There’s a clip of A livestream where Sammy Duet answer that his Rig during His time with Crowbar was a Randall RG100ES into an Oversized Mesa Boogie Rectifier Cab, his guitar had an EMG 81 in the bridge and he used a BOSS metal zone pedal
@@Malum09 Another thing Sammy mentioned is that for Odd Fellows Rest, Equilibrium and Sonic Excess In It’s Purest Form they used Seymour Duncan Distortions. He said that he heard Kirks’ Charvel loaded with one through the RG100ES and immediately switched from the EMG 81.
@Deconstruction 33 I completely forgot to put the settings of the pedal but he did say that he used it more as a boost than distortion, I think he even says he used it during his time in Acid Bath
Indeed. Love Crowbar. Saw them in Tulsa a couple years ago. It was the perfect non ear hurting experience. No ears ringing afterwards. That has never impressed me. Felt every note and all bands that night killed it. Will see them this November.
The pedals falling over while Crowbar riffs sound in the background made me crack up for some reason. I love what you do, and I particularly loved this video for covering sludge stuff. Keep up the good work, man.
Kirk would actually dime his presence keeping his mids and highs around 4-5. Before he used a MT2, he used a SD1 with a little bit of extra gain from it. He switched to the MT2 after Sammy joined. Kirk also used an SD1 into a JCM800 with the presence dimed for the NOLA album.
I like that slightly fuzzy sagging compression that comes with boosting it. As much as tight tones are cool. Sometimes it's refreshing to play through something that's a little looser and unforgiving to really keep you on your toes.
Amazing level of detail and research went into this. Sounds fantastic. I’m always astonished by how far people will go to recreate even the gnarliest, most disgusting distortion sounds. These artists were/are clearly very intentional about their tone, even if they cultivated irreverent public personas
PQ-3 looks familiar! As Dave Friedman says nothing has come to replace the powerful boost functions and extreme EQ shaping. Paired with the MXR 6 Band for fine tuning it's an utterly epic rig!
Great stuff as always. The RG100 is one of those amps that is like a can of coke. It's boring and kinda ok on its own but when you throw some horse power behind it things can get crazy. I didn't know Kirk used the RG100 until pretty recently. I thought it was a tube amp like you said. Same with Superjoint actually. It's a pretty damn warm tone on those records. Hoping for more of these Tone Engineer vids, they're a ton of fun.
The irony of this all…Happened to come across this video after stumbling upon a Facebook Marketplace listing for this amp and matching cab from 1989 in Mint condition for $150. I instantly messaged the seller and drove 65 miles one way to grab it. One owner, owned it for over 30 years (since he was 16). Went home, threw my Keeley modded Metal Zone in front…Instant Crowbar and Down Nola tone. Still in disbelief…. Great Video! Loved how the presence being dialed back makes such an impact. Combined with the Metal Zone boost in front, it really is the secret sauce with this amp when it comes to Kirks tone.
If we're just here to talk tone, all i have to say is you got some killer fucking sounds. It's a shame we don't hear these kinds of beautifully imperfect tones anymore unless you go looking for it.
I'm with you. I am all about a nicely polished contemporary guitar production when it makes sense. However, heavy music has lost so much of these little signal chain imperfections that made the 90s and early 2000s sound so visceral yet hi-fi.
@@PlagueScytheStudios ah yes, the Joey Sturgis edited beyond human ability type of metal. Don’t get me wrong, I dig it from a listening perspective, but I miss the time period you mentioned for all of the sonic imperfections. String squeak, pick scrapes, a flammed drum part here and there. There was some air and life in those tracks that I loved. Not to sound like an old man, shouting at the younger crowd lol, but I do think appreciating things from the past doesn’t mean the present stuff isn’t also cool in it’s on right! Amazing video as always, I sincerely appreciate the time and effort you put into all of this! Cheers mate! 🤙
I dont care for the other bands at the end but dinebags tone was always interesting to me. Always enjoyed it because it was thrashy at the end if the day. Great video
I love the channel man, this video hit me especially! Love that the NOLA bands got love and were included in the discussion of the RG100ES. The tones are amazing because the gear that spawned them were utilized out of necessity. The metal zone for example is notoriously overlooked. I've used the metal zone for so many different things. The key to it is to not make drastic movements with the tone stack.
One of your best vids. This Randall sounds immense, and your excitement is palpable. 2:59 Say the other one, Ryan. Say beards! Complete the trilogy and walk the evil path. Gear, riffs, and...
I like to make my amp sound really bass heavy and dark, then I crank the presence and use a metalzone as a boost. I pushed the highs a bit, pulled the lows a bit, and toyed with the mid sweep until I found a frequency I liked a lot or didn't like a lot, and then either cranked or cut it; IDR which, I just leave it alone these days. Sometimes I also double boost with an HM-2, same deal, gain is at zero, and everything else dimed. I like very much the "metal distortion as boost into a Marshall voiced amp" sound. I also have an orange voiced amp pushed with a precision drive. I use an A/B/Y to run them as a stereo rig. Both amps are Joyo BanTamP's, lol. I run a stereo Behringer graphical EQ in the loop, one channel for each amp. Sounds dope.
I couldn't agree more that a boss sd-1 is an underrated gem. I honestly think that people get the "I spent more money on my ts808, it's gotta be better" mindset way too often with these pedals. I only use that as my OD boost pedal and it's great! The only other boosts/distos I use are a wurm², a swollen pickle, and an integrated preamp clone
George Lynch from Dokken was key in the development of the RG 100. In fact he used the RG 80 for his on stage performances for the Under Lock and Key tour.
Megadeth will come up soon, though the era of Mustaine's tones I like the most requires some specific rack gear to get right. That pales in comparison to Petrucci's insane rig though! Perhaps in the future.
@@PlagueScytheStudios I believe early megadeth albums used mainly jcm 800s before Dave moved on to the JVM 410 with v30 marshal cabs. Never looked much into what other gear they used should be interesting. What's your opinion on the jvm series anyway?
I like the JVMs in theory more than I do in execution. If it truly did every Marshall-style sound I like in a single head, it would be a home run for me. However, every channel sounds compromised to some extent in that seemingly impossible pursuit. I see how these would be invaluable to touring bands back in 07/08, but not really anymore. I am fond of some of the Megadeth productions with the JVMs, but they're nothing standout in a sea of superior Hot Rod Plexi / 5150 / SLO style sounds IMO. I also like the AXE FX models of the green and orange modes of both OD channels when heavily tweaked, as there's an unmistakable Marshall clank underneath the heaps of distortion... but I find the red modes to be pure mush. The modding scene around those amps is really cool if you're into that though. TL;DR: in applications where the JVM works well, I would pick about ten other amps first. Just my preferences.
Bro...that Crowbar tone has suuuuuch BALLZ! it's insane to me that Kirk has almost exclusively used these solid state Randalls. Well, besides the JCM 800s he used on Down and I think he was using Orange Crush 120s on tour for a while. I thought he said he used it for Sever The Wicked Hand, but I'm probably wrong.
I'm sure you know but Dime and as well as old Metallica used to tune to standard tuning but at 432hz!! I have a theory that they tuned in normal(or lower) tuning but possibly either slowed it down or sped it up and it altered the pitch which back in that day they didn't have the technology to slow down with lowering the pitch! i do have some evidence to back this theory up but i also i am by no means an expert. i saw it everytime but i really do love this channel
Metallica 100% recorded KEA and RTL at a slower speed and somewhat normal tuning, then sped up the tapes for the final mix. I wouldn't be suprised if some early Pantera was the same.
That's a serious beard . . . BTW, Crowbar uses Orange Crush 120s now. I don't know if you can ever get your hands on one, but you might really like the 120 or 100 (100 has a little more sag and a better clean channel).
@Deconstruction 33 Gotcha. The 120's and 100's might have been a little too loose for their style. They are still my favorite SS amps, and I know are popular in the doom metal scene.
Rolls is still making the 160b for a good price. Just like most of these, it's, " I know furmans are expensive and hard to come by, but I don't feel like finding you a cheap alternative. Sorry." Behringer had one you can still find on reverb...have been waiting for someone to use the Mimiq in the chain though.
I watched for the southern metal tone, I subbed for saying it's ok to listen to behemoth without going into a dissertation about religious views or lack of them. It's bad ass metal, deal with it!
Man I wish I had a randall RG100ES they want so much money for them now I can get a peavey pacer for less and put a 6 band eq and tube screamer and probably get the Pantera tone for less.
Love your beginning statement, we need more Live and let Live, dont like it leave. Everybody is offended, nobody is truly thinking on thier own. Group thought at its worst
I grew up playing a RG80es live. These things were loud as shit and the master volume was kinda finicky. The gain is a great base to build on especially for doom and sludge. Fuzz pedals sound awesome through them. And if you are playing bass through it you really don’t need an overdrive, that gain works great for it.
Good evening. Do you connect the pedals through the effects loop of the amplifier or through the input? What is the exact connection you use? Thank you very much.
With all the problems RU-vid creators are having with copyright issues how can you play all these songs ( really well and sound great) and not get flagged?
It's just a crapshoot honestly. I didn't get a claim on this video, but I played a High on Fire riff at the beginning at one video and it got flagged immediately. It has never gone beyond revenue sharing or limited global video availability, so I don't really care.
I would like to see you slave that mesa you've got on that shelve into the randall rg100es just my curiosity I've heard mesas into jcm800 I bet that mesa slaved into that randall would be other worldly
They were playing Sunn Model Ts at that time right? That would probably be the biggest limiting factor for my chanes to ever cover it. I know they were into VHT/Fryette at one point as well. The main FX component as far as I know is a BOSS RV-3 / RV-5 on that delay/verb combo mode. It would be a fun video to make if all the peices came together!
@@PlagueScytheStudios yeah, also a mesa mark 4 or 35? They definitely took the neurosis thing to another level and I'm sure Aaron had a Mesa at some point because of them.
I'm just gonna keep flooding the comments bc i'm sure yall don't mind, anywho i'd PAY money to get an IR of your Pantera tone, Randall Cabinets are so hard to find online
Its the very first pedal before all other FX. I recorded the same riff twice and panned each take 70% left or right, but only the right take had the Mimiq engaged.
Jimmy runs the boss sd1 with the level and drive at max and tone at zero with the tone knob on his sonex at zero and everything on the amp maxed . This sounds a little off for the eyehategod tone
Any idea how to get these tones with an Orange Crush 35RT and a RAT2, Swollen Pickle MkIIs, and an MXR Super Badass Distortion? I’ve got other pedals but they’re just a Klone (EHX Soul Food), the Behringer SF300, and the Acapulco Gold V2
Very interesting and informative, but man, what horrid tones! (sorry) Everything sounds like it´s been run through a sewing machine. Yeah, I know it´s supposed sound like that, but it sounds like a mistake. (maybe it was haha)
Bro I'm from Louisiana. Randall was the sound of Louisiana underground for 30 years. From the 80s to 2010s. Dimebag used it because Phil told him to. You know the tones of the bands that made it so the rg100es but bands like Acid Bath and exhorder used them too. Bro the Vmax V2 century ect... All sounds of my youth. Dime used them cause Exhorder used them and Exhorder was swinging for the fences in those days.
