Which module for Ride the Lightning tones?

[I am Legion]

Title says it all. KH2? Mash-all+? HBE?

I'm pretty close with my JF VHT, but I'm looking to nail it. Also, I've been borrowing a friends Gibson V to help out.

 

[Shinozoku]

That tone was a "Boss SD-1 Super Overdrive Pedal through James' late 70's Marshall 1959 Plexi Super Lead modded by Jose Arrendondo" according to Kirk. Now, AFAIK there is no 1959 super lead, but there is a 1969 super lead... I would try out Sacred Groove's MK22 and stick an overdrive in front of it. The Mash-all+ may work out fine as well on the Jose mod setting too.

 

[Mattfig]

That tone was a "Boss SD-1 Super Overdrive Pedal through James' late 70's Marshall 1959 Plexi Super Lead modded by Jose Arrendondo" according to Kirk. Now, AFAIK there is no 1959 super lead, but there is a 1969 super lead... I would try out Sacred Groove's MK22 and stick an overdrive in front of it. The Mash-all+ may work out fine as well on the Jose mod setting too.

For what it's worth JF makes a modded MKII 1959RR that rips! Although I still think all Metallica (I know they used different gear over the years) sounds best through the JF Mark X...

 

[Shinozoku]

The JF RR module came to mind too... I've still yet to hear a clip of it though.

FIG!!!! Lookin at you over there

 

[Mattfig]

The JF RR module came to mind too... I've still yet to hear a clip of it though.

FIG!!!! Lookin at you over there

Coming VERY soon!

 

[crankyrayhanky]

I played in a band that covered Creeping Death (That mid section "Die, Die" is great for an arena, but in a bar atmosphere comes off very lame , lol)

I tried the HBE, Gigmods SL+ and stock KH2. You would think the KH2 would nail it with a clean boost, but I continually returned to the Gigmods SL+ --just better clarity and with the tight switches was very effective. I'm not sure if it nailed the tone, but it was clearly a better tone than the others...great module

Never tried some of the others mentioned here from SG MK or JF 1959 or Mashall--I'd be willing to say off clips that they would all do a decent job

 

[Jaded Faith]

The JF RR module came to mind too... I've still yet to hear a clip of it though.

FIG!!!! Lookin at you over there

In his defense, his was just delivered on Saturday and that whole Father's Day thing was in the mix as well.... :lol:

 

[SacredGroove]

A Gibson V, my MK22 (2204 mode), and a SD-1 or TS-9 would have you fighting fire faster than you could correctly spell Ktulu. :wink:

 

[m0jo]

A Gibson V, my MK22 (2204 mode), and a SD-1 or TS-9 would have you fighting fire faster than you could correctly spell Ktulu. :wink:

Cthulhu? (crap, that actually took 2 tries and a wiki search :lol: )

I can report that the Mash-all+ (800 or Jose mode, JCM voicing) + SD-1 definitly does it quite well

I would guess that the Custom 3 (gasp! a Mustaine mod! :roll: ) would do a **** good rendering of it too!

 

[Mike P]

That tone was a "Boss SD-1 Super Overdrive Pedal through James' late 70's Marshall 1959 Plexi Super Lead modded by Jose Arrendondo" according to Kirk. Now, AFAIK there is no 1959 super lead, but there is a 1969 super lead...

It may not be common knowledge but the 1959 Marshall Super Lead refers to the model number, not the year it was created/released.

The 1959 is a four input, non-master volume that was subsequently followed by the 1987 Super Lead. The 2203/2204 two input master volume JMP's were first released in 1977.

 

[I am Legion]

Thank you all for the advice gentleman.
Every couple of years I dust off my old vinyl (original double gatefold!) and play it really loud for about a week and remind myself why I used to like them so much. 80's Metallica still does it for me haha.
Now, which module to buy..

 

[Mattfig]

That tone was a "Boss SD-1 Super Overdrive Pedal through James' late 70's Marshall 1959 Plexi Super Lead modded by Jose Arrendondo" according to Kirk. Now, AFAIK there is no 1959 super lead, but there is a 1969 super lead...

It may not be common knowledge but the 1959 Marshall Super Lead refers to the model number, not the year it was created/released.

The 1959 is a four input, non-master volume that was subsequently followed by the 1987 Super Lead. The 2203/2204 two input master volume JMP's were first released in 1977.

I always wondered that but just kinda assumed it was a really beefed up version of a circa 1959 Marshall...But somehow Randy Rhoades and a 1959 amp never added up when I heard his tone...Thanks for the info...

 

[JKD]

All those songs sound better with Modern tones..get a Gigmods Mark or a Hilly Scorch and fuggedaboutit! :lol:

 

[Shinozoku]

That tone was a "Boss SD-1 Super Overdrive Pedal through James' late 70's Marshall 1959 Plexi Super Lead modded by Jose Arrendondo" according to Kirk. Now, AFAIK there is no 1959 super lead, but there is a 1969 super lead...

It may not be common knowledge but the 1959 Marshall Super Lead refers to the model number, not the year it was created/released.

The 1959 is a four input, non-master volume that was subsequently followed by the 1987 Super Lead. The 2203/2204 two input master volume JMP's were first released in 1977.

I became immensely aware of that after researching the amp for a while, but I never found a 1959 model, only 1969 xD I guess I didn't look hard enough.

The JF RR module came to mind too... I've still yet to hear a clip of it though.

FIG!!!! Lookin at you over there

In his defense, his was just delivered on Saturday and that whole Father's Day thing was in the mix as well.... :lol:

Nice Didn't know it wasn't even in his hands yet!

All those songs sound better with Modern tones..get a Gigmods Mark or a Hilly Scorch and fuggedaboutit! :lol:

But I like the old tones from the 80's xD They sound "better", true. But then that's like saying CDs sound "better" than vinyl.

Incidentally, CD's cut frequencies above 20khz whereas vinyl does not

 

[JKD]

Incidentally, CD's cut frequencies above 20khz whereas vinyl does not

Considering my hearing stops around 15.8k at last check, that isn't an issue ;-)

 

[Mattfig]

Incidentally, CD's cut frequencies above 20khz whereas vinyl does not

Considering my hearing stops around 15.8k at last check, that isn't an issue ;-)

haha....Sad but true for me as well....

My students use "mosquito" rings on cell phones so I can't hear it ring but they can...Getting old is funny....

 

[Shinozoku]

Incidentally, CD's cut frequencies above 20khz whereas vinyl does not

Considering my hearing stops around 15.8k at last check, that isn't an issue ;-)

Mine is somewhere between 17-21k xD The highest audible frequency in humans is usually 22k.

However, I have a feeling that the reason so many people love vinyl isn't necessarily that they're hearing these frequencies, but feeling them. Sorta like those super low frequencies you can't feel, but they give you that funny feeling in your pants...

 

[Mike P]

Incidentally, CD's cut frequencies above 20khz whereas vinyl does not

Actually, a little clarification is needed here.

A 16 bit 44.1k audio recording, regardless of playback medium, can playback frequencies as high as 22.05k, roughly half the sampling rate, before aliasing occurs.

A 16 bit 48k audio recording can playback sound to 24k but due to Nyquist, it's ideal to have the sloping begin at 22k, which is why a Film & TV productions require 48k audio file delivery. It sounds better than 44.1k.

But, keep in mind, human hearing does not extend beyond 20k and most people's hearing cuts off at 18k or less, with "Gaps" between 11k-18k. And, most home speakers aren't even capable of properly reproducing frequencies above 15k.

Also, the dynamic range of vinyl is 80db's. The dynamic range of digital is 150db's. Mastering plays a HUGE role in the difference between the sound of a vinyl record (especially a record from the 1940-1995) because the mastering engineer had to purposely remove bottom end, lest the phonograph's need jump out of the grooves.

In many, many cases, CD's from the 1940-1995 era weren't mastered from the original masters for the digital medium - they were just straight transfers, so you're missing a ton of information. But once a product is actually mastered for digital (like the latest Beatles collection), the difference is absolutely astounding.

I hope this helps to clarify.

 

[Shinozoku]

Incidentally, CD's cut frequencies above 20khz whereas vinyl does not

Actually, a little clarification is needed here.

A 16 bit 44.1k audio recording, regardless of playback medium, can playback frequencies as high as 22.05k, roughly half the sampling rate, before aliasing occurs.

A 16 bit 48k audio recording can playback sound to 24k but due to Nyquist, it's ideal to have the sloping begin at 22k, which is why a Film & TV productions require 48k audio file delivery. It sounds better than 44.1k.

But, keep in mind, human hearing does not extend beyond 20k and most people's hearing cuts off at 18k or less, with "Gaps" between 11k-18k. And, most home speakers aren't even capable of properly reproducing frequencies above 15k.

Also, the dynamic range of vinyl is 80db's. The dynamic range of digital is 150db's. Mastering plays a HUGE role in the difference between the sound of a vinyl record (especially a record from the 1940-1995) because the mastering engineer had to purposely remove bottom end, lest the phonograph's need jump out of the grooves.

In many, many cases, CD's from the 1940-1995 era weren't mastered from the original masters for the digital medium - they were just straight transfers, so you're missing a ton of information. But once a product is actually mastered for digital (like the latest Beatles collection), the difference is absolutely astounding.

I hope this helps to clarify.

Indeed it does Thank you!

 

[Kapo_Polenton]

1959 RR has caught my interest.. anywhere a fella can hear a clip of that modded module?