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He's a very melodic player that actually uses overdrive a lot in the Jazz realm. Guys like Rosenwinkel use drive as well, but the way Gilad uses it sounds clean, smooth and fat. I was curious if anyone knows what kind of drive he uses?
I'm not out to really buy a pedal or anything, because I have to much the way it is. I could probably cop this with other pedals, but was curious just what he uses more for the curiosity of it.
If anyone knows his set up that would be great, thanks a bunch!
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08-31-2013 11:50 PM
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Tube screamer into a blackface type amp.
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MXR ten band EQ > Ernie Ball volume pedal > Ibanez Turbo Tube Screamer > Boss DD6 > EHX Holy Grail Nano
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Wow, a simple Tube Screamer. lol
I wonder how much his EQ pedal has to do with his smooth tone? I see a lot of contemporary jazz guys using EQ pedals now days. I've often wondered if they used these more so due to the constant use of backline amps. Might be something I need look into.
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The only thing about his playing that I dislike is his sound, too much delay/reverb, or something.
same with most of the other "young lions"
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Fair enough. I can understand why you would say that, but I'm not a Traditionalist by any means. I'm also not into the whole thing of trying to break new ground and be original. I just like what I like, and I try to incorporate that into my playing. One of my favorite guitarist is Bill Frisell and he is known for using a lot of effects as well. I will say though, that my effect usage has decreased by a great amount compared to a few years ago, but I still like using stuff according to what style I'm playing or who I'm playing with.
Originally Posted by fritz jones
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Maybe he's stepping on his Tube Screamer into a bf Deluxe here at around 00:36?
Nice playing! Very lyrical.
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Frisell uses effects in a different way to compliment his unique playing. I would say he is a true original, whereas the newer guys are playing stuff which would sound better to me with about half the delay/reverb.
for some reason the guitar amp at smalls seems to create a lot of wolf tones that sound sort of like feedback.
It seems to be with any guitarist playing a hollow/semihollow.Last edited by fritz jones; 09-02-2013 at 12:32 PM.
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I've been recently at Smalls and saw some shows with guitar - one was even an all guitar trio. No wolf tones.
In what way is Frisell use of delay and reverb different from Gilads'? (generational prejudice is not the right answer).
And none of the current "hip" players are true originals?
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I will admit that Frisell loves to interact with a delay pedal, and he is known for using loopers and such to create landscapes, but that isn't something that I think is a necessity for the right to use an effect. One usually plays with what inspires them. You do what you gotta do to find that muse, you know? Originally Posted by fritz jones
Maybe a straight ahead clean sound isn't where inspiration is for Gilad. Maybe he was inspired by someone else and then just used the effect in his own way. I know Gilad has mentioned that he enjoys Singer Song writers and Indie Folk music. I think he takes his inspirations from other places than just horn or piano players. Who knows why he chooses to use what he does. The one thing I do know for sure is I like it, and it's okay if you don't. There are plenty of players who do the traditional thing for us each to find inspiration from the music we love!.
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Hekselman changed guitars in the last few years, from a big Gibson Howard Roberts with the oval hole to Victor Baker semihollow.
His sound is very syrupy and drenched in reverb so that I can't listen. Of course his abilities as a player far exceed mine.
I would say the same for a lot of the modern players like Lund, Moreno, Kreisberg.
Just the tone bothers me, but the playing is great.
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Maybe the camera microphone is getting overloaded at certain frequencies. I am only going by what I hear in the video feed, though I was once in smalls in 2007 but there was no guitarist that night. Originally Posted by jorgemg1984
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Effects are one of the hallmarks of the modern player. I think it started with Metheny. Then Abercrombie, Frissel and Stern and continued from then on. Some guys over use the delay and reverb, but it's the sound. You'd have to have a lot of guts to go for a dry sound. I was fortunate enough to do a gig once with Dave Liebman. My routing broke down and I had to play dry. It was terrible. I was really bummed. But I still had two cabs and a big rack of effects. While I was playing Liebman turned back to me and said, "Can't you get any effects out of all this stuff?"
I don't know. I welcome the sound of the guitar into the 21st century in jazz. We've been recreating the 50s sound too long. You know monotone, fat low end, dry except for PERHAPS a touch of reverb, clean except for perhaps a little accidental breakup from a Deluxe Reverb or Standel, or Twin. I like a touch of intensional overdrive, delay, reverb. Done to taste of course!
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That's a little excessive - Lund and Kreisberg have quite some stuff recorded using not much reverb and zero delay. Originally Posted by fritz jones
Frisell's tone (which I love) is much more processed so I still don't get your point.
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They all sound pretty great to me... Part of their individual voices. I especially like how a touch of delay will fatten things up, with the interplay of frequencies shifting around, like a vocal duet. On the other hand, I'm not sure I would appreciate the warmth and pop in Wes's guitar voice through today's players rigs... Would be like putting bearnaise on ice cream.
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Ok, I just prefer the sound of Peter Bernstein over the processed sound.
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I'm just about the other way around. I really hate Bill Frisell's tone, whereas I love Mike Moreno's, Lage Lund's, Kreisberg's, and Gilad's tone (and I might be biased about Gilad since we both have VB's haha). Rosenwinkel is probably the most worked-on tone I think between all guitar players. The guy just does not stop looking for ways to improve his tone.
To me, I hate the whole "guitar" sound. The traditional sound, that is. There's only so much Grant Green I can listen to. The guitar tone is just so high in the mid range, it makes it too punchy, just too bothersome for me.
My own tone comes from a usage of Delay + Reverb. It's the one thing in my board that does not come off. The thing about Delay + Reverb is that it changes the way you play. First off, the trailing off of both effects just creates a more heavy sound that fills in more sonic space. I find it easier to separate phrases with both effects since I don't feel I just stopped playing and there's empty space there. Also the type of lines I play are different, I don't know how they are different but I am aware of how different I sound with and without effects. I also think the two effects eliminate some of the heavy picking sound you would get if you were playing dry. The ambience of the two effects kind of mask the picking sound and create a more legato effect, which is essentially what we're going for.
On the other hand, Pete's tone is also one of my favorite tones, haha.
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Here's a very bad pic of Gilad's pedalboard that I took some months ago. (Sorry iPhone and bright stagelights don't go together...)
He didn't use a tubescreamer, but another Ibanez pedal with an extra knob.
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I like using delay, reverb and compression, just not enough that it is obvious.
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I really dig Gilad's tone. So rich and fluid, but still retains that crisp and clean Jazziness. There's something that can sound too flat and dry about the more traditional set-up - although I appreciate them all. I just love the way the modern guys are taking it - particularly Gilad.
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So, the EQ is placed at the beginning of the chain. Is that a standard choice? Originally Posted by David B
I am considering getting an EQ.
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I saw a simple Tube Screamer for sale for £400 the other day ! Originally Posted by Melodic Dreamer
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I preferred Gilad's tone with the HR to the VB. I think a lot of those young lions grew up with the sound of Metheny in their ears; back in his early days- up to say Offramp or thereabouts- I liked his guitar sound but in the past couple of decades I find his use of delay almost confusing to listen to, like I can't tell whether he's in time or not. It sounds blurry or something. Clearly this is not something that bothers most listeners as he's one of the two most popular jazz guitarists on the planet (the other being Benson). Originally Posted by fritz jones
I just got "Nine Stories Wide" by Kreisberg and his tone on that is mostly classic ES-175. Very enjoyable recording. I also liked "One" quite a bit but there are more effects there.
Overall I think the younger players are coming out of the shadow of turning down the tone knob all the way and sounding like farts in a bathtub. I don't know how we got into that- the older masters like Johnny Smith, Tal Farlow, Jimmy Raney, Barney Kessel, etc., had pretty bright and clear tones. Even Hall's tone is a lot brighter than general opinion would seem to describe it. Some of Martino's stuff sounds like it has the treble rolled almost completely off, although since becoming a Benedetto player this seems to be less the case.
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Originally Posted by henryrobinett
One of the things I really appreciate about Peter Bernstein. Guitar, cord, amp. Plus astonishing creativity.
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There comes a time when the progressive players will dominate and moves things forward. The modern guys are certainly more 'impressionistic' in their vocabulary. Suggesting and 'hinting' ideas is very strong, and I'm impressed with the level of restraint and maturity that it takes to do this. The older ways are great too, but let's move along here. Gilad is without a doubt one of the greatest players to hit the scene. Originally Posted by Cunamara
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