.........non high gain situations? I'm in a coverband that does a lot of classic and classic prog, as well as some 80's hits, etc. I spend most of my time on the red channel, dialed in with the gain at about 6 and a tube screamer on tap for a little extra. The orange channel is dialed in for heavier stuff (we so some metallica, maiden, savatage etc) but I would say I'm only on that channel 10% of the night. I wonder how untypical my situation may be? I imagine the bulk of rec users are utilizing the tons of high gain on tap.
how many of you use your dual/triple recs in.........
- Thread starter joeydego
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YellowJacket
Well-known member
Which recto do you have? The Reborn and the 3 channel less so are both designed to cover basically every style. My 2 channel really doesn't like lighter stuff and I only use it for punk rock, hard rock, and metal. I also use it pretty much for rhythm.
MesaENGR412
Well-known member
I use my heads for metal and then the 6L6 head for praise and worship. I bump it down to 50 watts and use the "pushed" green channel for almost all of the p and w. All you need for 95% of that is a warm tone, low gain, and good delay/verb. I use the head with my 2x12 for church. 6x12 and both heads in stereo for my band.
-AJH
-AJH
I have a three channel triple, its multi watt, serial loop, raw/vintage/modern switches etc. I certainly get away very well with less than high gain tones and actually love the way the amp sounds dialed back. I just wonder if I'm in a great minority of players who don't really use to much high gain out of a high gain amp like this.YellowJacket said:
screamingdaisy
Well-known member
I play a lot of metal, thrash, etc and I run my gain at 5. I find at this setting I get a lot of punch, note clarity and a very percussive rhythm tone.
For me, at 6 the notes start to fuzz together and I start loosing the punch/percussiveness as the gain dulls the edge of my attack. I typically only use this much gain when I'm playing Smashing Pumpkins covers and want a Big Muff sort of vibe.
That said, gain is sort of relative to the individual. Someone with a heavier pick attack will produce a different sound at different gain levels with someone with a light pick attack.
For perspective, James Hetfield runs his gain at 5 while Kurt Hammett runs his at about 7. Same band, same basic tone... different players.
For me, at 6 the notes start to fuzz together and I start loosing the punch/percussiveness as the gain dulls the edge of my attack. I typically only use this much gain when I'm playing Smashing Pumpkins covers and want a Big Muff sort of vibe.
That said, gain is sort of relative to the individual. Someone with a heavier pick attack will produce a different sound at different gain levels with someone with a light pick attack.
For perspective, James Hetfield runs his gain at 5 while Kurt Hammett runs his at about 7. Same band, same basic tone... different players.
screamingdaisy
Well-known member
joeydego said:
Over the years I've picked up that most people seem to run the gain (modern/vintage) between about 11:30 and 2:00. Some use a bit more, not very many use less.
A lot of new Recto users will run the gain quite high. I suspect its because it's their first high gain tube amp and they're used to how aggressively distorted their stomp box sounded compared to the smoother clipping produced by a tube amp. You'll find them running their gain near max and starting threads about getting a boost pedal because the Recto doesn't have enough gain.
b0nkersx1
Well-known member
i don't use it that way a lot, but i do really like the way vintage sounds with the gain at around 12:30 with my les paul playing stuff like "The Darkness"
On my Dual Rectifier "Multiwatt", I've used the Raw mode on channel two for a bunch of 70's classic rock songs. Sounds pretty **** good playing Zeppelin, Bad Co, Boston, etc.
I even got compilments on my tone from a few people when we played "My Sharona" by the Knack.
I even got compilments on my tone from a few people when we played "My Sharona" by the Knack.
Resonant Alien
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The 3ch DR is a fabulous Rock Amp. It's unfortunate that the Rectos seem to have a reputation in some circles as a one-trick-metal-pony, because they are one of the best straight up rock amps I have played - especially the 3 ch versions - much more versatile than a Marshall, for example, IMHO.
For me, the key to making the DR shine as a rock amp is cab selection....I do not feel that the Oversized Recto 4x12s are the best match for the DR if you are doing rock. The Stiletto 4x12 is a better match. The best match (again, IMHO) is a Marshall 1960AV - note the "V" is important. The 1960AV has Vintage 30s, which the 1960A does not - this makes a big difference...
For me, the key to making the DR shine as a rock amp is cab selection....I do not feel that the Oversized Recto 4x12s are the best match for the DR if you are doing rock. The Stiletto 4x12 is a better match. The best match (again, IMHO) is a Marshall 1960AV - note the "V" is important. The 1960AV has Vintage 30s, which the 1960A does not - this makes a big difference...
screamingdaisy
Well-known member
I've run my Recto through a cab loaded with G12M-25s (Greenbacks).
Made the amp sound way less distortion and a lot more old school, complete with speaker breakup and all. Not at all "modern" or "nu" sounding.
Made the amp sound way less distortion and a lot more old school, complete with speaker breakup and all. Not at all "modern" or "nu" sounding.
I love this topic.
I have two Tremoverbs and I do NOT play metal...not good enough, I am a hack!
I will say this, intensity within a song can come from many places such as tone or chord phrasing.
Think of Wagner and how intense his arrangements are with regards to instrument assignment and and phrasing within those assignments, for example he is famous for intense horn passages, while Korsakov's use of string arrangements provide his idea of intense passages within a piece of music.
For those of you unfamiliar with the aforementioned examples, think of King Crimson's Robert Fripp on the album Thrack and listen to Vroom on tracks 1, 14 and 15.
So I guess what I am trying to say is that I too have reduced gain by tube rolling (still not done, thinking about some 5751s) and totally backing off the gain level in my Red Channel.
I have opted to get a BB-AT, RC-Comp and an RC Booster.
I love these pedals and the varying degree of gain.
If I need a little more sustain from my Red Channel I just add the RC.
I have EQ'd the front of the amp with a 5db boost to 1KHz.
I have also EQ'd the amp in the FXLoop with my GMajor, where I reduce 200Hz and bump 100Hz and bump 800Hz.
The amps sound killer, clean and very responsive to all types of music.
I have always thought this, but have now really taken advantage of the EQ'ing benefits and the low gain boost pedals in front.
Love these amps and do NOT at all think they are metal, thrash, trash, punk only, but instead an excellent all purpose amp that are easily capable of MANY genres...at least my Tremoverbs are...I have no experience with other Single, Dual or Triple Rectifiers.
Also, in closing I truly believe the best cabinet for my amps are the Stiletto 4x12.
You want a tight, percussive, articulate cabinet that is not overly heavy on low end, unless of course you need that type of sound.
The only improvement might be an x pattern using the V30s and the G12H-30s.
Just a hacks two cents.
I have two Tremoverbs and I do NOT play metal...not good enough, I am a hack!
I will say this, intensity within a song can come from many places such as tone or chord phrasing.
Think of Wagner and how intense his arrangements are with regards to instrument assignment and and phrasing within those assignments, for example he is famous for intense horn passages, while Korsakov's use of string arrangements provide his idea of intense passages within a piece of music.
For those of you unfamiliar with the aforementioned examples, think of King Crimson's Robert Fripp on the album Thrack and listen to Vroom on tracks 1, 14 and 15.
So I guess what I am trying to say is that I too have reduced gain by tube rolling (still not done, thinking about some 5751s) and totally backing off the gain level in my Red Channel.
I have opted to get a BB-AT, RC-Comp and an RC Booster.
I love these pedals and the varying degree of gain.
If I need a little more sustain from my Red Channel I just add the RC.
I have EQ'd the front of the amp with a 5db boost to 1KHz.
I have also EQ'd the amp in the FXLoop with my GMajor, where I reduce 200Hz and bump 100Hz and bump 800Hz.
The amps sound killer, clean and very responsive to all types of music.
I have always thought this, but have now really taken advantage of the EQ'ing benefits and the low gain boost pedals in front.
Love these amps and do NOT at all think they are metal, thrash, trash, punk only, but instead an excellent all purpose amp that are easily capable of MANY genres...at least my Tremoverbs are...I have no experience with other Single, Dual or Triple Rectifiers.
Also, in closing I truly believe the best cabinet for my amps are the Stiletto 4x12.
You want a tight, percussive, articulate cabinet that is not overly heavy on low end, unless of course you need that type of sound.
The only improvement might be an x pattern using the V30s and the G12H-30s.
Just a hacks two cents.
Resonant Alien
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TremoJem said:
That's what I have in my 1960AV - I kept two of the stock Celestion/Marshall V30s and replaced the other two with a Mojo BV-30H, which is their "clone" of a G12H-30 - put those in an x-pattern. Also installed Teb Weber Beam Blockers, and hardwired the cab for 16 ohm single input (got rid of the fiddly switchable impedance PCB that is stock with the 1960), and am very pleased with this cab. At some point, I may replace the remaining stock V30s with a Mojo BV-30V (their V30 clone), but for now, I can't justify it.
I also run my amp gain pretty low (rarely past 12/1 o'clock), and I have the bass and presence dialed waaay back on channels 2-3. I have a Stigtronics Tone Vitamin (Klon clone) and a Fulltone Fat Boost when I want to add some hair to Ch 2 (I have Ch 2 set to raw for low gain rock stuff). Ch 2 on Raw + the Tone Vitamin gives a great mid-range grit tone. Ch 3 is on Vintage with gain about 1 o'clock - about the same amount of gain as Ch 2 + Tone Vitamin, but a darker, more fluid sound. I also run a FX Engineering Mirage Compressor up front, which is basically always on and really helps smooth things out.
I have been running TAD 6L6GCs, and have been happy with my sound so far, but we played a gig Sunday night in a great local venue in Raleigh, NC, and the sound man suggested I try EL34s or E34Ls - our bass player plays a pretty scooped tone - he likes a lot of bass and a good bit of high end, and the sound guy felt that using EL34s/E34Ls in my DR would fill out the midrange better than 6L6s (he actually asked me to turn UP my stage volume...I believe that is a first for me!). I'm gonna try 'em and see - I'm not expecting a night/day kind of thing, but we've got a couple weeks off before our next show, so why not give it a try and see....
RA
Blaklynx
Well-known member
TremoJem said:
I see that you have experimented..... With my Rectoverb I use multiple drive pedals and also EQ's out front and in the loop. Best thing ever. Opens up an entire world to tones and drive settings. I also use a 5751 in V1. Recto's have plenty of gain on tap that an AX7 almost seems overkill. I usually play in Raw mode 95% of the time.
My EQ settings are not that far different to what you stated. I also bump up the top end a little for the EQ in the loop because I run little treble out front (about 9.30oclock) and presence almost at zero. I use MXR 10 bands in both positions.
Good to see you experimenting.
Thanks Blaklynx.
I wish the GMajor had more than three frequencies to select. Five or seven would be great.
But then I would spend too much time tweaking and not playing.
My wife even mentioned to me that every time she sees me play in the rehearsal space that I spend more time tweaking than playing.
It does take time and once you commit to a tone quest you kinda have to follow thru.
But I think I now have the foundation work done and it should be downhill from now on...I hope.
I wish the GMajor had more than three frequencies to select. Five or seven would be great.
But then I would spend too much time tweaking and not playing.
My wife even mentioned to me that every time she sees me play in the rehearsal space that I spend more time tweaking than playing.
It does take time and once you commit to a tone quest you kinda have to follow thru.
But I think I now have the foundation work done and it should be downhill from now on...I hope.
I play in a covers band everything from 70s classic rock to Grunge and Alternative rock of the late 90s
I play a Triple Rec
1st channel is set to clean, with the gain way down and the master way up
2nd channel is set to raw, gain mid ways, and master mid ways
3rd channel set to vintage, gain midways and master around one third up
I recently loaded it with 6V6 JJS, and GZ4 Rec tubes
Honestly thru the years I rarely used the modern setting just too fizzy sounding to me
Some of my best lead tones come from the raw channel with a tube screamer in front
I play a Triple Rec
1st channel is set to clean, with the gain way down and the master way up
2nd channel is set to raw, gain mid ways, and master mid ways
3rd channel set to vintage, gain midways and master around one third up
I recently loaded it with 6V6 JJS, and GZ4 Rec tubes
Honestly thru the years I rarely used the modern setting just too fizzy sounding to me
Some of my best lead tones come from the raw channel with a tube screamer in front
Holy beejeezus! Had some recording time last night. In my usual quirky make it fit style, pulled out some chicken pickin over a 50's progression. Channel 3 set to vintage with the gain around 2 and juiced a touch with a TS. This head is no lo gain slouch, the tone would put any silver face fender in its place. Anyone who can't get less than uber high gain from this head needs to read the manual and understand how it works.
