5 easy ways for better guitar tone when playing live or recording
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- เผยแพร่เมื่อ 24 ส.ค. 2024
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In this video:
I use stems from a pop song and repurpose the song as something entirely different for fun.
I discuss 5 easy ways to get better guitar tone when going from practicing in your bedroom to playing with a band, or a recording. Often, the tones we get at home don't sound as good, or don't work as well when in the context of other instruments.
1- Rarely is turning the volume up the answer when you can't hear yourself in the mix.
2- Boost mids
-mids knob on amp isn’t the same thing generally, especially tube amps
-put eq after distortion generally
3- Less gain, generally. Unless the song or music calls for higher gain.
4- Right pedal for the mix-you may find that pedals you don’t like the sound of at home sound great in the context of other instruments
5- Too much reverb, delay, modulation, etc unless the song calls for it
COMMENTS: What's YOUR favorite method to get better tone when playing with a band?
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What's YOUR favorite method to get better tone when playing with a band?
Using 20 Big Muffs at the same time.
@@bigupliquidchilli8709 What, no Metal Zone?
My first thing would be to have inverse levels of highs and lows (raise treble and lower bass or vice versa). I'm currently using an AC30 and for my last gig had bass knob at 1:00, treble at 10:00, and brilliance at 2:00.
Second method would be to turn on my Tumnus with gain near 11:00 and slight treble boost to fill out the clean tone.
Last method is to constantly use my pickup selector. I almost always use neck pickup for chords and fills and bridge pickup for solos and leads that are past the 12th fret.
1. Set your 'tone' via EQ, pickup selection, chord voicing etc. different to other band members so that you are not occupying the same tonal real estate. It sounds less muddy, and gives each instrument a 'voice' in the mix.
2. I try to set my core rig (guitars, pedals etc) as close to my desired tones as possible then use different amps/settings at home/stage/practice rooms etc. to compensate for the different tonal needs so that I don't need to mess with my core gear.
3. Get a decent wireless rig and go have a listen to what you (and your band) sound like all around the stage and out the front. You will be suprised how often you will change your overall tone or volume.
I tend to use a full range boost in front of the amp and o use a 10 band EQ in the effects loop , to me using an ea in front of the amp is more or less just eqing the pickups differently and when using in the loop I'm actually eqing my final tone coming from the amp. I could be wrong it that's what works for me
I really like how you don't have to promote your own pedals to get your point across. Awesome job.
CAUSE HE'S INTELLIGENT ENOUGH TO KNOW THERE A LOT OF OTHER GOOD PEDALS OUT AS WELL.
I love listening to AC/DC and focusing on just how little gain / distortion is actually on the guitars - yet they still sound monstrous.
Sure, like Eric Clapton, AC/DC, Van Halen, Slash in GnR, et al, they just cranked a clean amp up to 11, ripped the knob off and jammed. Natural distortion, natural compression, and sustain, etc
@@cchgn I like AC/DCs arrangements. They do pretty interesting things with chord voicings.
Less gain equals clear transparent guitars. You gotta play at that point. You cant hide behind gain
Paul Amar truth
Great thought. Pete Townsend on Live at Leeds is my benchmark.
So what you’re saying is that I should play through my Metalzone with no mids and all the gain right?
Only 1 metalzone?
😂🤣🤣👍
actually u need to raise the mids...how on earth did u get " no mids from this video" he was raising the mids on the boss ge7.
jacob brown look up how to not dial a metal tone from csguitars
@@jacobbrown1690 its a long established old saying from the wise people of scotland: All the gain, don't be scared
Scoop your mids, or won't be haired.
Your so on point with the gain comment. Scaling back some of the gain when recording tends to bring out the guitar parts in a mix. Having fun with IR cabs at the moment and wow!
I'll never get this chord progression out of my head as long as I live ...
LOL it's an ear worm for sure
CAN WE PRETEND THAT AIR PLAYNZZZZ
Can we just talk about how the remix is IMO better than the actual song? Sounds much more emotionally charged because it’s so much chunkier
I got nothing out of this video... except a country song trying to sound metal ear worm.
Just checking in to see if the song is still in your head.
Brian,
You make great pedals...
but YOU are what makes the Wampler brand so awesome!
Aww thanks 😊
It's all about staying in your lane (freq speaking) and matching volume
That Fuzz Face still sounds absolutely amazing with the EQ added in after it. Not at all wimpy.
What are you saying?! Korg miku is always perfect!!!
XD It's awesome!
ha ha ha ha
"it will sound a little bit whimpy.. I would not use this when playing alone"... and proceed to play and sound exactly what I would use at home :-)
I find edge-of-breakup-type cleans to be better live than crystal clear cleans. Gives it a nice punch!
1. Cut some Bass. There is a bassist for a reason, and it can muddle everything up.
2. Cut some Highs. Your pickups have alot of highs already.
3. Less cables if possible.
2 and 3 on your list are really dependent on one another. If you've got too much cable run your attentuating the treble of your pups( cable capacitance). So in that case boosting the treble with the amp or eq in the loop would help. Especially since you likely don't have a buffer on hand cause at rehearsal everything works but on stage the extra cable throws a wrench in your signal.
@Pat Vincent Absolutely right. When possible you should always try to maintain your signal clarity as best as possible from the source (your pickups). So that would mean not running too many TB pedals in a row without a buffered pedal in between, keeping cable runs as short as possible etc. But when keeping your signal 100% "intact" isnt possible there are tons of ways to remedy any signal loss.
@Pat Vincent Ive been building at least several years now and ive yet to do anything point to point. But aesthetically point to point is the most pleasing by far in my opinion, especially when its an amplifier. I do most pedals with vero and anything bigger with turret, and ive done a couple power supplys with prefab PCB's. Not a fan of perf board but it has its place. Maybe ill have to try a simple build im familiar with soon but with a P2P layout......said the guy whos said that a hundred times already...
Frequency, frequency, frequency! Exactly, the right conversation. Have to have mids and high mids to cut through. Just have to be careful not to step on the vocals. Treble booster!
Sounds rad man, another way of getting sweet tones in recording is using different sounds for each side of the stereo field. For example - using the TS on the left and the Fuzz Face on the right. Because they take up different frequencies, you get a huge stereo spread! This is my favourite trick for guitars in the studio.
I think the less gain thing is very important. I guess we all love a good amount of drive but in the band context a little less is more. This principle is applicable to modulation effects, too. If I am using extreme settings it is getting to wobbly in the mix, so I try very light or even almost not noticable flanger/phaser/chorus/vibrato settings. It will open up and make my sound big, wide and funny enough it will add some contour in the band context. And, yeah, an eq-pedal is perhaps the most underrated tool...
Good tips. I've been recording long enough that I've actually learned to like my tones tweaked for the mix, because I'm hearing how they'll sound in the mix.
I've heard about "disappearing in the mix" many, many times on TH-cam. Thanks for finally providing a video where you demonstrate perfectly how this happens. Love your videos, and your pedals! Rock on!
Hi, love ur vids👍 the problem many players have, is like you said, the bedroom tone is NOTHING to use in a live situation, and this is why, when you put a microphone in front of ur amp with bedroom settings then turn it up so you hear it and send that to the PA, all the so called bad frequencies that sounds cool in the bedroom amplitudes with thousands of watts, it will sound like a mess, when I do sound check I go out and listen at the pa and adjusts the amp after that, if I take the amp home and play after a gig it will sound horrible, so you must understand it’s two different worlds
BW this was one of your best videos ever!!! I can’t believe I liked the tubescreamer the best over the fuzz and BE-OD... context is of paramount importance for tone!!
Thank you!
Mandatory video for every guitar player, everywhere, in every band, in every century...in the world. Just a thought from a bass player.
It's a bit about knowing own ego thing.
I liked how you kept both before and after one next to each other with no cuts in between in this video, helps noticing the difference better
Focusing a dirt pedal can be done with eq before as well. I use a clone of a Catalinbread Varioboost in front of my dirts, especially for leads, and it really takes them to a new place. Also, post-distortion tone shaping can also be done with a boost or light OD with bass and treble controls--something like an Xotic RC Booster or a Timmy--or an od that naturally does that, like a Klon, can get you that "frown" eq curve that you had on the GE-7.
Why have I never thought of putting an eq after fuzz. I’ve been trying to use a fuzz for years and just can’t get it. I’m going to try this now.
I played one gig with a fender that was set to Bass 0, Mid 10, Treble 4 and as the OD a tube screamer.
And if you want to be heard, a short delay can help.
Nice demo of the difference between bedroom tone and concert tone.
One of the best videos for dialing in a good tone for band playing. You can actually hear the differences on a phone speaker.
This is the best demonstration of fitting into a mix that I have seen. Excellent video sir!!!
Good tips. One thing I had to do was to compensate for having to drive a long cable to an isolation cab from my board. Those longer cable runs suck your high end off and make your tone get lost in the mix. A good buffer, or if lacking that, cutting bass and boosting treble EQ, can help in that regard.
For home playing I find backing tracks help lots with getting used to playing with a tone that actually works in a mix. I don't know about others, but for myself i tend to shape my tone more for what helps me play, rather than how it sounds in a mix (usually that means too much drive going for smoothness and sustain, which results in loss of clarity and dynamics). Then I get pissed off when it does not work in a mix. Playing to backing tracks with a tone that fits it gets me out of that trap.
I do not jam these days as wear and tear on the bones from two decades of not being a land lubber is catching up with me. If I did still jam or gig, I would have a FX loop modded into my JMP50 clone and run something like a G-Force rack effects unit for EQ, delay and reverb. Now I only play at home using a Two Notes load box, so I do all that stuff post using plugins (high pass filter is a guitar track's best friend I think). I need less pedal effects. Actually, now I have the Two Notes thing, if I was jamming I might not even bother with the FX loop. I could run the amp into the load and the load into the FX and a stereo power amp.
I still have a bunch of different dirt pedal types and it is still not enough to cover every sound I am shooting for. So far I have tones covered for TS808, DS1, OD1, SD9 and modded Rangemaster (a TI Boost and it's awesome). I gave my Dist+ script logo RI to my nephew for his birthday, so I am missing something in the D0D250, Dist+, RAT range of things. I also do not have a fuzz and want something that can cover anything from MKI bender thru to Muff -- all in one pedal would be great. One day I will look into what all the fuss is about the Klon. I do not really go for modern distortions much, even though there are some really nice sounding ones. I like the classic dirt pedals into a crunchy amp. I also prefer the sound of an overdriven power amp section amplifying a fairly clean preamp than the other way around. Hit that with a dirt pedal and it is glorious (usually need some way to send the lows to ground though. EQ or a dirt pedal that has high pass. When using an old school amp design at least. Modern amps usually will take care of that loose out of control low end old Marshalls etc have).
p.s. I have trouble getting a real dirt pedal to work as well as a plugin one when using amp sims (for practice I use plugin amps, rather than wearing out tubes on my amp and risking blowing it up running it close to max with the load box). I wonder why? Anybody else had this problem and solved it? I am using either the DI or mic input of my Audient iD14. Maybe something between the dirt pedal and the DI will help. I dunno.
I usually play along with backing tracks to see where my tone fits. But the thing is, when you turn your volume up, all the frequencies get boosted, so it’s a good idea to check where your frequencies are too much or too little. But Brian nailed it, midrange is the key. For me, a TS pedal usually does it.
yes this is what most of us musicians need that play live. It is a problem getting the same tones and cutting through the mix. I had learned from some Nashville recording engineers and sound men about guitarists needing to turn down their bass frequencies and boosting the mids when playing live and not just turning up the volume. I have argued this for years with other guitarists who just don't get it. I am forwarding your video to some of them. thanks much
The gain tip is number 1. I also push the lower mids, cut the bass, and flatten out the highs. The mids depends the singers range, so I don’t drown him or her out.
What usually works for me when playing in a band compared to at home is one simple thing: Using the tone knob either on my amps clean channel or the guitar itself to make it brighter and cut better through the mix. Or switching to single coils (I have a PRS with coil splits), but that means I also have to increase gain. But I feel like changing things on the guitar has the biggest impact on the overall sound in my setup and its something I can adjust any time.
I played for many years before I realized the volume knob wasn’t just an on off switch! So much can be done tonally by just tweaking it a bit.
In terms of recording and to some extent playing live (depending on what level you'er at) one of the best ways to EQ your sound is mic placement. Loads of videos on that but I find it to be a more natural way of EQing a guitar sound... plus speaker choice helps too! Great vid! :)
My '91 GLP Standard with a SDJB in the bridge (no neck pu, 1 volume knob) into an early '90's 100 watt Mesa Dual Rectifier with 4x12 Recto cab (Volume around 10pm, B - 1pm, M - 11pm, T - 2pm, P - 9-10pm, G - 1pm). Boss tuner, Boss delay, HOF reverb (as needed for songs).
I like your attitude... You're not doing a hard sell on your own products.... just focusing on the science of tone....which actually makes me more interested to check your gear out ;)
Frank Zappa back there in the 60s used a wha in a fixed position to dial mids. Later he had the amazing idea to fit on the guitar's body a parametric eq to fine tune the mid frequencies, because he notice that during the sound check you can't set the final ideal sound due the absence of the audience that makes the acoustic conditions change a lot. Thats why you can hear a long note during his first guitar solo on the 80s shows. He was setting the sweet spot. I use a wha and a TC eletronics parametric eq pedal to make this setup and it works great btw.
There are 2 guitar players in my band. I get everyone to take a jam. I then sweep the bass treble mids knobs until I start to cut through the mix. We all set our levels to the drummer's level. When we all start to play I play a whole bunch or wrong chords... if I can hear the mistakes; my tones are good to go. I use a Les Paul Studio into an MS3 with a Soul Pog and Soverign pedals in the loops 1&2, all feeding into a Mesa Boogie JP2C or Mesa Boogie Mark IV. Depending on what I'm going after
this is great, especially as all amps are very subjective. Vox amps tend to cut best wide open on the EQ, wheras something like a marshall would rip everyone's ears through with treble and shake off their feet with bass if you did the same
That's really good advice!
@@jpizzleforizzle it really does work. The most common sense way of dealing with a tense situation as a soundcheck. That's all you can really do. It's what you put in you get out. My thoughts are the quieter the stage, the better the front of house mix.... and as a vocalist, you can hear your vocals in the monitor loud as fack
@@EpicStuffMan1000 I play an AC30 - when you say "wide open", is that with the Tone Cut fully on "treble"?
I love that you added the brain fart bloopers at the end. It’s nice to see a little humanity in the polished world of TH-cam
Good cabs is the best investment you can make in my opinion. They change your sound more than anything else and can make or break a band mix. I have a handful of different cabs and they all sound great for different applications.
Playing a few gigs this weekend, and I've gotta say, even though I've tried to follow these lines already, this video is a great reminder! My biggest struggle is setting the mids, because the mid-range is such a wide spectrum. I don't scoop mids, but I do like to "re-align" them with an EQ pedal. Dip some frequencies and raise others.
Tonight, I'm using a Blackstar that is pretty bright so I'm going in surgical and cutting a little bit of 2k-4k to bring up the rest of the mids. Body without that unnecessary ear fatigue
Very nice. I might add that if you want delay, verb... in a live setting. You may want it wetter than when you play alone. I really agree on the gain point. Try to use the least gain you need live.
my amp pots have been corroded & crackling for a while , and i recently washed them with contact cleaner ...wow ! the ability to fine tune them has put a lot of tone back into my sound. !!!
great points, drives me batshit crazy how good my tone is at home, then i get to rehearsal and it sounds like mud.. EQs rock!
Best explanation of why the mids are so important for guitars in the mix
The tube screamer is a mid booster so they work good with fuzzes
I have been having this exact conversation a lot lately. If you want to sound great within a band you’ve got to sculpt your tone so it appears to have the same qualities you’re used to in isolation on your own. Sound engineers will help you if they like you by dumping all that bass and adding mids, but if you’re going to truly have great tone you have to learn to achieve this on your own and then the sound guy will really like you! Smaller combo amps help too because big amps and lots of speakers just give you extra of what you need to dial out anyway. When you learn to do this you can even get great tone with a crappy practice amp. Great point with the fuzz thing Brian! That’s why I’m loving the new Billy Gibbons fuzz with the built in 7 band graphic eq lately, especially before a wah for extra mix popping fun! Hearing where a wah makes your tone cut through in a mix will help you get the idea of what to dump or boost at the amp end for any great tone. The magic is in the mids! Tone is a fun journey and we’re all in this together. Happy hunting guys! Ride your tone! ❤️⚡️🎸⚡️❤️
Thanks Brian. i have been telling local musicians some of this stuff lately and some didn't want to take it serious. I have been applying your suggestions with my live gigs with good results. I needed these suggestions. Art
Rolling down the bass on my amp and turning off the reverb when I play live seems to work really well. I might have to try the EQ pedal though, I like that idea
eq pedal is always a win because you can tune to every room, or you can dial it just for extra cut as a solo boost or really whatever you need
I find the most responsive q spots on the amp and keep the treble clear but not ice picky with the tone from the guitar all the way up. This works whether playing a house amp, your own, or trying out new ones in the shop. Once I’ve established a good clean sound that fits with the band I set my drive low on my OD/Boosts and my tone somewhat high(depending on context) to cut and add bite and try to find the volume that balances well with the mix a maybe a bit higher, this is a fine line because you want your sound to feel more exciting when you kick on a drive without overpowering the mix or annoying your bandmates. Go back and forth between clean and dirty and make sure it works with the band/song. I use a boost or complementary OD for solos, if I want the same sound just louder I use a boost/preamp after, if I want a singing lead especially into a higher gain or distortion pedal I prefer an OD before with the tone rolled back some to avoid screeches(also why I have multiple drives or use twin pedals). If your sound is too bright use your tone knobs on your guitar, that way you can always get back to a bit of a jangly clean sound to a nice crunch pretty easily and you have the highs to cut thru the mix if you need them. That’s always served me well, listen and tweak until it works, remember not all amps will respond the same to your favorite drive the same way as your amp at home so it is worth sorting out at sound check if you are playing a house amp. The headroom of the amp and tube sag compression will dramatically change how your drives work with it and how they sound to you. I think this is why I like the big knob pedals or ones I can easily turn with my foot, I’m not really a set and forget guitarist because music should be interactive and that’s part of the fun of it, listen, jam, adjust, and play what moves you. Great video!
i adjust my mxr 10 band eq at the end of my chain,stereo out to two Marshalls.all I need to add or dump frequencies. Thanx Brian. I take you alot more seriously than I do some of these builders, and when it comes to ODs and distortion I think you stand out above most all, your hard to beat and I am looking forward to showing everyone how I get these massive tones, Play wampler pedals .then its easy
I just recently purchased my first tube amp snd a Ibanez tube screamer I was amazed of the actual sound of my guitar such great tone and clarity after years of using high gain distortion pedals...
with fuzz, the best solution i find is: (drum roll please)
just use silicon fuzz, it's smoother, a little more upper mids (still well within midrange) it doesn't get lost when playing the lower notes, it's perfect imo
i think silicon fuzzes are perfect for live especially since you don't have to worry about temperature, and general unstableness
silicon fuzz, great option
I have to agree with all the points you've brought up,especially using EQ pedals. I always use 2 on my board. One for my chunky dirt drive and on for my lead drive. Even if you have your drives set perfect, the venue can affect your stage sound. The EQ's let me tweak this. In addition, it's also like having another channel on your amp if you it use as a boost. As far as gain, I set it where I like it and then notch it back. Placing a compressor in front allows me to push it harder if needed. Your videos always bring up some points I miss. Well done!
I think the best tip is RESTRAINT! Like you said, occupy the place in the mix that is best served by guitar, only have on the effects that compliment your roll in the song, turn down the gain and probably your guitar's volume so the melody and chords are heard more clearly. Really, just be part of the band, this is not a guitar solo or instrumental. Most of the time you matter a whole lot less than the singer or drums.
In live playing less gain ,bass and more upper mids help to cut through and delay as needed ..a lot of the tunes i play live need the delay ...i hate my live tone at the house but it works in the band context and larger room . The band has keys,bass drum acoustic and at least 3 or 4 vocalists lead harmony ect and me on electric guitar. Enjoyed the video ..man you are making me regret selling my eq pedal years ago ..be blessed .
My go to "trick" when jamming with the band is to, pull all the fuses out of the main power box and grab an acoustic....
I start with gains and eq at noon or unity. Slightly adjust from close and far ranges. Its always different in each setting. I am usually fairly close to 5 low and high, slightly boost mids 6-7, and keep gain lower than you think you need. Tone knob between 3-8, use guitar volume knob
it's easier to control a small amp , but ... if your sound is cabinets, get the space required for the cabs to open up.
Tone is a Function of Volume.
( in the analog world, that is )
This bookends really well with the That Pedal Show episode on getting a better rhythm tone.
Thanks a lot, I wanna share this video!
I'm a bass player and every new band I join, I always have to argue a lot to the guitarists to pull their bass down. When you play alone at home there is no kick drum and no bass guitar. Some guitarists have taken 2 - 3 years to get it.
Lately my method is saying, you play very loud but I don't hear you at all. It usually makes them start thinking.
Nice to see someone giving Schecter some love! Don't see too many people rocking a Schecter anymore. Too many boutique guitars getting attention lately. But I love mine.
I have two of them, both are great guitars, especially for the money
Halfway through, you have the presence on the Friedman dialed way back. Crank that thing up to about 3 o’clock, that will poke through the mix.
My main EQ is as follows:
Marshall 2555X P:5, B:3, M:4, T:6.5, with gain on 6.5 and master volume on 6.
In front of that I have a TC Electronics Spark Booster: EQ on parity, gain at 12-1 o’clock and level at 3-4 o’clock. I have it set on the mids boost mode.
I’m going to throw another boost in front of the Spark Booster though, for single coil equipped guitars. I have TS808, Clarksdale and Super Overdrive, but I might just get an EQ pedal instead of adding a overdrive, so I’m not adding any other flavor, I’m just pushing the amp a little harder to get the same output/grit I would get from a himbucker.
Great video. I play worship, have recently gone back to amp and cab froml modeler. For me, the digital thing is just... digital. And it really gets lost in the mix easily. EQ demo was awesome.
Great Bloopers at the end. Good info video!
I think you just sold me on a tube screamer.
Interestingly, I found his very first demo with the tube screamer the best. Everything else after seemed muddy
@@scottwb4213 Agreed
1:21 Bottom end LOL
Peavey 6505. Green channel. Gain low, mids maxed, volume up. THE GLORY
I 100% agree with this video. I normally play with an EQ and winker big muff for my main dostortion. I had to change to an overdriven plexi in the studio the other day. Sounded killer!!!
Your channel is consistently the most helpful. I like what you do.
The very end is awesome. Looks totally like me recording something ^^
Thanks for this one.
Appreciate your videos.
Bass player gone to guitar. Difficult to find that mix tone sound at home. Learning to embrace the mid boost for mix. Good video for me at this time!
#1 when recording, take a dry signal if at all possible, it can be processed later, often the amped tone gets blended in or discarded in my experience. I use Revalver, tried the rest, best IMHO, although the Logic modelling is meant to be A1.
This video was extremely helpful to understand how to stand out in the track!!!
Oh man ,this is incrediblely helpful . As useful as your tumnus deluxe pedal . Thanks a lot man !
I always try not to use too much gain/distortion. Many times pulling some 3.2k out can reduce harshness. If amp has effects loop, an eq in there gives you MASSIVE control if it's not sounding right.
If I'm not playing metal, my favorite is a tubescreamer and a nice clean amp with reverb.
Correct guitar intonation is an important and easy way to make your sound, sound better.
I started using that EQ pedal in the effects loop trick that you showed on an earlier video, when my Hotrod Deluxe lost its preamp. I don't use it all the time, but it seems easier to dial in a usable sound when you have lots of competition in certain parts of the sonic spectrum. AND it is quick to change too!
You're F*&kin excellent Brian... I love you're uploads !!!
I use tonnes of mids and bass with some highs and a crunchy tone that cleans up from 6 down on the guitar volume. Then I use various boosts with different eq curves for different styles and pickups. I also use two amps as this spreads around the room better and sounds bigger...
Loved the Fuzz Face with the EQ in the loop. I'm an old feller who just plays at home so I need good tone at low volume watching your videos is gonna send me broke buying pedals. Bought a two watt Hayden Petite Blonde but it's still too damned loud. A video using low watt valve amps and appropriate pedals for good tone in an apartment might be good.
Really great video! In then 90s had a cover band gig where everyone used lots of chorus and effects... I ended up dry into a twin with just a TS-9 and no reverb as the room handled all of that. Cut through nicely.
I use the Might of Mids and Highs with an EQ pedal in my FX loop of my amp generally in a live scenario. I use my trusty Rat as a base rock rhythm sound on a lower gain setting, then stack that with a Plimsoul to stand out in a mix during lead lines or solo's - oh, and I use a Compressor first in the chain to round off the drive (Got that from one of your previous video's lol). My main guitar is a 96 Les Paul Studio, my amp is an Orange Micro Dark with a swapped out Preamp tube, using a Groove Tubes 12AU7 for cleaner headroom (allowing my pedals to really do it's thing). Almost always get compliments on my tone. I don't really use a lot of gain, if I need more than what the Rat and Plimsoul are giving me, I use a TC Electronics Boost but that's honestly rare if I have to do that. Have a delay and reverb in the Effects loop after the EQ pedal, have those on during worship sets to add space as usually I am the only electric guitarist on stage.
I suggest googling, ‘Fletcher-Munson curve’ to understand the reason why your kids disappear as you increase the volume from bedroom levels.
Great point Brian!
The key for me is being able to replicate the signal chain. My example a Bass Exciter pedal. Ok. Don't have a pedal for on stage? Your rig gonna need a subwoofer. Your gonna want to do a LPF mono recording and HPF for the stereo parts. 31-210/500-5k being the adjustment range for the exciter so... Matching signal chain. I play bass mostly.. Using a tiny 8" Peavey and a 8" sub together
The Muff π has the 1k scoop so you could use two amps LPF/HPF
I liked the smashing fuzz face you started with. The final was good too.
Thank you for your PSA, and the pedals you make.
I appreciate you.
And your pedals.
Hard to tell, when you go to the isolated guitar, it was much louder. Louder always sounds better. Would’ve been interesting to hear in the mix and isolated-at the same guitar volume.
This is wise and super helpful. Again, the EQ pedal is the hero of the day!
Figure out what the other guitar player is using and do something different. If they are using double coils and a distortion, I’ll use a strat, tele or something with p90s and a compressor just to occupy a different space. It just depends on what the music asks for.
I actually liked the tone with the delay-as-reverb thing you had there. It filled in the gaps like a fuzz but not as prominent.
So useful! I've been thinking of getting an EQ pedal, and this has helped me make up my mind.
I as old person apprciate presence/master tone/eq sweeps my newest amp has a ni mod switch that really does the trick
For me (I'm no expert!) I always return to a bass roll-off no matter what I'm doing, be it electric clean or dirty, acoustic close mic or distant, UNLESS the guitar is solo or carrying the vocal accompaniment. But in a normal song mix I find rolling off the bass works just fine. Then I can tinker with the upper frequencies to get the part to sit right. But I never, never "boost the mids", because to my ear that compromises the balance of the treble before I've even though about it. As a stop-gap, quick fix boost the mids, but in the longer term I think it's a false economy.
Good advice. Except that the Miku Stomp is a good pedal to use all the time on all songs!
As a rhythm player who basically uses a tube amp all set at noon.... I HATE having a lead player telling me to turn down because he has all of his mids scooped.... yea, it sounds great at home, but not as part of an ensemble.
A great way to fatten up the sound is to add a very short delay with one- oneish repeats, in a live setting it mimics a doubled gitartrack.
Boost the mids?? ~laughs in metallica~
Playing a "good" part helps. Let me explain. In your example, you play a cowboy D with the drop D tuning as well. That chord is never going to cut in any mix . If you play you D in the 5th position and just play strings 2,3,4 and 6 (from the ground up), you'll get better results.
Cheers
Didn't Jerry Cantrell do this?
@@StratMatt777 Jerry used the Van Halen tuning of drop d down a half step but yes he did play full bodied chords but when he played the chorus to Man In The Box he played his d from the cowboy position.