Humbuckers and 5e3's

[guido5]

As much as I love naturally occurring "harmonic enrichment", I think it is limiting to only have one flavor of it without having to go over to the amp and futz with it. Being able to turn on a dime and change the degree of "harmonic enrichment" via pedals in the moment is central to Frisell's playing and certainly his use has influenced a lot of players...

[Greentone]

Guido5,

I agree. However, with a good guitar and a tweed amp all you have to do is turn up the volume knob. With a Champ or a Deluxe the volume doesn't really increase--heck, the amps compress like crazy--only the distortion content rises.

[guido5]

Guido5,

I agree. However, with a good guitar and a tweed amp all you have to do is turn up the volume knob. With a Champ or a Deluxe the volume doesn't really increase--heck, the amps compress like crazy--only the distortion content rises.

I never have experienced that nirvana that is tweed... Some day...

[citizenk74]

Guido5,

I agree. However, with a good guitar and a tweed amp all you have to do is turn up the volume knob. With a Champ or a Deluxe the volume doesn't really increase--heck, the amps compress like crazy--only the distortion content rises.

Controlling one's attack/address of the strings and volume/tone/pickup selection on the guitar has a similar effect. I set the amp for whatever tonal/volume endpoint is desired and do the rest from the guitar. Works for me.

[Greentone]

This has me thinking about different distortion signatures. On "Reelin' in the Years," (Steely Dan) Elliott Randall just kills the solo. However, his distortion tone is quite unique. I've always thought that it sounded like he ran his humbucker-equipped Stratocaster straight into the recording console and massively overloaded the preamp circuit of the channel on the desk (tube-type probably). Does anybody know if this is correct?

The sound reminds me of when I used to record super-hot straight into the desk.

I don't think it's a pedal, nor do I think an amp was involved.

Anyone?

[D.G.]

This has me thinking about different distortion signatures. On "Reelin' in the Years," (Steely Dan) Elliott Randall just kills the solo. However, his distortion tone is quite unique. I've always thought that it sounded like he ran his humbucker-equipped Stratocaster straight into the recording console and massively overloaded the preamp circuit of the channel on the desk (tube-type probably). Does anybody know if this is correct?

The sound reminds me of when I used to record super-hot straight into the desk.

I don't think it's a pedal, nor do I think an amp was involved.

Anyone?

Ask and ye shall receive:

”That was my '63 Fender Stratocaster with a PAF humbucker in the neck position, straight into an Ampeg SVT bass amp. The SVT wouldn't have been my first choice for an amp--or even my fifth choice--but it worked a storm on that recording!"

[Cunamara]

Bill Frisell would argue that point... He uses a pair of Deluxe amps on the road and uses multiple flavors/layers of distortion all the time... He sounds pretty good...

A Deluxe is not a Deluxe is not a Deluxe. When I've seen him live or on video, Frisell generally used a Deluxe Reverb, not a tweed Deluxe. Totally different amps despite the name. He's got some tweed covered amps that are not tweed Deluxes either. And I'd bet he's got at least one tweed Deluxe, too, even if I haven't seen it.

[duncannz]

My personal solution was inspired by I think it was John Herrington and his use of “problem solver” pedals. In his case RC Booster, in mine TCElectronic Spark. The essence is an active EQ with bass and treble that can cut. The 5e3 can’t cut bass, only bleed off treble I think. Anyway I run the pedal dead clean or near so, flat treble and slightly cut bass. Works well and essentially creates the EQ the amp lacks


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