Brett Garsed Demo

Well, here are the samples recorded by Brett. I've included 2 copies of the demo, one of which is a high quality (4.5MB) and a lower quality (2.3MB).

Here's some technical information from Brett about recording of the demo:

"This is a home recording using Pro Tools 001. Drums are courtesy of a great drum loop cd called "Groove Masters Drums" on East/West. Very cool cd! Bass is courtesy of yours truly. I recorded all the guitars using a 1x12 Fender Deluxec ombo close mic'd with a Shure SM57 just off the centre of the speaker. Bass on the amp was on zero while Mids, Treble and Presence were at 12 o clock. There are 6 guitar parts in total, 2 heavy rhythms each side, an ambient part recorded in stereo and the solo.

All the distortion and tone is coming from the Tube Zone pedal as the amp was on a totally clean setting. I used my ESP Horizon Custom with a DiMarzio Virtual PAF in the bridge and a Bluesbucker in the neck for all the parts and kept the guitar volume wide open throughout the song. Any variation in tone or gain is created purely by the hands so it's a good indication of expressiveness and dynamic range of the Tube Zone."

Brett Garsed - Tube Zone Demo.mp3

Brett Garsed - Tube Zone Demo - lo.mp3

Ed DeGenaro Demo

Here are a few samples very kindly recorded by the amazing Mr. Ed DeGenaro.

Clean Chords

gain, 20%;

tone, 70%;

volume, 40%;

 tone mode, 2.

(neck SC (split HB) and middle SC)

This sample demonstrates the sound of the Tube Zone at low gains. Notice the smooth transition from clean to dirty when you dig in,... just like a tube amp! Settings such as these can be used to add a bit of warmth to your guitar sound, with just enough gain to get aggressive when you change to a high output humbucker. Notice also the way you can hear all the notes in the chord.

Funk Guitar

gain, 50%;

tone, 60%;

volume, 40%;

 tone mode, 1.

(neck SC (split HB) )

Here we can see the Tube Zone's ability to maintain chord definition. The tone of the Tube Zone remains articulate and well defined during both single note and chord passages. Notice the complexity of the guitar tone, particularly during note onset.

Rock Rhythm

gain, 50%;

tone, 60%;

volume, 40%;

 tone mode, 1.

(bridge HB)

This sample was recorded with the same settings as the funk guitar sample. As you can hear, simply switching to the bridge humbucker, which is considerably higher output than the neck single coil has resulted in a more aggressive tone, but not at the expense of chord definition. Notice how even on the 6 note chords, each of the notes retains definition.

Smooth Lead

gain, 75%;

tone, 50%;

volume, 40%;

 tone mode, 1.

(neck HB, bridge HB)

The copious amounts of gain available lend the Tube Zone to some serious metal rhythm tones. However, when used carefully, this also allows the Tube Zone to produce a very sweet and smooth lead tone. This sample demonstrates the kind of lead tone you can produce with the Tube Zone.

The first section of this sample shows the tone from the neck humbucker. Notice the compression you get on the lower notes, just like the the kind of compression you get when you push the power section of a tube amp. Also notice the complexity of tone in the pick attack as well as the way that the tone 'evolves' on sustained notes.The second section of the sample shows the tone from the bridge humbucker. The majority of this passage is played with a legato technique. This produces a beautiful 'vocal' quality useable for fusion and progressive rock.

Metal Rhythm

gain, 85%;

tone, 75%;

volume, 40%;

 tone mode, 2.

(bridge HB)

Oh, yeah! This settings turns a JC120 into a high gain monster! Vicious attack and tone,.. and at the same time the sounds remains tight and focused as promised!

Blues

gain, 40%;

tone, 50%;

volume, 40%;

 tone mode, 1.

(neck SC, (split HB))

This sample demonstrates a blues sound using a setting very similar to the clean chords sample. Once again, light picking produced a very clean sound, but digging in causes the signal to clip more aggressively. The notes in the chord remain distinguishable and the single notes have quite a bit of bite,... just the way it should be.

Tight Sound

gain, 85%;

tone, 75%;

volume, 40%;

 tone mode, 2.

(bridge HB)

This sample, which uses the same settings as the metal rhythm sample demonstrates the Tube Zone's ability to remain tight and focused under high gain conditions. Notice how 'precise' the attack is.

Touch Sensitive

gain, 60%;

tone, 40%;

volume, 40%;

 tone mode, 1.

(neck HB)

Unlike many of the overdrive and distortion pedals available today, the Tube Zone is very touch sensitive. Very light picking produces a smooth attack and a very rounded tone. Heavy picking produces a much more pronounced attack and a sharper tone.

Tonal Integrity

gain, 70%;

tone, 60%;

volume, 40%;

 tone mode, 1.

A great test for the quality of an overdrive sound is how well each of the pickups retains its own tone and character. In this sample, the same passage is played using all 5 pickup configurations. Each time, the passage is played without the Tube Zone engaged, and then with the Tube Zone engaged. This allows you to see how the Tube Zone retains the character of each pickup.

Cleans Up

gain, 85%;

tone, 50%;

volume, 40%;

 tone mode, 1.

(neck HB, bridge HB)

Once again, the mark of a great overdrive is its ability to 'clean up' when the guitar volume is reduced. This sample starts with a heavily overdriven guitar tone produced with the neck humbucker. The volume is the reduced to produce a very warm blues tone.

The second half of the sample starts with a the guitar at low volume on the neck humbucker. The bridge humbucker is then used. For both of these settings, the note definition is excellent. Finally, the guitar volume is increased to produce a huge overdrive sound. This gives you an idea just how much gain their was, and just how clean the Tube Zone can be even at high gain settings!

Tone Sweep

gain, 70%;

volume, 40%;

This sample demonstrates the range of the tone control. The tone control starts in the fully anti-clockwise position and is turned all the way up, and then all the way down whilst playing open strings on the guitar. Notice how the amount of bass frequencies decreases as the tone is turned up, whilst the treble frequencies increase. This allows for fine control over tonal balance.

This is repeated for both modes 1 and 2. There is now a 3rd tone mode, which is 'in between' 1 and 2 in terms of mid-cut. It is not demonstrated in this sample.