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I thought this was funny, Phil X, who is normally not a Klon guy, picked the Behringer as his second favorite in this blind overdrive shootout!

I have a JHS AT+ which effectively is slightly hotter Angry Charlie modded especially for Andy Timmons. Andy uses it in conjuntion with his Mesa Lone Star for articulation and its versatility in driving any number of other amps in an unknown baseline. This is when he has to travel light and doesn't know what amps will be available to him at the site. The pedal has a JFET front end with three sets of overhead that can be switched in dependent on whether he is playing through a 25W, 50W, or 100W head. The pedal also has a boost circuit that can be switched in independently and adjusted on the need to futher drive a front end. I personally have mine driving the clean channel of my Boogie Mark III 60/100W, leaving the amp in 100W mode. I like the results very much, playing the rig through the stock EVM-12S in the combo, with a small Thiele cabinet loaded with an EVM-12 on the side. Go check out the Andy Timmons AT+ demos, and what he has to say about the design "Whys" and see if this is near your needs.

Im looking for a distortion pedal. Ive never really used distortion except for a couple of Mesas and an Egnator amp.IVe alway been more about OD than Distortion So far Ive read about Marshall Guv'nor, JHS Angry Charlie, Wampler Pinnacle, MXR EVH, s/h MI Audio Crunch Box. I think any of them might be okay, have enough gain. Sort of JCM 800 + in a pedal levels of gain rather than JTM levels of overdrive which I seem to have well and truly covered. I have a RAT. It isnt doing it for me. Any other suggestions?

Dirty Lemon Burst looks great!

I’ve had some good experience with TrueFire. Especially when i need a quick primer on a technique or style that is not in my toolbox.

Would have to be my 2019 DLB with ReWind Electric '58 PAFs and a pair of NOS black beauties. Gives that Tele on steroids vibe!

I wouldn’t touch an Ascent much less try to play one. I guess I’ve been too spoiled by what comes out of 225 Parsons St. But I suppose they have a place somewhere.

Some great sounds in there!

Yes, a push-pull turns it off and on plus adjusts the volume. Every time I strap this bad boy on it takes a minute to reorient. I remember this guitar well from when I saw it at the factory. Stunning!

You could just learn all the licks in "Steppin Out" on the Beano album and make a career out of just that.

The set list mainly mid/late 60s-early 70s stuff, with few tracks from the Jeff Beck Group's Truth & Beck Ola albums and John Mayall's feat. Eric Clapton's "Beano" album, plus B sides and tracks from obscure but killer bands of the same period. I already play guitar in a Jeff Beck tribute/homage show so for me it's just an extension of the same thing! Once you start playing that stuff you realise where a lot of bands that later became world famous, not mentioning names but 4 or 5 came to mind straight away, got the idea and inspiration from! Even bands that later branched into different slightly styles and sounds, but the musical DNA...."remains the same"! I remember Lemmy of Motorhead saying that a lot of Heavy Metal bands actually left him cold as he somehow needed to "feel some Blues in there", which according to him those bands totally lacked, and I can see what he meant... Goin back to the gear I use, apart from all out Rock/Hard Rock I've used my Heritage in a lot of different situations like Funk, C&W, Soul, Jazz, Pop session and even Irish Folk(!) but I think that this guitar, and probably Heritage guitars in general, really comes to life and kinda makes sense especially when playing a certain kind of stuff; set the amp up for a kind of "AC/DC plus a bit" kind of tone, step on a quality OD pedal so it'll push the sound a bit more over the edge, crank up and let your soul hang out!!!! I LUV it!

I've owned a lot of clones of the Klon, my favorite is the Mythical Overdrive with the right diodes (1N34 germanium, and 0128 silicone). It's a close as I've heard to the real deal. I also bought one of those Behringers, the original one before they renamed it, and I can say without a doubt it's not even in the ballpark of the real thing. That said, the little Behringer a decent clean overdrive especially if you don't want the mid bump of a Tube Screamer. I have used mine for just that. You really have to know what a Klon does well before you can rate a Klon, and to me it's the clean push that it does to a signal, and it is combined with a touch sensitivity that no one talks about. I have played with my good friend Troy's real Klon, and we compared it to clones. When you add gain, the differences are much smaller, and most videos I see comparing to the real deal just don't show that. Here's mine (I still can't figure out how Behringer didn't get sued when they first offered it in the original case and called it a Centaur. Maybe they got a cease and desist letter)...

I have never owned a Klon but have heard and played many. I have always liked them, just never owned one. I was watching the Anderton guys do a clone shootout. What hit me was that the Behringer Zentara was pretty much indistinguishable from a "real" Klon and every bit as good or better that all of the other clones out there. So I figured I would try one. The Zentara is by Behringer and is currently $62.97 US at Sweetwater so I could not pass it up. It is well built and sounds really great. I had read that the build quality was good and it certainly is. What a great pedal! Most of the other Klon clones start at $200 and go up from there. Granted, I am not a pedal collecter and use either the Line 6 or Quad Cortex versions that are on board their units. This is just a nice pedal to have around for going into a tube amp. I have no affiliation with Sweetwater or Behringer.

Cool! So what does your set list look like?

A while ago, I started a band devoted to paying homage to the British Blues phenomenon, a movement that, quite simply, gave the world Rock(!) as we know it. It started with Eric Clapton essentially inventing "the Rock" sound in APril 1966 by plugging a Les Paul into a cranked Marshall and proceeding to let loose playing long, articulate, screaming and and soulful lead guitar, something that had never been done before, not to that extent and which spawned a myriad of bands that we all know and love in the process. For the record, this band's not a "tribute" as it's generally intended, I have absolutely zero desire to mimic someone else and/or reproduce someone else's solos note-for-note, no matter how famous, great, cool and historically important the player is; in truth ("Truth", great album!!!) I have been offered the position in 3 or 4 of such outfit and even though the players in question were among my main influences, I love 'em dearly, I graciously declined, it just goes against what I believe, which is to pay respetful homage to such cats by capturing the spirit, not the notes. By doing that you take your chances, of course, but that's excatly what those guys did in the first place, right?. Anyway, the band has played a handful of gigs in the Lndon area and next month we'll have the official launch in a specialised, highly respected top London club and this, my Heritage H150 will be the guitar I'll be using. A wonderful Custom Shop Les Paul Custom, which I love, will be there too but only as a spare in case I break a string or something, which very rarely happens! Yesterday we had a reharsal, just to finalise the set while next week a dress rehearsal is in the cards, but let me tell you that this guitar plugged straight into a valve 1/2 stack with just a Tube Screamer in between (an Ibanez TS808 DX, to be precise) didn't even sound close to perfection...it was actually perfect!!! The sound, the feel, oh my God, I hadn't played this guitar for few months and I was actually contemplating getting a XXX McCarty 594, an amazing guitar for sure, but once you have an Heritage H150 set up to perfection, and on this one I also replaced the original pups with a set of OX4 "Beano" pups (yeah, Beano, I know....!) frankly if you want a righteous Les Paul tone you don't need anything else. And my wife agrees.... For the record, according to the serial number this guitar was made on Nov. 13th 2000. I was also born in November, good month indeed...

Good sounds, playing and demo. Thanks for that.

This is a really great sounding pedal for emulating a variety of keyboard/organ, etc. sounds, but I use it mostly for its excellent vibrato and Hammond organ effects.

Spot on. I might be on the low end of the long-timers at here at HOC, but I’ve acquired around 10 or so H’s. I currently have four. There’s the one that “got away” but such is life. @mugsy1pm you will find plenty of empathy on that front from other members. Most of us have at least one that we wish we could have back.

I'm going to try a Demeter Tremulator for a simpler and smaller 2 button tremolo. I only use tremolo on two songs, and neither song requires anything more than a good amp like trem. And that's where the Tremulator shines. My brother had one in his studio, I used it on a few songs, and it sounded great. https://demeteramps.com/product/trm-1-tremulator/ Next I'm going to audition the NuX NDD-7 Tape Echo, which is kind of similiar to my Space Echo but smaller, lighter, and easier to adjust on the fly. It gets great reviews. One thing I like, is that you can make deeper adjustments (saturation, wow, flutter, etc) using a computer and it's PC/Mac editor, the kind of adjustments I wouldn't want want to do on stage. https://www.nux.us/products/tape-echo?srsltid=AU7gw4XKnxvRRFVV_Hr6FDB6psS7mBdNJ7RSCa3zRtv9BGufVSiQkJhm

Tonight‘s rearrangement of the pedals in the next few days, I may swap out my tremolo and echo for slightly smaller versions of the same thing.

The Ernie Ball Volume Pedal Jr is still my favorite volume pedal for feel, and it's a string, which I had to replace once and that was a bitch...

That's interesting. I was rather surprised to see after years and years, manufactures still employ a string to turn the volume pot instead of a treadle like a Wah pedal....

Looks like something a pedal steel player would love. The bigger they are the smoother they usually are for minute adjustments. Funny thing I just bought a minature volume pedal from a pedal steel guy It's called a Moyo, and it's built very well. It uses a 250K Dunlop Super Pot. I bought it for a small acoustic board that I put together.

Excellent choice, Mugsy. The red semi hollow is like the very definition of Rock and Roll.