Ultimate Guitar - Sweep Picking Techniques

Ultimate guitar-sweep picking techniques

Ultimate Gear Guides - Roland Boss GT-8
Ultimate Guitar: Speed Soloing Techniques
The path to fretboard mastery dvd

thing is.....turn ur last eq band gain to - 12.8(minimum)......den set the frequ

ency of the same band higher to about 4-6 khz depending on how much fizz u hav o
n your tone......rest can be flat....it shud help.....also wen connecting live..
..turn ur bass down from da amp model......

1ST OF ALL AMP JODI BHALO HOY MARSHALL OR SOMETHING LIKE DAT TAHOLE TONE CHANGE
HOBE NA.......JUST HOYTO MID AR BASS TA EKTU ADJUST KORTE HOTE PARE...

2NDLY CARRY THE AMP TO THE STAGE TAHOLE TOMAR TONE SAME THAKBE AND U CAN PUT PRE
SSURE SOUNDMAN TO MAKE THE OUTPUT LIKE DAT

NA SOUND MAN KE BOLBE JANO SOB MIDDLE POSITIN (5) E RAKHE....ROLAND ARAM SE CARR
Y KORA JABE.....NO PROBS........MIC OUT DITE HOBE NA........AMP THEKEI MIXER E W
IRE JABE....AMP ER GAIN MEDIUM E RAKHBE AR MASTER LVL BARABE....KINTU JANO AMP E
SOUND TA NA FETE JAY

no effects,no stomboxes here just pure amp power=) i don´t really remember but i g
uess i used the Krankenstein model in red mode pre gain: full, low: 6 3/4 , mid:
3, high 4 1/2 i think thats pretty much? the setting i used hope that helps=)

Electric Lead or Steel Guitar

The most important rule for equalizing guitars is to realize that harmonic serie
s content not available at the source cannot be generated or synthesized at the
mixer. Most guitar and steel guitar energy lie between 80 Hz and 5 kHz. Boosting
the 3 to 5 kHz range will add clarity to clean guitars but will sometimes add h
arsh harmonics to a distorted guitar

Overall Equalization
Excessive boosts of cuts in the main system EQ will drastically effect the decis
ions made at the individual channel EQ. One method of enhancing vocal clarity is
to make sure that all other instrument individual mixer channel equalizations d
o not occupy the 3.5 kHz to 4 kHz band so much. The perception of presence of vo
cals and instruments can also be simulated by restricting other instruments to h
ave dominant energy in that band. One common mistake for a sound engineer to mak
e by listening to each instrument individually is to make each instrument sound
very clear and present. It is easy to boost all instruments in this 3 kHz to 4 k
Hz range. The separation of sounds is more often achieved by spacing their domin
ant energy in bands not significantly occupied by others.
The most obvious mistake is excessive amounts of equalization. Experimentation w
ith an equalizer in a home stereo system is a valuable tool to recognition of th
e various frequency bands. In summary, live or recorded mixing is very objection
able, and remember not everyone will have the same opinion.

This would be a useful€list for guitarists who uses the equalizer often:
40-60 Hz Boomy - a sound over abundant in low lows. These waves move a lot of ai
r, hence Boomy.
60-150 Hz Fat - the octave above Boominess. Makes things sound big, but not eart
h- shaking.
125-250 Hz Woofy - a somewhat nebulous term for sounds that are sort of "covered
" - masked by low-end energy.
250-500 Hz Puffy - is like an octave above Woofy. It's still sort of a cloud, bu
t not as big.
200-400 Hz Warm - obviously a positive characteristic often found between 200 an
d 400 Hz. Could easily degenerate into Woofiness or Puffiness if overdone.
500-1kHz Boxy - seems to remind one of the sound in a small box-like room.
500-1kHz Low end of Voice
500-5kHz Power range - mid-range band which contains the 1st and 2nd harmonics o
f most important sounds.
1.5-2.5 kHz Telephony - accentuating the limited bandwidth characteristic common
ly associated with telephones with a roll-off both above and below.
2.5-4 kHz Cutting - Here, "cut" means to put an incisive "point" on the sound.
2.5 kHz Punch - Accentuating this range punches through vocals.
3-6 kHz Presence - Anywhere from 3-6 kHz can be used to make a sound more presen
t.
7-10 kHz Sibilance - Dangerous "s" sounds and lots of other trashiness can often
be found at 7-10 kHz.
10-12 kHz Zizz - refers to a pleasantly biting high-end resonance (think of a "h
arpsichord"-type brightness found around 10-12 kHz.
12-15 kHz Glass - A very translucent, but palpable brilliance associated with 12
-15 kHz.
15-20 kHz Sparkle - A real smooth stratospheric brilliance almost beyond hearing
, but can certainly be sensed.
Above 10 kHz Brightness - Most generally achieved by a global (shelving) EQ of e
verything above 10 kHz.
Below 10 kHz Darkness - The opposite of brightness (a general lack of highs at 1
0 kHz and beyond).
125-500 Hz Muddiness - Actually a compound problem: Woofiness plus Puffiness (ex
cess low end and also low mids).
125-500 Hz Thinness - The opposite of Muddiness (a deficiency of lows and low mi
d frequencies).
Our favourite frequencies for electric playing:
Low end
120-150hz
This is for low end thump.
Low mid
400hz
Ever get a great sound that disappears in a track?
This is the frequeny to reach for, adding a couple of db's around 400hz will fat
ten up the tone.
High mid
1-2khz
Cutting this frequency will take away some boxiness, especially if you're using
a small cab w/an SM57
High end
5khz
Boosting this frequency will give you more presence without the scratchiness.
Guitar amps produce very little above 5khz but boosting above with a wide bandwi
th (Q) can add some "air" to the tone.
Thats all in a nutshell. Have fun and I hope you've found this guide useful. If
you've learned something or you have further clarifications, feel free to drop u
s an email. We'll love to hear from you!
Do also visit our store for specialized guitar backing tracks. At DollarBackings
,€ we've a wide range of unique and original guitar backing tracks covering all ge
nre and all playing styles! See you soon.

Kerry king
Mids around 8
Treble around 6-7
Bass around 4-6
Presence around 7

From my own experimentation, lower Q values have a cleaner tone, whereas higher
values result in a darker and warmer tone. For guitar cabinets, good values of Q
tc are between 0.707 and 1.0. Anything below 0.707 lacks the punch in the midran
ge tones, and anything above 1.0 lacks detail and adds a ~2db response step in t
he low-mid range, which will have to be corrected with external EQ.

Low, Mid, and High refer to the frequencies that effect the tone of the amp. Low
being low frequency, Mid being middle frequencies, and High being High frequenc
ies.
If you want your guitar tone to be bassy you'll turn up the Low, If you want it
crisp or tinny you turn up the high. Mid frequencies generally are associated wi
th clarity and definition or body of the tone. for example if you turned the Low
and high up, and left the mid down, you'd get a boxy sound.
Each amp has its own character and ways of adjustment. Also the crossover freque
ncies may be different from amp to amp. A crossover frequency is the frequency a
t which the low becomes mid and mid becomes high. Or the point at which the low
dial stops effecting mid frequencies and the mid dial stops effecting the higher
frequencies.
If you want to know what the crossover is you should check the manual. If you do
n't have a manual you could probably look it up on the internet thru google.
Source(s):
Recording engineer apprentice, but that was four years ago. Details are a bit ha
zy. =P. Have fun Jamming.

http://www.myanonamouse.net/announce.php
http://tracker1.torrentum.pl:6969/announce
http://tracker.mightynova.com:4315/announce
http://tracker.ilibr.org:6969/announce
http://tracker.mightynova.com/announce
http://tracker.openbittorrent.com:80/announce
http://tracker.prq.to/announce
http://tracker.bittorrent.am/announce
http://94.75.205.147:80/announce
http://bt1.the9.com:6969/announce
http://tracker.irc.su:80/announce
http://tracker.torrentbay.to:6969/announce