One of the greatest thrash metal tones ever. Sounds great. I remember the first time I've heard Like father like son when I was a kid, it blow my face off
Love it. One of the heaviest thrash tones to come out of the 80’s. My other favorite Gary tone is from an album that doesn’t get enough love: Force of Habit, Architect of pain. That song is so f***ing heavy.
Yup....after watching your videos i just bought one, i'm a new DSL20HR owner! I'm about 10 hrs in and i love this thing already. So cool to see this video of yours come up because i've been using the same TS-9/ SD-1 pedals with mine and it sounds killer. The TS-9 sounds warmer and thicker while the SD-1 is more open and crunchy....thanks for the videos...this head is awesome!
Everybody's doing the Toxic Waltz, come flap your wings for some friendly violent fun 🤘🏻🤘🏻🤘🏻. Awesome to see the little fella havin a good thrash out with you mate🦜. Exodus is the best thrash band of the 80's & all time IMO. Holt and Hunolt can't be beat. My fav band of all time. They should have definitely been in the Big 6 - Exodus, Testament, Megadeth, Metallica, Slayer, Anthrax. Seriously, Would you ever consider doing Exodus, Megadeth, Lamb of God lessons on top of being the tone master king??? I would pay a yearly subscription easily mate, no one comes close to the accuracy of you with Exodus, Megadeth, LOG, I think you have 138K followers who would pay too. Also depends on your own work/life schedule. Pure champ Mate. If Guitar365 can do it, so can you. We all love your work mate. Cheers
Oh great. Now I'm gonna have to buy a parametric EQ. I'm sure my wife loves me subscribing to this channel. LOL Thanks for another great video and some more great tunes and tones.
between this album and testament's practice what you preach, had some of my favorite JCM800 tones of this era. im so glad you brought the DSL back, all marshalls are very pedal friendly and this tone didnt take much for the DSL shine. such a great piece of budget equipment.
Somehow back in the late 80’s I seriously did not even know the original version of “ Overdose” by AC/DC . I thought that the cover on - HFMS Squirrel 🐿️!!! OMG that Toxic Waltz tone !!!! Back to my comment - the Tone on “ overdose” on Fabulous Disaster was the one of sickest tones I’d ever- heard - those distorted single notes that open the song are so freaking incredible !!!! Thanks Brother!!!! This episode was an absolute efffing face melter !!!!!!
My favorite band and guitar player of all time. Love the tone man. I want a arachnid cab so bad but those things are hella expensive. Gary has released a IR cab pack of them on the arachnid website. Seriously thinking of buying them.
Great work here Lamb. Love me some Exodus. Gary used the Peavey XXX head on Shovel Headed and the Atrocity albums. Killer tone ! If you watch their 2008 Waken performance you will see Gary and Lee using XXX's. Banging concert to watch, they were so tight that day......
They were better sounding albums than human condition with the savage 120. I always liked Gary’s Marshall tones from the earlier albums. Tempo was amazing👌🏻
Bro I don't even play guitar, 20+ years playing bass and the last 5 on drums. I love your videos, though. I do have some pedals laying around. You're convincing me that I wanna get a cheapy and start messing around, and you're showing me how to get some awesome, inspiring tones for when I decide to pull the trigger. I definitely want to invest in the EQ from Hell. Keep up the good work.
As a beginner I love your DSL vids. They show me how to get some great tones out of my DSL. Would you ever consider doing one of these for 84 - 86 era WASP?
You always have Killer tones! I wish they re-recorded every prior album with Rob Dukes. The other vocalist new had a sound I liked. Gary Holt is definitely a riff master!🤘🏻👍🏻
First off….. Love the Exodus sound!! Second….Did you get another sidekick or did I just not see the little guy next to you?😂. Beautiful feathered friends you have there mate, sincerely!
Mango’s been around for a while, he usually sits just out of the shot but I could tell he wanted to waltz. If I put them both in the same perch they end up fighting 🤣
Awesome, enjoyable and helpful!! thanks for taking the time to capture the tones and to make the videos, sir!! I am wonder what is your favorite Exodus tone?
You’re the reason I got and tried an eq pedal in the first place and I’ll never go without it ever again. I’m curious if you’d be able to get close to a Tony Iommi sound with this kind of setup but it seems we’d have to get the actual stuff he used to get close to it.
You could maybe one day make a video showing differences between both DSL-20 and JCM800 miniheads. I've been curious about the difference between both.
Lambchopper! Have you heard of the band Havok? They remind me a lot of the big 4 w some Pantera 🤘🏻 they have awesome riffs that are fun to play and great guitar tones too ✊🏻
Could you do a "Piece of mind" tone tutorial please? I've always found it impossible to match the eq/tone of that album. Only thing I know is they used jmp 1987 boosted with a Boss Fa1 and Mxr 10 band eq...lots of mics in a wooden room @ Compass point studios (as stated by Adrian Smith himself); of course Dimarzio super distortion and Celestion speakers (probably g12-65)
I've been chasing that tone my whole life. Great "basic" classic metal tone that has the perfect amount of everything. The "basic" part is deceiving, as there's nothing simple about getting that tone in a home setting. Note that Marshall has a sound example titled Crunch 3 on the DSL20HR webpage, which sounds very close to the Piece of Mind thing, but note also that I have not been able to replicate the same result, even though I used the exact same settings and a Dave Murray stat with a SD in the bridge, recorded with an SM57 about halfway between cap edge and surround. Despite using a safe and darker mic placement, my result was still too fizzy, not enough mids, and a bit wooly in the low end. Yes, Maiden used G12-65s in their cabs at the time. They also used EV speakers for live miking, and possibly also in the studio, but the speakers are a small part of the equation. Getting the basic Piece of Mind tone DNA is key. Once you got that, you can refine it by hunting down the exact speaker they must have used to record. But, as I said, getting the basic tone is the hard part. If I could get something like the sound example on Marshall's page, I'd be happy for life, but I have not been able to get close to anything of that quality as of yet.
@@metalinsights9664 man, we gotta be twins since I've also been chasing that tone my whole life since 13yrs old and now I'm 34...I also use dp100, G1265 from the period, jcm800+ts9+ge7 (I can't afford a Boss Fa1). I don't know if you know also the band Trouble: they have a very similar tone on the first 3 albums and they used m70's... Also the first solo album by Barry Goudreau from Boston. Anyway, in an interview on a magazine in 1983 Adrian Smith said they recorded the cabs in a large wooden room and put mics all over the place; I suspect that you need some kind of room/ambient mic (maybe a condenser one)... Then there's Martin Birch and all the analog studio gear: preamps, mixing desk, comps, eqs, etc...
@@lovecraftmusic8717 We do sound like twins. The first time I heard a Maiden album was also around the age I was 13. By the way, I have all the original guitar magazines with interviews from the POM era. Although there are small contradictions from interview to interview in what Adrian said, his gear was pretty much what you listed above. Unfortunately, I have not been able to verify whether his TS-9 was used as an always-on effect or just for a solo boost. I know for fact that he used an MXR Micro Amp for solo boosts, but it is not clear from the interview whether the TS-9 was also used for boosts together with the Micro Amp. I used to believe that room miking was the only way to get that sound, but after hearing Marshall's DSL sound sample, which was presumably a close-miked IR, I suspect that it might be possible, but then again you have Live After Death and A Real Live/Dead One, which all pretty much have that small, fizzy close-miked tone that is very different from the POM studio tone.
@@metalinsights9664 wow, I didn't find other interviews of the POM era, just the one on Guitar World...and I don't believe Adrian used the Mxr micro amp in studio especially with the ts9/808, there would have been too much gain and we all know that in the studio less gain is always better...most likely just the green box; if you notice, in the live at Dortmund during his solo on The Trooper he has a huge volume jump and I guess it's the Micro amp there. P.s.: I remember hearing Live after death at 14 yrs and thinking how different and hard to listen to it was compared to the studio albums: very bright, fizzy and in your face; I think it's the ev12L (that I guess they used on Powerslave and tamed it).
@@lovecraftmusic8717 Same thing here. The first time I heard Live After Death, I had a hard time telling the songs apart, because they sounded so different, and, as a result, lost track of which song is which. I've since grown to love the sound of those records, but I still vastly prefer the sound on the studio records, especially Piece of Mind, which has the perfect classic metal sound, and Seventh Son of a Seventh Son, which has the most perfect guitar sound I've ever heard. In the January 1985 issue of Guitar for the Practicing Musician, Adrian talks about how he experiments with mikes a lot to get his own sound in the studio, which may include "a lot of ambience mikes," and that it is important to "be aware of the sound of the room," and how it's then up to the producer to know how to put the mics to capture the sound in the room at the spot where the guitarist is hearing it as sounding best. He also mentions something else that's super interesting, namely, that he'd been "messing round with the Marshall Master Volume," which has a "dirtier sound," and how in the studio "it's got to be cleaner" and that he can get away with something dirtier live. Who knows what he meant by that, but it's very interesting, for sure. By the way, it took him two days to get the Powerslave sound, and he used a treble booster on that album, which explains the leaner sound on that album.
Thanks for the time and effort for the video. Been trying to shoot out and compare the Master Effects and the Empress Para EQ Deluxe. Both great pedals and way more versatile than I first thought…You like the Master Effects best? Can you elaborate as to why? Ease of use… sound? I appreciate it in advance.
A lot of it comes down to the simplicity but the tone is really linear through the whole range and really easy to distinguish the tonal change. Each eq has its own personality and adds color to the tone when you start bringing the bands together and have an amount of crossover. EQFH does this really well and makes it easy to get the exact tone you want. There’s tones I can achieve on this that I can’t get on the others.
What is your approach on setting the "level" knob on the SD1 ? Do you set it in such a way that overall guitar tone volume is the same when the pedal is off vs pedal is on ?
Nah I don’t think about that at all. When it comes to OD’s all I think about is the character of the gain I want to achieve. The way I hear it, the higher the level, the more rounded the tone gets in a smooth sort of way. It smooths out the rough edges. The drive adds a distortion to it. Too much distortion and the smoothness becomes muddy. I just try to find a good compromise and think about what I’m looking for. Less smooth makes more crunch and more gain breaks that up. It might sound weird but that’s honestly how I think of it
I’ve not used one but I’d start in the loop boosting around 150hz, boost 600-800hz and cut slightly around 2k. That’s just a start but it’s really in those lower mids and a thick bass. Get that right and you should be able to work on getting the treble right
When I was a kid back in the 1990s, I always wanted the expensive amps that my idols endorsed. I had a buddy who was really into mixing and such, and he hooked my guitar up to one of his PAs, a small mixer, with some boss pedals and I realized that I could get some really awesome tones with a budget of about 1.5k American. Not criticizing expensive Marshall amps and other awesome gear, I could just never afford them, so I had to improvise.
This is amazing sounds just like the album! Great job! Also if you’re looking recommendations you should try a Marshall valvestate their cheap and sound amazing! Great video!