King Of Tone Waiting List
The AnalogMan King of Tone overdrive pedal has earned a reputation reserved for only the highest echelon of effects units. This handmade, custom-order overdrive pedal has become a pedalboard standby for players of all genres, including guitarists like Marc Ribot, Eric Krasno, Brad Whitford, and Jimmy Herring.
- The King of Tone has a ton of flexibility in 3 settings from boost to OD to distortion, and internal trim pots, on both sides. King of Blues has one flatter response OD side and one mid-hump OD side and that's that.
- With the King Of Tone you can tweek and tweek and all you get is a boatload of great variances of world class amp style distortion.It sags and breaths just as if the amp were creating it!! And the touch sensitivity of the pedal is light years above anything I've ever plugged into to try and get distortion!!!!
Click to expand.I'm glad you like it. The KOT is my favorite OD pedal, but I hate mine with a Deluxe Reverb. My DR is a handwired clone, so it doesn't have the bright cap, and maybe that's part of the reason why, but I can't stand it with that pedal. I never liked it with the Timmy either. The only pedals I've tried that work equally well with my Deluxe and my Mesas are tubescreamers and the Boss SD-1. I imagine other mid-boost, bass cut circuits would do the same (Fulldrive II, etc.).May I ask what settings you use for the KOT with the DRRI?
I'd love to give mine another try. I'm glad you like it.
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The KOT is my favorite OD pedal, but I hate mine with a Deluxe Reverb. My DR is a handwired clone, so it doesn't have the bright cap, and maybe that's part of the reason why, but I can't stand it with that pedal. I never liked it with the Timmy either. The only pedals I've tried that work equally well with my Deluxe and my Mesas are tubescreamers and the Boss SD-1. I imagine other mid-boost, bass cut circuits would do the same (Fulldrive II, etc.).May I ask what settings you use for the KOT with the DRRI? I'd love to give mine another try. Click to expand.I have the bass set to just under 7 and the treble around 5 and three quarters.
I haven't cut the bright cap on mine and I think that's what kept me from liking the KoT at first because the KoT is a bit on the brighter side. As you know, the amp's brightness decreases as you turn it up (if the bright cap is in tact). So when I turned it up, it just sounded a lot better to me.Anyway, that's just my off the cuff theory.
Here are my pedal settings.The KoT yellow side low gain in OD mode is is gain 3:00, tone 11:00, and volume at unity. Red side high gain side, gain 2:45, tone 11:00, and volume just over unity. I don't run the two sides together but individually, I think they both sound good. I did tweak the internal trim pots and that made a HUGE difference in sound.One thing I noticed is that I really didn't like the KoT into the Timmy but the Timmy into the KoT sounded great.
For the Timmy, I had something like gain 11:00, bass 11:45, treble 8:30, volume slightly above unity, clipping switch in the middle position.
Not unlike Ron Burgundy, the Analog Man King of Tone is kind of a big deal. It's been in existence in one form or another since 2003 and is currently in its fourth version (since 2006). It's been in high demand since it was first released. As of now, the waiting list is about ten months. That might seem long, but it's much more ideal than the 16–24 months to which it had previously stretched.The history: Mike Piera of Analog Man developed the King of Tone input from Jim Wieder. Jim wanted a pedal that could make his Deluxe Reverb sound like the cranked version of itself, but at more ear-friendly volumes.
Analogman King Of Tone Waiting List
And after years of using a Tube Screamer, he wanted something that better preserved the lows and didn't boost the mids quite so much. Mike and Jim used the circuit of the Marshall Blues Breaker as a starting point, but many tweaks and mods have been made along the way, to the extent that the King of Tone is more than just a modified Blues Breaker.In essence, the King of Tone is two pedals in a single box, each with controls for Volume, Tone, and Drive. The pedal features a group of four internal DIP switches that allow each side to be set for either clean boost, overdrive, or distortion. There is also an internal 'treble boost' control.Clean Boost: This mode is pretty darn clean.
If you crank the Drive control beyond 2:00, it will start to add a little bit of grit to your tone. But while this setting might not add much grit, it still carries the signature EQ properties of the King of Tone—this means that the boost is far from transparent. Instead, it cuts a little bass—just enough to keep the low end from getting mushy—and adds a healthy kick in the low mids (the kind of push that gives single coils the thickness of humbuckers). Then, you can use the Tone control to refine the high end. Oh, and the amount of volume on tap is pretty hefty—more than enough for me.Overdrive: This is why people wait months (or pay inflated secondhand prices) for a King of Tone. On this setting, you get the perfectly-voiced EQ signature mentioned above but with much more grit available.
The character of the grit is very amp-like, and the King of Tone is very responsive to playing dynamics and volume knob cleanup.Distortion: As the name suggests, switching the DIP switches on either side to Distortion mode creates a much heavier, hard-clipped tone. It's not quite as natural or dynamic as the overdrive tone (especially as you crank the gain) but it's still pretty great for a pedal. It's also a much more compressed tone. And it's amazingly low noise.Analog Man suggests setting the right side for the higher gain tone and the left side to lower gain. Doing so will allow for volume boost. Doing the opposite allows you to maintain consistent volume and go from a low or mid-gain overdrive to a thicker, heavier lead tone.So how does the King of Tone perform in the real world and where does it excel? I tested it with a range of guitars and amps, and quite frankly, it worked well in most situations.
The boosted low-mids makes it a great mate with Strats and Teles, especially when pairing them with a Fender amp. Those same boosted low-mids made me love the King of Tone a little less with humbucker and P90 guitars. The internal treble control adds an extra dose of versatility, and I found it perfect for shifting the pedal for use between brighter and darker amps.The biggest surprise with the King of Tone was how well it paired with the Top Boost channel of my AC15. It's a finicky channel that, when paired with some overdrive pedals, can get fizzy in hurry. However, careful tweaking of the internal treble control and the external Tone knob makes for one heck of a great screaming Vox tone.Of course it should come as no surprise that the King of Tone is flat out great through a Princeton Reverb.
You are just a click away from a shimmery clean tone and a gutsy dirt tone. Click to engage the left side as well—boom—here comes the lead tone of your dreams.What we like: A lot of great overdrives have come on the market since the 2003 launch of the King of Tone.
Some can certainly give it a run for its money, but there's a reason that after 12 years, people are still willing to wait just short of a year to get a King of Tone. It just sounds great.Concerns: The long waiting list is a bit of a drag.
But if you can't stand the wait, you can pay through the nose for a 'second-hand' King of Tone or check the Analog Man website on Wednesdays in hopes of grabbing a Prince of Tone.