10 More Things You Asked Us To Try [One-Amp Wet-Dry, Flatwound, Staple P90 & More] - That Pedal Show

You ask, we answer: let’s talk about a Maxon SD-9, Flatwounds on the Jazzmaster, the Strat middle pickup, a Mesa Boogie Mark I lead tone and plenty more…
Life too short for long KZbin videos? Please see the ‘Interesting bits and go-to sections’ information below.
Welcome to the show. A few months back, Dan and I did a show called ’10 Things You Asked Us To Try’. These things comprise a wide range of suggestions from the TPS audience/family that maybe don’t stretch out to a whole show in isolation, but bunched together make for an interesting voyage of tonal for discovery for me and he. Er, so let’s do it again! The things are listed below in the interesting bits and go-to sections text.
Keep ’em comin’ y’all, and please enjoy the episode!
Pedals & stuff in this episode…
• TheGigRig Three2One
www.thegigrig.com/three2one
• Chase Bliss Audio Automatone Preamp MkII
www.chasebliss.eu/preamp-mkii
• Analog Man Prince Of Tone
www.buyanalogman.com/Analog_M...
• Source Audio Spectrum Intelligent Filter
UK & Europe: bit.ly/30Br91f
Australia: bit.ly/2G8NDgs
USA: bit.ly/3CTpjdp
• Analog Man Maxon SD-9
www.buyanalogman.com/Maxon_SD...
• Boss CE-2w Waza Craft Chorus
UK & Europe: bit.ly/2fkq9tv
Australia: bit.ly/2iqp2rs
USA: bit.ly/30YiTN0
• Catalinbread Topanga
UK & Europe: bit.ly/2mj3leK
Australia: bit.ly/2qVOTyJ
USA: bit.ly/3r9JUYL
• Providence Chrono Delay
UK & Europe: bit.ly/2RMtpjU
• TheGigRig G2
www.thegigrig.com/g2
Mick’s Vlog Board
• DanDrive Secret Machine
Contact Dan directly via Instagram
• Catalinbread Belle Epoch Deluxe
UK & Europe: bit.ly/2RVldeS
USA: bit.ly/308PeAy
Australia: bit.ly/2Ovelqa
• Mythos Argo
UK & Europe: bit.ly/2UT0EVw
USA: bit.ly/3rNY81N
Australia: bit.ly/3qt3Y4s
• Keeley D&M Drive
UK & Europe: bit.ly/2oTblU1
USA: bit.ly/3E2Eqmw
Australia: bit.ly/2pUDUAE
• Supro Tremolo
UK & Europe: bit.ly/2pZrAkZ
USA: imp.i114863.net/r6WQ3
Australia: bit.ly/2K36f3B
• Jam Pedals Ripply Fall
UK & Europe: bit.ly/2PoxKu0
Australia: bit.ly/38Nz0gk
USA: bit.ly/3CW5xOG
• Kingsley Maiden D
kingsleyamplifiers.com/product...
• Kingsley Constable
kingsleyamplifiers.com/product...
• Kingsley Page DS
kingsleyamplifiers.com/product...
• Free The Tone FT-2Y Flight Time
UK & Europe: bit.ly/2uCOem6
• The GigRig QuarterMaster QMX4
UK & Europe: bit.ly/339EG1C
Australia: bit.ly/31fprll
shop.thegigrig.com/quartermas...
* Why do we have preferred retailer links? Find out here: www.thatpedalshow.com/partners
Interesting bits and go-to sections…
- Intro playing: 00:00
- What are we doing today? 02:13
- 1. Mick, Play The Middle Pickup On The Strat: 02:55
- 2. Play Wet-Dry With One Amp Only: 07:45
- 3. Try The Automatone As A Proper Preamp: 14:08
- 4. Try A Staple P90 In The PRS McCarty: 20:30
- 5. Explain A II-V Change: 26:32
- 6. Try Flatwound Strings On Your Jazzmaster: 34:00
- 7. How Do You Make A Chorus Not Sound Cheesy?: 42:22
- 8. Play A Maxon SD-9: 47:20
- 9. Can You Get The Mayer IDLMWLY Tone?: 54:28
- 10. What About The Boogie MkI Lead Tone?: 1:03:54
Guitars in this episode:
• Fender American Vintage ’62 Stratocaster - Mick’s video at bit.ly/2cQv3yT
• 1965 Fender Telecaster - no video yet
• PRS McCarty Soapbar - Mick’s video at bit.ly/30fmsdN
• Fender Classic Series Jazzmaster Lacquer - no video yet
• Gibson Custom 1958 Les Paul Standard - Dan’s video at bit.ly/2dbwbvS
• Gibson Memphis 1958 ES-335 - Mick’s video at bit.ly/2mpJA8X
• Gibson Custom True Historic ’57 Les Paul Goldtop, Murphy Aged
Amps in this episode
• Marshall 1987x with 1960AX cab / Celestion G12M Greenback speakers
UK & Europe: bit.ly/31eVWmc
USA That Pedal Shop: bit.ly/3v3Xazc
• Mesa Boogie Mark I Reissue
We hope you enjoy this episode. Please subscribe to our channel.
You can buy TPS merch to support our efforts www.thatpedalshowstore.com
We are on Patreon - crowdfunding for creatives
/ thatpedalshow
Please visit our preferred retailers!
UK & Europe: Andertons Music bit.ly/2cRvIvt
Australia: Pedal Empire bit.ly/2mWmJQf
USA: That Pedal Shop www.thatpedalshop.com/

[@mantisdesantis]

I’d like to see a Firebird one day.

[@goodknight37]

This show is like a much needed 1 hour brain vacation from this world🙏

[@ThatPedalShow]

Thanks kinda how we see it. :0)

[@dylandenney3980]

Seriously Dan and Mick thank u guys. I come for the pedals and great sound. I stay for the "tangents" and the utterly stupid dialog that only 2 real friends can ever get to. U guys are the best

[@wellsroadband]

I wrote Chase Bliss saying I couldn't find the Tomatone on their website. They say they hate you 😂

[@ThatPedalShow]

Hahahaha!!!!

[@gerryjamesedwards1227]

@@ThatPedalShow they should do a gold version, then it really would be the Au-Tomatone. Every bod happy.

[@davidolsen9425]

Gerry James Edwards Clever! I like

[@samuelxavier2473]

Top bloke!

[@Amish_Trivedi]

In two years they'll release a special edition for 25% more in tomato red.

[@curtisburns]

Defintely revisit flatwounds on the Jazzmaster. Try it with fuzz and spring reverb. Flatwounds reduce string squeaks, and not being able to bend them as far as nickel wound forces you to play differently. I have a semi-hollow set up with flatwounds constantly. Always good to have different flavours when writing/recording.

[@aorsoul...7532]

Great show again. With chorus pedals and their potential to sound cheesy, I've found this can vary greatly upon where you place chorus in your signal chain. Back in 1987 I discovered I could eliminate chorus cheese entirely, by placing my chorus pedal in a cupboard in my spare room when I went to gigs. Worked wonders! I assume it's still there, along with my zebra skin spandex, pink Converse and kamikaze headband.

[@ThatPedalShow]

New hero. Zebra skin spandex. We LOVE you.

[@aorsoul...7532]

The love is mutual.

[@cliffordholliday679]

Funny, especially since Mick wears pink converse on the show sometimes! :D

[@DavidDyte1969]

That is far and away the best explanation of chord construction within a key that I've ever seen. THANK YOU. I am so practicing this for the next 3 months.

[@ThatPedalShow]

Amaze balls!

[@subrosablues]

FLATWOUNDS: I found these to be a revelation; and use them on my (humbucker equipped) ES-330. Wonderful 50s tone, and love the feel. Flats are actually quite a more labour intensive string to make; not easy to automate like a roundwound, by the way the flat wire needs to lay down on the core, so typically more expensive because of the hand-work involved. Bonus though is that since they're flat, they last ages as gunk and grime can't really get in between the windings. Mick - recommend giving them a go on the ES-335.

[@fauxnaifmusic5708]

I’m a new flat wound player. 13’s in C standard. Goodness goodness me. Trying to find the way to sit well on the mix in a band. Bass needs to play higher octaves.

[@tylermarshall6180]

Two conclusions: 1) A whole jazz album from Dan is needed 2) The Les Paul through the Boogie is absofuckinglutely GLORIOUS

[@grandudetonesnob7107]

I use stainless half wounds, 12-54 on my Jazzmaster. Simultaneously taming highs, string noise, and prevents the strings jumping off the saddles.

[@ronrumsey3205]

I LIVE on the middle strat pickup. I use the other positions but middle is home for me! Rock on, dudes!

[@andyhightides]

I've always used the middle for anything that should be a humbucker.

[@mariodriessen9740]

I believe it was Eric Stewart (10CC) who prefered the middle position on most of his guitars, especially on his strats and teles.

[@beng808]

It’s my solo sound mainly. Brighter than the neck but not ice picky like the bridge

[@kevinjohnbetts]

I think it's the Buddy Holly sound. I know when Richard Thompson appeared on 'Whistle Test' to demonstrate a few tones on his 50s Strat he used the middle pickup to replicate 'That'll Be The Day'. I find it's a great rhythm sound in a threee-piece band, especially when I've got a rails type pickup in the bridge position for the heavier solo tones.

[@ronrumsey3205]

I love it for slide, not to bassy, not too bitey. Just right. Bonnie Raitt uses the middle pickup for her slide work. I find Gilmour tones there, as well. It's just another part of the palette of strat tones .

[@georgepeirce4415]

Dan, thanks for the clarification on 2,5,1. Clear as mud from here!

[@nicholascivitano608]

Mark Speer from Khruangbin uses flatwounds and hes just incredible in blues jazz reggae funk fusion

[@SteveJamsEcono]

Some ideas for the next one: - Would love to see you guys play some "non-traditional material" guitars, i.e. metal neck or bodied guitars, Steinbergers, that sort of thing. How different is it to play one of these vs. one of the classics? - Trying to make maligned effects sound good. I feel like you guys have tackled this before perhaps with the Metalzone, but what about stuff like the DoD Grunge or some of the less savory Boss Distortions? Is there a way to make these things work, since presumedly they weren't designed to sound 'bad'? - Barber effects. Never seen one on the show and would love to. The Direct Drive I had blew away every other "Marshall in a box" type effects I ever had, and if I'm not mistaken their Tone Press was the first compression pedal with a blend control. Show 'em some love? Keep up the good work, gents. Look forward to the show every week!

[@ThatPedalShow]

Love it - thank you for the suggestions!

[@rickenbackerlover7386]

Suggestion: Pedals with a 12 string guitar

[@swankiw_]

I nominate "you should try playing left-handed" for the next one

[@ThatPedalShow]

YES!

[@jessievasser6293]

I really think you guys would have fun with a Fender Bass VI (or equivalent) and find as much inspiration from it as I do. - Thank you for your consideration.

[@bipbipletucha]

Incoming Don't Worry solo!

[@Roomfulofgear]

Strat middle position is THE hidden "funk tone" that nobody seems to use. Slap on some mild compression and turn up the funk!

[@alfgwahigain5544]

Yep! Absolutely!

[@IanNorsworthy]

Thank you for the 2-5-1 explanation - It's really got me thinking about how I sometimes box myself into the key I'm in rigidly rather than thinking about the destination chord and how to spice things up in getting there. Time to practice for me now! But really appreciate the information on it as well as all your content so thank you so much!

[@mattgilbert7347]

Did you understand all that flat five diminished whatever stuff? I don't know those shapes. Power chords and pentatonic is where I live. Dan is amazing. I think I'd need to be a lot younger and then go to school to even begin to grasp that advanced playing style. Totally lost by the time he got to using harmonic minor to make chords. Probably doesn't help that i can't use my 4th finger anymore. Damn arthritis.

[@tpdorsey]

That II-V change explanation was PERFECT with the examples. Thank you. New skill to master unlocked.

[@nickm.9474]

The Michael Landau setting was SICK!!!

[@ianthomas4568]

Clapton uses the middle pickup all the time!

[@rorykehoe1813]

I run a "dry-wet-dry" on my floors at home - hoover-mop-hoover. Place comes up a treat!

[@highgateclub6498]

TacoTacoTacoTaco 😂 no signal chain explanation required there then...

[@mattflickinger8151]

Dan, i think you blew that guys mind with the jazz run. Including the rest of us

[@mattgilbert7347]

That guy has quit.

[@robertdrozak4091]

Thank you both for the knowledge and entertainment you've provided over this past year. I hope you never stop making episodes That pedal show. Happy holidays to you both Dan and Mick and your families and friends.

[@matttiernan3465]

Mick: Play quietly. Dan: Hits 114 on the db meter.

[@ThatPedalShow]

Welcome to TPS!

[@kimmolingonheimo]

@@ThatPedalShow fine with me!!!🤣

[@kimmolingonheimo]

maybe? he said: play nicely or be quiet...anyways both occured....rarely thou one would say to a kid: play as loud as you can!!!😆

[@BerniM10]

Re flat wounds, see Sandra Sherman's channel. Flatwounds appear to support the reduction of finger noise on the fast chord changes used in some forms of jazz. The opportunity cost is sustain and brightness.

[@Yupppi]

Wow. Simply amazing. Less than 5 minutes and my lifelong mystery has been solved with super simple method that'll never leave me puzzled. I've always tried to remember even the basic chord rules for a scale, or more like for a song, but Dan's explanation clicked so that I finally realized how you don't have to remember anything, you just take the scale and ride it all the way! You don't have to learn all or any of the complicated chords and where they belong, you just have to follow the scale. Incredible how easy it makes everything with all those wonky chords.

[@frankglad2989]

30 years ago I had a Mark II, in an Anvil case. Talk about heavy. I just can't get away from the Boogie sound. Now I've got a Fillmore 100-1-12 combo(way heavy) and a Mark V 35 Head. Wonderful sound and feel. The thing I love about the Boogie is that I plug in and the guitar comes alive. Guitar and amp become one thing.

[@rbrwr]

Some great face-pulling action from Dan in this episode.

[@KennyCarlile]

There's nothing wrong with that -cheesy- AWESOME chorus sound. :)

[@Gruntle]

So glad you did the strat middle pickup - it’s a fantastic yet often overlooked sound. Hendrix knew the magic of the middle pickup, and used it a lot live.

[@chrisegg7936]

love seeing Dan's jazz progress! Using the II-V-I in harmonic minor was a super concise and helpful explanation! Really learned something new in a 5 minute video.

[@gerryjamesedwards1227]

Hi guys, on the staple P90, a more useful indicator of the effect of the different construction would be the inductance of the pickup. You need an LCR (inductance-capacitance-resistance) meter to measure it, but it is the interplay of those three factors that dictate the behaviour of any coil, including pickups (Der EE make an affordable hand-held meter, very useful!). This is why PRS talk about tuned capacitance/inductance in their pickups. The winding method, wire gauge and wire insulation will dictate the capacitance, as the size is fixed. The magnet type and arrangement will have the largest effect on the inductance of the coil, which is how efficiently a changing magnetic field induces an electric current in the coil of wire, and vice-versa. The resistance is just an indicator of the amount of wire in the coil, and would be the same for a large diameter coil with a few turns and a small diameter coil with lots of turns, if the gauge is the same, although the coils would behave very differently.

[@tomhenson5099]

dan thinks he's looking for a jazz box, but i think he needs to reclaim the jazzmaster in the name of jazz and get a banging vintage JM with some flatwounds instead... don't forget the rhythm circuit.

[@FabianSalomonsson]

Yes this!! I actually play loads of jazz on my jazzmaster.

[@67er_matze97]

yap - jazzmaster are just wonderful - also for jazz. but so are teles for sure. But hey - we all know that some new toys which are different to our other beloved toys are such a huge part of the beauty and joy of it all and always inspire us to explore new ways. I belive Dan would love to add a nice jazzbox to his portfolio. I'd like to recommend a nice GIBSON TAL FARLOW. I have one and love it sooo much. It's slightly less thick than most jazz boxes which makes it sit to the body so nice. It has a regular scale length (like F-type guitar) which I love and it sounds really really sweet. ....and I love that it looks a bit different with it's crazy shaped scratchplate. Maybe it's just me, but I think that is my recommendation for Dan to check out. But agreed Jazzmasters are wounderful guitars :) 👍

[@67er_matze97]

just a few seconds after posting my commemt the scene swithched to Dan explaining II-V-I at 26:40 with a very nice jazz box in his hands so maybe Dan has found his nice Jazzbox already ?? It looked and sounded very nice btw !!!

[@tomhenson5099]

@@67er_matze97 nahh that's his washburn, he's talked about it before.

[@tomhenson5099]

@@67er_matze97 nahh that's his washburn, he's talked about it before.

[@BaronsDuju]

I love the middle pickups for quirky stop starty stuff. My style is naturally a bit dad's and quirky at times and the middle pickup with some gain complements that style perfectly (for me). Love these shows.

[@jwmcmillenii]

Gentlemen, you really do pour your share of love and positivity into the world, and I'm so thankful for it. Mick, having similar struggles, myself, I'm endlessly impressed with how your throw yourself out there in your work and playing and such. You're wearing a heavy set of balls, sir, and you're inspiring me to do the same. Cheers, sirs!

[@ThatPedalShow]

Ah man, thank you. A mixture of luck, reading and bloody mindedness has helped me put down a lot of baggage over the last couple of years. And I’m extremely grateful! Thanks for the kind words!

[@GrzesiuMusic]

That SD-9 sounded great once you dialed it in. I've found with most older distortion pedals I have to pull the treble way back for a usable sound. I've found the same thing with a DS-1.

[@maciejchilkiewicz7651]

Today is my birthday and it is new TPS ! Double win !! Thanks guys. You are the best !

[@MaximilianMengwasser]

Happy Birthday To You!! 💐☀️

[@JensenSpeakersVideos]

That MkI really boogies. By all means. Still one of the best tones I've got to hear! Thank you for blasting your ears to allow us mere mortals enjoying it!

[@OneMoreGrave]

I always like these videos. They're a fun way to either eliminate or possibly try various combinations of gear. I'd like to see 2 amps with 2 different boards run together. A wet/wet if you will. Different drives and effects on each board. Put a univibe on one amp and a Keeley bubble tron or flanger or phaser or harmonic tremelo on the other amo. Have one with a short delay and one with a longer delay to kind of get that echorec sound in stereo. Use a drive on one and a fuzz on the other. Or other various circles of gear. It creates some big swirly stereo spaces. I use this while recording sometimes stacking guitar tracks.

[@jsantos1104]

Can’t miss TPS Friday even when I’m on vacation (I mean holiday) 😀

[@berryster]

Love the Boogie segment. Same as Mick, my main amp for years was a Boogie Mark III. Too loud, too heavy these days. That Mark I sounded great with your playing. For Episode 3: play a DOD Rubberneck analog delay without previously practicing with it or reading the instructions...

[@slmcmorris7902]

I was strat middle pickup for about a decade. Great sound for R&B and church. Glad you guys explored that sound on the show

[@sportsnmovies]

You truly have a knack for teaching. Pedals, wave theory, music theory and more. Love what y'all do!

[@ThatPedalShow]

Thank you Tyler!

[@RobUttley]

I thought the middle pickup sounded best of all of them, personally (I tend to play neck & middle myself on my H/S/S Peavey). Another really entertaining episode guys, thanks so much.

[@joshuawashburn2178]

Love this series! Here’s a request if you ever do a part three: Experiment with some alternate tunings. You guys are dynamite players and a constant stream of inspiration in standard, half-step standard, and the occasional drop D, but I’d love to see your brains work a little harder in something outside your usual wheelhouse. Cheers, and thanks for the incredible content!

[@ThatPedalShow]

Nice! Let’s do that. I arse around in DADGAD from time to time. Mick here. :0)

[@thebadlight5801]

@@ThatPedalShow voting for this idea

[@zachgilbert7068]

I have the same JM! Roundwounds, and heavier guages, are suggested for stock saddles because they sit on and move over them much better. A LOT of people complain about the bridge and vibrato system on JMs but it's mainly (at least, in my experience and from what i've read), due to the fact they were designed to have heavy gauge flat-wound strings! For a long time I used .011 half-rounds which got part way there while retaining some brightness!

[@randomstuff4176]

You're a legend Dan .. The 2-5-1 of the chord you are moving to .. How did I miss this??? So simple, but my chord changes are awesome now. Thanks heaps !!

[@jimwilliamson9893]

Excited about flatwounds on the Jazzmaster. You might want to ask Tom Bukovac why he uses flats in the recording studio.

[@jon.wilson]

The middle pickup is actually pretty good for Jerry Garcia tone if you want that

[@proudtexan8521]

OMG when the D&M Drive kicks on 25:03. Wow.

[@Yupppi]

That middle pickup on strat sounds pretty nice. For 20 years I didn't touch the middle position ever, it was totally unimaginable to me. Then my friend claimed SRV played middle pickup a lot and I decided to play on middle pickup for a while. It's like the older brother. Bridge pickup is the youngest brother, wild, wanting to be noticed, the star and rushing head on without thinking, while the neck pickup is the dad, a mellow and soft fellow, very trusty but with zero surprises. Middle pickup is that older brother, the edges have been filed but still has that youth and mystery and experience.

[@brandoningersoll5034]

Q-How do I get my chorus to sound less cheesy A-Turn it off and turn on your trem or flanger

[@danieljohansson1938]

This is going to be a great start of the weekend. Will you do a review of the new ibanez echo shifter 3 delay pedal at some point? I have the old one which I love, but the new features seems attractive. Have a great weekend!

[@southpaw335]

Dan you’ve got a great ability to break things down and teach them. Thanks for the II-V lesson

[@-b0j-]

Worth a viewing just for Dan’s explanation of 2-5-1 changes alone 🙏🏻 The rest of the video - sonic entertainment. Thanks guys, as always.

[@RandyWillcox]

"Shit man, that little thing really boogies!" Yes it does, Carlos. Yes it does. Dammit! Why do I watch this show? Now I want a Boogie MKI. 😤

[@alfgwahigain5544]

I was really surprised by that amp - sounded great. I don't know much about Boogies, usually think automatically about Dual/Triple rectifier 90s and early aughts high gain sludge. I love the two volume knob thing - reminds me of Peavey's pre & post-gain controls. Gives you a lot of control over gain.

[@DavidWilliams-iq3eu]

The big problem with the Tomatotone is that you don’t know when the controls are at 2 o’clock. Makes it unusable for me.

[@ThatPedalShow]

Take my heart David, it’s yours! (Mick here, natch. )

[@jmanson3310]

Makes my friday evenings a joy to see you guys do your thing so thank you. Again another video I will leaving a tab open for so I can cherry pick things I think I also need to try. Thought I'd let you know I recently bought a Foxy Tone Box Octave Fuzz Pedal from Warm Audio to join my small family of pedals and I know this is a subject you guys have covered extensively but I have never heard a Fuzz pedal like this before. I implore you as tube amp enthusiast to try one if you haven’t already. Thanks again for all that you do.

[@Tom-en3ms]

I appreciated the question about wet-dry into one amp. Thanks. I’m doing this with an AC15. I split the signal from a Digitech Ventura Vibe, (stereo outputs), I go into the top boost channel through a MXR phase 95, micro POG, Plumes, Rat, MXR super badass distortion (using a quartermaster) and then into the normal channel via a Strymon Ola, Digitech Obscura Delay, TC Hall of Fame, Boss GE-7. IMO, the amp has beautiful tremolo, I got a mini footswitch from Bright Onion Pedals to control the tremolo and reverb from the amp. Great for the pedalboard as the Vox footswitch is a bit big for mine. I don’t seem to have any phase issues going from the stereo outputs of the Ventura Vibe into these chains and then into the different channels on the amp. I got an ABY switcher (again from Bright Onion Pedals - real good stuff, check them out...) and needed to use the phase switch on that, but as I don’t switch between the channels that much I find going from the split signal from the Ventura Vibe seems to work great for me. I haven’t seen that many people discussing blending and switching the channels on an AC15, but it’s such a cool trick. Maybe it’s so obvious to most people that it doesn’t need explaining, but for me it took a while to click (!) An ABY pedal can really turn this into a three “channel” amp, makes it really versatile for me. I run the master volume at nearly max, and then blend the wet / normal channel to taste, depending on the room volume necessary for the top boost side. This would be great to see explored in more depth, it is something that has ultimately moved me along from my Hot Rod Deluxe. I was missing an effects loop in the AC15, but this is a great way round it. It gets overlooked on a lot of AC15 demos, although The Tone Lounge videos have really helped me out.

[@jameshaire4033]

Mick, middle sounds rad! Gents, we should correctly lowercase the ii chord, especially since you are educating folks about theory and terminology. “II-V” sounds *quite* different. 😳😬 I ii iii IV V vi vii°

[@alanthompson3493]

Those "Chromes" flatwounds are a bit bright. Pyramid and Thomastic offer flatwound strings with pure nickel windings, which I think will sound more mellow and jazzy, if that's what you're going for. They are expensive, but should last a long time.

[@andrewvenz8142]

Used to use Thomastic flats on my Yamaha sg can’t get them locally anymore and can’t afford them

[@sionetane]

I switched to flatwounds on my Tele about a year ago, Dan. I love the Tele with flats, it is my go-to guitar.

[@petegeoghegan7562]

Excellent Dan! I have flats on most of my guitars. First started with my 12 string Ric. Roundwounds to my ears can be a little clangy on a 12 string.

[@nohandle54]

I was under the impression that flatwounds were the strings of choice for many guitar gods until later in the 1960s or early 70s. But I can't remember where I heard that

[@simonwilliams9916]

The Orange rocker32 has two return inputs and two speakers for wet/dry and stereo. Works brilliantly 🤘🏻🎸👍🤘🏻🎸👍

[@lildiddy1115]

Yes!! I got one for myself out of my love for the rocker 30... I still run everything into the front, bc I'm just so used to it, never been an fx loop user.. But maybe D&M could give it a go!

[@Ottophil]

I just use 2 amps

[@simonwilliams9916]

Hugh tube yes indeed the Orange and my old Peavey Delta Blues make an unholy noise together 🤘🏻🎸👍🤘🏻🎸👍🤘🏻🎸👍

[@zosojstro]

Great episode!! Did not fully realize what a great player Dan truly is. Really enjoyed his I II IV explanation as well as his jazz chops.

[@mattheweastel129]

Thanks for the 251 explanation Dan, it’s finally clicked! I always wondered why jazz and blues guys seemed to play these great little turnarounds like they were born with the skill. If you ever fancy doing a vlog off your favourite jazz chords, I’d be a happy viewer. You often come up with some fantastic chords during the usual shows

[@chasebeavers]

Cool show, as always. Fyi, I'm pretty sure Clapton uses the middle pickup on his Strat most of the time.

[@dalegreen8695]

I'd like to see the Purple Platypus octadrive by Way Huge on the show. It's the Red Llama with an Octavia, quite a unique pedal I think.

[@RussellJones144]

Just over an hour watching most of the video ... and 3 hours getting my head around the 8 minute II-V-I section! An afternoon well spent :D

[@coreynichols1296]

Dan, please do a vlog all about your jazz playing. I absolutely love it! Your “weirdness” and musical-open-mind pairs perfectly with jazz. Thanks for being inspiring!

[@coreynichols1296]

Show challenge.... jazz on the Jem!!!

[@fraenkiboii]

"I might be pregnant"

[@nevillecragg9066]

Made my day too. 🤣

[@thelegendoftdis]

i like making non-cheesy chorus sounds with flanger pedals, not chorus pedals haha

[@Glicksman1]

A good, classic example of the sound of flatwound strings are the twangy Duane Eddy sounds. They are authentically made whilst playing a hollow or semi-hollow electric (a Gretsch Duo-Jet works fine) equipped with DeArmond DynaSonics (single coil) set on the neck pickup (yes) and with the guitar’s volume and tone controls on ten, played fairly close to the bridge. Any tube amp with good clean headroom and with the treble up and some bass (for the “thump”) will do. It’s not a mid-heavy sound but not mid-scooped either. For effects: compression, delay, reverb and deep tremolo approximately timed for 1/16th notes. Also, although just as with the above example it may sound antithetical, I have been informed and agree that a Rickenbacker 12-string sounds best with flatwounds. Flatwounds are easy to keep clean, don’t rust, corrode or collect “stuff” in the windings, sound essentially the same for a very long time (forever?) and they’re quiet when you move up and down the neck. Oh yeah, they feel great, too.

[@horizontalblanking]

Great episode. Legend has it that part of George Harrison/Byrds 12-string sound is due to them using Flatwounds on their Rickenbackers as Roundwounds (and light gauges for that matter) were not readily available. I've never heard a definitive answer to this however.

[@ThatPedalShow]

Nice. Seems feasible

[@peterjessop1878]

One of my favourite lead tones has always been Santana's Yamaha SG into a Boogie. There is an aggressive and harmonic edge that was lost once he started using Dumble's and PRS guitars. Really difficult to replicate well, but closest I got was with a red knob twin, Mesa V twin into the front and a dark sounding Les Paul. Man that rig sang for leads, but not so good when doing Chic covers. :-)

[@SwirlyWhirlyXYZ]

Santana mach 1 (first 4 albums plus a live one maybe) are killer, I lose interest after that

[@Ottophil]

Richard Swan he did some realy interesting stuff with pop singers after that

[@alanredversangel]

Please can you try.......: A Red Llama with the gain just enough to bite, and then run a few pedals into it, particularly a TS, a Rat and a compressor.

[@stevefishner8629]

Gentlemen....Once again you've produced a great show. Thank you both for being the REAL DEAL!!!!!!

[@ThatPedalShow]

Thank you Steve!

[@jaydee4077]

Thanks so much, Dan, for the II, V, I lesson. I'm in quarantine in Korea and was looking for something to keep me from going loopy. I only recently found your guys' show and your insights and information have done so much to help straighten out my pedal board. Also, how I approach my guitar tone in general. Having fun copping some of your licks, as well. A thought, maybe comparing series and parallel effects loops in different amps might be helpful to some.

[@eyalnahmani3876]

PLEASE try the matthews effects "the architect v3" overdrive!

[@matnukin1584]

Re: flatwounds. Get Joe Gore (Tonefiend) on the show. 😃 He’s made really good vids on how he uses flatwounds. Plus, he makes really interesting pedals as well.

[@andymellor9056]

If & when Joe is in the UK, this would be awesome.

[@RealGuysEatRealPies]

On the topic of cheesy chorus sounds: Like Dan, I really like the ‘80s Boss chorus sound. I’m really into the whole new wave/post-punk scene and chorus is so essential to that. When I play with my brother he’s always moaning on about it because that’s just not his taste. Got myself a Walrus Audio Julia so I could fine tune the hell out of it. Problem solved. I swear, every knob on the Julia is key. Now with that wide, thin, flangey-like tone, and everyone gets on about it. Before gain, you can almost get tones close to the solo from While My Guitar Gently Weeps. Great show, fellas.

[@mauricekoonings]

Great episode, found the staple p90's sounded great. When I see the Maxon SD9 I only can think on the amazing sound of Scott Henderson. He uses his signature Xotic RC booster for less gain, and the Maxon for his high gain. Both in a slightly overdriven Suhr or Marshall 100 watt stack. I have seen him at 25-10-2019, and stood direct at his pedalboard. And on the picture I made I can see his settings of the Maxon: Dist: 7 (2 o'clock), level: full open (5 o'clock) , tone: at 0-1! (8 o 'clock). Can not send you the photo in youtube comment... Btw, his Xotic RC is vol: 10, gain: 4-5, bass: 3, treble 4. So also very loud.

[@maz109]

Can't recommend the Jam Pedals Ripply Fall highly enough if you want a non-cheesy chorus. Yeah it can do the 80s thing but has so much more to offer...

[@VonBlade]

My favourite moment of all these question videos, is Dan tilting his head and giving a big sigh, suffering from trying to sum up a complicated answer into a pithy one or two sentence answer.

[@VonBlade]

(and now, Dan playing flatwounds on the Jazzmaster)

[@laoboy9]

Great theory lesson! You explained that very well, plus the examples helped. Wouldn't mind more of that.

[@cedartones]

A good sounding middle pickup on a strat can do it all. A brilliant sonic blend that also cuts through the mix live. Dial in the output level with height adjustment and your back to having 5 different tones instead of just 2 or 4.

[@tompoynton]

Here’s a suggestion: do a board with only one company’s pedals on it, covering all the main types of effect

[@brandonbock4763]

Boss, easy peasy

[@tompoynton]

Brandon Bock I thought it didn’t need saying tbh ;)

[@tarkett8529]

Boss, MXR and EHX it’s easy to do with

[@stonersquash]

Only problem with boss is that every pedal would be buffered, only problem with mxr and electro harmonix is that none of them are buffered...

[@tarkett8529]

Squish The Squash All boss pedals doesn’t stop Steve Vai, but I get what you’re saying but you could always put a buffer into the chain and because they’re not all pedals it’s a workaround

[@colingordon8655]

hi, re the chorus thing. i always come back to blues driver, mxr micro chorus and tc flashback. rothery and gilmour fan. if using a strat, use the 2 and 4 with a slower chorus sound, it doesnt sound cheesy if thats what you want. speed it up for leslie sounds.

[@przsoldier11]

Great show for my birthday. That staple p90 sounded ace!

[@georgesims1724]

Dan! some of the best ever jazz tones I have heard have been out of a tele neck pickup, tone slightly rolled back. No need for a jazz box, love the one you're with!

[@michael_caz_nyc]

I never liked my middle pickup - until I got Lollar's. How to make a chorus not-sound cheesy = Boss DC-2W. ( sounds expensive ) with no seasick pitch warble.

[@rdb9936]

What Lollars did you opt for? Blondes or blackface?

[@michael_caz_nyc]

@@rdb9936 Dirty Blonde's (same as Blonde, but has slightly Hotter in the bridge) = Phenomenal. I'm on Cloud-9. Got that SRV "Riviera Paradise Tone"

[@rdb9936]

Nice! I have some Imperials on the way - excited to say the least!

[@jacobbentley2562]

@@rdb9936 got a set of their '52 Tele pups for a partscaster build. Nothing started yet but I'm really excited to play them

[@jeremiahMc11]

Uh....immediately putting flatwounds on my Jazzmaster

[@bernhardrohrer9593]

Thanks for playing Carlos, Dan!

[@jacobbentley2562]

The "all pedals sound best at 2 O'clock" line has unironically changed my relationship with fuzz. Bought a mk. IV Tone Bender in London last summer when I stopped into Macari's - sounded absolutely epic in the store (granted I played it through a Les Paul and an old Fender amp when I have a Strat and an Orange Rocker 15 at home) and I just couldn't get it to sound the same when I got it home - threw all the knobs to 2:00 on a whim and now it just owns! Consider me subscribed to the Mick School of Pedals haha

[@ThatPedalShow]

YES!

[@houseofshred3725]

AuTomatoNe. Gold Tomato Neon.

[@ThatPedalShow]

YES!

[@rjroth4869]

I thought the Jazzmaster sounded worlds better with the flatwounds.

[@scottwhitlock9403]

Agreed. Blew my mind there was such a tonal difference.

[@Ben_Hammerclaw]

I love chorus now, but that wasn't always the case. My opinion changed after I got an old red knob fender princeton chorus amp. It was the first time I heard an analog stereo chorus. The amp's effect was warmer and clearer from the pedal I had at the time. In some of the more complex chorus pedals you can adjust the wave shape, lag, and mix as well. Those settings could also affect the cheezy-ness.

[@m.charron]

You can really hear why Carlos ended up using the Mk 1 with a Dumble (w/412 cab) and a Marshall (also w/412 cab). He said playing the Mk 1 alone was like being in a laser beam. The combo of amps gave him a more vocal range of 'belly, throat and head' tones. As far as chorusing goes, I've never liked pedals when they have 'chorus' in the name... its a bad omen. The Yamaha UD Stomp was the best I've heard, and I think it's basically because you have to make the chorus by setting up delay lines, and modulating/filtering them independently.