 Hey everyone, this is Kenny, and today I will like to download some signature sounds from certain rock stars out there using the Blackstar Silverline series. And I'm going to deep edit using the Arctic software, using it plugin via USB. And I'm hiking it up with a 57 to keep it more traditional. So I'm going to get into the more of a slash tone, slashy tone, so to speak. I have my Les Paul tuned down half step because slash. So the cool thing about the Silverline series, many things, but one thing is that you could do emulate some cool power tube emulations in there, anywhere from KT88 all the way down to EL84 and everything in between. Basically, it's just the amount of compression and amount of mid-range that you want to enhance and it's basically a preset EQ, basically, and compression. And the voices, anything from super high gain to shimmery clean, you could get that also. Like all Blackstars, you get a lot of gain. So if you're into that kind of music, more of a heavier stuff, you get plenty enough juice. But you could also get nice classic rock tones. So we're going to get into that. So I already kind of preset the sound already, just to save some time for both of us. So I have it on 6L6, which is kind of like my favorite sound because it's not too compressed but not too open sounding. And you can just hear that nice, throaty mid-range in there. And here, let's just hear it real quick. So if you go on YouTube or something like that and you could check isolated guitar tracks for all these signature artists, and that's what I did. I went on there and just listened to some of the sounds and kind of like get the idea. And what I realized and recognized is that Slash had a lot of that high top end sizzle even on the neck pickup. So I kind of emulated that. So as you can see, I basically just dimed the treble and cranked the mid-range to like nine. So it's almost cranked. And then I lowered the low-end side of things to really get that twangy, almost single-coil-like tone even on the neck pickup. And I had turned up the ISF all the way up to the British side so that it doesn't get too sizzling, too scooped and top-endy. So I'm kind of like balancing things out a little bit on the 6L6. And then I have it on the super crunch mode and I have the gain down to like two. And then as you can see, the play reverb. I like to have a bigger sounding reverb, but the level turned out a little bit. So you can still hear that nice ambient, but not. Like it doesn't sound like a cave, basically. So again, this is what it sounds like. So I think you could hear that top-end sizzle but still have that nice warm, round tone. So let's just mess around and just to hear the difference. So that was on 6L6-TVP. So I'm gonna switch over to EL34. Here, at least I could feel it under my fingers that it's a little bit more compressed. The mid-range sits in a different place. So when you wanna do like more of a long, sustained singing notes, maybe you wanna get into the EL34. Almost sounds like Gary Moorish. And also, Slash doesn't really use much modulation or anything like that, but certain songs like, I'm not gonna say the actual song title because of copyright and stuff, but. I think you know what song I'm talking about when I played those. So I kicked in the chorus. I turned up the mix all the way up, little bit heavier on the depth. So it gets a little bit wobbly, but it doesn't get too, you know, wishy-washy. So that can be a cool little sound too. You wanna be in like a Guns N' Roses trippy band. I'm on my bridge pickup now, and it's still nice and round, not as piercing even though I have the treble, mid-range turned all the way up. And because I have the ISF all the way on to the British side, it doesn't get too, you know, sizzly. And when I turn it on my neck pickup, it's still nice and round. Not as boomy.