I heard this song yesterday for the first time in years, and decided to learn it. This is just an acoustic cover. I tracked the main vocal and acoustic together and added a few backing vocal tracks after. Free download for anyone interested: https://www.soundclick.com/music/songInfo.cfm?songID=14065202

New song I’m working on. Free mp3 download for anyone interested: https://www.soundclick.com/music/songInfo.cfm?songID=14065191

I was able to play @Mustard_of_Puppets challenge, so it’s my turn. This is just a two chord idea (iv7-i) using a sweep-tap technique. I think I wrote the tab correctly. I missed a pull off when showing the riff slowly but you get the idea. Whoever posts a video playing my riff gets to issue the next challenge.

Quick sound test of a 1982 Mark II B. MXR 10 band in the FX loop. Played through my Mesa 112 semi open back cab with a Black Shadow C90 speaker.

I picked up a trashed Fender 75 Combo amp last week. It was in bad enough shape that I decided to gut the preamp and build a new circuit. I wanted a high gain single channel with pull boost EQ. I added a variable Negaitive Feedback, and rebuilt the power section to basically stock values. I cut up the 15” combo shell and built a quick sloppy head from the rubble. I took a spare chunk of wood and lit it on fire to give the facia a driftwood/post apocalyptic type aesthetic; which matches the new circuits’ aggression.

This is just one small sample of capable tones. The master is barely on here. It can do 80’s rock/metal through sludgey modern doom tones. I’ll probably continue to tweak the circuit over the next few weeks; but I’m happy with where it’s at so far.

Quick test of a modded 1987 Lead circuit from a Marshall Plexi. Cab is loaded with Neodymium Lil Texas and Tonker Lite Eminence speakers. Bridge pickup is a Dimarzio Tone Zone.

This is a quick clip of me tracking a new song, “The Bath of the Seventh Necromancer”, with the Splawn Super Comp. You can listen to the track here: https://soundclick.com/r/s8e6if

It is a single channel 50W EL34B tube amp. It is the same circuit as the Splawn Nitro; which is a modern voiced super hot rodded Marshall type design.

I’m using my Two Notes Torpedo Studio to load the amp and the Fortin Cab Pack for my cab tones. The Kiesel has the stock Lithium pickups installed.

This Sound Test is by request: Guitar tuned down to F# to hear the low end response and tightness. Guitar straight into amp. Need to play around with Presence, Treble, and Bright switch at this tuning. It sounded like a blanket covering the speakers with everything at noon. Settings used in the clip are on the thumbnail photo.

Messing around with my little Ditto Looper pedal into an old Fender amp. I used the neck pickup (Lace Alumitone) here, but kept the tone bright. The song is Take Five.

Testing the Graphic EQ on the red channel. First part is with the EQ off. I run the mids around 11:00 with it off. Second part is with the EQ on, and I bring the mids up to around 2:30, but cut 3dB @ 630hz and 6dB @ 1.2khz with the GEQ. The amp overwhelms the phone camera do this does very little to showcase the actual tone of the amp; just the difference between the EQ in and out of circuit.

Guitar straight into front of amp. Testing built in boost on and off with high gain and max gain settings.

Im using my 1989 Mesa 50 Caliber. This is unboosted guitar into amp with mild noise suppression. Graphic EQ is enabled. The guitar is an Ormsby Goliath GTR 6 string in a color shift blue green. The bridge pickup used is the stock Nunchucker.

Testing my Boden OS6 with Lace Alumitone pickups thru the green channel of my Peavey 5150.

6505 Lead Channel, clean boosted with a Duncan Forza, MXR 10 band in the effects loop. Lefty Fender neck bolted onto an unknown blonde body. ‘52 black guard, Dimarzio Area T bridge pickup (Duncan Lil 59 neck not used in this clip). The gain (just under 4 or 11 o’clock) is basically the same spot I use for humbuckers as well. I adjust it slightly with any guitar; but just wanted to showcase a single coil used in a tech-death setting.

2006 USA 6505 with =C= 6L6’s. Seymour Duncan Forza for a clean boost, MXR 10 band in the loop. Custom Padalka Neptune guitar with custom Elysian Trident II pickups. High Gain Input, Green Channel, Crunch and Bright Switches engaged. Mesa 2x12 with V30’s.

This is a sound test for the Kemper Profiling Amp: the Profile is a Peavey Invective boosted by a Fortin 33 pedal. I’m running it into an Alto Black 10” Active Monitor.

Real quick cover of the Ray Charles tune, Georgia. I used my 2001 Taylor 914CE to test out a new hand carved wooden pick from Forever Pick. I am using the Purpleheart Jazz iii shaped pick in this clip.

Using my little ditto looper for a rhythm track and playing a jazzy line on top. Guitar is a 1997 PRS CE24 with Vintage Bass neck and HFS bridge (not used here). Cab is my Mesa 2x12 with V30’s

Guitar straight into amp: Orange Rhythm Channel; extra gain stage, boost, and shift engaged; EQ on; Mesa 2x12 with Vintage 30’s
Song section: Gorod - Birds of Sulfur

First riff is without a boost, second is clean boosted by a Seymour Duncan Forza, third is clean boosted plus an MXR 10 band EQ in the loop

I had to use a clean boost (Seymour Duncan Forza) to cut bass, even with the bass control set to 0. From here I am able to bring the Resonance up to 2:00 and add a few dB at 125hz with an MXR 10 band in the series loop (this amp also has a parallel loop, with a blend knob for each channel on the front). The mic placement for this sucks a little and makes it sound fizzier than the actual room, but it gives an idea of how tight these amps can get with a clean boost and EQ.

PRS Archon into a 412 cab with Neo Tonker and Texas Eminence speakers. Duncan Alt 8 bridge pickup. MXR 10 band EQ in the effects loop.

1995 Mesa Tremoverb running through 4x12 cab loaded with X pairs of Eminence Lil Texas’ and Tonkerlite’s. This is guitar ( Elysian Trident II bridge PU) straight into the front of the amp. No gates, boosts, eq’s Etc. recorded with an iPhone.