In this post I’m going to show you how I got a tone to similar to what Derek Trucks, Duane Allman, Warren Haynes, or Dickey Betts might use when playing over an Elizabeth Reed or Jessica style jam.

First check out the video to listen to the tone I was striving for. In my mind it is more of a Derek Trucks type sound with a little Warren and Dickey Sound thrown in. I think for a more Duane Allman sound, you would need to use a Les Paul.

Here’s the video for the Liz Reed style tone.

Here’s the video for the Jessica style tone.

Now let’s take a look at the gear I used to get the tones in the video.

  • Guitar – Gibson ES 335
  • Amp – 1966 Fender Vibrolux
  • Attenuator – Weber Mini Mass
  • Overdrive – Fulltone OCD
  • Strings – DR Pure Blues .010’s
  • Pick – Dunlop Jazz III
  • Shure 57 mic into an LA 610 to Pro Tools LE

Now that you know the equipment used for the tones, let’s dive in a little more and dissect exactly what settings were used and how I came upon this decision. First let me say when I started trying to get these tones about a week ago, I seemed to be getting sounds that were not anything what I wanted. I then spent a few hours playing with the settings and trying to determine why I wasn’t achieving the sounds in my head.

The first thing I did was try to find the right settings for the amp. I tried running the amp around 3, 4, and 5, but it could never quite get the tone I was looking for with or without the Weber attenuator. I then said lets just crank it up and continued to adjust the treble, bass, and reverb until I got something I liked.

Here are the settings I came up with that I liked the most.

Fender Amp Settings

Weber Attenuator

Now I want to talk a little bit about what I think contributed to getting the tone I liked out of these settings.  Since the amp sounded better the more I cranked it, turning the amp up to about 8 really took things to the next level.  I also think that the Weber attenuator took the tone even further actually compressing it slightly more to drive it even harder.  

I think the Weber does a fantastic job of decreasing the volume of the amp while maintaining the tone. I also think it adds a bit of smoothness to the overall sound of the amp. Without the attenuator the amp definitely sounds fantastic, but can also make the amp too large sounding in a live or recording setting. I use the Weber on all the recordings I do for YouTube and my video lessons now. I have also used it live and it is a piece of gear I can not live without. At $100, this is a great tool to have to keep the volume down without sacrificing tone.

Here are the settings I used on the Weber attenuator.

Weber Attenuator Settings

In addition to using the Weber for volume control, when I’m recording, I have built a small box to keep the amp in. These are 2 x 4 Owens Corning panels covered in Burlap sack. Using these 6 panels arranged in a box with a removable top allows me to further decrease the volume so it is not deafening.

Recording Box

recording box

Recording Box pic 2

recording box

Fulltone OCD

Now that I had a nice thick raunchy sound, I wanted a little more compression by using the OCD.  I only used the OCD at about 25% drive.  The picture looks more look 50% I know, but the 0% Drive point has somehow moved since I’ve had the pedal.  I guess since it’s been stomped on and thrown into bags for a number of years.

Also using the HP switch on the OCD seemed to round the sound out much more.  The LP switch seemed to give the tone too much bass and sounded woofy to my ears.  I also found that using the Weber and the OCD will take away some of the treble in the tone of the amp.  After I put the treble on the amp at about 8, things were much more clear sounding. I found this helped the tone much more than increasing the treble on the Weber attenuator or the adding more tone to the OCD.

Here are the settings I used for the Fulltone OCD.

Fulltone OCD

Guitar Controls

The guitar tone controls were on 10.  I am using the neck pickup in both videos.  The volume was on about 2 or 3 for the low dynamics part, and were put on about 6 for the really digging in parts.  Having the volume on the guitar at around 3 -6 had a dramatic effect on the tone.

Micing the Amp

The last piece of the puzzle came when moving the mic around a bit and actually backing it a little further away from the amp.  I found that when the mic was too close to the amp, I got a much thinner sound.  I know all of this is subjective, and you can balance it with a room mic, but I really like the sound of a single 57 a lot of times about 12″ off the amp and around 9″ off the floor directly in front of the right speaker cone.

Micing Amp
Hopefully that answers some questions about getting this type of sound. If you have any questions, please post a comment below. If you would like to learn about playing in the style of Dickey Betts, please check out my DVD or Download, Play Like Dickey Betts