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Saturday

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Everything posted by Saturday

  1. Whether it's glue holding the neck to the body, or metal screws, I've yet to find a decently made guitar that doesn't sustain well. my tele doesn't sustain well and it's a made in japan one. i don't really care about it tough.
  2. the distortion comes from all his wall of amps. he doesn't use much distortion pedals at all actually, mostly fuzzes and some extreme stuff. the big custom pedalboard with switches let him select certain amps for each song. obsessive bastard.
  3. i tried several pedals for that "playing open chords with distortion" thing. the best one so far i found - and it's pretty cheap - it's the mxr distortion+. love that thing.
  4. alright, i suppose i'll keep the shoes on... it's just that my rat has such a sensitive gain knob... one tiny bump and it's either way too loud or gone completely and how high it should be set is completely dependent on how loud the amp will be and i won't know how loud the amp will be until i get there and what if there isn't enough time for sound check and what if i bump the knob or something with my darn giant shoe?!?! you can also do the obligatory 1-2 min instrumental intro to set up your pedal / levels.
  5. - white - black - sunburst everybody has sunburst. notice that the black has some very dark tortoise pickguard on it. i think it woudl look cooler in other pictures another combination that i really like is white / white pickguard. couldn't find a picture of a good example of this.
  6. i don't know if you can describe a twin as an amp with "late breakup with nice cleans". i mean... it breakups at late volume, yup. it has really NICE cleans. but that doesn't mean that it needs INSANE volume to breakup. also, the breakup sound of the twin isn't very nice. you are better using overdrive and distortion pedals.
  7. it sounds 80's. that doesn't need to be bad obviusly, but - personally - i see the 80s as an horrible period for the electric guitar. escept for some post-punk and emerging jangle and indie bands, soundwise, the rest of it (80's guitar sounds) are atrocious to me. total lack of 'space' and ambience in the sounds.
  8. Fender Telecaster Japan with Phat Cat in the neck (neck pickup in middle position) Squier Stratocaster Korean with Custom Shop 54 Strat Pickups Into Boss Cs-3 Tech21 XXL Yamaha MagicStomp (tuner+delay+reverb) Into a 70's Twin Reverb.
  9. Gear talk... Studio setup: I mic the cabinet (see below) with a Shure SM57 through a Chandler Limited LTD-1 mic pre. That signal is fed to the line in on the Custom Audio effects rack. The rack has the following in it: DBX 160A Compressor Tri Stereo Chorus 618 Eventide H3000 D/SE Harmonizer Lexicon MPX-1 Lexicon PCM 70 TC G-Force processor Two Lexicon PCM 42's (left and right) Custom Audio Super Tremolo Pedals Before The Amp Are: Vintage Tube Screamer TS-808 Roger Mayer Voodoo Vibe Boss Volume Pedal FV500H I use this setup only for recording because the line level processing is AFTER the DRY cabinet (in other words, I insert the rack effects between the dry cabinet and the recording console). Live setup: Guitar into Custom Audio RS10 switcher. All the pedals are before the amp, they are: Maxon DS-9 Sonic Distortion Roger Mayer Voodoo 1 Arion Stereo Chorus (in mono) Boss VB-2 Tycobrahe Octavia Custom Audio Super Tremolo Custom Audio Black Cat Vibe Cry Baby Wah Wah Boss Volume Pedal FV500H I also use a Lexicon MPX-1 Processor in the effects loop of the amp for reverb and delay, or I mike my cabinet and send it to the Lexicon MPX-1 which then goes to a pair of wet cabinets (2 Custom Audio 2x10 cabs with Celestion Vintage 10 speakers) Sometimes I'll use a small pedal board, its small and easy to cart around... All the pedals are before the amp, they are: Maxon SD-9 Sonic Distortion Roger Mayer Voodoo-1 Real McCoy Wah Wah (red) Arion stereo chorus (in mono, true bypass mod) Roger Mayer Voodoo Vibe Boss volume pedal FV500H I also use a Lexicon MPX-1 Processor in the effects loop of the amp for reverb and delay, or I mike my cabinet and send it to the Lexicon MPX-1 which then goes to a pair of wet cabinets (2 Custom Audio 2x10 cabs with Celestion Vintage 10 speakers) These are the amps I use live and in the studio: Custom Audio OD100 "Classic" Suhr 100 watt "Classic" Dumble "Slide Winder" Phil Jameson custom 30 watt Suhr "Badger" 18 watt '67 Plexy Marshall head '64 Super Reverb with Dumble "Ultra Phonix" mod '64 Deluxe Reverb with Dumble "Ultra Phonix" mod 2x12 or 4x12 Kerry Wright open back cabinet w/Celestion "Heritage Series" G12-65s Bogner Straight 4x12 w/Celestion Vintage 30s These are the guitars I mainly use live and in the studio: Suhr Stratocaster with Suhr FL's neck and middle, Suhr SSV in bridge, Suhr Silent Single Coil System Suhr Telecaster with Suhr S-90 in neck, Suhr Classic Tele in bridge '97 Fender Custom Shop Stratocaster with Suhr FL's neck and middle, Suhr SSV in bridge, Suhr Silent Single Coil System Tyler Stratocaster with DiMarzio 2.2 neck and middle, Suhr SSV in bridge Tyler Stratocaster with EMG pickups '69 Black Fender Stratocaster with Suhr FL's neck and middle, Suhr SSV in bridge, Suhr Silent Single Coil System '68 Sunburst Fender Stratocaster with DiMarizo 2.2 neck & middle, Suhr SSV in bridge '63 Fiesta Red Fender Stratocaster '63 Gibson SG '68 Gold Top Les Paul (with PAF humbuckers) and you're miking everything with ONE 100 bucks mic??
  10. oh cool, maybe you guys are interesting in this guitar. hell of a deal, if you ask me.
  11. I also heard that fender amps takes pedals very well. so maybe i should first try some standard run-of-the-mill overdrive pedals (overdrive, blues overdrive, bad monkey, ts9) and see if i'm happy with them. if they work, then great, if not, will try something more boutique-ish. thanks a lot!
  12. Freak is a 11+ year old song. i'm pretty sure than the fuzz factory appeared after it, so i dont think it was used there. i used to love that band back when i was 13-14 years old. 'Freak', that was an awful tune indeed.
  13. i know that making the twin break up is a futile endeavour. so i just want a pedal to do all the stuff and keeping the twin clean and a reasonable volume. also, i like the idea of playing in any amp and mantaining a good overall sound. the sparkle drive sounds definately interesting tough... another one to check out!
  14. thanks. so they are giving me some different choices overall. i heard the sunshine samples and it sounded like just what i want. it's expensive tough. and the blues driver - i heard it mentioned it quite a few times lately. any samples somewhere? that aren't blues? (for some reason every guitar player in youtube plays blues or funk or something in between)
  15. I just bought a month ago a 70s silverface Twin Reverb and im super happy with it, but of course, i can't crank it and get some natural slight crunchy sound out of it. im currently using a fender telecaster and a squier strat thru a boss cs-3 > tech21 xxl (works great for hi-gain stuff) > yamaha magicstomp (tuner, reverb and delays) i play "indie" rock think pavement and yo la tengo. any ideas of a good quality overdrive that will give me that "about to break up" sound with the twin? i know it's something hard to achieve. i play rythm, so i dont expect something for "bluesy creamy leads" and all that stuff. i want something like the rythm tone in dinosaur jr or built to spill albums, or soft boys 'underwater moonlight' record. where you an strum and still hear each note. thanks.
  16. dont mistake tremolo with vibrato tremolo = amplitude modulation (volume) vibrato = pitch modulation (the thing you do with a whammy bar / bigsby)
  17. great! it has a 'balance' knob. that's exactly what i need. thanks!
  18. so, i used to own a behringer v-amp 2 (yeah..) and it had this awesome reverb that i need to repliacate to play some songs live. it was the highest level reverb, that extended for like, 5 seconds, and when the depth was at 100%, there was no dry signal - you only hear the reverb, and, with distortion, makes a great sound, like a big, big sustained drone. what pedal is possible of this? big decay time, no dry signal. perhaps a swell pedal? i think that the line6 verbzilla is capable, but i heard mixed reviews about it. any help?
  19. the most important part was in the guitar. they only played stock jaguar and jazzmasters and they did this tremolo bar thing, so they played a bit detuned all the time, that
  20. I would like to add something about the 'dub tone', generally they refer to that ultra-bassy, throbby, and deep sound, without treble. they are some general tricks to achieve it: - play with your fingers - play quietly, almost barely touching the strings. - roll the tone all down - you don´t need that treble! - flatwound strings help a lot. - SPACE is key. listen to it. - Repetition and Repetition. Get into the groove. you can do a lot with 3 or 4 notes. - passive pups, no pre-amp. most reggae and dub players played fender jazz basses, or precisions.. or anything they could get their hands into.
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