Short audio clip of the new Diamond Blaze germanium fuzz-distortion.... Devin Stannard dropped by our NAMM 2014 booth and played this cool clip. Played in stereo through a BadCat Cool Cat 30 (left channel) and 57 Deluxe reissue with a bit of MLJr (right channel).

Diamond Blaze Demo 1

335 into the Compressor -> Vibrato -> Halo Chorus, then splits into Quantum Leap smeared delay into a 66 Super Reverb on the left channel, and Memory Lane Jr into a 57 tweed deluxe RI on the right channel. Sample starts with a fully clean segment, followed with effects. The two channels are out of phase so the best playback is in stereo... in mono the two channels mixed together will appear to drop in volume due to phase cancellation.

stereo_modulation_and_delay

Les Paul into Compressor then Diamond Phase (set to 6 stage), then split to Quantum Leap smeared delay into a 66 Super Reverb on the left channel, and Memory Lane Jr into a 57 tweed deluxe RI on the right channel. Sample starts with clean + delay, then adds the Phase.

phase_plus_delay

Diamond J-Drive Mk3 and Blaze in a parallel distortion / dual amp configuration. Signal chain is Telecaster into a Lehle splitter, with the left side going to the J-Drive Mk3 and 57 Deluxe RI (mic'd with an MD421), right side going to the Blaze and Champ (mic'd with an SM57). The Blaze/Champ combo gives a really nice fuzzy edge to the overall distortion tone. Samples starts with no effect (both distortions turned off), followed by the J-Drive Mk3 and Blaze engaged.

Parallel Distortion

335 into Diamond Compressor, Tremolo, then split into MLJr into a 1960 Ampeg Jet-10 mic'd with an SM57 on the left channel, and a Quantum Leap (smeared delay) into a 57 reissue tweed Deluxe mic'd with an MD421 on the right channel. The Jet-10 also set for low level slow trem.

tremolo and dual delay into 6V6 amps

Demo clip using a Diamond Compressor to provide additional gain to drive two 6V6 amps into raw grit. The stereo split and delays provides additional presence to the tone. Signal chain is a Fender Stratosonic with P90 into a Diamond Compressor then split into MLJr into a 1960 Ampeg Jet-10 mic'd with an SM57 on the left channel, and a Quantum Leap (smeared delay) into a 57 reissue tweed Deluxe mic'd with an MD421 on the right channel. Sample begins with no effects, followed by two segments with compression and delay on.

p90-raw-jangle

When you still can’t get enough bass grit…. try this Compressor / Fireburst setup with the settings shown. Sounds huge on this SVT Classic with the ultra HI and LO switches engaged and mid freq switch on setting 1. The Fireburst with mid boost off has a ton of low end, and gives a great fuzzy growl with the gain set at about 10 am. Jazz bass into the Bass Comp and Fireburst, into the Ampeg SVT Classic, then played through an Ampeg classic 15" cab, mic'd with an MD421 (on the left channel) and SM7 (on the right channel). Sample starts with no effects, then adds compressor + fuzz.

bass fuzz setup

Multi-track crunch tone demo with looped drums... all guitar parts are an SG into a Diamond Marquis boost and J-Drive Mk3 overdrive into a Vintage 47 'Supro Thunderbolt' type amp (mic'd with an SM57), bass parts are a Jazz Bass into a Diamond Bass Comp into an SVT with settings shown (mic'd with an SM7 broadcast mic).

marquis jdrivemk3 crunch

A few sound samples of the upcoming Diamond Counterpoint delay. Starts with a no effect section, followed by a section with the Counterpoint 'ambient mode', followed by two sections with the Counterpoint 'galloping eighths' mode. Signal path is a 335 into a Diamond Compressor, then into the Counterpoint, then into a vintage 1979 silverface Champ, mic'd with an SM57 (left channel) and SM7 (right channel).

Diamond Counterpoint clean

Diamond Pedals 902 drive and Counterpoint delay (ambient mode), with an SG and 57 tweed deluxe reissue. Mic'd with a TLM103 (left channel) and SM7 (right channel). Demo begins with no effects, followed by both the 902 and Counterpoint turned on.

902 Counterpoint Sg 57deluxe 44

Demo of the Diamond 902 drive's low gain dirt tone. Clean sample followed by 902. Recorded with a Neumann TLM103 on the left channel, Shure SM7 on the right channel. Ric 330 for guitar, 57 deluxe tweed reissue for the amp. Settings of the 902 are as pictured.

Diamond 902 low gain w/330 ric and reissue deluxe tweed

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