Quilter tone block 201 question

Ron Sodos · From: San Antonio, Texas USA

I know this has already been discussed but here goes anyway.
The tri-q and hi-cut controls are so suttle I almost can't tell the difference. I read the manual but being so used to a normal hi/mid/low
Type of amp I'm really not getting it exactly. I am getting good tone but would like to understand it better.
Ron Sodos
San Antonio TX

Dennis Detweiler · From: Solon, Iowa, US

I get a large tone difference with the tri-q and mild with the hi cut. Hi cut just takes the edge off of the highs. Q bends the mids. I use the Lead selection. I use the Boss 59 Bassman pedal as a pre-amp and getting killer tone. Band likes it also.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Ron Sodos · From: San Antonio, Texas USA

I wonder why you would even be using a preamp with the tone block?

Dennis Detweiler · From: Solon, Iowa, US

I couldn't quite get the tone I was wanting. I'm using the bass, mid and treble on the Bassman. I'm sure the mid tone frequencies are different between the two and this gives me two mid frequencies to play with. Since the 201 doesn't have a bass control, I can dial it in with the Bassman. Seems like the Hi Cut is in the upper frequency on the 201. The Treble control on the Bassman is for bass and likely in the lower treble frequency. So the Bassman gives me more control on the highs at a different frequency. The two units together just gives me more control over the tone.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Dennis Detweiler · From: Solon, Iowa, US

I'm sure the 202 is more adjustable with the bass, mid and treble controls. Since I already had a Boss 59 Fender Bassman pedal, I opted for the less expensive 201 and utilized the Bassman.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Ron Sodos · From: San Antonio, Texas USA

I chose the 201 mostly because I had a TC Electronic 300 just lying around. I didn't need the reverb. Adding a preamp for me defeats the purpose of buying the quilter. That's why I asked for a better explanation of the tone controls on the 201 as I really done hear much difference as I change it. However I do like the tone I am getting...

Brooks Montgomery · From: Idaho, USA

Larry Dering · From: Missouri, USA

I'm using the quilter 101 which has the same eq. I use the surf setting for it's mid cut and 100 watt output. The only signal processing is a Boss RV3 in the effects loop. With my Derby SD10 and a Hilton volume pedal I got excellent tone. My speaker cabinet is a Harley Benton 12 and a speaker swap to a TC Furlong 12. I'm extremely happy with the tone, as so was the band. Eq just past noon and high cut around 2 o'clock.

Dennis Detweiler · From: Solon, Iowa, US

I looked through the internet to find info on the tone stack of the 201 and couldn't find anything. Perhaps contacting Quilter would find info in more detail.

This is my amp and effects. Lightweight and small. I use a small 12 inch cabinet with the Eminence neo steel guitar speaker (lightweight). One in each hand into the club and quick setup. The MSA U-12 is still heavy.
I don't touch the settings on the Bassman pedal. I just tweak with the two tone controls on the 201.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Larry Dering · From: Missouri, USA

Dennis, I got this from the overview of my Quilter at ZZounds music. I suspect it's from Quilter.
Controls
TRI-Q: As indicated by the graphics on the face plate, this control travels smoothly between three basic EQ patters. These settings affect the relative strength of low, mid, and high notes prior to reaching the overdrive section and therefore, help control which notes reach the point of overdrive first.
- The Left end of this control engages a mid-range "scoop." This setting tends to clean up the sound by reducing the volume of notes in the middle of chords, which can add to clutter. This allows the sound to be dominated by low notes and chiming highs, which creates a big bright sound, excellent for rhythm support and clean "acoustic" voicing.
- The central zone is basically neutral, representing the true sound of your guitar. The mid-range is full bodied, which produces a lush, relaxed tone with more potential for overdrive.
- The upper range emphasizes middle and high tones, for a classic lead-guitar voicing. By reducing relative bass gain, low notes don't bottom out so easily, so plenty of overdrive can be used without chords becoming too muddy.

Voice
This five-way switch selects among five overall tonal personalities, applied before and after the overdrive section, thus effectively giving you five different combinations of amplifier power and underlying EQ curves. It's almost like having five amps in one!
- Full Q: This is the baseline sound of the amplifier, with no superimposed tone shaping. The overdrive distortion is inspired by vintage British amplifiers using EL-84 or EL-34 tubes, with a smooth controllable entry into mild breakup, which can then be pushed further into plenty of incisive sizzle and slashing lead notes. The output wattage at the point of breakup is printed around the master control, which allows the power to be kept within the speaker's rating
- Tweed: Tone shaping is added after the overdrive to mellow out the highs and create a smaller, chestier bass response, inspired by the tone of early open-back amplifiers.
- Jazz: Input gain is reduced, and the clipping threshold is increased, to produce more clean headroom, without any added EQ voicing. The relaxed neutral tone response will remind you of vintage amplifiers used by early jazz guitarists. There is still enough gain to get into overdrive, so if you go there, remember that the maximum power is increased to 100 watts, and adjust the Master accordingly to protect your speakers.
- Surf: An overall scoop is added to the preamp EQ, inspired by the tone of 60's era Fender blackface amps, and the peak output power is increased to 100 watts. The result is a big, clean, sound with lots of body and chime and less mid-range clutter. As always use the master as necessary to reproduce overdrive dynamics at any output volume level.
- Lead: the preamp's full gain is available for maximum overdrive. A bass-treble boost and mid-range cut is applied after the overdrive stage, for maximum incisiveness and penetration. This enhances the overdrive harmonics and produces musically louder tones without actually increasing the net power into the speaker.

Dennis Detweiler · From: Solon, Iowa, US

That's a good explanation. I seem to like the lead selection. I get a lot of change using the Tri-q control. Hi cut is subtle, but works well to take the bite off of the highs. The bass control on the Bassman pedal is how I get the most use of it. Anyway, it works well for me. I'm very happy with my setup.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Larry Dering · From: Missouri, USA

Well now you got me wanting to try that bassman pedal. I did put a Tech 21 Para Driver in front and through the loop with no satisfaction. Also tried a Joyo American with the same results. I was attempting to get more eq control. Sounds like you found a cure. Today I hooked a TC electronics G major through the loop but haven't tweaked the eq. Sounds decent.

Dennis Detweiler · From: Solon, Iowa, US

I've been using rack gear for several years: Revelation, with Crown Class D rack power head and TC Electronic M350. I just got to the age where I wanted a smaller package and a lighter load. I went to the 201 and effects pedals. Reverb pedal, delay pedal, tuner pedal and the Boss Bassman pedal. More compact and much lighter load. Loving the tone, delay and reverb. I downsized to the Eminence neo 12 inch steel speaker and surprised that it's much fatter than the 15. Our guitar player wants to get the same speaker for his rig. He's been using a 1501 for many years. The MSA is still a brute, but I put wheels on the case.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Larry Dering · From: Missouri, USA

Dennis, I seen you play in Marshfield Mo at Terry Woods show a few years back and you had a great tone then with whatever rig you used. I can imagine the delight in finding a lighter sweet sounding rig. I know this little Quilter mini 101 head with a 12 inch speaker and boss rv3 surprised me. I already own a Quilter micropro mach2 12 combo and it doesn't come close, thanks for sharing your thoughts.

Dennis Detweiler · From: Solon, Iowa, US

It's been about 13 years ago since playing Marshfield. I was using a Session 400 with rack gear: M300 processor, Furman PQ-3 and Peavey Tube Sweetener. My back was a little younger then. Probably playing the Zum U-12 with Truetone pickup. Sold the Zum a few years ago and reverted back to my upgraded U-12 MSA.
Quilter seems to be on track with his technology. Light weight, good power output and tube replication. I look forward to trying this latest gear in the studio using the XLR direct from 201 to the board. Maybe have the engineer run double tracks, mic the speaker and direct. A good time to A/B the results.
It may be a while before the steel shows are scheduling again. When we get the Covid vaccine we'll be back at it.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Larry Dering · From: Missouri, USA

It will be interesting to see if we stick with the Quilter over time. I know I have tried a bunch of rigs including the new Tonemaster Twin. Let's hope the Covid19 shutdowns gets cured and we are all safe. I'm seriously missing the steel shows and friends. Keep us posted on the Quilter studio results.

Ron Sodos · From: San Antonio, Texas USA

I've used a twin, 4 different peavey amps, full blown Stewart power amp and evans preamp in a large rack, pod line 6 with small stewart power amp in my 40 year career and without a doubt the quilter is the coolest rig of all.....

Ron Shalita · From: California, USA

This what I use .. no tone block for me lol

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Been playing all of my life, Lead Guitar, and Pedal Steel, sing Lead and Harmony.. play other Instruments also but I hate to admit to it..

Dennis Detweiler · From: Solon, Iowa, US

59 Bassman? My dad had one (not as weathered) and was going to sell it for $100.00. I said to him, "wait and let me check on it's value." I sold it for him to a collector for $2000.00. One speaker was fried, cigarette burns on the top and rusty metal corners. It also needed caps and probably a tube or two. In mint condition they are worth around $4000.00.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Ron Shalita · From: California, USA

Yep 59 and I do believe they are getting more tha 4 grand
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Been playing all of my life, Lead Guitar, and Pedal Steel, sing Lead and Harmony.. play other Instruments also but I hate to admit to it..

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