#Fender Pro Reverb

[guitarbomb]

Exploring Poison Ivy's Guitar Mastery in The Cramps

Exploring Poison Ivy’s Guitar Mastery in The Cramps. Poison Ivy, the iconic guitarist of The Cramps, is renowned for her unique sound that combined punk’s raw energy with a retro rockabilly vibe. Her distinctive approach to guitar equipment and music production played a crucial role in shaping the band’s signature sound.  Poison Ivy Poison Ivy Rorschach, born Kristy Wallace, is an iconic figure…

[gearcade]

Geordie Greep @ The Catalyst, Santa Cruz CA 5/5/25

I had the pleasure of being at this show, it was wonderful. And there’s some different gear now.

Friendly Dave kneeling down to make Greep look taller

Pedalboards:

Geordie’s pedalboard is more or less the same than it has been. Although, he replaced his usual Suhr Riot with a Moog MF Drive, a filter-based drive inspired by the Moogerfooger line.

The amp Geordie used was much different from his usual Fender reverb amps, a Limited Edition Vox AC15C1, an anniversary model offered exclusively at Guitar Center, most likely rented from them.

Amp with bongos in background. Notice the missing Les Paul SG, I don’t believe he brought it with him on this tour.

Ethan Marsh’s guitar pedalboard, out of frame being a Dunlop Crybaby Bass Wah and a BOSS OC-3 (unused)

The signal chain of this board goes as follows:

Guitar -> Dunlop DVP4 -> Dunlop Bass Wah -> BOSS SY-1 -> Fulltone Mosfet Full-Drive 2 -> ProCo Rat -> BOSS DD-7 -> MXR Phase 90 -> Amp

The amp Ethan uses is a Fender Blackface Deluxe Reverb on the Vibrato Channel and the guitar is a Gibson ES-335.

Amps (in the back, unused for the show, is a Parker Fly Deluxe)

The bassist, Friendly Dave’s pedalboard.

Dave's pedals, being a bassist, aren't too wild and are mainly just used for some fun effect during loud parts.

The signal chain is,

Bass -> Polytune 3 -> EHX Frequency Analyzer -> Darkglass Microtubes B7k Ultra -> BOSS OC-2 -> Dunlop DVP3 -> Strymon Flint -> Amp

The bass Dave uses is a Charvel Pro-Mod San Dimas Bass JJ V and the amp is a Mark Bass CMD 102P

The keys are a Nord Electro 6D and Moog MiniMoog.

MiniMoog goes through Radial Pro D2 Direct Box before going to front desk

That's all of the gear stuff I could take from this concert, percussion I know nothing about. Thank you and goodnight.

[benjamindehli]

Blade Runner: Rachel's Song (cover)

A cover version of Rachael's Song / Rachel's Song by Vangelis from the movie Blade Runner. For the lead vocal part I used a Therevox ET-4.3. 

 Instruments:

Korg MS-20: Filter and noise for vocal

Korg Polysix: Synth pad

Logan / Hohner String Melody II: Strings

Mellotron M4000D: Choir and chimes

Moog Minitaur: Bass

Rhodes Mark I Stage Piano: Electric piano

Roland D-50: Chimes

Roland SH-09: Quarter note beeps and noise

Sequential Circuits Pro-One: Brass and lead synth

Suzuki Omnichord OM-84 System Two: Harp

Therevox ET-4.3: Vocal

Yamaha DX7: Chimes

Amplifiers:

Fender Twin Reverb: Rhodes

Tandberg Model 2 T: Therevox

Microphones:

Shure SM57

Royer R-121

Effects:

Hairball Audio FET/RACK Revision D

Roland PA-120 (preamp, EQ and spring reverb)

Roland Dimension D SDD-320

Fulltone Tube Tape Echo

Chase Bliss Audio & Meris CXM 1978

DIYRE G Bus VCA Compressor

Tape recorder:

Fostex X-28H

Music: Rachel's Song from the Blade Runner soundtrack by Vangelis

[bowmanstudios]

GEAR

Microphones:

Sure sm57

Sure sm58

Audix i5

Sure Beta 52

Blue Snowball

Behringer C-2 (pair)

Samson C01

Rode NT1A

Hardware:

Scarlett 18i0 audio interface

Mackie 1402-VLZ PRO 14 channel mic/line analog mixer

Guitar amps and pedals:

Helix HX STOMP

Ibanez Turbo Tube screamer

Guitars:

Fender GC140SCE Concert Acoustic-Electric

Yamaha FX335C Dreadnought Acoustic-Electric

Ovation 1311 Natural Acoustic

Fender Nashville Telecaster

Fender Squire Bullet Telecaster

Fender Squire Jazz Bass

Mitchell MU40 Soprano Natural Ukulele

Yamaha CGS 102A Classical Guitar

Keyboards:

Nektar Impact LX61+

Roland U-20

Drums and percussion:

1 big tambourine

1 small tambourine

LP Medium twist shakers

Simmons Titan 50 electronic drum set

Sound Monitoring:

JBL Professional Linear Spatial Reference 3 Series powered studio monitors (pair)

Sony Professional MDR-7506 studio headphones

Sennheiser HD 201 studio headphones

KRK Classic 5 studio monitors (pair)

Computers and visuals:

Apple MacBook Pro 13 inch

Dell flat panel monitor

DAW/software:

Logic Pro X

Pro Tools 12

GarageBand

Avid/Apple/Native Instruments/SoundToys/FabFilter/Waves plugins

Helix HX Edit

Plugins:

Digital EQ’s:

Waves V-EQ4

Fabfilter Pro-Q

Digital Reverbs:

Waves Abbey Road Chambers

Waves H-Reverb Hybrid Verb

Waves Renaissance Reverb

Waves Manny Marroquin Reverb

Relab Development LX480 Reverb

Digital Compressors:

Waves Renaissance Compressor

Waves CLA-3A Compressor/Limiter

Waves Smack Attack

Waves DeEsser

Extras:

Waves SSL G-Channel

Waves Nx Ocean Way Nashville

Waves Z-Noise

Waves WLM Plus Loudness Meter

Waves Tune Real-Time

Waves Vocal Bender

Waves Torque

Waves CLA Bass

Waves Abbey Road J37 Tape

SoundToys Echoboy

VST’s:

Spectronics Keyscapes

Native Instruments Battery

Toontrack EZdrummer 3

Native Instruments Kontakt Electric Guitar

Accessories/miscellaneous/other studio features:

4 XLR cables

4 1/4 inch jack cables

Power supply cables

USB outlet strip

High speed internet and free WIFI

Pencils, pens and paper

Wireless printer available

5 mic stands

Shock mount, pop filter, and 3 windscreens

HEAROS Ultimate Softness earplugs

Mini Samsung T.V. with Roku entertainment

RIF6 electric record player with built-in speakers

Dean Markley Pro Mag humbucker pickup

Culilux 1/4” audio splitter

Rioddas external ODD&HDD disc drive

Pack of CDs for burning

Guitar pick maker with appropriate paper

3 microphone clips

Alesis sustain pedal

Radial PRO-DI passive direct box

DeltaLab digital metronome

AKAI MPD218 beat pad

GiveBest electric heater

Behringer ULTRAACOUSTIC AT109 15-WATT acoustic guitar amplifier

OWC thunderbolt USB-C dock

APC surge protector

MOONGEL damper pads

Pick holder filled with guitar picks (floppy and hard) and a set of thumb picks

2 capos and clip on tuner

KORG TM-50 combo tuner and metronome

Mackie 1402-VLZ PRO 14 channel mic/line analog mixer

NEXIGO web cam

Big Knob passive monitor controller

The Bowman Studios, Dallas, Texas

Producers: Mason Bowman

[dloindustries]

[torley]

Amplifiers HeadsCLEAN • Jazz Amp - Roland Jazz Chorus-120BASS • Bass Pro - Ampeg SVT-2 Pro • Bass Invader - based on the rock and indie sound of the late 1980s and 1990s • NEW: Bass Rage - Ampeg Classic SVT-CL ( Modeled with ICM )MEDIUM GAIN • AC Box - Vox AC30) • Chicago - generic vintage amp from the 1950s • Twang Reverb - Fender Twin Reverb • Tweed Delight - Fender Tweed Deluxe • Tweedman - Fender Bassman • Citrus - Orange Overdrive OD120 • NEW: Reverb Delight - Fender Deluxe Reverb ( Modeled

[donjuaninhell]

Since I got rid of the Roland keyboard amp I was using as a guitar amplifier in 2013, whenever I've been noodling around, playing along with a record, or learning a song, I've been plugged into a computer through an audio interface and using amp modelling software. I've been using the Guitar Rig series of software since the second version, and I own the Rig Kontrol interface/foot controller that lets you control it. Playing through the computer lets me play as loud and as weird as I want without annoying anyone, I just use my studio headphones. —Also did I mention that a Fender Twin Reverb gets really loud, like really, really loud; I've never been daring enough to crank the volume dial past two out of fear of causing windows to shake, things to fall, and cops to be called.— In my last few years of university I would bring in one of my electric guitars with me into my office and play during lunch or at the end of the day. This was a pretty great set-up for a long time.

And then my 2013 15" MacBook Pro died last year and I didn't want to replace it with a new Mac for a whole bunch of reasons. For one, the version of Guitar Rig I was using was no longer supported by the newest versions of OS X after Apple discontinued support for 32-bit software, and the developer of Guitar Rig had stopped supporting the Rig Kontrol in the versions of Guitar Rig that were compatible with the latest OS X releases. I was also just fed up with Apple making their operating system less functional for me, a power user, with every new release.

After some wrangling I managed to get Guitar Rig 5 working with the Rig Kontrol in Windows 11 (it involved installing a Windows 7 driver and some registry edits) and it works fine for the most part. The audio latency is noticeably worse in Windows unless you restrict yourself to lower bitrates (audio I/O drivers in OS X execute on the kernel level, unlike in Windows, and while ASIO is good, it's not as good and there's still a translation layer before you get that final output), but it's fine. The thing is that it's a pain in the ass to get everything ready to go, and then inevitably I get distracted by something on the computer. I think some of my impetus behind putting together a pedalboard is just to get some distraction free time playing my instrument. There's also just the question of how long my Guitar Rig set-up will remain viable; I'm already using an interface driver written for a version of Windows three releases ago, and the version of Guitar Rig I'm using is two versions old too.

I still recommend trying out Guitar Rig if you play guitar, it's a lot of fun designing signal chains you could never possibly afford, or emulating the set-ups of your favourite guitar players (old issues of Guitar Player are great for this). I've got a preset that recreates John McGeoch's rig from his time with Siouxsie and the Banshees and another one that replicates Robert Fripp's set-up circa 1973. It's a cool program, much more granular and tinkerer friendly than other amp modeling software I've tried. I also don't think I've ever actually paid for a legitimate copy of the software despite owning hardware for it, because it's a really easy piece of software to pirate.

I've been slowly putting together a pedalboard and the above diagram is what I hope it will look like when finished. Yes, a Fender '65 Twin Reverb sounds terrific on its own, and when I bought that amp off my friend Rebecca (formerly of punk/grind band Thick Piss, now a criminal defence lawyer) she threw in an Ibanez TS-9 Tube Screamer. That's been enough for me, I'm typically pretty light on effects, the only other pedal I owned for years was a Dunlop Cry Baby Wah (which my dad is borrowing at the moment). Although, if I'm going to be perfectly honest, the Tube Screamer is not my favourite overdrive pedal; I've wanted a ProCo Rat for the longest time, but if you're going to get one of those you should really get your hands on a vintage one and those are getting absurdly expensive, otherwise clones are just as good in most cases. Well, it turns out there's this galaxy of inexpensive Chinese circuit clones of coveted effects pedals waiting to be discovered in the depths of AliExpress. A lot of them are good too, hell, some of them are even improvements on the original circuit designs. Did I mention that they're cheap? In some cases we're talking a quarter of the price of a new original.

So I ordered a few. The Dunlop MXR Flanger clone has already arrived and it sounds fantastic. The DynaComp Compressor clone sounds great too. I'm still waiting on the Rat clone; I'm particularly excited for this one as it also models all the Rat variants (Fat Rat, Dirty Rat, Turbo Rat). The fourth pedal I ordered is an octave pedal because the rumbling roar of Neil Young's guitar tone on "Hey Hey, My My (Into the Black)" has been burned into my brain from age seventeen onward.

Once those last two pedals arrive in the next few weeks, maybe I'll record a short video demoing them. I just think they're neat.

As for everything else, well I'd need to get an actual board, and a power supply, and it'd be smart to have a noise gate at the end of the chain, and a chromatic tuner wouldn't be expensive (although my relative pitch is still pretty damn good, so tuning by ear isn't a huge deal). Maybe I could sell the Tube Screamer, and replace it with something more like an actual fuzz pedal (a Big Muff Pi or Fuzz Face clone would be cool). I don't know if I really want any other effects. I'm not a huge fan of using delay (even if it is sometimes fun to emulate Frippertronics), and the spring reverb in the Fender Twin is lush and vibrant so there's no need for a reverb pedal. I suppose I could get a chorus (Kurt Cobain's guitar sound on "Come As You Are"), or a phaser (Hendrix playing "The Star Spangled Banner" at Woodstock), but I honestly don't know how much use I'd get out of them.

We'll see if I actually manage to assemble the thing properly with an actual board, but hey, it's a bunch of fun stuff to maybe get me back into the habit of playing more. I have no illusions of being able to play everyday for upwards of two to three hours like when I was a music student, but even just playing more often than "almost never" would be cool.

[spacebeach23]

1968 Fender Pro Reverb Amp

from: https://jayrosen.com

[itramonti]

Thank you Brian at Dan’s Guitars for getting my baby back to full magnitude.

I do have to admit that the Accutronics reverb tank definitely does sound better then the current one installed but I do run a lot of delays and reverbs so and I don’t mind the subtle reverb the new tank puts out.

They new JJ Tubes sound pretty damn crispy too and having a working tremolo was just the icing on the cake.

[wednesdaychildhasfartogo]

[deebeeus]

1969 Gibson SG & 1968 Fender Pro Reverb

[tayloryorkie]

Taylor’s Equipment

Guitars

Bilt Corvaire

BilT Relevator LS

BilT Volare

BilT Zaftig

Danelectro 59 DC Electric Guitar

Eko 500 V2

Epiphone Casino

'89 Epiphone Sheraton (with Arcane Ultratron pickups)

Fender '75 Starcaster

Fender Blacktop Jaguar HH Electric Guitar

Fender Jazzmasters

Custom Fender Jazzmasters with humbuckers

Fender Classic Series '72 Telecaster Thinline

Fender Telecaster

Fender Coronado II Wildwood III

Gibson 20th Anniversary 1957 Les Paul Custom Black Beauty

Gibson ES-390

Gibson Les Paul Goldtop Electric Guitar

Gibson Les Paul Junior Double Cut VOS

Gibson Les Paul Junior Special Exclusive

Gibson Midtown Custom (with Bareknuckle Mississippi Queen P90 pickups)

Gibson SG '61 Reissue

Gibson Songwriter Deluxe Studio EC Acoustic Guitar

Godin 5th Avenue Kingpin

Gretsch G6119-1962HT Tennessee Rose HT

Hagström Impala

1966 Hagström Viking Electric Guitar

Kay Apollo II/Titan 1960's

Les Paul Special

'58 Les Paul Jr

Martin 000-18 Golden Era

Martin Steel-String Backpacker Acoustic Guitar

Neptune Singlecut Baritone

Rickenbacker 360

Supro Coronado II

Taylor 414ce

Other Guitars

Jerry Jones Baby Sitar

Kala Archtop KA-JTE Tenor Ukulele

Bass

Fender Jaguar Baritone Custom

Squier Jaguar Bass

Squier Jaguar Vintage Modified Short Scale Bass

Fender Precision Bass

Amps

1960 Watkins Dominator

65 Amps Tupelo

Divided By 13 RSA 23

Marshall JCM 2000 DSL 100 Dual Super Lead 2-Channel 100-Watt Guitar Amp Head

Roland JC 120

Silverface Fender Deluxe Reverb

Supro Statesman 50W Head

Supro 1695T Black Magick

Traynor YBA-1A MKII

Vox AC30

Pedals

Alexander SpaceXpander

Boss CE-1 Chorus Ensemble

Boss CE-2W Chorus

Boss DC-2 Dimension C

Boss DD-20 Giga Delay Digital Delay Pedal

Boss RV-3 Digital Reverb/Delay

DigiTech Whammy (4th Gen)

DigiTech X-Series DigiVerb

EarthQuaker Devices Dirt Transmitter Fuzz Pedal

EarthQuaker Devices Ghost Echo Reverb

EarthQuaker Devices Grand Orbiter V2

EarthQuaker Devices Hoof

EarthQuaker Devices Rainbow Machine Polyphonic Pitch Mesmerizer

EarthQuaker Devices Pitch Bay

EarthQuaker Devices Terminal Fuzz

EarthQuaker Devices Tone Job EQ

EarthQuaker Devices Transmisser

Electro-Harmonix POG2 Polyphonic Octave Generator Guitar Effects Pedal

Empress Echosystem

Empress Effects Multidrive Overdrive Guitar Effects Pedal

Empress Effects Reverb

Eventide H9 Max Harmonizer Multi-Effects Pedal

Heavy Electronics Radio Havana

JHS Pedals Mini Foot Fuzz Silicon Fuzz Pedal

Mantic Effects Proverb Reverb

Maxon AD-999 Pro Analog Delay

Mr.Black Supermoon

MXR M101 Phase 90

Old Blood Noise Endeavors Procession

Old Blood Noise Endeavors Reflector Chorus

Pearl CE22 Chorus Ensemble

Pigtronix Mothership Analog Synthesizer

Rawkworks Light Overdrive

Red Panda Context

Strymon blueSky Reverberator Pedal

Strymon Ola dBucket Chorus & Vibrato

Strymon TimeLine Delay Pedal

TC Electronic Ditto Looper Guitar Effects Pedal

TC Electronic Polytune 2 Pedal Tuner

Visual Sound Garagetone Chainsaw Distortion

Z.Vex Vexter Series Fuzz Factory

ZVex Vexter Series VSD Super Duper 2-in-1 Boost Pedal

Power Supplies 

CIOKS DC10 Power Supply

Picks

Clayton Custom Orange Delrin 0.60mm

Straps

Ernie Ball Polypro Guitar Strap

LETGOdwork Anchor Guitar Strap

LETGOdwork X-Bird Guitar Strap

Percussion/Drum Sets

Truth Custom Turquoise Glass Vintage Drum Kit

Roland SPD-SX Sampling Pad

Yamaha 2.5 Octave Concert Band Bells

Drumsticks

Vic Firth X55A Drumsticks

Vic Firth X5A Drumsticks

Vic Firth 3A Drumsticks

MIDI Controllers

RJM Mastermind GT/22 MIDI Foot Controller

In-Ear Monitors

Ultimate Ears Ue 7 Pro In-Ear Monitors

Phew okay this took a while! to be continued:)

[officialfender]

If you could jam with any musician, who would it be? What would you play? #AmericanPro   Photo: @wicked_lady

[dloindustries]

Sweet amp at a sweet price.

[crislorencreative]

Guitar and Bass DI Shootout notes!

Put this together to shootout Direct Input options for recording guitar and bass, as well as get better with my critical listening while getting  acquainted with my new interface. I might be making mountains out of molehills, I might be making strides in my audio engineering and songwriting journey- either way I have way too much time on my hands.

Hardware;

RME Babyface Pro FS Audio Interface

Radial Stereo PROD2 Direct Input Box

JHS Pedals Buffered Splitter V1 Signal Splitter Pedal

Land Devices PRE Guitar Preamp Pedal

TECH 21 SANSAMP Bass Driver DI Bass Preamp Pedal

Mogami GOLD Guitar Cable

Lava Cables Solderless Patch Cables

Gibson ES-335 Electric Guitar with stock pickups

Fender Jazz Bass with Seymour Duncan “Quarter Pounder” pickups

Guitar Center retail store picks (lol)

Software;

Logic Pro X digital audio workstation

Logic Pro X stock Limiter (+3dB on Master Bus)

Drums-

Native Instruments KONTAKT virtual instrument host

RoomSound Jay Maas drum library

Bass/Guitar-

FabFilter EQ3 equalizer plugin

STL Tones Howard Benson guitar and bass amp simulator (w/CLA Expansion)

Logic Pro X stock Compressor plugin

Logic Pro X stock Single-Band EQ plugin

I aimed to make a simple verse at 150 tempo in D minor with a low down bass pattern, mute-canceling strumming rhythm guitar part, and bouncing lead guitar melody in my arrangement at the end which these sections and parts cumulate to at the end of this demonstration. I imagine it as a lead into a driving chorus where a future vocal line can begin to wail out after a chilled-out verse- as my inspirations in songwriting originate from Nirvana and independent bands of the modern day. Using the STL Tones Howard Benson Plugin, I sought out a lightly driven Ampeg style amp for the bass tone, a Tubescreamer-fronted Vox AC30 style amp for rhythm guitars, and a pushed Fender Tweed style amp for the lead guitars. Only modifications were using the plugins’ internal reverb and delay sparingly, and added the aforementioned Single-Band EQ plugin for a subtle high shelf on the Lead Guitar.That’s it- no parallel processing, aux sends, or anything funny with the mixing. Nothing too fun until I can determine which method to record my Direct Input Guitars.

Audio Timeline - Total Length 3:44

Three routing methods described as;

RME Direct Input - RME DI

Radial DI Box into RME XLR Input - DI box

Preamp into RME 1/4th” Input (Sansamp for Bass, Land Devices PRE for Guitars) - PRE

Section 1 - 8 Bars testing 

Three 8 bar instances of the riff, with 3 stages of testing (with drums, no drums, no plugins) - 0:06-2:04

Part I

Drums, Bass, Rhythm Guitars, and Lead Guitars - 0:06-0:44

RME DI - 0:06

DI box - 0:19

PRE - 0:33

Part II

Bass, Rhythm Guitars, and Lead Guitars(w/EQ+Amp Sim) - 0:44-1:26

RME DI - 0:48

DI box - 1:00

PRE - 1:13

Part III

Bass, Rhythm Guitars, and Lead Guitars(No Plugins) - 1:26-2:04

RME DI - 1:26

DI box - 1:39

PRE - 1:52

Section 2 - 4 Bar testing

4 bars of each DI, followed by 4 bars with added EQ and Amp Simulation - 2:04-2:24

Bass (DI, then EQ+Amp Sim);

RME DI - 2:04

DI box - 2:11

PRE - 2:17

Rhythm Guitar (DI, then EQ+Amp Sim);

RME DI - 2:24

DI box - 2:30

PRE - 2:36

Lead Guitar (DI, then EQ+Amp Sim);

RME DI - 2:43

DI box - 2:49

PRE - 2:56

Section 3 - Which did I prefer? 35 Second Demo 3:05-end

Now, time for my favorite. I’d like you to guess which one my favorite is of the three routing methods with a 35ish second arrangement I made for this test. I used the same DI method for Bass, Rhythm Guitars, and Lead Guitars in this final example. I thought it sounded nice for what it was while not going deep into processing to keep the integrity of direct signals and keeping this test close to its roots, how a DIY musician approaches songwriting at the first step- plugging in and playing your instrument with minimal nor no outboard processing, other than maybe your favorite preamp pedal.