Members morpha2 Posted February 7, 2008 Members Share Posted February 7, 2008 I'm thinking I need to upgrade my trem. I bought a Behringer a while back because I figured I wouldn't need it much so why pay for a better pedal. It sounds okay, but kind of...meh. Anyway, what would be a good "step up" pedal that can do Johnny Marr types of extreme tremolo? Is the BYOC any good? Link to comment Share on other sites More sharing options...
Members houseofglass21 Posted February 7, 2008 Members Share Posted February 7, 2008 He used two Fender Twin Reverbs with the tremolo going at a different rate on each one. It'd probably be best to get a tremolo with tap tempo so you can sync it up to the riff you're playing perfectly. Link to comment Share on other sites More sharing options...
Members Crxsh Posted February 7, 2008 Members Share Posted February 7, 2008 I happen to have a very nice trem for sale. I don't know who Johnny Marr is .... but the VL Trem is pretty vintage sounding. PM me if you're interested. Link to comment Share on other sites More sharing options...
Members TheGareth Posted February 7, 2008 Members Share Posted February 7, 2008 What about a Line 6 Tap Tremlo? Link to comment Share on other sites More sharing options...
Members morpha2 Posted February 7, 2008 Author Members Share Posted February 7, 2008 Hmm...the tap tempo stuff is probably a little too sophisticated for my needs. I'm thinking more along the lines of the severe depth that Marr got than trying to nail that song tempo-wise. Link to comment Share on other sites More sharing options...
Members Kubenzi Posted February 7, 2008 Members Share Posted February 7, 2008 Hmm...the tap tempo stuff is probably a little too sophisticated for my needs. I'm thinking more along the lines of the severe depth that Marr got than trying to nail that song tempo-wise. im thinking a choppy trem and then a looper to run loops of the riff at two dif settings to imitate the amps. choppy like seek trem,semaphore,menatone,pn2 etc Link to comment Share on other sites More sharing options...
Members dmk Posted February 7, 2008 Members Share Posted February 7, 2008 I don't know who Johnny Marr is .... THE FUCKING SMITHS :poke: Link to comment Share on other sites More sharing options...
Members rileykill Posted February 7, 2008 Members Share Posted February 7, 2008 Earthquaker Hummingbird is the choppiest trem I can think of ... I love mine. It's almost like a punch in the gut at high volumes. I'm not sure if that's exactly what you want, though. Go to their site and listen to the samples. Earthquaker Hummingbird Link to comment Share on other sites More sharing options...
Members Goominim Posted February 7, 2008 Members Share Posted February 7, 2008 THE FUCKING SMITHS :poke: That would be a great name for a reunion tour. Link to comment Share on other sites More sharing options...
Members morpha2 Posted February 7, 2008 Author Members Share Posted February 7, 2008 Earthquaker Hummingbird is the choppiest trem I can think of ... I love mine. It's almost like a punch in the gut at high volumes. I'm not sure if that's exactly what you want, though. Go to their site and listen to the samples.Earthquaker Hummingbird From the description, that sounds pretty rad! Great price, too. I'll check out the samples when I get off work. Link to comment Share on other sites More sharing options...
Members krish Posted February 7, 2008 Members Share Posted February 7, 2008 Not sure exactly how to get his trem pedalwise, but I got something similar with my Boss TR-2 - Listen to "firebird" at www.myspace.com/krishuk. Its in the intro and again in the middle section. Link to comment Share on other sites More sharing options...
Members jgyn Posted February 7, 2008 Members Share Posted February 7, 2008 I also read somewhere that the tremelo was played backwards by flipping the tape. Link to comment Share on other sites More sharing options...
Members Fender&EHX4ever Posted February 7, 2008 Members Share Posted February 7, 2008 He used two Fender Twin Reverbs with the tremolo going at a different rate on each one. It'd probably be best to get a tremolo with tap tempo so you can sync it up to the riff you're playing perfectly. How the hell did they accomplish that live? That's one thing I love about bands from that era - they did a damn good job of playing in time to analog effect rates. Link to comment Share on other sites More sharing options...
Members Vintage-65 Posted February 7, 2008 Members Share Posted February 7, 2008 That would be a great name for a reunion tour. Yes it would:cop: Link to comment Share on other sites More sharing options...
Members SUPER VELCROBOY Posted February 7, 2008 Members Share Posted February 7, 2008 check this out! [YOUTUBE]SeE4mjS1BKM[/YOUTUBE] Link to comment Share on other sites More sharing options...
Members stanner Posted February 7, 2008 Members Share Posted February 7, 2008 these guys pull that riff off pretty good: http://www.youtube.com/watch?v=nzSce5V3JN0 Link to comment Share on other sites More sharing options...
Members Stubacca Posted February 7, 2008 Members Share Posted February 7, 2008 I happen to have a very nice trem for sale. I don't know who Johnny Marr is .... but the VL Trem is pretty vintage sounding. PM me if you're interested. Wha?? Don't know who Johnny Marr is??? -1 Link to comment Share on other sites More sharing options...
Members Stubacca Posted February 7, 2008 Members Share Posted February 7, 2008 My Zvex Seek Trem can get a pretty close sound to it... Link to comment Share on other sites More sharing options...
Members TweedBassman Posted February 7, 2008 Members Share Posted February 7, 2008 here's the tricks to that sound: it's not a choppy tremolo, it doesn't 'bottom out' but it is deep. so a trem with a good amount of depth but not necessarily full chop. stereo. multiple tracks. marr used multiple guitar tracks to get it to sound as deep and thick as possible. some other studio weirdness/experimenting. i wouldn't doubt one of the overdubs is played backwards, etc... Link to comment Share on other sites More sharing options...
Members Ben Co. Posted February 7, 2008 Members Share Posted February 7, 2008 I don't know who Johnny Marr is .... but the VL Trem is pretty vintage sounding. PM me if you're interested. You make me feel old. Here's the song being referenced... the studio version. It's pretty not possible to replicate that in any trem pedals I've heard thus far. I mean, as you can see from the previously posted Smiths live video, he just sets it to a rythmic chop. But the studio version has that undulating wave-over-wave thing going on. K2NrIALcNOw Link to comment Share on other sites More sharing options...
Members M900 Posted February 7, 2008 Members Share Posted February 7, 2008 I like the VL trem, but it's not really gritty enough to cop that sound. I've tried to cop that sound, and it just doesn't seem right to me. It'll do a great choppy sound, but not quite the same as Marr's. I think the Pentavocal trem does a good approximation, but it's still not sloppy/gritty/dirty enough, even with the bottom level tweaked. I haven't really tried it yet, but I think a brownface-type trem, set to its deepest setting, would probably work better. Link to comment Share on other sites More sharing options...
Members only_shallow Posted February 7, 2008 Members Share Posted February 7, 2008 any trem can do this with a square wave and the depth dialed up. Link to comment Share on other sites More sharing options...
Members TweedBassman Posted February 7, 2008 Members Share Posted February 7, 2008 Johnny Marr (guitarist, the Smiths): As a kid I was fascinated by Hamilton Bohannon's Disco Stomp and New York Groove by Hello, and I wanted to make something with that stomp. The first decent amp I got was the Fender Twin because the Patti Smith Group used it, and it had this amazing tremolo. Later when we'd had a few hits, a review of What Difference Does It Make said I'd written a riff that was instantly recognisable, which fascinated me. One night I was playing for my own pleasure and I suddenly got the riff. It all came together - the tremolo and the stomping groove - for what became How Soon Is Now, although my demo was titled Swamp. Because it was a groove track it originally appeared as an extra track on a 12-inch, but popular clamour forced its single release. I remember when Morrissey first sang: "I am the son and the heir ..." [Producer] John Porter went, "Ah great, the elements!" Morrissey continued, " ... of a shyness that is criminally vulgar." I knew he'd hit the bullseye there and then. multi-tracked tube amp trem, riff played in time with the chop. Link to comment Share on other sites More sharing options...
Members HeartfeltDawn Posted February 7, 2008 Members Share Posted February 7, 2008 Check this guy out on Youtube. Definite respect for the way he uses instruments and his studio. He's got a lot of videos up on Youtube, a lot of Smiths stuff and it's a good reference tool. [YOUTUBE]SeE4mjS1BKM[/YOUTUBE] Link to comment Share on other sites More sharing options...
Members red_riviera Posted February 7, 2008 Members Share Posted February 7, 2008 Marr said this in an interview with guitar Player in 1990: "How Soon Is Now" [Meat Is Murder] was in F# tuning. I wanted a very swampy sound, a modern bayou song. It's a straight E riff, followed by open G and F#m7. The chorus uses open B, A, and D shapes with the top two strings ringing out. The vibrato sound is {censored}ing incredible, and it took a long time. I put down the rhythm track on an Epiphone Casino through a Fender Twin Reverb without vibrato. Then we played the track back through four old Twins, one on each side. We had to keep all the amps vibratoing in time to the track and each other, so we had to keep stopping and starting the track, recording it in 10-second bursts. This sounds incredibly egotistical, but I wanted an intro that was almost as potent as "Layla" -- when that song plays in a club or a pub, everyone knows what it is instantly. "How Soon Is Now" is certainly one of the most identifiable songs I've done, and it's the track most people talk to me about. I wish I could remember exactly how we did the slide part -- not writing it down is one of the banes of my life! We did it in three passes through a harmonizer, set to some weird interval, like a sixth. There was a different harmonization for each pass. For the line in harmonics, I retuned the guitar so that I could play it all at the 12th fret with natural harmonics. It's doubled several times. Link to comment Share on other sites More sharing options...
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