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Pedals are the dark side. I have a multi effects model ALL of the settings are clean... Some names of the selections are...
50's pro, BF Bassman, SFtwin, Champ, bandmaster 4x12... you all get the idea.
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01-20-2017 05:20 PM
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Not jazz related, but way back in '75 I played bass in a band. The lead guitarist, Jeff, had a Big Muff Pi. The entire band hated it, but Jeff felt it was part of "his" sound. My job was to distract Jeff while rhythm guitarist Brad stole the battery out of the Big Muff whenever we played.
Fond memories of those guys, but I still hate that pedal.
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Sounds chorusy indeed but It's actually a harmonized patch on a Yamaha SPX90. I love the guy btw.
Originally Posted by FrankLearns
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Is that what makes the squelch? Originally Posted by blille
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What you label as squelch is most likely the product of that yes Originally Posted by christianm77
The other effects on his chain generally are Boss DD and DS1.
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In terms of my own playing, I hate all effects except EQ and a touch, just a hint, of reverb. I am tired of every effect I have ever tried after about ten seconds. Wait, I have played with an octave divider and that was actually kind of fun, sort of "Wes In The Box." So maybe keep that. While I can't seem to use effects intelligently, though, lots of other people can and they can sound great with them. So it's just me.
Everything Pat Metheny uses other than a guitar, amp and cord can go away as far as I am concerned. I just can't even listen to that burbly, wishy-washy sound any more. His first few PMG albums didn't have that, but it seems like after he discovered the Lexicon delay and using three amps I don't like his sound. I have a dislike to it and it really perturbs my wife- just mention his name and her lip curls. I took her to a PMG concert and on the way to the car she said "don't ever do that to me again."
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Yeah when it comes to Metheny it's all about the early stuff for me. It all turns into processed cheese in the '80s.
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The dampening effect of closed minds is the killer for me
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Ring Modulators
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Aw C'mon, I like the term purist better. Originally Posted by rictroll
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I really don't like any effects except reverb. And if it's turned up enough to hear it, it's too much. I use just enough to slightly fatten the tone, but not enough to actually hear reverb. I've used chorus a little, with a 5-string electric mandolin, to get just a hint of a regular mandolin sound, but beyond that I don't like it, and I haven't used it in years. Most effects are just that, effects, and detract from the sound of the guitar. But the truth is, we will never get rid of any of them, and more keep being invented by people wanting to make money. I just vote with my wallet.
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My friend McToolster had a warble effect called the Sick Canary that was hard to love.
As far as tremolo goes, Pops Staple had a tour requirement that venues provide him an amp with some "shake" on it.
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True, in moderation most effects can sound good. A bit of chorus, a touch of delay ... man, even a hint of tremolo. But the Mike Stern warbly, bubbly tone (a pitty, the guy plays great) or overprocessed Metheny studio sounds are just bad (I also despise ring modulators btw). The Metheny recordings where he just plays guitar (like his trio 99) are great.
But to answer Christian - even in Wes's recordings the tremolo is not for me. I love Wes, his music, I adore his tone .... but man, I whish he had not turned on that tremolo on the few ballads he is using it.
Obviously, Gilmour or Knopfler have used quite a few effects and not even always in a subtle way, but they managed to do it in a way to support the music, not distract from it. I have nothing against effects in jazz either but most of the time I hear Rosenwinkel or these people I think that they sound best if they just play guitar.
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I don't hate on effects, period. Why would anybody? For any distasteful use of an effect I can find someone who makes it work.
The modern jazz guitar ambient sound doesn't sit well with me, but I don't hate on reverb or delay per se, because guys like Scofield or Frisell use them wonderfully.
I have least loved amps though, if you can count them as effects... like Polytone!
And also... there is no life without a good breakup/overdrive/distortion effect! F... that clean jazz tone
There, I said it!
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Not a fan of ring modulators.
I listen to, and enjoy a lot of players that use effects. And I've bought a lot of them. But most get passed along or gather dust in the closet after a day or two.
Maybe they are discouraging in that they make me aware that an associated technique is often required to fully realize their potential. In other words, now there's more to learn and master.
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Ring mods are like lime pickle. A little goes a long way. But it's a strong flavour.
I like what Jason Lindner does with it.Last edited by christianm77; 01-21-2017 at 08:58 AM.
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Not fond of phase, flange, real phasey univibe sounds. Very fond of tremolo, true pitch shift vibrato, Leslie sounds, reverb and delay.
MD
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You know what - just occured to me. Effects are a sonic thing, while jazz guitarists are often thinking in very conventional musical ways - lines, chords etc. To me putting an effect on a bebop solo doesn't make the bop solo sound better (might not make it sound worse tho.)
What makes a scrunchy modern voicing sound good with delay is a sonic thing - it's the sound, not necessarily voice leading etc. So that's quite interesting.
On the other hand using sounds - well I think that's why I dig Lindner's work and also Bill Frisell.
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For Jazz a touch of reverb is fine if it's available. For other styles like Funk the sky's the limit. Load me up! I had what I think was the first Acid Jazz band in San Francisco in 1980. Sir Blub. We did a few gigs at places like the Mabuhay and the Sound of Music in the Tenderloin District. It was a joke really and the punks in the audience had a hard time with it. Sax, guitar, bass and drums. It was pretty rough and sounded like Coltrane Live in Seattle meets the Sex Pistols On the Corner. My rig at the time was a Strat into a cranked Twin through a volume pedal, a wah, a Bad Stone phase shifter, a Proco Rat and a Roland Space Echo. I'd stand with one foot on the volume pedal and the other on the wah. It sounded like a chain saw and made Sonny Sharrock sound like Chet Atkins. A music critic friend of mine attended one gig at the Mab' and when I asked him how it sounded, he laughed and said with disbelief "How'd it Sound" ??!
Last edited by mrcee; 01-21-2017 at 10:42 AM.
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Man, I love that Ben Monder song (Wichita Lineman). I guess tastes vary.
I think "ambiance" works for some people. Monder frequently plays a pretty overdriven Fripp-like tone on his more single-note and arpeggiated stuff (Hydra for instance).
Back in the day, a lot of stuff was done just because it was new and out there. Like Wes's tremolo on the Half Note recording. I personally hate it. Or of course the Fuzz Tone, which enlivened Satisfaction, Spirit in the Sky and American Woman but not much else.
Nowadays, there's so much technology available--there are guys who really know how to use the effects, like Joe Walsh, Robert Fripp, Bill Frisell, David Torn, John Frusciante, Nels Cline--then there's everyone else.
I guess my particular pet peeve is jam bands, who seem to think effects like autowah trigger a mystical portal into a hallucinogenic paradise. I want to say, throw away the pedals and play.
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I do have a B9 pedal I use for practice and for fun. The beauty part is that it sounds nothing like a guitar.
I have a Ditto looper also.
I WISH I could incorporate a Crybaby (not autowah) into my jazz playing. Alas, there's no way that sound fits in. I've never had one, but do appreciate the Wah pedal when played by a master--Jimi, Jeff Beck, etc.
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Wah-wah can do it for me, and I like Jimmy Ponder's contrastive use of it when he comes back in @4.00 here. (Mine arrived yesterday, and I'm going to have some fun with it tonight!
)
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A good way to use a wah is to not actually pump it but use it more as a tone control, varying and holding the positions. Originally Posted by Doctor Jeff
I haven't had one for a while but am thinking of buying another.
re: Spirit in the Sky. Greenbaum had a distortion device actually built into his Tele.
A great tune and one of the best rock guitar tones ever.
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Timely for me,too - Mrs Destinytot and Destinytot Jr are about to help me assemble my small pedalboard. Originally Posted by Longways to Go
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Hey Destinytot, Originally Posted by destinytot
Timely for me,too - Mrs Destinytot and Destinytot Jr are about to help me assemble my small pedalboard.
What wah pedal did you buy?
I'm also curious what else is on your pedalboard. . . .
So far mine is Digitech Polara Reverb, Boss Wazacraft DM-2W Delay, Fulltone Fulldrive 3, Fulltone Plimsoul.
All housed in a Pedaltrane nano case. I'm having fun with it!
I think it is coming along nicely
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