
Comparing my Hot Head bridge to my Detroiter bridge, they are very similar but differ in a few ways.
The Hot Head's mids sound like they are about to explode, like right on the verge.
On the other hand, the Detroiter's mids sound like they are way gone!
But neither pickup sounds harsh or honky.
Even though the Detroiter is around 9k and the Hot Head around 15k, the Detroiter packs just as big a preamp-punch as the Hot Head.
In fact the Detroiter actually sounds like it's the hotter pickup, as it's EQ curve is slightly more snarly and upper mid focused than the Hot Head.
Both have thick, attenuated highs whilst still having enough presence to slice through.
I really love this trait of both the pickups. It always impresses me.
They never sound harsh or weedy when soloing. Just thick, juicy, vocal but still cutting.
Really awesome pickups for leadwork.
The Hot Head stays clean and composed despite it's aggressive character. It's the tighter of the two.
The Detroiter has a little more sag in the lows.
Hope this helps.
Beyond Black
Well-known member
Very helpful AND informative! Thanks firejack. 
firejack
Well-known member
JamesPeters":2n6i947h said:
Beyond Black":2n6i947h said:Very helpful AND informative! Thanks firejack.
Heya no problem BB.
Peter Diezel
Well-known member
Sorry to chime in.
That´s one of just a few recordings online that makes me smiling.
Great sound, great job.
Cheers and happy new year,
Peter
That´s one of just a few recordings online that makes me smiling.
Great sound, great job.
Cheers and happy new year,
Peter
H
hstlaurent
Active member
Sounds awesome. Makes me want to by an GNL. Killer tone.
rottingcorpse
Well-known member
Great amp and tone. Peters amps are freaking great! Great thread too.
firejack
Well-known member
Peter Diezel":3i7anybv said:
Many thanks for the kind words.
And happy new year to you also.
firejack
Well-known member
hstlaurent":uabpc3gy said:
Thanks mate.
Do it!!!
firejack
Well-known member
rottingcorpse":1czo16lm said:
Many thanks man.
L
Lord Toneking
New member
I've always loved your tone and your playing. Great stuff, man!
FourT6and2
Well-known member
Sounds fantastic.
I have a GNL as well. Doesn't sound quite the same as yours (with the same settings). Mine is new. About 5 months old maybe. So it might have some slight changes compared to yours. But it's got the same growl (maybe more so). Awesome amp. I also have a Hydra. Peters makes some really great stuff. I don't know why more people don't use them. I was using Diezel mostly (tried some other amps like Fortin, modded Marshalls, etc.). But the Peters sounds is it.
Does your GNL have the Wide/Normal and Modern/Vintage switch? And what tubes (pre and power) are you running?
I have a GNL as well. Doesn't sound quite the same as yours (with the same settings). Mine is new. About 5 months old maybe. So it might have some slight changes compared to yours. But it's got the same growl (maybe more so). Awesome amp. I also have a Hydra. Peters makes some really great stuff. I don't know why more people don't use them. I was using Diezel mostly (tried some other amps like Fortin, modded Marshalls, etc.). But the Peters sounds is it.
Does your GNL have the Wide/Normal and Modern/Vintage switch? And what tubes (pre and power) are you running?
FourT6and2
Well-known member
JamesPeters":nay8lrrd said:
James, the first clip of the GNL on your site is baller. That's THE sound for me right there. Lots of growl and chunk. Any details on amp settings/speakers/recording setup, etc? It kind of has a slight hollow bounciness to palm mutes and on the attack that I really like. My GNL definitely delivers. But that clip is tonal nirvana.
I am using a Bogner 2x12 with V30s. Maybe the cab design is part of it. The Bogner cabs have insulation/batting inside. That might kill some of the liveliness.
JamesPeters
New member
Hi Mike,
1) Tune down to C#. That kind of growl just won't happen with a higher-tuned instrument. I'm not sure what gauge to use since it'll depend on the guitar, but I suspect Gavin uses somewhat thinner gauge strings than usual for the task (only a guess), or possibly brighter sounding strings in general. And then your guitar needs to be intonated/set up for the tuning, of course.
2) You need aggressive and focused sounding high output pickups, probably ones with ceramic magnets. And set them whatever distance from the strings you need to (possibly lower than you might have expected, since keeping the attack tight usually means lowering the pickup on the bass side, at least from my experience).
3) Your pick attack has to be right for the task, as well as your muting. There's some subtlety involved, not just heavier hitting. More of a careful "snap" of the pick off the strings. This is one of those critical things which defines a person's "tone" when people say "tone is in the fingers".
4) From what I have heard of your guitars so far...you might want one with somewhat more midrange resonance. Sorry to sound like the bearer of bad news, but a fat sounding guitar might not work well for this kind of thing.
5) Settings will depend on everything else. When I saw Gavin's settings I thought "interesting...I'd have done it differently..." but apparently that's not the way he gets that sound. If you turn the Edge switch off, you'll probably have to turn up the High and Presence controls. Don't set the Gain too high; you need to maintain balance between the saturation and attack (and we all seem to have a tendency to turn the Gain up too high until we start recording, then listen to the mix...and then try turning it down...) Damping depends on your cab (I usually use it fairly low but some others use it quite high and love how it sounds). Depth to taste; that fills out the lows (but doesn't extend them, really). Beyond that it's tough to say.
Gavin used an impulse file for that recording. I have the impulse file since it's one that I made years ago. I can email it to you. If you've never used a cab sim thingy on your PC, let me know and I'll walk you through it. It's not hard but there are a few things worth talking about. I'd probably want to call you to talk.
As for how the amp sounds in the room, I can't say whether your cab is right for the job or not since I don't remember using one. I do know there is no 2x12 I've ever used that sounds quite right to my ears compared to the 4x12s that I use, but I do like the Mesa Rectifier closed-back 2x12 design (and I'd probably put Chinese V30 in it, instead of the stock UK ones).
I like batting in cabs which are very resonant in some frequency since it tames some of the resonance that's there (and I find it balances out the sound). In a cab with lots of midrange resonance, it'll help flatten it and be less "honky". In a cab with deeper lows and higher highs (such as my 4x12) it brings that under control and makes the sound more even.
Remember that a recording is a representation of what the player captured at the time using the tools at his disposal and his approach. Just like a photograph is a representation of what you capture at that time with your camera, lighting, choice of settings etc. Neither the recording nor the picture is the reality. A photograph is capable of showing more detail than the human eye normally sees, and to imitate a viewer's natural experience we tend to use filters/blurring/color adjustments/etc. (for instance to draw attention to some detail and away from the background, increasing the perception of depth). The same is true in recording. I'm not saying Gavin's tone is impossible to get, but it's his approach which results in that recorded sound, so imagine thinking like him with the tools he uses for the job. You'd probably laugh if you saw the conditions in which I take photographs of my amps, but I have an approach which works well for the conditions (and I can control the consistency under those conditions, and I know my camera, so that's why I work this way). If I'd have learned photography differently I might've started with different conditions, but these work well for me. I wouldn't expect you'd like to take pictures under the same conditions. With recording, sometimes the devil is in the details. So I guess what I'm saying is: don't knock yourself out trying to "nail" this sound if you're getting close already.
Thanks to everyone for the compliments! I'm uploading more clips to my site, somewhat regularly at least until I have a decent "library" of clips.
1) Tune down to C#. That kind of growl just won't happen with a higher-tuned instrument. I'm not sure what gauge to use since it'll depend on the guitar, but I suspect Gavin uses somewhat thinner gauge strings than usual for the task (only a guess), or possibly brighter sounding strings in general. And then your guitar needs to be intonated/set up for the tuning, of course.
2) You need aggressive and focused sounding high output pickups, probably ones with ceramic magnets. And set them whatever distance from the strings you need to (possibly lower than you might have expected, since keeping the attack tight usually means lowering the pickup on the bass side, at least from my experience).
3) Your pick attack has to be right for the task, as well as your muting. There's some subtlety involved, not just heavier hitting. More of a careful "snap" of the pick off the strings. This is one of those critical things which defines a person's "tone" when people say "tone is in the fingers".
4) From what I have heard of your guitars so far...you might want one with somewhat more midrange resonance. Sorry to sound like the bearer of bad news, but a fat sounding guitar might not work well for this kind of thing.
5) Settings will depend on everything else. When I saw Gavin's settings I thought "interesting...I'd have done it differently..." but apparently that's not the way he gets that sound.
If you turn the Edge switch off, you'll probably have to turn up the High and Presence controls. Don't set the Gain too high; you need to maintain balance between the saturation and attack (and we all seem to have a tendency to turn the Gain up too high until we start recording, then listen to the mix...and then try turning it down...) Damping depends on your cab (I usually use it fairly low but some others use it quite high and love how it sounds). Depth to taste; that fills out the lows (but doesn't extend them, really). Beyond that it's tough to say.Gavin used an impulse file for that recording. I have the impulse file since it's one that I made years ago. I can email it to you. If you've never used a cab sim thingy on your PC, let me know and I'll walk you through it. It's not hard but there are a few things worth talking about. I'd probably want to call you to talk.
As for how the amp sounds in the room, I can't say whether your cab is right for the job or not since I don't remember using one. I do know there is no 2x12 I've ever used that sounds quite right to my ears compared to the 4x12s that I use, but I do like the Mesa Rectifier closed-back 2x12 design (and I'd probably put Chinese V30 in it, instead of the stock UK ones).
I like batting in cabs which are very resonant in some frequency since it tames some of the resonance that's there (and I find it balances out the sound). In a cab with lots of midrange resonance, it'll help flatten it and be less "honky". In a cab with deeper lows and higher highs (such as my 4x12) it brings that under control and makes the sound more even.
Remember that a recording is a representation of what the player captured at the time using the tools at his disposal and his approach. Just like a photograph is a representation of what you capture at that time with your camera, lighting, choice of settings etc. Neither the recording nor the picture is the reality. A photograph is capable of showing more detail than the human eye normally sees, and to imitate a viewer's natural experience we tend to use filters/blurring/color adjustments/etc. (for instance to draw attention to some detail and away from the background, increasing the perception of depth). The same is true in recording. I'm not saying Gavin's tone is impossible to get, but it's his approach which results in that recorded sound, so imagine thinking like him with the tools he uses for the job. You'd probably laugh if you saw the conditions in which I take photographs of my amps, but I have an approach which works well for the conditions (and I can control the consistency under those conditions, and I know my camera, so that's why I work this way). If I'd have learned photography differently I might've started with different conditions, but these work well for me. I wouldn't expect you'd like to take pictures under the same conditions. With recording, sometimes the devil is in the details. So I guess what I'm saying is: don't knock yourself out trying to "nail" this sound if you're getting close already.
Thanks to everyone for the compliments!
I'm uploading more clips to my site, somewhat regularly at least until I have a decent "library" of clips.