BAllpark Iommi Tone on "Deathmask/ Into the Void" question.

jtcnj

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The intro is fairly saturated gain and dark in tone, (the D power chords are not bright) but then the pre-verse/ verse are much brighter.
Any ideas on this? guitar tone knob twiddling?
My rudimentary understanding is P90 bridge> treble booster /(Rangemaster?)>cranked Laney something amp.

I'm not chasing the exact tone, looking for the "ballpark".
 
The intro is fairly saturated gain and dark in tone, (the D power chords are not bright) but then the pre-verse/ verse are much brighter.
Any ideas on this? guitar tone knob twiddling?
My rudimentary understanding is P90 bridge> treble booster /(Rangemaster?)>cranked Laney something amp.

I'm not chasing the exact tone, looking for the "ballpark".
According to MANY sources including the man himself, you'd be surprised as allegedly he uses the settings of:
Volume 10, Bass 0, Mid 10, Treble 10, Presence 10 and did this until around 1982, so not a low end sound but rather VERY bright and middy. This was done thru Laney LA100 BL's initially and shortly after with Laney Supergroups. Both are essentially non-master Volume amps akin to the original Marshall Plexis ( which he used briefly before recording the first album). The Dallas Rangemaster Treble Booster is one of the key components too in his sound, as it acted as a bit of an overdrive but boosted the higher tone spectrum, again, no bottom end.

You could closely replicate this sound with a stock P90 guitar ( as well as any thin bodied humbucker guitar such as SG), into any valved amplifier( including a master volume version) if you take down the Gain to a very low setting, roll the bass off, crank the rest of the EQ and using nearly any Overdrive pedal as long as the tone is pushed towards the max, gain near 50% or less and Volume maxed
 
You could get one of these:

J20466000000000-00-1600x1600.jpg


Apparently he cloned both the Rangemaster circuit and the Laney Supergroup circuit in it. They do a remarkable job of copping early Iommi tone.
 
I'm trying to really learn what I can get out of my amps alone or with input signal boost or "transparent" OD.
Thanks for the info.

In agreement with Mike, and I will also say try very light strings. When I watch Tony play I am always shocked just how much vibrato he uses on chords, and the only time I get even close to nailing Sabbath songs is when I have relatively light strings and a lot of warble.
 
We’ve covered “Supernaut” a few times. I got really close to his sound with just a humbucker SG, a Boss Blues Driver, and a JTM45. My sound back then was a bit thin, compressed and fuzzy, so it worked good for that song.
 
In agreement with Mike, and I will also say try very light strings. When I watch Tony play I am always shocked just how much vibrato he uses on chords, and the only time I get even close to nailing Sabbath songs is when I have relatively light strings and a lot of warble.
Very true! He does use incredibly thin strings, even going so far as to using banjo strings early on when 8s weren't commonly available, which is incredible that he can get that sound detuning with such a light gauge but the dude pulls it off amazingly.
 
We’ve covered “Supernaut” a few times. I got really close to his sound with just a humbucker SG, a Boss Blues Driver, and a JTM45. My sound back then was a bit thin, compressed and fuzzy, so it worked good for that song.
Thats a great track! Anything minus FX off the Vol4 album is legendary
 
This really cool dude sent me a really cool pedal once.....very Sabbath sounds occurred soon afterwards, with many guitars...

See post #1 for 18 watts of joy... and post #26 for super low watt Sabbath...

Thanks again @syscokid !
 
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