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What the...Darkglass Vintage Microtubes?!?!

#745
Tim_Mofunk said:
Love my VMT. Love it... but...

I can't use it always on. It just kills my Fuzz. It strips out all the top end sparkle and replaces it with it's own, which is good, but not for a Fuzz
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Have you tried running the Vintage after your fuzz? I've found all my Darkglass pedals like to be run at or near the end of the chain for my uses...still haven't decided whether I prefer Vintage into B7K or vice-versa though
 
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#746
sunbeast said:
Have you tried running the Vintage after your fuzz? I've found all my Darkglass pedals like to be run at or near the end of the chain for my uses...still haven't decided whether I prefer Vintage into B7K or vice-versa though
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Yeah I've tried it after my fuzz. It seems to roll off all the top end sparkle. I would love to split the fuzz and clean and use the VMT on the clean signal. I will keep playing with it but so far it has not worked well near the end of my signal.
 
#747
Tim_Mofunk said:
Yeah I've tried it after my fuzz. It seems to roll off all the top end sparkle. I would love to split the fuzz and clean and use the VMT on the clean signal. I will keep playing with it but so far it has not worked well near the end of my signal.
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Do you use a lot of clean blend on the Vintage? For some reason I found it loses some clarity for me with much if any clean blended in (not so with the b3k). I run my vintage blended all the way to the dirt side and it seems to work well after other dirt, though the b3k after a fuzz is even better!l
 
#749
Interesting, like the BB and SFT I had before, I have to run the VMT first in my chain. After my muff clone kills the fuzz, before it...WOW. Fuzz stays and mids are added to make it cut like crazy. This is in a live mix, which is of course much different than sitting at home or recording direct.
 
#750
This is what I found too; the VMT puts its own character on the tone, so it's not that effective to place it after other ODs in the chain. I don't stack drive pedals much though, so not a problem for me really, but maybe I'll have to take a new look on the pedal order (too much fun, that). :)
 
#752
Since I use the Vintage as an always-on tone shaper I want its character to shine through and dominate other drive pedals. I find my Rusty Box works better for me before other drive pedals and adds more than enough clarity to everything else in my signal chain (it pairs amazingly with both Darkglass pedals). I actually just traded off my last fuzz as fuzz loses too many dynamics for my current band, but I found the TAFM to really sound great with that Vintage focus by using the Vintage after it in the chain- it's all dependent on your uses though. I didn't find it to roll off highs so much as boost mids.
 
#753
loopee said:
Definitely thinking of getting a VMT and a B7K

I want warm, vintage, classic tube tone

Now using BB Preamp with either a BDDI or a DHA VT-EQ

1. Would the B7K replace the BDDI and DHA?
2. Would the VMT work better with the B7K, BDDI, or DHA?
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This is what I did. Got 15% off on both of them through Prymaxe :hyper:

Anyways, in doing research another TB member said he wasn't interested the VMT because the B7K he had would be able to do the same sounds. At first I was thinking the same thing, but after spending more time A/Bing the two I've come to the conclusion that they are different.

The B7K distortion is inherently harsher and more metallic sounding. No amount of knob tweaking was able to dial that out. The VMT distortion sounds a lot smoother. The VMT really shines on subtle, mellow overdrive in my opinion. At higher drive settings the B7K was pretty capable of copying the VMT sounds.

I was really hoping to get the B7K to sound just like the VMT so I could send it back and just have the one pedal. I'll be keeping both. I think with these two pedals I'll able be able to dial up just about any kind of sound and it'll all be footswitch able. Well, almost. :bassist:
 

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#755
It is easy to dial out the harsher edge with the EQ of the B7K, but impossible to dial in the sweet midrange bump of the Vintage at the same time. The Vintage has a nice low to mid midrange bump that gives it "warmth", where the B7K tends more towards a scooped tone with an upper midrange bump. The "Fat" setting on the Grunt switch of the B7K gives a nice low mid fullness, but there is still a scoop to my ears in some of the frequencies that the Vintage fills out. The Vintage also stays really articulate to my ears at most settings, whereas the B7K can get a little murky when you cut out too much of its aggressive character. They are both really good at different things- so I too am reluctant to let go of either! The Vintage definitely inherently gets closer to the tones I'm looking for, but the EQ, DI, and tweakability of the B7K make it pretty invaluable as well. Between the two I'd probably chose the B7K if I could only bring one pedal just because of the added features, but I prefer the tone of the Vintage!
 
#757
The B7K & VMT is a extremely versatile combo. With the new US made B7K the DI is always on. So, I can have it bypassed and the VMT signal pass through it. I can also turn on the B7K, but turn the blend all the way off bypassing the B3K part of the circuit and now I have a 4 band EQ after the VMT. Turn the VMT off and turn my B7K blend back up and now I have the B3K sounds. The only pedal I might consider adding now is a compressor.
 

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