• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join free Log in
    Want zero display ads or expanded classifieds tools? Compare plans.

Dunwich Amplification General Discussion

#2,584
socialleper said:
Flats for Thrash? That's an interesting choice. Most of the 80s tones were very aggressive and high-mids forward.
If you want something dark with a lot of rumble, the ODB will do that. It has less gain and sizzle than the VT. It does a pretty good imitation of a pushed V4B or SVT-CL.
Click to expand...
Indeed it is. But I hate getting lost in the mix, and the extra highs in rounds made sure I mixed too much into the guitar’s range. I need that low end push of flats. I realize it’s an odd combo, but it just sounds right to me in the mix. And my bandmates agree. I want a good fundamental with enough cut to be aggressive in the mix, but not tramp all over guitar territory (or vice versa, thankfully my guitarists get the idea of us each filling a sonic space).
 
  • Like
Reactions: donahue
#2,585
kleinenenten said:
Indeed it is. But I hate getting lost in the mix, and the extra highs in rounds made sure I mixed too much into the guitar’s range. I need that low end push of flats. I realize it’s an odd combo, but it just sounds right to me in the mix. And my bandmates agree. I want a good fundamental with enough cut to be aggressive in the mix, but not tramp all over guitar territory (or vice versa, thankfully my guitarists get the idea of us each filling a sonic space).
Click to expand...
I'll vouch for the flatwounds-in-metal approach, as I'm using them for both of my bands (power and black metal) and it definitely helps sit in the mix without competing with the guitars. Steve Harris used flats so it's not unheard of in metal either.

I also have a 125b ODB on my board. You won't get it to sound like a B3K, but I'm able to coax some nice grind out of it by keeping the gain lower (like 1-1:30 at most) but turning on one of the clipping options (I can't remember what they are, but I have mine flipped right). EQ to taste, but cranking the lows on it is better for big, burly distortion, so you may want to pair it with a blend. I also highly recommend using an 18v power supply.

For context, my dirt section goes Fuzzrocious Demon > Broughton Terraformer (at 24v) > ODB (at 18v). Terraformer is always-on in my black metal band and is set for mostly-transparent hair. ODB goes on for grindier sounds, Demon goes on to push everything into higher-gain/fuzz territory.
 
  • Like
Reactions: kleinenenten
#2,586
kleinenenten said:
Indeed it is. But I hate getting lost in the mix, and the extra highs in rounds made sure I mixed too much into the guitar’s range. I need that low end push of flats. I realize it’s an odd combo, but it just sounds right to me in the mix. And my bandmates agree. I want a good fundamental with enough cut to be aggressive in the mix, but not tramp all over guitar territory (or vice versa, thankfully my guitarists get the idea of us each filling a sonic space).
Click to expand...

I also use flats, that being said I play in more of a doom/stoner type band.
 
  • Like
Reactions: Impermanence
#2,587
Low End Curse said:
I also use flats, that being said I play in more of a doom/stoner type band.
Click to expand...
My band is... eclectic? We go from thrash stuff, to doom, to weird cleanish prog stuff. Stylistically, we’re all over the map, but we like all of it, and that’s all we care.

I really think that EQ is a big part of it. I can make my flats brighter, but I couldn’t tone down my rounds. But, with the right tweaking, either could work. I just find I fight the flats less, I suppose.
 
#2,589
dunwichamps said:
Looks something like this:

View attachment 3119392

The output of the Treble control is sent to one side of the Blend and a MOSFET buffered signal from the input is sent to the other side of the blend. Then the sum is sent into a fixed gain MOSFET boost.
Click to expand...

"...something like..." :bookworm:

So you mean "...not this, but something vaguely similar..."? :woot:

Thanks for posting the schematic, and the mini-lesson in phase inversion. :bookworm: I'd like to mess around with your MOSFET Mixer in mine own humble novice-solder-splatterings... mine would probably come out more as a MOSFET Mangler. :laugh:


Further to the rule-of-thumb about even numbers of gain-inverters and phase inversion ... have you ever come across a circuit with an odd number of inverters that for whatever reason (something-something else in the circuit) didn't invert phase?
 
#2,590
Feral Feline said:
"...something like..." :bookworm:

So you mean "...not this, but something vaguely similar..."? :woot:

Thanks for posting the schematic, and the mini-lesson in phase inversion. :bookworm: I'd like to mess around with your MOSFET Mixer in mine own humble novice-solder-splatterings... mine would probably come out more as a MOSFET Mangler. :laugh:


Further to the rule-of-thumb about even numbers of gain-inverters and phase inversion ... have you ever come across a circuit with an odd number of inverters that for whatever reason (something-something else in the circuit) didn't invert phase?
Click to expand...


Well you can just insert your own circuit output where the treble control is, that Blend is just a wiper from the two outputs.

Yea you could have some filtering in your circuit that results in enough phase changes in the middle of your band such that the # of inverting stage rule is no longer valid but that would have to be looked at on a case by case basis.
 
#2,593
Eye Candy
40486208_10157845189634552_8923330092617170944_n.jpg
 
  • Like
Reactions: kranahan, mrwood4, dunwichamps and 1 other person
#2,600
kleinenenten said:
Forgive my ignorance, what’s so great about the HM-2 EQ? I love me some HM-2, but why is the low/high EQ on that pedal anything special? What am I missing?
Click to expand...

most of the "mojo" of the HM2 resides in its EQ, it's actually a 3 band EQ with the hi knob controlling 2 frequency bands at once centered around 900hz and 1,1Khz IIRC. When the hi knob is cranked it creates this huge double peak mid boost which is responsible for the chainsaw tone made popular by swedish death metal
 

Latest posts

Top Bottom
Back