If the modern HiFi amplifier or tube amplifier clips when you use it to play back audio recording, you are doing it wrong. With tube guitar amplifiers pushing it to clipping to get certain distorted sound is often intentional. Modern take to get the same guitar sound is to use DSP based effect pedals to get the right distorted sound that is fed to modern class D amplifier. Nothing is run physically to clipping.
Here are some links to information on guitar effects:
Most DISTORTED Guitar Tone Possible?!
https://www.youtube.com/watch?v=TkO-yau7jdQ
What does distortion look like?
https://www.youtube.com/watch?v=pFSX93aPzmw
Understanding Distortion (Pt2) – Diode Clipping circuits
https://www.youtube.com/watch?v=6Qs1H2qTAWI
Demonstration of Overdrive, Distortion and Fuzz effects on oscilloscope and with a guitar signal
https://www.youtube.com/watch?v=8NjeHHroOgI
The World’s Largest Guitar Pedalboard (world record)
https://www.youtube.com/watch?v=iWRfLuJ_NKw
She sings through guitar pedals and it sounds AMAZING
https://www.youtube.com/watch?v=77iUH208XaI
Modeling A Guitar For Circuit Simulation
https://hackaday.com/2023/08/19/modeling-a-guitar-for-circuit-simulation/
Guitar effects have come a long way from the jangly, unaltered sounds of the 1950s when rock and roll started picking up steam. Starting in large part with [Jimi Hendrix] in the 60s, the number of available effects available to guitarists snowballed in the following decades step-by-step with the burgeoning electronics industry. Now, there are tons of effects, from simple analog devices that would have been familiar to [Hendrix] to complex, far-reaching, digital effects available to anyone with a computer. Another thing available to modern guitarists is the ability to model these effects and guitars in circuit simulators, as [Iain] does.
[Ian] plays a Fender Stratocaster, but in order to build effects pedals and amplifiers for it with the exact desired sound, he needed a way to model its equivalent circuit. For a simple DC circuit, this isn’t too difficult since it just requires measuring the resistance, capacitance, and inductance of the overall circuit and can be done with something as simple as a multimeter. But for something with the wide frequency range of a guitar, a little bit more effort needs to go into creating an accurate model. [Iain] is using an Analog Discovery as a vector network analyzer to get all of the raw data he needs for the model before moving on to some in-depth calculations.
Guitar Pickup Equivalent Circuits
https://macalisterelectronics.com/guitar-pickup-equivalent-circuits.html
An equivalent circuit of a guitar’s pickups, tone/volume controls and cable is useful when designing input stages for effects pedals or amplifiers. It makes simulations or calculations of how input networks modify the spectrum of the guitar’s output more realistic. This article covers some background on the topic and then goes into a technique for measuring the output impedance of a guitar and how to deduce the values of an equivalent circuit from the measurement. The equivalent circuit of a Stratocaster are given in the Conclusion at the end of this page.
Sebastian of Baltic Lab demonstrates how to implement overdrive and distortion effect DSP algorithms on the Arduino GIGA R1 WiFi
https://baltic-lab.com/2023/08/dsp-diode-clipping-algorithm-for-overdrive-and-distortion-effects/
Open Source Analog Effects Pedal
A modular platform for developing and trading guitar (and other) audio effects. Focus on, but not limited to, pure analog signal path.
https://hackaday.io/project/2311-open-source-analog-effects-pedal
Guitar Distortion With Diodes In Code, Not Hardware
https://hackaday.com/2023/08/23/guitar-distortion-with-diodes-in-code-not-hardware/
Guitarists will do just about anything to get just the right sound out of their setup, including purposely introducing all manner of distortion into the signal. It seems counter-intuitive, but it works, at least when it’s done right. But what exactly is going on with the signal? And is there a way to simulate it? Of course there is, and all it takes is a little math and some Arduino code.
https://baltic-lab.com/2023/08/dsp-diode-clipping-algorithm-for-overdrive-and-distortion-effects/
Guitar Effects With No (Unwanted) Delay
https://hackaday.com/2021/03/15/guitar-effects-with-no-unwanted-delay/
Raspberry Pi Pico – Guitar To MIDI
https://www.youtube.com/watch?v=Fu0Qsz2h3HE
48 Comments
mapquest directions says:
MapQuest Directions is an online platform that provides users with maps, driving directions, and other navigation features. It is one of the most popular and trusted navigation services in the world, with millions of users every day.
Tomi Engdahl says:
The 1.5-Watt Amp Responsible for Brian May’s Massive Sound
The story behind the Deacy Amp.
Jan 12, 2024 by JustinBeckner [UG Writer] 10,665
https://www.ultimate-guitar.com/articles/features/the_15-watt_amp_responsible_for_brian_mays_massive_sound-160990?utm_term=Autofeed&utm_medium=Social&utm_source=Facebook&fbclid=IwAR1K8BmfudV40CdcE9WqUINhaykB9ImVO6CDiXJXu1ySbbDdswTK3t49l1M
Tomi Engdahl says:
Neural Amp Modeler is an open-source project that uses deep learning to create models of guitar amplifiers and pedals with state-of-the-art accuracy.
https://www.neuralampmodeler.com/
https://github.com/sdatkinson/neural-amp-modeler
https://suuntakuvio.fi/neural-amp-modeler/
https://bedroomproducersblog.com/2023/03/14/neural-amp-modeler/
Tomi Engdahl says:
https://muusikoiden.net/keskustelu/posts.php?c=15&t=247503&o=0
Tomi Engdahl says:
https://www.youtube.com/watch?v=CNFj4oeD2E8
Neural Amp Modeler ONLINE web player demo
Tomi Engdahl says:
“Technology is coming along. It’s going to keep getting better to the point that maybe they will replace tube amps for a lot of people”: Eric Johnson has been experimenting with amp modelers, but he still isn’t fully convinced – here’s why
By Matt Owen published February 05, 2024
The gear purist branched out when he began exploring the Neural DSP Quad Cortex last year – but as things stand, he’s not going to make the switch permanent just yet
https://www.guitarworld.com/news/eric-johnson-amp-modelers-update
Tomi Engdahl says:
https://fi.wikipedia.org/wiki/Kaikulaite
https://www.spelektroniikka.fi/p5692-jousikaikutankki-3bb2a1b-fi.html
Tomi Engdahl says:
https://emute.edu.fi/studio-ja-aanitekniikka/prosessointi-osa-5-kaiku
Tomi Engdahl says:
You Can DIY! Build the Mojo Maestro
https://audioxpress.com/article/you-can-diy-build-the-mojo-maestro
https://youtu.be/oua_dLgW6i4?si=Ahd5PyK_203pB84a
Tomi Engdahl says:
https://audioxpress.com/article/you-can-diy-build-the-mojo-maestro
Tomi Engdahl says:
Fuzz shootout
https://youtu.be/XiJS7-68RsA?si=Ynp5rpn2zLTpwB4i
Tomi Engdahl says:
https://www.levytukku.fi/fuzz-pedaalit
Tomi Engdahl says:
Porter
A headphone amp that lets you use your own pedals
https://hackaday.io/project/196611-porter
Porter is a headphone amp for guitar and bass players who want to practice through their own effects, without bugging the neighbors. It’s more tool than toy, a direct response to existing products that are of limited use for serious practice.
The sound is tuned to provide an amp-like response, so distortion pedals sound like they should. It’s a no-nonsense all-analog design, stripped down to just the essentials that you need to practice effectively. There are selectable guitar and bass modes, which change the EQ accordingly. To save space, the micro-USB port also functions as a line-in. The battery is both rechargeable and replaceable, and sized so you don’t have to think about recharging it too often.
Tomi Engdahl says:
https://www.thomann.de/blog/en/guitar-cab-closed-back-vs-open-back/
Tomi Engdahl says:
All pedals draw an amount of current. See it like “fuel consumption”.
Analog booster pedals (clean boost, compressor, overdrive, distortion) usually draw something like 5-20 mA.
Digital effects pedals (delay, reverb, amp simulation, …) usually draw more, possibly up to 500 mA or more.
If your pedals consume more current than the power supply can provide, the power supply will blow a fuse, overheat or burn up, depending on the build quality.
It is possible that trying to pull up too much current from power supply, the power supply voltage can drop, which can cause the effect to shut down or work strangely. Too much current can cause some power supplies to shut down.
Tomi Engdahl says:
Caline Pedal Power Supply: True Isolation? How They Compare To Other Brands?
https://m.youtube.com/watch?v=C4cyzPefiXY
Thank you very much for clarifying if Caline power supply is truly isolated.
Matt Matthews I don’t agree with this. This is not like 20 years ago when cheap power supplies (and gear in general) were non-isolated daisy-chained crap. You can find tons of people disassembling stuff online and actually doing the necessary testing. https://www.youtube.com/watch?v=C4cyzPefiXY
Tomi Engdahl says:
I guess the joke is coming from Sylvia Massy, a renowned sound engineer who recorded guitar through a pickle ^^
https://youtu.be/FpEJXHvaqJ0?si=PiaHLbGnZ7OYJh_z
Tomi Engdahl says:
Guitar outputs are high impedance (50K ohms plus) mixing console line inputs are usually 10K ohms, so you have a problem right there.
Why not run the guitar unbalance into a DI or suitable high impedance input.
Tomi Engdahl says:
Guitar pickup impedance are usually pretty high around 20Kohm. If it has a active preamp, then it,s output impedance will be low. IMHO..I wouldn,t be modifying a Taylor guitar…I think a Low to high impedance transformer is the way to go.
Tomi Engdahl says:
An electric guitar ideally needs to work into an impedance of around 1MΩ or thereabouts.
https://www.soundonsound.com/sound-advice/q-what-are-correct-input-impedances-guitars-and-mics
Tomi Engdahl says:
Magnetic (High impedance) – High impedance is the standard output for an electric guitar.
Magnetic (High impedance)
High impedance is the standard output for an electric guitar. Most amplifiers and other electric gizmos that players use are designed to work with high impedance magnetic pickups
https://www.stewmac.com/video-and-ideas/online-resources/learn-about-guitar-pickups-and-electronics-and-wiring/understanding-guitar-wiring-part-9-impedance-and-impedance-matching/#:~:text=Magnetic%20(High%20impedance),output%20for%20an%20electric%20guitar.
Tomi Engdahl says:
This is achieved by having a high impedance output on the guitar pick ups (~10,000 / 10k ohm) and an even higher impedance on the guitar amplifier input (1,000,000 / 1M ohm).
https://www.swamp.net.au/swamp-content/guides/why-does-a-guitar-output-a-high-impedance-or-hi-z-signal.html
A signal produced by the pick ups on an electric guitar is quite weak and measured in millivolts. The fluctuations in the voltage of guitarists signal is what’s used to create represent the audio. As a guitarist is connecting directly from the pick ups directly to the input on an amplifier, without any pre-amplification (as would be the case with a microphone signal), it is important that signal is transferred in the strongest possible way.
A Hi-Z signal can be subject to high frequency loss (usually over 10,000 kHz) due to capacitance from pots / knobs on the guitar and the guitar lead itself. Turning a pot up decreases the capacitance, leading to more high frequency in the signal. In regards to the cable capacitance, guitar leads (whether premium branded or cheaper alternatives) all have a relatively low capacitance, with only very small differences between them. Cable capacitance is really just increased the longer the length of your cable. This is why guitar leads are not generally sold over 15m in length, and a DI box is often used to change a Hi-Z signal to mic level, so it can carried using a balanced microphone cable or multicore over long distances.
The Hi-Z signal type has become the standard for guitar signals not merely because of choice or preference, but through much early experimentation and science. There were the obvious limitations posed by the nature of guitar pick ups, where you are working with a very small passive signal and trying to drive it directly to an amplifier. Household names such as Les Paul and Leo Fender helped pioneer the development of the electric guitar mastering not only the ideal body types but the ideal pick ups electronic setup.
Tomi Engdahl says:
When a USB audio interface is intended to allow a performer to record a guitar directly into a computer, a Hi-Z output is really handy, especially if the guitarist plans to use the computer’s software for effects and so on.
Tomi Engdahl says:
Impedance issues influence guitar tone in a variety of scenarios, including the length of your pedalboard signal chain and combining amplifiers.
Why does plugging an electric guitar into devices with different impedances (e.g. a mixing desk vs a guitar amp vs a DI box) affect its tone?
Plugging an electric guitar into devices with different impedances affects its tone due to the way impedance interacts with the guitar’s output and the input characteristics of the devices. Here’s a breakdown of the key factors involved:
1. Impedance Matching
Guitar Output Impedance: Electric guitars typically have a high output impedance (around 6-12 kΩ). This is designed to work well with high-impedance inputs, like those found in guitar amplifiers.
Device Input Impedance: Different devices have varying input impedances. For example:
Guitar Amplifiers: Typically have high input impedances (1 MΩ or higher), which allows them to receive the guitar’s signal effectively without loading it down.
Mixing Desks: Often have lower input impedances (around 10-20 kΩ), which can cause a mismatch.
DI Boxes: Usually have a high input impedance (often 1 MΩ) to match well with the guitar and provide a balanced output.
2. Signal Loading
When the impedance of the input device is lower than that of the guitar, it can “load down” the guitar’s signal. This results in a loss of high frequencies and can make the tone sound dull or muffled.
Conversely, when the impedances are well matched, the guitar’s tonal qualities are preserved, resulting in a brighter and more dynamic sound.
3. Frequency Response
Different impedance levels can affect the frequency response of the guitar signal. For instance, a lower impedance input might attenuate certain frequencies, especially highs, while a higher impedance input allows a fuller range of frequencies to pass through.
This is particularly noticeable with passive pickups, which can be more sensitive to impedance changes than active pickups.
4. Interaction with Effects
If you’re using effects pedals, their impedance can also play a role. Some pedals are designed for high-impedance signals, while others may not be. This can further influence the overall tone when connected to different devices.
5. Cable Length and Capacitance
Longer cables can introduce capacitance, which affects high-frequency response. The impedance of the input device can interact with the cable’s capacitance, further altering the tone.
Conclusion
In summary, the tone of an electric guitar changes when plugged into devices with different impedances due to how impedance affects the loading of the signal, frequency response, and overall interaction between the guitar and the device. For the best tone, it’s ideal to use devices with high input impedance that match the guitar’s output characteristics.
https://www.quora.com/Why-does-plugging-an-electric-guitar-into-devices-with-different-impedances-e-g-a-mixing-desk-vs-a-guitar-amp-vs-a-DI-box-affect-its-tone?top_ans=1477743800594669
Tomi Engdahl says:
https://www.stewmac.com/video-and-ideas/online-resources/learn-about-guitar-pickups-and-electronics-and-wiring/understanding-guitar-wiring-part-9-impedance-and-impedance-matching/
Tomi Engdahl says:
https://www.soundonsound.com/sound-advice/q-what-are-correct-input-impedances-guitars-and-mics
Tomi Engdahl says:
EQ
https://youtu.be/dCFqtSBOu9g?si=XDyvcMHQKWD430pv
Tomi Engdahl says:
Boss DS-1 distortion pedal repair story
https://www.youtube.com/watch?v=nR3oXPwu_SA
https://gavd.co.uk/2023/03/boss-ds1-pedal-repair/
Tomi Engdahl says:
Linus Torvalds offers to build guitar effects pedal for kernel developer
‘I’m a software person with a soldering iron’, he warns alongside release of Linux 6.13-rc7
https://www.theregister.com/2025/01/13/linus_torvalds_guitar_pedal_offer
Tomi Engdahl says:
There is one cable that is more important than the others, ie the one that goes from your guitar to the first active element in the chain. Assuming you use a high impedance pickup (ie passive) there.
Passive pickups have their resonance peak affected by the capacitance of the cable that links them to the first active element in the sound chain. Typically, for long cables, you will want to get the lowest capacity possible.
Also you will want your cable t have a good shielding, to be less prone to picking up parasites and RF noises.
The rest is about mechanical resistance, ie what makes your cable last longer.
Low impedance signals are far less impacted by the cable qualities, so you should just focus on good construction qualities.
Tomi Engdahl says:
There is one cable that is more important than the others, ie the one that goes from your guitar to the first active element in the chain. Assuming you use a high impedance pickup (ie passive) there.
Passive pickups have their resonance peak affected by the capacitance of the cable that links them to the first active element in the sound chain. Typically, for long cables, you will want to get the lowest capacity possible.
Also you will want your cable t have a good shielding, to be less prone to picking up parasites and RF noises.
The rest is about mechanical resistance, ie what makes your cable last longer.
Low impedance signals are far less impacted by the cable qualities, so you should just focus on good construction qualities.
It’s more of a durability thing than a sound quality thing, and you mostly get what you pay for. Least possible amount of plastic is usually a good thing for connectors. For the cables thicker cable is naturally more durable than thinner ones (note that we’re talkin about the gross section of the cable and not the core section which needs to be the minimum required for your application), and woven shield wire is usually a bit tougher than the ones that aren’t.
Tomi Engdahl says:
If you have long cables and many pedals, use eq pedal for little brighter sound, because lots of cables and pedals take some of the top treble out of the sound. https://youtu.be/FX_zIpWjaiQ?si=Lj78xvtcY8e_QngS
Tomi Engdahl says:
There’s a lot of voodoo about this. From 30+ years of experience, using the shortest cables you can get away with is better – even budget cables. Longer the cables, you loose top end. You also encounter other issues, but try keeping pedal cables as short as you can, and avoid cables over 10ft if possible. Especially for recording, try to use 10ft or less – playing live you can get away with longer cables as nobody will really notice. Hope that helps
Tomi Engdahl says:
I really like cables that have a fabric outside (currently using boss bic cables) because they have a cozy feel to them, I’m also trying to get the pedal patch cables to the correct lenght (minimal length) so they look tidy. Long cables cut some of the top end out but you can just turn it up on the amp.
Tomi Engdahl says:
As many have said: very cheap cables are more likely to break; decent cables from “well-known” manufacturers will be fine; and “premium” cables may be higher quality, but may cost sufficiently more that it is difficult to justify their prices. One situation where I might spend more is on low-profile/flat patch cables between pedals on a pedalboard. Those can save a lot of space, make winding cables through narrow spaces easier, and I don’t really want to have to replace them if possible.
Tomi Engdahl says:
Some make a remarkabke differerence, such as Analysis Plus, Evidence, Van Den Hul, etc., with Analysis Plus to my ears being the most remarkable. They all have their own signatures and strengths.
These are great in the studio or at home plugged direct into high end tube amps compared to standards such as Mogami, Belden, etc.
On stage or with big pedalboards, your money may well be better spent elsewhere.
You can’t hear the difference and it is all snake oil? Great! More money for cocaine.
On the cheap, if you lack highs and sparkle look for low capacitance cable and roll your own. But the trade off is you lose mids. The longer the cable the less capacitance. If you have a bright amp, a coily cable will tame it down.
Low capacitance cable is best for pedalboards to help tame tone suck. Evidence Audio Siren is best for big boards. If you are going to spend big on pedals, don’t cheap out on your board’s cables.
Tomi Engdahl says:
Distortion Effect: Guitar History
https://www.samash.com/spotlight/the-history-of-guitar-distortion-how-the-most-important-guitar-effect-came-to-be
Distortion and overdrive are usually achieved by the significant increase in gain of different amplified electric instruments. As a result, we get that well-known “growling” sound through guitar amplifiers. Of course, this is pretty much oversimplified as there is actual science behind how overdrive, distortion, and fuzz are created, but that’s a whole different discussion that deserves an article on its own.
There have been many ways of achieving this effect, from the early tube amps, over the invention of transistors, all the way to the creation of digital effect processing.
Tomi Engdahl says:
Homebrew Foil And Oil Caps Change Your Guitar’s Tone
https://hackaday.com/2025/02/04/homebrew-foil-and-oil-caps-change-your-guitars-tone/
How any string instrument sounds depends on hundreds of factors; even the tiniest details matter. Seemingly inconsequential things like whether the tree that the wood came from grew on the north slope or south slope of a particular valley make a difference, at least to the trained ear. Add electronics into the mix, as with electric guitars, and that’s a whole other level of choices that directly influence the sound.
To experiment with that, [Mark Gutierrez] tried rolling some home-brew capacitors for his electric guitar. The cap in question is part of the guitar’s tone circuit, which along with a potentiometer forms a variable low-pass filter. A rich folklore has developed over the years around these circuits and the best way to implement them, and there are any number of commercially available capacitors with the appropriate mojo you can use, for a price.
[Mark]’s take on the tone cap is made with two narrow strips of regular aluminum foil separated by two wider strips of tissue paper, the kind that finds its way into shirt boxes at Christmas. Each of the foil strips gets wrapped around and crimped to a wire lead before the paper is sandwiched between. The whole thing is rolled up into a loose cylinder and soaked in mineral oil, which serves as a dielectric.
The video below shows the build process as well as tests of the homebrew cap against a $28 commercial equivalent. There’s a clear difference in tone compared to switching the cap out of the circuit, as well as an audible difference in tone between the two caps. We’ll leave the discussion of which sounds better to those with more qualified ears; fools rush in, after all.
I Built a Paper-In-Oil Cap for My Guitar – Here’s How It Sounds!
https://www.youtube.com/watch?v=O6SxKZDqpVI
Tomi Engdahl says:
Goes to 11
https://www.facebook.com/share/r/18pmzjdJAf/
https://m.youtube.com/watch?v=4xgx4k83zzc
Tomi Engdahl says:
https://guitarbomb.com/mods-save-behringer-fuzz-bender/
Tomi Engdahl says:
https://guitar.com/news/music-news/none-of-these-other-big-bands-are-using-these-new-fangled-things-james-hetfields-guitar-tech-explains-how-he-got-the-metallica-riff-king-to-switch-to-modelling-amps/
Tomi Engdahl says:
Here’s the thing that most people don’t seem to understand: circuits cannot be copyrighted. Most of your favorite brands have copied — either outright or with modifications — other creators at one point or another. The Tubescreamer that everyone loves so much is a Boss OD-1 with a tone circuit added, and then Boss made their own version and called it the SD-1. Moog sued ARP for using their filter design in the 1970s, but ARP turned around and sued Moog for borrowing a solution for improving oscillator stabilization. According to Josh Scott, most analogue chorus pedals are copies or variations on the Boss CE-2 (including the CE-3 and CE-5, which are the same core circuit with variations). No one seems to complain when JHS releases the Packrat, which recreates the exact circuits of various RAT pedals — and I won’t either because it’s an innovative design — but Behringer is forever derided for making affordable copies of classic gear.
I believed the hype myself for ages, but curiosity in exploring the old EDP Wasp synthesizer led me to pick up the Behringer module, and I was really quite impressed by the build quality, the sound, and the useful modifications they made to the circuit. Since then I’ve picked up the Minimoog module as well as two of the E-Mu clones (the Octaver and Bi-Phase) and have been incredibly pleased with all of them. The older Boss pedals were poorly made plastic pedals, but so were Arion and Danelectro and Ibanez Sound Tanks. These current models are solid and sound great. Folks that ignore the brand for whatever reasons they want to conjure up are missing out.
It seems a good deal of the Behringer name is built on reverse engineering, near patent infringement, and substandard components.
Ed Edelenbos to be fair, substandard components can also be a routine problem for the factories that they depended on early on. Even the more premium audio factories in China had to be watched like a hawk by companies contracting their services. I worked for a company that used 3 different factories in the late 2000s. There was a full time employee whose job it was to spot check shipments for swapped parts. They would rather ship defective gear than miss a ship date, so they would swap parts out to do it.
They also tried to sell us our own pirated designs in whatever color we wanted. All my boss could do was threaten them with lawsuits and terminated contracts, but it was unstoppable. (It did make for an interesting work day when it would happen within earshot of my desk)
I wouldn’t be surprised if the cultural difference in business ethics was a significant inspiration to Uli. He certainly had similar experiences and to his credit, took control of his business and beat them at their own game.
I respect the skill and savvy, if not the ethics.
Ben Clarke if you are giving up on ethics, then you are just giving up. If we aren’t going to pay for innovation we should not expect it. We shouldn’t be disappointed by stagnation.
Ed Edelenbos they were on the forefront of helping the PRC successfully move all volume MI manufacturing to China by being the first to set up impossible competition for Western brands by building in government subsided factories offering unreal prices, even though for pure shit, in many cases; namely tube amps and blatant copies. They also got several companies busted for FCC “violations” by testing products in thier lab for failure modes not found in normal testing….worldwide.
https://www.facebook.com/share/p/1FN4UdJnFR/
Tomi Engdahl says:
“For the record, I have never been consulted in any way about this pedal, it has never been authorised by me”: Bill Finnegan sues Behringer parent company over Klon Centaur clone
https://www.musicradar.com/guitars/klon-centaur-inventor-bill-finnegan-sues-over-behringer-copy
The designer of the Klon Centaur, Bill Finnegan, is suing Behringer’s parent company Music Tribe over the release of its $69 Klon copy, the Centaur Overdrive.
Tomi Engdahl says:
This is What Happens When You Plug an Effect Pedal Into Itself
https://m.youtube.com/watch?v=8MdQ0fYJ-4M
Tomi Engdahl says:
Angus Young’s Gear: The Greatest Guitarists of All Time
What Makes the AC/DC Frontman so Special?
https://www.gearnews.com/angus-young-gear-the-greatest-guitarists-guitar/?utm_source=meta&utm_medium=paidsocial&utm_campaign=daily&utm_content=blog&fbclid=IwZXh0bgNhZW0BMABhZGlkAasimIs-dk4BHrVgh76jMJ33dLn2CYR6pC8Aq27_GmzV_N4xIvh3mSnPvtv4v9L8o0xMO7X2_aem_9faddRptXl5G6ExQMI6QGw&utm_id=120227853475740030&utm_term=120227853475720030
Tomi Engdahl says:
https://groupdiy.com/threads/reamp-box-original-fixed-with-schematic.78509/
Recorder to instrument amplifier interface apparatus and method
https://patents.google.com/patent/US6005950A/en
Tomi Engdahl says:
https://www.facebook.com/share/r/1B5jY3MHX8/
Tomi Engdahl says:
Recording Synths Through Guitar Amps: 5 Tips
Ever consider recording synths through a guitar amp? Why, you ask? This article explains and gives some tips…
https://www.thomann.de/blog/en/recording-synths-through-guitar-amps-5-tips/?utm_medium=paidsocial&utm_source=meta&utm_campaign=daily&utm_content=blog&fbclid=IwZXh0bgNhZW0BMABhZGlkAasjybAQzb4BHkBtdHbVLkl2UCFsAfZEy76gX_-LZ1e_JBzoQiqNGOx8kETfpC8Tkj4ARqb5_aem_tSjQd7-InNYxAhYT-GMnVg&utm_id=120226402789990030&utm_term=120226402789980030
Can you record synthesizers via guitar amplifiers – and what’s the point of that anyway? We’ll show you some techniques for recording synths through guitar amps. You’ll learn what to look out for, which amps and mics to use, how to position them, and more.