Just me, myself, and I
Tannhauser last edited by
Hi. It doesn't say clips, but I would guess that's allowed, even desired, no? I look forward to hearing yours as well.
In my experience, no one is thinking about the guitar like I am, so no one is doing what I am. I grew up listening to pop music. In my 20s I started playing music - metal. A few years later I was taking music classes, and have since thought of music in terms of the Western Art Music tradition.
I play electric guitar because I enjoy it. Sonically and instrumentally I think along the lines of cello and brass. For example:
....though I prefer a richer, fuller tone such as this:
However, the music that speaks most to me is stuff like this:
My music is almost completely improvised, though. Improvisation is a matter of degree. In full, time, rhythm, pitch, and articulation are at your whim. You can create any structures, any gestures, you want. I do - and intend it to sound as clear as possible, snappy and tugging, and articulated in an elegant manner.
A word about tone: 250hz is where an instrument sound gets its meat. The tendency in recent times with electric guitar is to remove everything below about 300hz - so it can 'fit in the mix'.
I refuse that. The VH4 tone stack, plus the G25 412, plus the C414 make for a rich, low mid tone, and rounded treble. The intention here is to simulate that physical harmonic range inherent in natural instruments; to program the ear to hear the electric guitar as a physical body in front of you, vibrating; to make it appear clangier (not clankier), with some tug; and to cover the fizzle in clipping.
Hi. I've been working up some new tones with B2, a few amp eq schemes and mic positions culminating in a mix of an eq scheme that started with one mic position, with the mic position that came from another eq scheme.
The sound, the quality of the timbre, I have in my head is like this: Imagine a solid metal wire, six feet long, an inch or so thick. Instead of striking it with a mallet, one pulls a baton back and forth over the [string]. The attack is naturally smoother. From attack through release, articulation has a broader range, and I imagine tastier. Having that timbre, and sliding the pick across like two cams coming together, rolling, and donging when they separate. Clear tone emerging from them.
I think I'm getting there....
Well, after some re-visiting of the Treadplate, and a bunch of messing around with it and looking into other cabs, I've got something much closer to an acoustic instrument type of sound. Analogous to - but not like! - a full size jazz guitar in a dryly resonant room, feet in front of you.
Note the views on visiting this thread. AM I EVIL?
alderre last edited by
Bravo Maestro Tanhauser. Inspiring stuff
are those old Winamp visualizations?
no notification, but I had a feeling someone had responded.
@alderre : Cool, man. I'm glad you see it. I'm called to this kind of music making. It's so easy, and so variable. The two basic conditions are space, and directed motion, with nexus being a binding third.
@pipelineaudio : I've been wondering whether someone might take notice. It's Battery>Random in WMP. I'd love a more 3D-ish rendering, but otherwise it's my favorite kind of visualization. Abstract.
Hey ho. Here's my first signal chain/gear vid. Lately I've gone back to my VH4 series of tones, this being one of the most recent. ((Looks like the reboot caught up with me. I had to re-do my icon. Tubes are displaying as links. BO-GUS.))
Tannhauser last edited by
Hi. I mentioned doing a pedal comparison vid, of at least the PG od and the Screamer, both in BFX. Here's a vid of the above VH4 tone fronted by those, displayed through a bunch of my idiosyncratic playing.
For over two decades I have wanted a high gain tone that is full, concentrated, and  clear . Like a normal instrument. And that isn't like a piccolo guitar, lacking any body. My Treadplate-Thrash 412 patch is the closest I have gotten.
I re-strung my main guitar (D 'Addario instead of Chris Campbell), and, using a Van Damme cable, went down a certain rabbit hole. It started wtih trying some extreme settings with the Merrow drive, and ending up on the Loomis. Big, in front of you. Unusually clear and articulate. Losing some gain let it expand. Sustain went some with it, yet paradoxically some volume dynamics. Increase in gain anywhere squashes it, changes the tone, and may change the vocal tone. What do you think of it?
Pardon, pardon. A mix of factors led to me to think that tone was great. My speakers are so pure in the mids, that things seem much more than they are....or than they are elsewhere. And I didn't reference with my other speaker set. So, back to the original gain structure.
And, with a little more juice.
I was wrong again. Or rather I was right the first time. My comparison speaker set had the sub turned to 0. Bizarre.
Essentially, the first track of the last post (remember that order now) is my main Treadplate amp patch. My main tone in a full-bodied standard size acoustic kind of way - except for a low mids boost or addition from the master being above 5. The oomph from a nicely saturated power section. I want this kind of addition. It fills out the body of the tone, gives a fuller string kind of sound, more tug, more ahhh that ebbs and flows like an acoustic instrument, and it sets the ambient quality. Being really 'warm', and very light in the 'hash', the ear needs some time between listening to it after other sources, especially trebly sounds/tones.
((Though it appears this is a 'gain' thing. Nearly every instrument blends well with other sounds and instruments.))
The second tone has more level in the OD. A little lighter in the low mids, and brighter, but not as smooth, across the spectrum.
The tone beginning this chapter in things is fatter in the amp, and boosted differently. Less preamp gain and master, less amplified and easier to smear - fronted by a higher and more streamlined boost that the Loomis drive gives. The color of the pedal seems to mirror the tone. Not as 'defined', nor as volume-dynamic, but smoother overall.