This action might not be possible to undo. Are you sure you want to continue?
Table Of Contents
1. Introduction 2. Several Guitar Types 3. Amp Types and Tones 4. Effect Pedal Types and tones 5. Amp Box, Amp stand or on the ground? 6. Tube pedals vs. non-tube pedals 7. Effect Pedal Mods 8. Multi effects vs. pedals 9. Modeling amps vs. real amps 10. Solid State or Tube Amps? 11. Recording with mics 12. Direct Recording with Modeling Devices 13. Finding YOUR Tone 14. Amp/Effects Debates 14. Your Guitar 16. The Absolute truth... 17. In closing--People, Knowledge, and Skill...SO HOW DO YOU FIND YOUR TONE?
Hi! Welcome to Indyguitarist.com and Guitartone.net’s “Introduction to Guitar Tone and Effects”! This is an essential manual for getting the best sounds from your electric guitars, your amps, effect pedals, digital processors and
equipment. This book and the accompanied audio also features easy to follow instructions with tons of photos, teaching the basics of guitar tones, effects, amps and guitars. The CD or the provided link for the download provides many audio examples. Readers of this will learn all the different types of guitars, what type of music they are best suited for, who plays them, what different configurations of amps, what tones are best, rock or country. In the other book, we’ll discuss how you can modify your effect pedals for maximum tone without paying premium money as well as what some hot pros are using. I’ll also put everything in extreme detail for you. Not only that, I’ll also show you some of the best ways to set your effects, and amp to achieve tonal bliss!
To listen to soundclips, go to www.indyguitarist.com/tone You will be able to click on them there.
Fender strat usually features 3 single coils or 2 singles and a humbucker. It may also feature 2 humbuckers at your neck and at your bridge and a single in the middle, although that is not as common. The 3 single coils, it is more known for a ‘quacky’ type of sound and used on a ton of recordings, and is very common. Neck position is very good for blues, its very full and warm. Stevie Ray Vaughn used that quite a bit as well as the fourth position, which is a combination of the middle pickup and the neck pickup. Most guitars nowadays are patterned after the strat. Many of the them have taken the good things about the strat and changed the tremolos and different pickups, and maybe a little bit different radius for the fret board and so on. The Fender strat is very good for rock, blues or country and it is still used for those types of tones today.
as do most country pickers. Its more of a mid-rangy tone…kind of more of a compressed sound.Fender Telecaster A fender telecaster is more known for a honky type of tone…and that’s really the easiest way to explain it. Brent Mason. the Nashville studio giant. It has a very smooth mid range and though its used primarily in country it is also very good for rock and blues as well. swears by them. It has 2 single coils or the Nashville tele comes with 3 single coils. . Jimmy Page used to use one on some of the older recordings until he switched to a les paul and there are many other guys that use them too.
.Gibson Les Paul Joe Perry from Aerosmith and Slash from Guns n Roses were two of the faithful followers of the Gibson Les Paul. The Les Paul is kind of mid rangy like a telecaster-just more ‘in your face’ and ballsy… and has much more bottom end than a telecaster. They are primarily used for hard rock. Usually configured with 2 humbuckers one at the neck and one at the bridge or 3 humbuckers. rock n roll or maybe every now and then some light pop-ish type of music though more dominantly in the hard rock or rock n roll.
A lot of guys use them for hard rock and rock n roll. Paul Gilbert loved his Ibanez. . There was just a ton of guys especially in the late 80’s when it was a fashion statement to have an Ibanez. which included locking floyd rose tremolos to do whammy bar dives and lots of whammy tricks. They are a favorite of ‘shredders’ typically.Ibanez came out with many different models probably the most popular were custom models for Steve Vai and Joe Satriani. They’re very full sounding but they don’t cut through as easy as a fender or a Gibson.
as they are called-everyone calls them PRS. rock or hard rock. The PRS is considered by many to be the guitar to have this decade. A lot of guys starting buying the PRS. .Paul Reed Smith guitar – primarily used for new metal. They kind of took the place of Ibanez was the guitar to have in the 80’s. It has very hot pickups. It is very full sounding plays excellently but they are expensive.
its all Plexi tone. brown will use two of them in stereo and have them cranked up and they are amazingly loud. Before that. Its an excellent rock amp and breaks up very nicely. You can crank it up a lot more to get it to . Very smooth and very full. which was the most famous in the 60’s and 70’s. It’s a pretty good clean tone. Its very similar to a deluxe reverb but is has a lot a more power and it’s a lot louder. It’s the only solid state amp in this line up of amps we are discussing here. It Had a single channel but when you crank it up there was no tone like it. It has two channels clean and dirty. A lot of guys use those. The Mesa Boogie Dual Rectifier was primarily for heavy guitar driven music but a lot of bands nowadays who play new metal and hard rock use them too because they are so full and aggressive sounding and very almost a fuzz type of distortion. The Roland Jazz Course has excellent clean tones very loud without distorting so its great for jazz and some rock and country guys use it too. the old ACDC stuff with Bon Scott especially. mostly country some rock and jazz. The Marshall amps JMP series is more of a straight forward rock amp. The Fender Deluxe Reverb is basically just like the Twin Reverb except its not near as loud. came the Marshall Plexi. excellent dirty tone. If you are standing in front of them they will almost knock you down--they are that loud! The 1965 black face is the most famous which is also reissued in the 90’s because of it being famous and the ability that people were buying the old 65’s and paying ridiculous money for them.Chapter 2 Amp types and tones The Fender twin Reverb is generally used for clean tones. Some guys like Jr. like all marshals. There again. if you listen to that guitar. In fact. There’s no distortion channel and its very loud but it really shines when you can crank that thing up and get those tubes hot. they sound very good when you crank them up.
Z amp that he uses pretty extensively to kind of simulate a sort of vox tone.com) swears by his 67 fender deluxe. Click Here to Listen to Brad playing through his new Dr. Brian May of Queen used one of these quite a bit. the twin) to get it to compress naturally or distort. Vox – primarily a country and rock amp.e. Brad Paisley on his earlier stuff used a Vox and now he has a Dr. Some rock and jazz guys use it but not so much jazz because you don’t have to turn it up to such a loud volume (i. Brent mason (www. Its very midrange has a great honky type of tone breaks up very nicely. Z amp.saturate and compress a little bit more so a lot of country guys love it.brentmason. .
your amp also has two. . 2) It the effect boosts the signal. experiment! Normally. "leaves" your amp through the send jack. and others have a parallel effect loop. you should have all the stomp boxes that should come before overdrive between your guitar and the amp's input and all the boxes that should come after overdrive after your amp's preamp in the effect loop. 3) There are no absolute rules! Break them. Why? For example. although with tube power amps the sound is also shaped).the effect loop. With a series effect loop. Some amps have a series. Some effects (see the following Topics) work and sound better if they come after any distortion or gain that is applied to your guitar signal. put it before overdrive. You want a reverb on your overdriven signal. the guitar signal (your sound) comes from the preamp of your amp. The guitar signal comes from your amp's preamp and through "send" goes into those effects that should be put behind any overdrive.Chapter 3 . you get the problems described above. But if you want to use your amp's overdrive channel.if you want . you put all your stomp boxes between your guitar and the input of the amp. The following Topics will give you information on which effects belong to which group.Preamp (generally responsible for sound and . This is where the effect loop comes in. Basic rules: 1) If the effect modulates the signal (see following Topics). The signal comes back into your amp through the "return" socket.effect pedal types and tones What is an effect loop? Most amps today have more sockets than the one labeled "input". Therefore. Chances are. put it behind any preamps or overdrive/distortion boxes. The signal that "travels" through your amplifier normally takes the following way: Input . not an overdriven reverb. it would not sound too good if you put the reverb before the overdrive.overdrive) .labeled "send" and "return" .Power amp (generally responsible for volume.
perhaps cheaper ran through multiple buffered (non-true bypassed) pedals may result in loss of full bodied tone. So you can mix the dry (without effect) and the wet (with effects) signals. . and is "joined" again by the signal coming back from the effect. preserving much of your sound. now with effects on it. 100% of your signal goes through the effect.runs through the inserted effect and comes back through the return jack. you control how much of your original signal leaves the amp and passes through the effect. The "remaining" signal stays in your amp. but keep in mind that you won't hear much of the effects if you only put a tiny part of your signal through the effect box. Many people have found that their sound suffers (great tube amps and . You decide with the parallel effect knob how much effect you want. The effects in the loop should be set so that they let out no original signal but 100% effect signal. The solution was the parallel loop: with the control.
If you overuse it. You might call a compressor a variable gain device. . This is the release time. it tries to maintain a constant level of output by amplifying the incoming signal to maintain that constant level. the sound produced by the pickups gradually dies away. The gain here is not perceived as "distortion"!! Controls: Threshold: Sets the level where the compressor kicks in to make the signal softer. Therefore. Attack: The compressor takes a little time before the gain is adjusted to the new input level. A compressor has to be used carefully. the volume level is more consistent and sustain is increased. The amount of time the compressor takes to decrease its gain when the input level rises above the threshold is called attack time. which is perceived as increased sustain. Some people say that if you hear that there's a compressor at work the effect was overdone. The instrument sounds smoother. after sounding a string on a guitar. For example. Sustain: Sets the length of the period during which weak signals are amplified. When the input level falls under the threshold. A little compression will keep the instrument's level from dropping too radically after it's plucked. if the signal is below a set threshold level it is made louder. Release: When the input level exceeded the threshold. you limit your own range of playing dynamics drastically. If the input signal is above a set threshold level. the signal is made quieter. If the signal becomes too soft.COMPRESSOR A Compressor reduces the dynamic range of a signal. the compressor kicked in. the compressor again needs time to respond and increase the gain again. It reduces its gain when the signal level is too high .making louder passages softer.
the naturalness of an instrument's sound will get through before the compression sets in. If attack and/or release time is too short. This happens easily without a compressor because you normally set the input level in such a way that the average signal is loud enough. you get very quick changes in gain.especially at high speed. The compressor helps here. which is often perceived as "pumping" and generally not desirable.Using an appropriate attack time. Examples of settings . If recording. ruining a whole track.some funk songs for example. It would be very hard if not impossible to achieve this just by controlling our picking hand . One too strong pick attack and you've distortion on tape. it's even more important: If your signal exceeds a certain peak. When do you need it? Sometimes a song or even a certain style requires the notes you play to fall in a certain (sometimes very narrow) dynamic range . there will be distortion on the tape. Set the threshold in a way that your signal does not exceed the point where distortion occurs.
.It also can be used as a booster for solos or to give your guitar sound more punch for playing rhythm.
The names have been mixed up by companies producing effects. guitarists discovered that the result didn't sound too bad.OVERDRIVE . START EDIT . overdrive and distortion. Check out "Foxy Lady" or "Voodoo Child (Slight Return)" or the Beatles' "Sgt. so your effect may produce something that's different from what its names says.FUZZ . A characteristic of its sound is that it radically emphasizes harmonics. Fact is. The resulting distortion is warm and smooth. By accident. Some people even say the sound reminds them of a circular saw. resulting in distortion. The high input signals overloaded the tube preamp and output stage as well as the speakers. Basically. A well known example is the Tube Screamer. that Jimi Hendrix used a fuzz (Fuzz Face) often. Overdrive: Simulates the sound of an overdriven tupe amp and responds to playing touch. there are three different types of effects for "distortion": fuzz. Pepper's Lonely Hearts Club Band" or the Rolling Stones' "Satisfaction" for examples. The fuzz was created very early. The only thing you could do was to turn your amp up to 10. the nuances of the picking technique are still audible.DISTORTION It all started in the 60s when the PA systems and amps weren't as powerful as today.
CLEAN BOOST MILD OVERDRIVE AGGRESSIVE OVERDRIVE .
Controls: Drive: Adjusts the distortion of the effect unit. Besides producing an overdriven or distorted sound that your amp only amplifies. A few tips: Don't overdo it!! . If you do this. Level: Adjusts the output volume of the effect unit. you may even have controls for Bass. overdrives (and less often fuzz and distortion) can also be used to boost your guitar signal so that it actually overdrives your amp. Tone: Adjusts the highs and lows (if you have a more comfortable unit. A guitar sound that really cuts through and screams is the result.AGGRESSIVE OVERDRIVE Distortion: Produces harder. Middle and Treble). use the "Gain" control (see below) sparingly and use "Level" to set the level of distortion. Boss DS1 (Distortion) or Boss HM3(Hyper Metal) are examples. metallic distortion with many upper harmonics.
. A Compressor comes in handy here. even if your amp volume is wide open. the rhythm guitar was recorded twice or even more often to get that huge sound. Another disadvantage is that gain/distortion reduces your dynamic range. If you want your guitar to cut through in a band context. your sound becomes muddy. Another thing you perhaps have already experienced is this: You dial in a distortion sound you really like and as soon as you play together with other people. If you use too much. you seem to have not enough volume. try using less distortion instead of turning up your amp and/or turning up the mids on your amp/pedal/eq.CLEAN BOOST MILD DISTORTION HEAVY CREAMY DISTORTION HEAVY CRUNCH DISTORTION If you listen to Rhythm guitars on CDs you'll very often notice that the amount of distortion used is not that much. Downside: A lower gain setting leads to less sustain. Very often.
80 milliseconds) and pitch modulated signal with the original signal.In the effect chain. This swirling effect makes the two signals sound slightly out of tune as they would be if there were two instruments. Often used overdrive/distortion units are: Ibanez Tube Screamer (TS9). Controls (maybe with different names): Rate: the speed of the modulation Depth: how intensive the modulation is Filter: adjusts how much time there is between the original signal and the modulated one Effect level: volume of the modulated signal. but it's not a perfect imitation. CHORUS A chorus belongs to those effects that modulate and double sound. rich sound. It combines a slightly delayed (20 . This produces a swirling. A stereo chorus adds spaciousness and dimension. shimmering effect. ProCo The Rat. Some use it to imitate the sound of a 12string. . a compressor comes before a distortion device. Tech21 Sans Amp. Fuzz pedals still exist. resulting in a thicker. like the Arbiter Fuzz Face.
the delayed signal interferes with . slow song and you’ll definitely hear chorus! If you want to use your amp's overdrive. A tape machine was being used for a delay and someone touched the rim of a tape reel. hence the name 'flanging'. Legend says it originated while the Beatles were producing an album. Instead. that characteristic flanging sound was created. etc. all these effects should come after overdrive/distortion! FLANGER A Flanger creates a slight delay and combines it with the original signal for a "swirling doubled" effect. With some more tinkering and mixing of signals. The rim of the reel is also known as the 'flange'. The delay time is so short (1 to 10 or maybe 20 milliseconds) that you don't hear an echo. slaughter. In the effect chain. a chorus belongs in the effect loop. Other words to describe the effect are "whooshing" or "a jet plane flying overhead".DEEP. The length of the delay is constantly changing. warrant. reverb or a delay. phaser. skid row. RICH CHORUS SUBTLE WARM CHORUS Music example: Extreme chorus used throughout 80’s rock…listen to any dokken. just as a flanger. changing the pitch.
sounds drier and has a shallower "whoosh". A Flanger is very similar to a Chorus. one delayed for a short time). Instead. the delayed signal interferes with frequencies of the original signal (picture two sine waves. moderate depth with regeneration) in the intro riff. a flanger belongs in the effect loop if you want to use your amp's overdrive. resulting in the typical sound of the flanger. Just like a chorus. If you listen to Van Halen's "Ain't talking 'bout love" you can hear a delay (about 100ms) and a flanger (slow spead.50 milliseconds) and no feedback. In the effect chain. that characteristic flanging sound was created. you can take a portion of the flanger's output and route it to the input. the other at its minimum). Feedback/Regeneration: Only some units have this control. but the Chorus has longer delay times (30 . Well. PHASER A phaser combines an out-of-phase signal with the original signal to produce a sound similar to the "spinning" sound of a rotary speaker. This creates "notches" in frequency response. Controls Depth: Maximum delay time added to the time you set with the Delay control (see below). A large amount of feedback can create a very 'metallic' and 'intense' sound. In some cases. in my humble opinion. the frequencies affected also change. The rim of the reel is also known as the 'flange'. . you can also specify whether to add or subtract the feedback signal. a flanger comes after the overdrive/distortion. It does nearly the same (see "Flanger": creating notches in the frequency spectrum) but it uses a shorter delay (0-5ms). delay changes). Some frequencies are eliminated (one sine wave is at its maximum. With it. Delay: Sets the minimum amount of delay (remember.of signals. As the delay time changes. hence the name 'flanging'. a phaser sounds very much like a tamed flanger. The delay time is so short (1 to 10 or maybe 20 milliseconds) that you don't hear an echo. Rate/Speed: Adjusts how quickly the notches move up and down the frequency spectrum.
Feedback/Resonance: The phase shifting effects can be made more intense by using feedback . . The MXR Phase 90 contains four stages for example. more notches are created. A phaser is very often used for clean rhythm guitars in pop and funk music. If you now mix the two signals. This creates the "notches" in frequency response. But the signal needs a certain time to pass through the filters so it is "delayed" in comparison to the original signal. called allpass filters. Lenny Kravitz' "Are you gonna go my way" is an example for a phaser at work.Well. By putting more allpass filters in line. Mix/Level: Sets how much of the filter output (the delayed signal) is added to the original. sounds drier and has a shallower "whoosh". in my humble opinion. so only some are eliminated (one sine wave is at its maximum. The notches in the frequency spectrum are created by passing the signal through a special group of filters. Controls Rate: Adjusts how often the notches move up and down the frequency spectrum per second. the delayed signal interferes with frequencies of the original signal . Depth: Sets how far the notches move up and down. The way the effect is produced differs a little bit from the flanger. a phaser sounds very much like a tamed flanger. As the name implies.e. The Flanger indeed is a special kind of phaser. It does nearly the same (see "Flanger": creating notches in the frequency spectrum) but it uses a shorter delay (0-5ms). the other at its minimum)and some are made weaker. none is "absorbed") to the output. one delayed for a short time). all frequencies pass through the filter (i. This control determines how much of the filter output is routed to the input again. But not all frequencies are delayed by the same amount.adding part of the filter output to the input again. a phaser belongs in the effect loop if you want to use your amp's overdrive.just like the flanger (picture two sine waves. Just like a chorus or flanger.
a phaser belongs in the effect loop if you want to use your amp's overdrive. a phaser comes after the overdrive/distortion.Lenny Kravitz' "Are you gonna go my way" is an example for a phaser at work. In the effect chain. SLAPBACK ECHO . DELAY A Delay samples the original signal and plays it back delayed to simulate "echo". Just like a chorus or flanger.
creating the impression that you are . Depending on the time between original signal and delayed signal. the effect is quite different. Doubling: Use a short delay time (50ms or less) and cut feedback so only a single delay is produced. Reverb: Use about five delays at 100-200ms and set a low volume and you have a reverb-like sound.Controls Delay time: Sets the time between original signal and delayed signal. you can play notes at a constant speed and have a delayed signal right between those notes. Keeping the direct sound and delayed sound separate for a stereo effect makes it sound like recording left and right cannels separately. "Cheat": Selecting a delay time that matches the song tempo (see below). It's a very versatile. often used effect. Feedback: How many delayed signals do you want? This control sets the number of repeats. The result sounds similar to two guitars playing in unison => fatter sound.
creating the impression of two guitars playing in harmony a third apart. to "cheat" or to play harmony? Delay time for quarter notes =60/Tempo(bpm). You get the delay in seconds. Generally.) You get even more interesting results. In the effect chain. Brian May often used a delay to play harmony lines with himself.delay repeats note .). Harmony: Using long delay (800ms or longer) is good for creating harmony: you play a note and the delay repeats this note at the same time you play another note that creates a musical interval with the first one (example: you play first a C. listen to "Brighton Rock".5 (500 ms) then divide by 4 (to get 16th)=125ms Examples: Generally. and then you just multiply or divide that to get the desired note value. but how do I calculate the delay time needed to fit the speed of the song.playing twice as fast (for example: play constant eight notes and have the delay set to repeat your eight note right between two of your notes => sounds like sixteenth notes being played: your note .delay repeats note . If you want to use your amp's overdrive channel. the delay belongs in the effect loop. if you allow more repeats than only one! Slapback: Use a short delay time (40 . then an E and finally a G: the delay repeats the C at the same time you sound the E and the E repeat sounds together with the G. EG you want a 16th note delay at 120 BPM: 60/120=0. a delay should be put after overdrive/distortion. U2's the Edge uses a lot of delay to make his sound fatter or to create the impression of playing twice as fast as he actually is (for rhythm and lead guitar.. .your note .120 ms) and no feedback and you have the sort of delay you hear on many rockabilly songs. check out "Pride (In the name of love)". The Stray Cat's "Rock this town" provides an example for a slapback delay.. setting the delay so that it matches the speed of the song produces a highly musical effect! Ok.
Controls . carpets. BUT: The materials the walls. This diffuse reverberation is considered to be the primary factor establishing a room's 'size'. because walls and other surfaces absorb some of the signal. These are the early reflections. curtains or people absorb a lot of the signal. every noise is reflected by walls. Longer times mean that the sound stays in the room longer before being absorbed. as well as the position of the source and listener in the room. This is called the diffuse reverberation. This is the time it takes for the sound intensity to 1/1 000 000th of its original value. or the late reflections. For a short period after the direct sound. floor.REVERB A reverb adds the natural acoustic ambience present in rooms and halls. ceilings are made of also plays an important role: concrete or brick are highly reflective. furniture. They are also a little weaker. Thus. In a room. Reflected sounds arrive a little later at our ears as the directly heard signal. the larger the room). an empty room will sound bigger whereas during the performance it will sound differently. because they had to travel a little further. that you can't discern any echoes anymore and you just hear a "reverb". These reflections are more random and difficult to relate to the physical characteristics of the room. with less reverberation. The reflected signal is again reflected and so on until so many echoes are created. the rate of the arriving reflections increases greatly. clapping or snipping loudly with your fingers works best. If you want to test the natural reverb of a room. ceiling and the floor. Reverberation time is often associated with the size of the room (the longer the time. there is a set of well-defined and directional reflections that are directly related to the shape and size of the room. One measure used for the reverb in a room is reverberation time. and it decays exponentially in good concert halls. After these early reflections.
Reverb Time: Sets the duration for the reverb (see "reverberation time" above). but these are the most common. After a certain amount of time. the response is cut off (in contrast to a normal reverb where it fades away). This does not mean it is the only one possible. A special kind of reverb is the Gated Reverb. a reverb should be put after overdrive/ distortion.remember that rules can be broken! . I’d like to address the question in which order to put the effects. In the effect chain. the reverb belongs in the effect loop.Pre-delay: Sets the amount of time before the first reverberations of a signal are heard. it's best to have reverb as the last effect in the signal chain. The following order is one that I feel results in useable sounds. There are some effects mentioned that I haven't explained yet. Also. Sometimes reverb units also contain controls like High Pass or Low Pass Filter. but to have it all on one Topic . This time is the gate time. Effect level: Adjusts the volume of the reverb. But let's assume that you want to put all your stomp boxes in line between your guitar and your amp.and on the first Topic you can find info on the effect loop. Here a sound is allowed only a certain number of reflections. On the previous Topics I've already given some "rules" . There ARE more. Order of effects By now we have covered most of the basic effects. no matter if the reverb effect is between your guitar and amp input or in the effect loop). Direct level: Adjusts the volume of the direct signal. No matter if you use your amp's overdrive or not (i. If you want to use your amp's overdrive channel.e.
(2) A Volume Pedal can also be put in front of the overdrive/distortion.our amp's EQ to get the sound we want. . guitar . controlling the intensity of the overdrive. You might want to put a Noise Gate before the Compressor and/or after Flanger/Phaser/Pitch Shift. Some companies offer EQs as stomp boxes and most multi-effect units also contain extra EQ .Octaver . The result is two sounds: one with the EQ turned off and . With most "extra" EQs you have an enormous influence on your sound.4kHz) and the opportunity to boost/cut each of these bands individually . You can't change the frequencies the graphic EQ offers you to cut or boost.up to a certain amount (for example +/-15 dB).if you want .Auto Wah . EQUALIZER Most of us use .Flanger.Compressor .besides the parameters for the preamp. And I guess most of us have been frustrated because a) the controls are not as effective as we would like them to be b) the settings influence each other too much.Equalizer .at least to a certain degree . 800Hz . Having an additional EQ is nearly like having a second amp.Chorus .a completely different one if the EQ is turned on.Wah (1) Distortion/Overdrive . it influences the overdrive. A graphic EQ normally offers you certain "bands" of frequency (for example: 100Hz.Reverb Notes: (1): If you put the Wah in front of the overdrive/distortion unit.. up to maybe 6.Volume Pedal (2) . 400Hz. Phaser or Pitch Shift ..I include them here. 200Hz.Delay . It is also possible to put the Wah after the overdrive/distortion effect.
METAL TONE ROCK/BLUES TONE NU-METAL TONE .
Now I say ‘pre-amp’ generically here what I mean is it could be a distortion pedal. and.A parametric EQ lets you choose exactly which frequencies you want to boost or cut. General guidelines: For sharp rhythm sounds cut the middle frequency bands around 800Hz and boost at around 1. A wah pedal changes the eq range of the pedal as you step on it. treble or mids like it will behind it. and move your foot.voodoo chile. as well as cut out feedback in a pa or guitar rig. its going to boost the frequencies.6kHz. an overdrive pedal or a fuzz pedal. Tremolo A tremolo will basically raise the volume in your signal. more or less basically adding distortion. For a metal sound cut the middle bands around 800Hz and boost the lower and higher frequency bands. Some folks some like to use EQ before the preamp. and then turn it down in steady patterns to create an effect. it’s the type of eq to use if your wanting to notch out a bit of hiss. some folks like to use EQ after the pre-amp. or alice in chains’ ‘man in the box’. if you want to add bass. you need to put it behind the preamp or even better in the effects loop. or noise in your signal. So. I’m just using the term ‘pre-amp’ generically. . You put it before. Its going to give you different tones.make sure you put the EQ after the overdrive. It won’t boost the frequencies like bass. mids or treble. A good example of wah use is jimi Hendrix. For overdriven solos boost the middle frequency bands slightly .
and the ‘b ‘signal straight to your tuner or just put it in a true bypass box. you basically want to do the same thing. Long guitar cables will also tend to take some high end (treble) off of the guitar signal. The buffer helps to correct this. If you really have to have a tuner in your chain. Picking Techniques Picking techniques for tone – there’s all different styles. True Bypass While on the subject of true bypass. as well as boosting the signal so you don’t lose quality of tone when using long guitar cables. . You are not going to have a pure guitar signal. You don’t want your tone colored like that. -Finger picking which is like a classical or country style. You’ll take off some high end if you don’t have it true bypassed. you do not want that thing in your chain!! I suggest you use a true bypass box. You will destroy your clean signal to your amp.Tuners Some guys like to use their tuner in their effects chain. A Buffered pedal is a pedal that switches the pedal on and off electronically. ten pedals. in an attempt to not color the tone. is it hype or is it real? I believe it is kind of a selling point for some companies. You do not want that. I suggest you have an AB box. however. the best thing may be to have a buffered pedal or two and much of them as you can true bypass. I don’t like to and I recommend you don’t. The general exception. Too many buffers or too many buffered pedals you are back to losing some high end off your tone. I suggest that unless you true bypass your wah. instead of mechanically (like true bypass). it will take some high end off. I don’t think its really necessary if you are only using one or two pedals but if you are using five or six pedals. If you have a wah pedal. It buffers the signal-meaning it boosts the level of the signal. and tuners…they will color your signal in a bad way if they are in the path of your guitar signal to your amp. is wah pedals. running ‘a’ signal to your amp.
Amp stand or on the ground? An amp box will send the sound from the back of the amp to the front. its just going to be more bassy and fuller and that’s just a preference. With a regular metal amp stand.-Alternate picking…which a lot of guitar solos and ‘shredders’ will alternate pick and that’s the most standard picking -String mutes which is a kind of chunky type of tone old Metallica and a lot of the new hard rock which is more of a string mute type of picking. Topic 7 Amp Box. Basically when you play an open back guitar amp. you are actually going to lose bass because it is not resonating through the floor plus the speaker is pointing directly at you so its going to sound kind of thin if you have the speaker facing you. Topic 8 . take an electric guitar that’s not plugged in and lean it against a kitchen table that’s made out of wood and strum it a bit and you’ll notice its louder and plays a little bit fuller that’s just because it is resonating through that wood. I prefer to have my amp sitting on the floor so it resonates through the floor. It colors the tone a bit but I feel it makes it a lot fuller and sound better. you have a lot more bassier frequencies coming out of the back and your crispier clearer tone coming out of the front. some guys like and some guys don’t. Not really. An amp box will redirect that bassy frequency directed out toward the front of you and a lot of companies will say it will give you a 412 or _ stack sound. For an example.
Keeley’s mods are more geared like the original pedal. Clipping diodes generally creates distortion of the overdrive but some of the tube pedals with the in internal transformers sound better than the ones with the ‘wall warts’. Analog Man.. but if you approach it open-mindedly. His mods are more subtle. Tone Jam.Tube pedals vs. and Indy Guitarist. This is basically because they are running more voltage and its more like true tube pre-amp. but a bit clearer. its sort of like 'hot-rodding' your car. etc. But. you just might dig it! Which one? Listen to the mods. probably the top ones you hear the most about is Robert Keeley. . Tone Jam and Indy Guitarist are kind of the new breed of modders out. They mod almost anything and they do custom mods-turning your wimpy overdrive pedal into a beast!! So. I say all in all a lot of its hype. non-tube pedals -Most tube pedals run 12 volts or less so the effect is not the same as a tube based amp. Kind of made to sound more like a vintage type of tone. nice wheels. It’s not for everyone. He’s very well known for his original compressor designs. or the same reason folks buy a Les Paul instead of a rogue. The real decision is what you like. basically you can tell them you want a Boss DS1 with nothing but more mid range and they’ll do it. Analog Man is very well known as well.. but SO MUCH MORE! Seriously. Some folks like their car just fine. It's everything the stock pedal is. what do you feel sounds better? Effect Pedal Mods Why mod any pedal? I'm glad you asked! For the same reason folks buy a tube amp instead of a solid state amp. The same reason Folks prefer a ferarri to a hyundai. put nice stereo systems in them. but other ‘car enthusiasts’ like to fix them up. Keeley and Analog Man are probably the most well known.
You are going to get good tones but it is not an exact replica. box tones everything you need is right there with a click of a button. real amps A modeling amp is basically a jack-of-all-trades. for some. A Multi effects generally is liked for the one footswitch to change a load of FX on/off in one quick tap of the toe! Some players prefer that when playing live. however. If you wanted to go from this clean sound to a dry high gain lead sound or a rhythm crunch then you have to do the tap dance. if they are using a ton of effects. There’s an easy to follow guide there that teaches you how to mod your own. This issue. you can always go to www. if you need a good marshall tone. you’re not going to get an exact replica out of any modeling amp or any modeling device really. A modeling amp is good for a cover band where you don’t need 12 amps on stage for example. or just want to save money. is debated daily! With a multi FX you can preset all your sounds into patches. Topic 11 Modeling amps vs. they don’t do custom mods.net and do your own mods. With stomp boxes you have to do a tap dance turning on/off several FX-if say changing from a 80's style clean tone with Compression>Reverb>Chorus>Delay>EQ. Topic 10 Multi effects vs. Also. and run them into a tube amp. fender tones. You have your marshall tones. . To sum it up. Keeley and Analog Man only offer certain mods. But. If you like to work on your own equipment. for example. you can’t beat a couple of premier or modded single effects.From what I’m told.guitartone. pedals Pedals are ideal when you want to ‘flavor’ your original signal. use your ears-play on both and see what feels right and sounds right to YOU.
its going to be totally different. and just the right amount of highs. both have their place. Jazz or Pop you're probably better off with a tube amp. As the technology progresses I think you'll even see some die-hard tube snobs taking a closer look at this technology. C&W. Solid State or Tube Amp? The debate goes on and on and on and on. My biggest gripe with most of the modeling technology is their lack of dynamics. If variety is important to you as a player. If metal is your chosen genre. IMO. . R&B. But let's not forget the Digital Modeling amps. with a very nice ‘feel’ to it. Most people refer to ‘ballsiness’ when they are speaking of a guitar tone that has bass. Topic 12 Recording with mics I like to put 2 mics on my amp. Its going to be similar but its not even going to compare in terms of the ‘ballsiness’ factor-the feeling and tone you get from a good cranked tube amp. these are worth a look. a nice amount of mids. For Blues.If you put a JC 800 or a Marshall JC 800 right next to a modeling amp on the Marshall setting. I've owned both and. Solid State may be the ticket. I own a v-amp and for some things they really work well.
It’s a pretty good tone. I just like doing it that way. professional or amateur. I feel it’s best for my needs. In my opinion.I like to put 1 mic towards the edge of the speaker that gives it a little more bass and I like to put 1 mic towards the cone and I mix those two together to get as full of a sound as possible. I record from my guitar straight to my v amp. . or v-amp. It’s sounds very realistic just like a mic’d amp. Not actually necessary. some guys like to use 1 mic. is the choice of many a player. There are endless possibilities when it comes to microphone type. really. I go my line out from my v amp directly into my stock sound card on my computer. direct recording with them is where they shine. For example. whenever I record direct. and the prices range from a few dollars to thousands of dollars! Topic 13 Direct Recording with Modeling Devices Direct recording with modeling devices such as the pod. however.
Say you join a band where the other guitarist plays a Strat and a Fender Twin. Instead of looking for "The Tone" you need to think about finding your place within the frequency spectrum. physical environment. etc. audience. genre. I hear players all the time say they finally found the perfect tone or they're still searching for the Holy Grail of tone. The "ultimate" tone (The Tone) does not exist. In short. venue. Most of these people are sitting in their bedrooms or are gear collectors perpetually in search of excuses to buy more stuff. emotional context. With the addition of another vocalist. I've gotten what I thought were perfect sounds from my guitar only to find that they didn't work at all when you take your sound out of your garage or bedroom. bass. you've got your drummer pounding away. The real discovery comes when they play with a band or try recording. vocals. Topic 14 Finding YOUR Tone You ask…”how do I find the perfect tone??!!” There is no perfect tone. a lot of studio guys use them even more so now on a lot of the pop records and country records rather than dragging a lot of equipment in there they set up a pod and plug away at it. a lot of the spectrum is taken by instruments and voices that would compete with another guitar. Think about it this way. Some of the "best" guitar sounds are rather lop-sided when analyzed in isolation. "Tone" is a shifting object that varies depending upon song.In fact. another guitarist. plus whoever else is in your band. Are you going to shove another bright Strat into the mix? . you can take any guitar and amp in good working order and get plenty of useful sounds.
finding a thicker sound (say a Marshall-type middominated sound with humbuckers) and let the Strat guy have his sparkle and snap. and the amount of people and sound absorbing objects in the room. in some situations. Unless you are also the singer or you are a featured guitar god. Start there. temperature. Find a cool groove to get into with the drummer and the bassist. lastly. the vocals and drums are going to be the least flexible elements. in the above context. You are the guitar player. Cooperate with your band members. and not just a guitarist. And when the vocalists are singing select a sound that will compliment. you'll need two or three different sounds for different areas of the piece. Your tone will sound differently at practice. in your band or when you record.Why? Rather than trying to compete (‘VOLUME WARS!’) you've got to cooperate and find a space that you can occupy that does not step all over other people that might just mean finding a sound that you don't like (say. Be prepared to alter it based on the room. even if you use the exact same equipment and settings. if someone soloed your mixer channel. You will not be appreciated if your ‘awesome tone’ conflicts with what other people are doing. at sound check. Your tone may sound like crap. and every venue. let the bassist take the bottom. but remember the whole is greater than the parts so what might sound like crap by itself could very well sound super in the total mix. And. Likewise. That's how to be a musician. a paper-thin guitar sound will cut through a mix that is heavy on bass and mids.? If you want to sound like EJ or whoever then do not read this! . humidity. That might mean. and then divide the relatively small portion of space left over between the guitars. So. What’s that? How do you sound like Eric Johnson/Eddie Van Halen/Yngwie etc. When there is a vocal-free space you can go for something with more substance to it you might find that in any given song. you will be pretty much ignored. your tone is going to be the product of being reasonable and considerate. in isolation) but sits well in the mix or work well in comparison to some other guitar tone in the group.
pre-CBS Strat ($12. then the matter is really pointless. and inspires you to play it! Don't worry so much about the power or wattage an amp has. is only part of the battle. King can get their sounds out of. in Stern's case an ancient Yamaha G100.Instead. I've seen many tube purists who couldn't tell the difference between solid state and tube when they had to rely solely on their ears.there are many of those amps that sound plenty bad. please realize that just because you own a 1954 Strat. Great tones can be coaxed out of any kind of amp as long as it is well designed and in good working order. that would be a good starting point. digital debate. But great tone comes from the heart.500) + vintage TS808 Tube Screamer ($500) + vintage Marshall JTM45 ($1200) then you will have all the gear necessary to sound like EJ…note that I said you'd have the gear for the sound not the sound itself. so loudness shouldn’t be so much a factor as some folks think. literally. soul and fingers of the person playing. in and of itself. DO get something that sounds good to YOU! Do get an amp that will be reliable. take out a loan on a vintage. If Mike Stern and B. Equipment. For Example. Wonder why I would say a thing like that? Read on! Amp/Effects Debates Don't get caught up in the tube vs. trust YOUR ears and don't get something merely because it has tubes -. and in King's case an old Gibson Lab Series amp. The remainder. two Fender Deluxe Reverbs and a vintage 50 Watt Marshall. When playing within the context of a band. you probably won’t sound exactly like Eric Johnson… Don't get me wrong. That is a never-ending argument that will probably never be won. . Tube amps are going to sound better cranked. solid state vs. and versatile. durable. rests in your hands and fingers. B. your going to mic the amps anyways. so lower wattage amps tend to be favored. So.
Though. And every now and then you'll find people making second reviews of the same piece after some use. You can’t accurately know the in’s/out’s. and boa snake coverings. chicken-head knobs. But. Most of these reviews are posted by well-meaning folks just like you and me but most of them have been posted by people after just a few days of owning a piece of gear. they get this . Try them all out and decide for yourself. Don't settle for the cheapest you can find. incidentally. become nothing but propaganda machines for manufacturers (who. or guitar. Sometimes it's cool to use old digital effects from the 80s and early 90s the ones that sound horrendous in their attempt to emulate tube preamps.e. for at least six months or more. are paying their bills through advertising dollars). you'd be better off shelling out the bucks for some good ones. over the last few years. Go to online resources for the reviews that real owners have posted. a closed-back cab like a big 4X12 will generally sound much darker than one with an open back configuration. or metal armor should be secondary to the sound. Never base your equipment decisions on aesthetics. Be aware that different speaker sizes can radically affect your sound. leopard skin. Great sounds can be obtained from all of them. Some people swear that a 4X10 cabinet loaded with Jensen speakers is the only way to go (i. Also. and shortcomings of an amp that quickly. Effects sound best in moderation. you must be careful here as well. The current crop of periodicals has. In short..If you are using a tube amp be sure that the tubes are in good shape. A cab with 4X10s typically sounds punchier and more immediate while a cab loaded with 12s will sound looser and will allow for a more compressed sound. you simply can't trust them. Never base your amp purchase decisions on the reviews you find in guitar magazines. in the pursuit of weird sounds it is fun to hook together an altogether immoderate quantity of effects. It all depends upon your sound. Considerations like tweed. Look for reviews from people who have owned and used the amp. the Fender Bassman sound) while others will only play through a 2X12 cabinet loaded with Celestion speakers.
but when you perform. the general rule is the fewer the better. which can be accentuated by clipping the input way too far. Effects can become a crutch for sloppy playing and a general lack of skill. no one will ever know the difference. . Some people claim that weak batteries will get that 'vintage sound. Be sure that your pickups are adjusted to their proper height in relation to the strings. Try and keep fresh batteries in your effects. if you own a really good tuner. Also. you can do it yourself. In this instance.' I can't tell the difference.terrible fuzz. and trying to get better. Make sure that your guitar is capable of being tuned and staying in tune. Maybe you can-I can’t. You could contact the factory to get the official specs or look it up in a good reference book that deals with setup and repair. Use the effects when you perform…you’ll get much better in a shorter period of time. You might want to have this done down at your local guitar shop or. General information There are some simple. or use a power source. feel free to experiment with pickup height. Some love it. Try cutting back on what you use if you are practicing. But for most folks. and most tests won’t show an audible difference. better safe than sorry-use fresh power. physical things that you can do to help achieve a good guitar tone. Make sure that your guitar has been intonated properly.
Clapton. and Beck each take turns playing through the same Fender Strat -. or picks that feel most comfortable to you. they each sounded different. Try fretting the string different ways utilizing different finger angles and portions of the fingertip. If you don't take the time to figure it out then you might be missing the perfect tone that is already in your amp. I think Pat Martino actually uses 15s or 16s! Ouch! Fusion players often use 11s or 12s. playability and comfort. If you are looking for speedy speed. Don't get too wrapped up in the gear thing. Great tones can be had from almost any kind of amp and guitar combination. play with the tips of your fingers. combine pick and fingers for a different sound. Single coil. The Absolute Truth The key to your tone is not in the equipment as much as it is in you. Experiment with using larger gauges until you reach a happy balance between gauge. This will diminish the amount of finger contact on the fretboard itself. Or. Humbucker scheme (H-S-H) with coilsplitting ability for the humbuckers. Know the gear that you own. Buy a guitar that is versatile. Versatility in the electronics area might mean a Humbucker. Jazz guitarists routinely play with 13s or 14s. and skill. Spend the extra money to get a good instrument-you’ll never regret it. Even Seymour Duncan admits as much. Find a pick. knowledge.no surprise. and is made with quality components and woods. Guitar playing and getting "The Tone" is not about things but people. stays in tune.Try using larger strings. try using your other fingers to pluck strings. while rock guitarists typically use 9's or 10s. . Also. Heavier string gauges will help your guitar sound bigger and fuller. Keep your action up high enough that your strings don’t buzz while bending. In an issue of Guitar Player he recounted an experience watching Page.
If you concentrate on things like mastering the language and logic of music and mastering your instrument then the tone will develop.In closing… People.its free to join! .net -. Free your mind and your tone will follow! As simple as this seems -. Knowledge. practice. in your mastery. A master musician. YOUR TONE IS INSIDE YOU. and listen to examples of what we’re discussing here. plastic. Ornette Coleman (one of the pioneers of free jazz) gigged with a plastic saxophone. NOW you just need to DEVELOP it! How do you do that? Practice. just like you would train if you were an athlete competing in sports. simply send a blank email to info@guitartone. and knowledge get yourself some adequate tools like a dependable amp and guitar that work and stop worrying about searching day and night for the equipment that is finally going to set you free.it is very true!! Your tone is already there. playing masterfully. please be sure you check out the soundclips included with this ebook. I welcome anyone and everyone to email me with questions/comments/suggestions: Brian@indyguitarist. and then practice a bit more! Play along with jam tracks. skill. That's right. This illustrates my point. set aside a set amount of time every day and just practice.com To gain access to all of the free stuff the newsletter members have access to. will always sound masterful.in your touch. and Skill…SO HOW DO YOU FIND YOUR TONE? The key to finding your tone is simple: stop looking for it. In closing.
net/ .indyguitarist.com www.howtoplayguitar.Links: www.guitartone.net http://www.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.