• How to use volume and gain to create killer guitar tones


    Volume is a crucial part of a good tone but it’s perhaps a bit elusive and easy to overlook. In this feature we’ll discuss different types of amps, how to set them up and how to use the volume controls on your guitar and pedals to create great sounding tones.

    A lot of guitar players consider the volume controls as something you use if you either want things louder or more quiet but it really is a lot more to it than that and bad tone is often a result of not knowing how to use volume as an active part of the tone.

    I don’t want to go too much into detail and get all technical. There are lots of great articles out there that will provide all kinds of minutiae if you want to dig a little deeper. I also urge everyone to use the comments field below and share your experience and tips.


    A typical tube amplifier consists of two stages. The pre-amp, which takes your guitar signal and distorts it, and the output section, which amplifies the signal coming from the pre-amp and makes it louder.

    Most tube amps has controls for gain (channel volume/volume) and master (output/volume). The gain control controls the amount of clipping or distortion that goes into the signal. The master controls the output of the amp.

    A single channel amp often has one single control for volume/gain. This controls both the pre and output stage of the amp.

    Volume Laney Lionheart

    A two channel amp, like the Laney Lionheart, often has one output control for the clean channel, controlling both stages, and two controls for the gain channel, one controlling the pre-amp and the other controlling the output.

    A Hiwatt has four inputs, which can be a bit confusing. Each channel, normal and bright, has a dedicated gain control (labelled “volume”) and the output for both is controlled by the master control. The additional two inputs are attenuated inputs for each channel for different pickups and instruments.

    So, with all this in mind it’s clear that understanding how to set the balance between the pre and output stages, or the gain and master, on your amp is crucial for getting the tones you want.

    David Gilmour’s amp setup

    Let’s use David Gilmour’s typical Hiwatt settings as an example to understand how this all works.

    David has his Hiwatts set clean and he’s using pedals to get the amount of drive or gain he needs for the different sounds. However, much of the secret behind David’s cutting and punchy tone, lies in the balance between the pre and output stages.

    My Reeves Custom 50 set up with the same settings as David Gilmour's Hiwatts used on the 2006 On an Island tour.

    The pre-amp, which in his case is a link between the normal and bright channels, is set just at the very edge of breakup. It’s set to match his guitars and pickups and a different guitar with hotter pickups would make the amps distort even more. The tubes are pushed just enough to add a bit of compression, making the amp sound fatter and more balanced.

    The master, or output volume, is set to match the venue/studio/rehearsal space but also high enough to push the speakers, which again will create more compression and bring out more of the speakers sound qualities.

    Setting up your amp

    So how does all this apply to your amp? Well, each brand and model is different but the first rule is to know how the controls on your amp works and how they interact with the rest of the circuit. Manufacturers often use different labels on the controls, which can be confusing but there’s always a gain and master – either separately or combined in one control.

    A clean amp isn’t just about making an undistorted tone louder. Cranking the master control, often makes the amp sound thin and flat. A good clean tone that will cut through a band mix and create a powerful platform for your pedals, needs a bit of that pushed pre-amp and tube saturation, which in turn will make your guitar sound (and feel) much more dynamic and respond much better to your playing. 

    This can be hard to achieve on a typical bedroom setup but as discussed in detailed in “How to get killer tones on your bedroom setup”, choosing the right amp for each application is crucial for being able to utilise its full potential. I guarantee you that although a large Hiwatt always looks great, a small 5w will always sound better in a small room.

    Guitar volume or volume pedal?

    Using the guitar’s volume control to control the tone and volume seems to be a lost art among the modern guitarists. We have all kinds of pedals that can do all kinds of things but back in the early days of pedals, and even before then, guitarists would use the volume control to produce subtle changes in their tone.

    Volume guitar

    Like Hendrix, David Gilmour used fuzz pedals in the early days of Floyd. Just by adjusting the guitar volume, a single pedal would produce boost for the cleans, overdrive for rhythms and screaming armageddon for the heavier stuff. Likewise, plugging the guitar into a cranked amp and using the guitar volume to control or attenuate the amount of gain, would produce a large palette of tones.

    I always roll back the volume to around 8.5-9 for my clean tones. It takes care of the sometimes harsh overtones and makes everything sound smoother and more dynamic. How much you should roll back, either for gain or cleans, depends on how hot your pickups are and what sort of pots you have on your guitar.

    As an exercise, plug your guitar straight into a distorted amp (or use one high gain pedal) and just by using the guitar volume, see if you can create convincing tones (doesn’t have to be perfect and never mind modulation and delays for now) for the clean intro solo on Shine On, the slightly overdriven intro on Have a Cigar and the fully distorted solo on Comfortably Numb!

    A volume pedal is often used as a master volume controller on a clean amp setup. Lowering the volume doesn’t colour the tone, it only lower the overall volume. A volume pedal can also be placed in front of gain pedals or a cranked amp. Lowering the volume pedal will attenuate the amount of gain just like rolling off the guitar volume control. Personally, and since I always run a clean amp, I have my volume pedal last in the chain as a master controller.

    What about the volume control on your pedals?

    As we’ve discussed above, an amp with the right balance between the pre-amp and output stage will provide a powerful platform for your pedals. Be sure to always set up the amp with the guitar plugged straight into it. Only then will you be able to hear the subtle nuances created by the combination of your amp and guitar. 

    All gain pedals, including compressors, has a volume (level, output) control and as with your amp, knowing how to use this will make it easier to get the tones you want. Again, we tend to overlook the qualities of the volume control and focus on how much gain we need. Still, we’ve all experienced tones with too much gain, noise issues and sustain that just chokes up the minute you hit the string.

    Volume pedal

    Let’s take a Big Muff (or a similar high gain pedal). Set the pedal volume to unity with your amp (the same level as when the pedal is off). Set the tone to around 11:00 and the gain/sustain to around 2:00. This is probably not perfect but that’s not the point. Now, lower the volume slightly and hear how the Muff sounds less compressed and perhaps a bit thinner but you will also hear more of those subtle harmonics much like with a fuzz pedal.

    Next, increase the volume to slightly above unity. Hear how the pedal sound a bit fatter, darker and perhaps smoother as well. Increase the volume to around 75% and hear how the harmonics are almost gone and the tone is perhaps a bit too much compressed.

    Now, 75% is obviously too much but it gives you an idea of what happens when you increase the volume on a pedal. Unity gain is usually a good start and often, just a hair is enough to find that sweetspot between a flat and sterile sounding pedal and one that sounds smooth and well balanced.

    This exercise works best on a tube amp set as described above. Increasing the volume on the Big Muff (or whatever gain pedal you use) will drive the front end of your tube amp and create more compression and mid range. Again, using the right wattage for your location, will enable you to get the same result on both a large and a small amp, given that it’s set up with the right balance between the pre-amp and output stage.

    I hope this gave you some insights to the importance of using volume as a part of your tone. Again, please use the comments field below and share your thoughts, experience and tips!

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41 Responsesso far.

  1. On9 says:

    Great article! All the guides I read about fuzzface type pedals say that you have to “crank” the amp and set the pedal to 100% fuzz and 75%-100% volume to get that tone we all have in our heads, but whenever I try that it sounds like overcompression hell and literally sounds like mud. If I just pass the 1 on the gain it starts to overcompress and mud like that. So how is it really done ?

    I have a Laney Cub 12R and the best results I got were by plugging the guitar into the 15W mode (it really helped), volume at 10 and gain just about 1, fuzz at 100% and volume of the fuzz more or less 75%. But still not fully satisfied and I think it can do better.

    Does a “cranked” amp in that context mean just a loud clean tube amp ? because it seems impossible for me to add a boost after the fuzz like Gilmour did or plugging the fuzz into a cranked Marshall like Hendrix. It would be awful.

    I would appreciate it if you can tell me the settings you had on your Laney Cub 12R and what wattage you plugged in to when you demoed the London Fuzz (I have the Ge one) because that really sounded great

    Additional info: I have an American Fender strat with fat 50s and a 1×12 extension cab with a Vintage 30 and a spark booster


    • Bjorn says:

      David had is Hiwatts set fairly hot and, from what I can hear on live recordings from the 70s, he must have set the fuzz pedals with teh fuzz all the way up and the volume pretty high. On songs like Time, you can hear on 73-75 live recordings that he kicks in the fuzz ontop of the Colorsound boost, which he’s using for rhythms. Now, how this sounds on your setup, depends on your pickups, amp, speakers, what sort of fuzz pedal you use and how everything is set up. I’m not saying that you need to crank everything to make it sound good but that’s how David and Hendrix did it. Keep in mind that Hendrix used the gain in his Marshalls as the platform for a germanium fuzz, which has less gain, and constantly used the guitar volume to control the sound. David’s Hiwatts has tons of headroom and although they’re set fairly hot they can handle pretty much anything.

  2. Raphael says:

    I don’t think there is a better read about guitar tone over all internet than your writings. Please keep doing this. Music community owes you so much. And a long time wish of mine, mays I ask it again: that you analyze a Peavey Bandit.

    • Bjorn says:

      Thanks a lot for the kind words, Raphael! Unfortunately, I do not own or got the chance to borrow a bandit at this point.

  3. Santiago says:

    Hello! this is the first time here, very nice article!

    I have a major problem with the volume of my amp, it is a 60W Hot Rod Deville and has too much power for rehearsals and recording might be an issue for me as well. Yesterday I found that setting the amp first and controlling the overall volume with the Boss DS1 (with the volumen knob of the pedal I mean) seemed to work.

    Do you think that this is correct? (sorry for my english, I’m from Uruguay) it sounded great for me but I’m not sure how this affects the real tone of the amp.


    • Bjorn says:

      Do you have a volume pedal?

    • Steve in NJ says:

      Hi Santiago,

      Using pedals to control the overall volume is certainly acceptable – especially when that approach creates a specific sound or tonal quality you might be seeking. However, I looked at the user manual at Fender.com for the current line of Hot Rod Deville amps and see that the amps have a master volume. With this type of amp, I would think you would set the master to something on the low-side for rehearsal/recording and crank up the Normal and Drive channels to get the overall tone that you’re looking for. Then gently turn up the master just enough but not too loud for rehearsal/recording.

      I learned a lot about gain and volume watching the YouTube channel called “That Pedal Show”. I highly recommend it. Subscribe to their channel and look into their archives for shows about volume and gain. Some shows that might give you some information:
      – Amps: How Many Watts Do You Need?
      – Setting Up Your Amp To Use With Drive Pedals (this episode might be under “Daniel TheGigRig” instead of “That Pedal Show”)

    • Keith Richards (seriously- but not THAT one) says:

      The Hot Rods react well to changing the first preamp tube to a 12AT7. They are much more manageable. That’s the main difference between the Hot Rod Deluxe and the Signature George Benson amps.

  4. Steve in NJ says:

    Hi Bjorn, I’m an acoustic guitarist who has just been getting into electric guitar and effects pedals in the past 3 years. I recently bought a Mooer Grey Faze Fuzz pedal (germanium transistors) and put it first in my signal chain. Even when I use it standalone, i.e. guitar-fuzz-amp, I notice a huge drop in fuzz when rolling my guitar volume pedal from say 10 to 9. From 9 and below the fuzz cleanup is fairly linear.

    In your experience, is this typical for this basic kind of fuzz effect?

    • Bjorn says:

      Yes, do a quick search for how passive pickups interact with fuzz quircuits. It depends on how the pickups are wound and what pots and capacitors you’ve got for the tone section on the guitar. This can be modified.

  5. David Du says:

    hi, Bjorn, how are you!
    I wonder what the type of David’s volume pedal? Ernie Ball 6167? is it a lo-Z pedal, can be connected with guitar directly?

    • Bjorn says:

      He’s using a standard Ernie Ball pedal but the guts are modified by Pete Cornish and I’m not sure what they’ve done.

  6. thiago carrera dias says:

    That’s my signal chain: Wha cry baby – digitech wammy – boss cs 3- overdrive goldsmith – distortion (patriot or vick audio triangle), booster of overdrive goldsmith, throbak overdrive booster an modulations. I leave the throbak always on, even in clean sounds.

    In my major sound i leave on the overdrive – patriot or vick audio triangle and throbak. With solos i add the booster from goldsmith pedal.

    That booster from goldsmith pedal, and my previous booster (mxr, solded) usually worked with the fender using that combination that i mencioned. But with the hiwatt i have no sucess. So i thought in volume pedal.

  7. thiago carrera dias says:

    Hi Bjorn! First of all gongratulations on your work!! Your website is the paradise of tone!

    Now, i have some trouble here. My amp is a hiwatt tube series combo 40w. When i play in live gigs, sometimes a need to increase volume level for solos. I usually use boosters to increase volume but, with this amp, the volume jus drop, like as if i put a “sock in the mouth of the speaker”. When my amp was a fender deville, i didn’t have this problem, the sound really grew louder. Now, what can i do?

    I have found my tone, i just want increase volume level for solos, without affects the tone. Is the Volume pedal a right choice? Can you give some brands and models? Where, in the pedalborad chain can i set the pedal?

    Thanks a lot!

  8. Trevor says:

    Hi,Bjorn!Have u checked this Mooer leveline volume pedal?(http://www.mooeraudio.com/?product/201512105381.html)If it lose 0 signal then with the “special circuit” it’s a fantastic volume pedal indeed.And it’s so tiny looks so cute.lol

  9. Norm says:

    Hi Bjorn,
    There seems to be many brands of volume pedals out there. When reading up on any of them, there are always many comments on ‘tone suck’ regardless of brand. There are also debates on active vs. passive, use with buffered pedals etc. Do you have any advice you could share. Are there any brands/models that you would recommend…

    [I’m using Ernie Ball Jr. Always have and very happy with that. – Bjorn]

  10. Daniel says:

    What do you mean when you say “I have my volume pedal in front of the delays, which allows me to mute the signal and have the delays sustain”. What is the way for doing that? How do I have to put the pedals and cables?. Thanks

    [If you have a volume pedal, place it in front of your delay pedals. Then, when you lower the volume pedal, the delays will sustain. If you place it after the delays, it will mute everything when you lower it. It’s just different ways of doing it and personal preference. – Bjorn]

  11. jay says:

    hey bjron, i have a question about how to set the volume up on my Peavey Classic 50, it has a master and a clean channel volume as im sure you know, and i was wondering on what a good way to set the volume on the amp, for instance should the master vol be set about 12:00 and the clean channel at about 9?, im new to tube amps and this is my first one and im still getting used to it.

    [How high you want to set them depends of course on how loud you want to play but a good rule of thumb in terms of David’s tones is to set the master at about 1/3 – 1/2 of the channel volume. So if the master is at about 9:00 the channel should be around 12:00 – 1:00. – Bjorn]

  12. Philipe says:

    Hi Bjorn, it’s me again. Your tone from the clip has blown me away! How did you set your RT20? The rat did a good job placed on muff’s place….

    [Thanks! Mode 1, rise time 12:00, effekt 9:00, direct 12:00, balance 12:00, overdrive off, slow 1:30. – Bjorn]

  13. Jean-Francois says:

    Hi Bjorn,
    I’m a little late on that one, but I was watching Pompeii yesterday, and was a bit surprised when seing and hearing the part where David is playing alone Echoes parts in studio on the black strat.
    At first he has a very satured screaming tone, I guess with the fuzz face, playing lead licks from the “funky” part of the song. And then he turned to rhythm part, without switching any effect, and without roll down the guitar volume, but his tone seems to change radically, no more screaming, no more distortion, or at least just a little bit.
    Talking about Volume, do you think it’s just how he picks the strings, or are there some sound scecret here ?

    [I think it’s just the sound mix that’s distorting on the first part. Probably a camera mic or vocal mic that pickups up the guitar. Doesn’t sound like cab is close mic’ed. Sounds very clean but loud and then he kicks in a fuzz and delay. – Bjorn]

  14. Don says:

    Are you running all the pedals into the front of your amp? I run my multi FX in the loop of my amp. Am I losing control by doing it this way. Thx for your help.

    [See this post for info. Let me know if you need more help. – Bjorn]

  15. Rick says:

    Would love to hear some feedback if my theories hold any water. As Bjorn said, running amp sims through a amp is like putting distortion on distortion. So, this is my way around it. I have a cub and a ME-70. I want to use the amp sims in my me-70 not only for Floyd but other things. I want versatility. So, since ME-70 does not have a four cable set up. I do not plug my guitar into the amp at all, just the return. I bypass almost everything but the last tubes. The EQ and gain knobs become useless. I EQ and run my amps from the ME-70. This also puts my mods at the end of the signal chain and the next piece is the power tube and then out the speaker. Does this make sense?

    [The dull answer is yes – if it sounds right to you. I need to try this my self to have an opinion but the theory seems right. Perhaps some one else can answer this better than me. – Bjorn]

  16. Eric Nyberg says:

    that is, without giving away any trade secrets ;)

  17. Eric Nyberg says:

    Bjorn, Airbag related questions, is there a theremin on Safe Like You? And did you have to use much studio compression/limiting to get your guitar sound? I’m thinking of getting a Waves CLA2a plugin for Pro Tools. My 27th birthday was 3/9 so I’m thinking of getting a little present. :)

    [Happy birthday :) I’m using an EBow on the guitar. Same thing with Feeling Less. I didn’t mix the album but you always have to use some compression and limiting in the mix to make the signal more balanced and to be able to cut through the mix. A guitar signal easily gets all over the place with nasty transients etc so you have to tame it to some degree. – Bjorn]

  18. Daniel Krause says:

    Hi Bjorn,

    Great article again…and a very usefull one too.
    I’ve learned to use the volume knob on the guitar very quickly, when I started playing almost 15 years ago and it is one of the most usefull things when you’re on stage. I use a volumepedal too, which I really started to “need” I like to have it just a notch off full volume…just to have a little more when I need it.

    About the comment above, about the treble-bleed mod…
    I never really liked the mod, simply because I like to get a little less high’s when rolling of the volume a bit. It can tame distotions/drives a lot. And I thought…when I tried a guitar with the mod, that it made the sound thinner when rolling of the volume. But…to each there own ;-)

    Bjorn…really…don’t stop with these articles. They’re very informative and usefull for any guitarist!



    [Thank you Daniel! – Bjorn]

  19. Vergil says:

    Another brick in the wall of wisdom… good tips again…

    I would mention that if you are going to use your volume on your guitar to affect to gain and tone (which you REALLY should), and especially with Strats, you may want to get a small mod done to your controls called a “treble bleed”, which I believe is just adding a capacitor to your pot, so that when you roll back your volume, your signal doesn’t get muddy and bass heavy… I have it on my Strat, but barely know how it works, I just like that it does work.

    Also Bjorn… on that solo… you played it with really, and I mean REALLY good feel man… you didn’t just play the notes of that song…. you really massaged and squeezed the notes, and made them sing… Very well done… as your reward, you can have your pudding, and don’t have to eat your meat.

    [LOL! Thanks! – Bjorn]

  20. Giorgio says:

    Bjorn, what a great solo and what a great execution. I forgot about this song, or better still, I didn’t really pay a lot of attention to that solo until I saw this clip…. and now I realize what a masterpiece it is.
    Anyway, yes I did notice as well that the guitar volume knob can do wonders with the RAT, the BD-2 and the Big Muff. I just ordered a Fuzz pedal (MXR M-173 Classic Fuzz, I am intrigued by the buffer switch) and can’t wait to try it. One of my favourite gilmour-fuzz moment is the funky solo of Atom Heart Mother. I suppose that tone is achieved by controlling the volume knob, is that so?

    [Thanks! Atom Heart is a great example of how David controls the gain using the guitar volume. He used a germanium fuzz at the time, which has a warm mild tone that responds very well to the guitar volume. A silicon fuzz however usually gets quite thin when you roll off the guitar volume. – Bjorn]

  21. Eric Nyberg says:

    Bjorn do you have a preference between the Keeley BD-2 and The Fulltone OCD for a Gilmourish tone?

    [I don’t think you can compare the two. Although I guess you could use either for any period the BD-2 has a classic transparent Colorsound Powerboost-ish tone while the OCD is basically a hot wired TS9 with a mid rangy saturated tone, lots of gain and lower end. Personally I think the OCD works better for David’s 80s and 90s tones and perhaps the present TD tones. It’s not that suitable for those transparent tones. I’m a big fan of both but if I had to choose I’d go for the Keeley. On the other hand, the OCD is perhaps an overall more versatile pedal for other styles as well :) – Bjorn]

  22. Lorenzo Schiavetti says:

    Thanks for the article. I play at home too and it’s not that easy to find the right volume, having to pick up a muff would you suggest the Red Muck or the Musket fuzz? Also, in your opinion, what is the cheapest way to boost them? Maybe a BD-2 or TS9?


    [Depends on what tones you want. The Red Muck is warm and mild while the Musket is brighter with much more gain. I think both goes very well on smaller amps and low volume. Personally I prefer the BD2 of the two. – Bjorn]

  23. ruodi says:

    Mr. Riis has that one single thing in common with Mr. Dave G.: He can play on whatever he want – it´ll always sound like David Gilmour!

    What looks like a gift at first sight could also become a handicap, because this talent makes him fairly useless for uncommitted pedal or amplifier demonstrations! ;-)

  24. Rob says:

    Bjorn, you have incredible timing! I have just been experimenting with getting more variety out of my rig by using the volume knob and your article has helped reinforce what I have learned recently as well as taught me a few more things.

    I am constantly struggling with two opposing ideals with regard to effects. One side of me wants to have everything and anything that will give me the tones I want while the other side is a minimalist and wants to have as simple a rig as possible to avoid degradation of tone, cut back on possible gear failures, etc. Learning to better use the controls that I already have (volume and tone knobs) has taught me that with only a handful of pedals, I can actually achieve a whole palette of tones (and can easily switch between them). I have 3 OD/Distortion pedals on my rig right now, and even that feels like one too many to me sometimes, but they do provide me with different tone flavors/levels of gain (RAT, Tube Screamer clone, and Blues Driver), so I am living with it for now. :-)

    Love the weekly articles. Keep ‘em coming. More on David style (i.e., theory, use of scales/chords, not necessarily physical technique) would be greatly appreciated as well. I’m learning a lot by studying his work, but sometimes it takes a pro to point out certain things to us amateurs!



    [I’m not so sure I’m a pro Rob but I’m glad you enjoy the weekly updates :) I think there’s a fine line between being a minimalist and compromising the tone. I started out years and years ago with just a Boss GT3 unit and a Muff and slowly expanded into total chaos with near 30 units on my board. Then I scaled it down to a point where I was struggling with achieving the tones I wanted. Now I have one distortion and three overdrives and a handful of modulations and delays and each pedal is carefully tested and selected based on tone and its noise level. I think it’s important to have some idea how you want to use a pedal rather than just keeping stuff out of affection. I also like to maintain a large collection of different pedals for different occasions. – Bjorn]

  25. Robert Farrer says:

    Brilliant article and volume is my worst nightmare at present my 15w Laney valve amp is loud and by time you add a big muff and tube driver to that it’s not remotely neighbour friendly. What key do you play the track in Bjorn outstanding effort.

    [The best way is to set the amp first to a desired volume and then match the Muff. Just roll off the volume on the Muff ’til it’s something you can live with. – Bjorn]

  26. Peter Schepens says:

    Hi Bjorn,

    First of all, nice choosing of song, that’s one of my favorites from david, and really nice played.

    This is a great tip, manny people struggle with the settings.

    Thanks Bjorn.

    [Thanks! – Bjorn]

  27. Alan says:

    This article has saved my tone! Before this I had to use my dynacomp to keep my tone smooth but now that I have adjusted my volume and put it right before it broke up, my big muff sounds beautiful without a compressor. Thanks for this article!

    [Glad to help! Cheers! – Bjorn]

  28. Nic says:


    FANTASTIC as usual! I couldn’t tell you how much I needed this article and didn’t even know it!

    I think a lot of us have a tendency to just roll the guitar’s volume up to 10 and leave it be unless something is super noticeable. I have recently, in just this past year, really began to discover the wonders of the tone knobs on the guitar and how they can turn a horrible tone into one I can’t live without (and vice versa) with just a nudge.

    I was watching Remember That Night earlier last week and my girlfriend commented on how much David was “touching those knob things,” referring to his tone, volume and pickup selectors. I don’t think I’ve ever really noticed just how much he is truly all over those knobs, it’s amazing the man can focus on that and the next note!

    I’m rambling, but thank you Bjorn for this article!

    PS: It’s a shame many of us have to learn the hard way that keeping the volume at 10 on clean tones does provide many unwanted overtones. The best fixes are usually the simplest!

    [David’s an old school guitarist who learner to use the guitar in any way possible. He had to because in the late 60s you only had 2-3 effects/pedals to choose from so you had to experiment and discover every trick in the book to get the tones you want. I discovered that learning how to use the guitar volume and how to control volume in general ended up saving me space on my pedal board, which again means less noise and a cleaner signal. Cheers! – Bjorn]

  29. Tyler Branham says:

    It says that was a rat in the song description which is very easy to tame with the volume knob as compared to a muff. From my experience, a muff can’t be tamed haha. Overall a great tip and a good read. I’ve found the fuzz face to be fun to control with the volume knob.

    [Thanks for noticing. It’s an old clip. Anyway, I think the Muff works very similar and it’s more a matter of choosing the right Muff for your setup. The triangle and ram’s head are easier to tame than the Sovteks. – Bjorn]

  30. Eric Nyberg says:

    Great timing on the article Bjorn. I just replaced my germanium London Fuzz with a Skreddy Lunar Module and I was very surprised at how loud that little guy is. I think my intonation is a bit off because it’s shaking the notes when I’m doing bends. It’s a great pedal though. Just for reference sake, I have the volume on my amp at 1.5 and the volume on the skreddy around 40%. I have to keep it relatively quiet in my apartment. Can you offer any advice?

    [Some pedals are loud and although unity level is usually around 50% or 12 o’clock it varies from pedal to pedal and not least how you set the gain. The lower the gain setting the more you usually need to boost the volume and vice versa. I think the best tip is to set the amp and then balance the pedals to unity level, whatever that may be, and then adjust the volume on each pedal for the desired tone. – Bjorn]

  31. Kamil Poland says:

    Your tips are very helpfully :)

Hey! How about a comment on this post?