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|1/14/2001 11:03 PM|
||All of you Aronheads are affecting my tone|
All of this Larry Carlton /R Ford/Dumble Boogie/Trainwreck talk got me exploring a new avenue of tone this past weekend.
Rather than fall back on my trusty fuzzes for so many solos [I get to take a lot of 'em], I used a much cleaner, very defined yet harmonically rich tone. I used the usual assorted clean boosts into the Kelleman Reverb 45 by Jomama Music. It is set up with Fane speakers [very cool, ask me about them], and 2 EL34s. The Jomama has the harmonic detail /chime that reminds me of the fatness with clarity that we hear on the R Ford records.
even though it is based on a Vibrolux, it reminds me more of a Marshally Matchless, or a Dumbly Vox.
Anyway it was interesting to see how my playing was affected by the added defintion. I couldn't hide behind the slop of blur [fuzzy lack of definition].Instead, glitches and missed notes jump out like a frog out of the bushes. But the upside is a really cool tone that rewarded the well executed riffs with full in-your-face clarity.
Really nice tone.
If not for this forum I wouldn't have been inspired to pursue this avenue. Thanks, EVERYBODY for your input.
Don't get me wrong, I still clicked in the fuzz face, but only about 30% of the solos, rather than the usual 80% HA!
My friend Joe's amps:
Check out the reviews at harmony central, also.
|1/15/2001 3:21 AM|
Joe, which pedal did you use? I love aron's circuits, tweaked a bit to fit my gear. That clear tone may be a bit unforgiving for mistakes, but it tends to make me play better, a bit more dynamically.
|1/15/2001 5:56 AM|
The clean boosts are an LPB1, and a Muffer, minus the diodes. Set to almost no boost, then punched up a little when a little more sauce is called for.
I like the sound of them.
Playing clean doesn't bother me, it is just a little adjustment. Funny, people think of AC DC tone as being raunchy, but if you listen close, it is pretty clean. All the punch is there, and quite a bit of detail in the note. Just fattened up by the Marshall. I love Angus' vibrato.
|1/15/2001 1:53 PM|
I started noticing Angus' tone when I was playing with power-tube distortion. His tone is really a prime example of really good power-tube distortion. There's a lot of clarity and definition, plenty of highs and lows. There's really not that much distortion, it's a very soft clip. But the thing that makes it cool to me is the ringing, rolling sustain- sounds like it's echoing off the top of a mountain. I have not been able to find that tone without driving a power tube, it just doesn't happen in the preamp with a triode. (Makes you wonder why Matchless used a pentode preamp in their DC30???) It's a great tone I have really grown to love.
Funny, I used to think about AC/DC like, "Yeah, they are cute little teenyboppers, liked 'em 20 yrs ago, but really... Let's move on shall we??"
Just shows you can learn anything just about anywhere.
|1/15/2001 4:02 PM|
That's right Doug.
Open up your ears,man!
|1/15/2001 4:40 PM|
VH1 showed a special on AC/DC, including a live concert show afterwards. Although Brian Johnson's voice isn't what it used to be, the band (and Angus) sounded great. I was really paying attention to Angus' tone. It's got a lot of clarity, his pickups are definitely not high output, but he seems to get a lot of sustain nonetheless.
On some stuff, where he does his left hand tapping, like on "thunderstruck" it sounds like he's using a slightly hotter tone, maybe boosted some sort of way. It sounds like his sound is more sensitive, so less effort can still coax notes out easily.
He always retains that clarity, and like what was discussed earlier, it's a rather unforgiving sound, and during the course of the concert, there were a few glitched notes here and there (Hey, it reminds us lesser mortals that we're all human)
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