JF Pitt clips?

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Whoopysnorp

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I've been eyeing the JF Pitt for a while as a possible next module to acquire, but I'd like to have an idea what it might offer me that I don't already have. I now have a fair number of modules that cover overlapping territory, and I don't want to overload on Marshall-esque tones. Right now I have:

JF Voxless
Salvation Mandarine Graphic
JF XTC
Salvation Mandarine Stonerverb
SG MK22
SG Diablo

There don't seem to be any Pitt clips out there. Anybody got some? Alternately, any opinions on whether the Pitt would give me something these mods don't?
 
I haven't played a Mandarine Graphic, JF XTC, or Diablo, but I can't imagine it sounds much like any of the three. It definitely doesn't resemble the others.

Think tight, crisp, and unforgiving. My only complaint was that it was a little light on gain compared with the real Fryette I played (I can't recall the exact model, sadly), though I'm sure that could be addressed on a custom basis.
 
Found one. http://www.youtube.com/watch?v=aDkR4hoDcnE
The recording method is not optimal unfortunately but decent.
 
How does the graphic compare to the stoneverb?
Was looking at those 2
 
I had run across that YouTube video a good while ago. It's difficult to make much of it. It sounds like it's in the same basic tonal territory as my MK22 in 2204 mode with the gain cranked most of the way up, but again it's hard to be sure. I've been thinking that if I get another module, it should be radically different from what I already have. The JF XTC, Salvation Stonerverb, and SG MK22 cover a good deal of similar ground IMO (obviously they all sound different, but they're in a similar ballpark). My SG Diablo, on the other hand, sounds nothing like my other modules. To a lesser extent, the same is true of my Mandarine Graphic, although it does overlap with certain settings on the Stonerverb. I want my next module to stand apart in the way these do.

As far as the Mandarine Graphic vs. Stonerverb, they are very different. The Stonerverb is by far the more versatile module, and covers everything from classic British crunch (in the clean mode) to massive stoner rock riffs (in the dirty mode). The Graphic, on the other hand, is '70s Orange all the way, and has less gain than the clean mode on the Stonerverb. It has a clean sound that I think is extremely nice and very different from the typical Fender type clean. It seems compressed, and the sound of the pick hitting the strings has a very percussive quality. With the gain up around 2:00 or 3:00, you get a classic crunch with a fairly dark tonality. At its most distorted, the level of gain you get out of this module is roughly in Led Zeppelin territory, I'd say. It is really cool, and one of the most unique MTS modifications out there, but don't expect high gain out of it.
 
Thanks

Would yiu say that you can come close with the Rockvern to get graphic sounds
 
VHT is a very similar tone to a modern Marshall..probably a little tighter and defined on the bottm end than your basic marshall(jcm)..teh Mk22 is a very tight module,the vht has more gain obviously and a more modern vibe....
 
The Stonerverb, in clean mode, can come fairly close to some of the crunch tones in the Graphic. It doesn't nail them, though. The tone stacks are very, very different between these two modules, and the Graphic does this unique, dark Orange-ness that you simply won't get out of the Stonerverb. The Stonerverb also cannot cop the clean tones in the Graphic whatsoever.
 
I have one. When I think VHT high gain, I think of an Unearth tone and playing style, but maybe that's just me.

For reference, I currently have the following MTS modules:

- Jaded Faith 59RR
- Jaded Faith Erect
- Jaded Faith EV Trilogy
- Jaded Faith Mark X
- Jaded Faith Pittbull
- Jaded Faith Voxless
- Jaded Faith XTC
- Salvation Benzin
- Salvation Kraken

The JF Pitt doesn't sound like any of the others in the list (for that matter, they all have this quality). I have it set up at:

Gain: dimed
Tight switch: on
Bass: 1 o'clock
Middle: 11 o'clock
Shift switch: up (normal/off)
Treble: 1:30-2 o'clock

In this setting (and boosted/shaped by a TS like I do with almost all high gain tones), this module has a dry yet fat and chunky distortion. As aforementioned by another, I think it's a little under gained but you can just hit the input harder with a TS pedal to make up for it (if you need it like I do). This module lives and dies by the bass control, IMHO. Set appropriately, it has a monster tube-y bottom end that offsets the dryness of the character of the distortion beautifully. Cut it out too much, and the dryness can make it kind of scratchy.

I am quite fond of mine, and certainly recommend it if you're going for the kind of sound I described above as it has been my personal experience with it, and a very good one. YMMV, all that jazz.
 
Thanks for the info, ownhammer. How would you compare the amount of gain on tap in the Pitt to the XTC on red channel mode with structure enabled?
 
Please note, the following is after a very quick fiddle at "bedroom levels" (young'in's about currently):

In my setup, using the same tubes for V1 and V2 (happy coincidence, less something I actually had time to do), with the EQ set to have a relatively similar frequency response (not exact, but quickly close), the XTC in the configuration you described and gain dimed has roughly the same amount of gain as the Pitt with the gain somewhere around and/or between 3 o'clock and 3:30 (8-8.5 on a 10 mark scale).

So Pitt has a little bit more. Also, forgot to mention for additional context, I have the Pitt with the boost on.

In terms of which modules I have are the highest gain, the EV Trilogy gets the gold, with the Benzin taking the silver and the Mark X grabbing the bronze.
 
OK, cool, that's helpful info. I don't really ever take the gain on my XTC past about 1:00 (red channel, structure on), so I'm sure the Pitt would have more than enough for me should I eventually get one.
 
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