meme fuzz edition
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>meme fuzz edition
just what I needed
I need a really dirty, suffocating fuzz. been thinking about pic related. anyone know anything about it?
the pharoah, esp delux edition is the only fuzz i need/use these days, i sometimes use my fz-2 for dopethrone throwback tones but yeah
if i need other distortion i use my entombed pedal/the hm-2
its usually control over a filter circuit which feeds portion of the signal back through a negative feedback loop, it reduces the amount of treble going back into the negative feedback, which in turn boosts the overall amount of treble coming out
its usually the treble frequencies higher than whats on tap on the treble knobby that get boosted through this (subtly)
that sounds interesting for about 5 minutes
i'm already sick of it. it probably sounds like absolute shit live and is one of those types of pedals that are only worth a shit in a studio
It's not really that, instead it's that I don't understand why there is a market for so many fuzz boxes that function more or less the same, but then again I'm more into verbs or delays, or odd noisemaker pedals with weird combination functions.
How much is too much fuzz? I already have two fuzzes, a texture fuzz for memegaze and the other for more 'classic' stuff.
I have a m8 that can build me one for free using Parasit's designs (Sidescroller with oct up/down and LFO), and I loved the OBE Haunt when I tried it. Halp.
>yet I feel like gear is meming me to death
this never ends unless you start building your own pedal cuircuts at which point you become the memer
im trying to find a reason not to get this pedal and im keep on coming up with nothing,... can someone on here give me a reason why i shouldnt get one? I feel the only reason is bc its like a stepping stone drug and within a year im gonna have my own lifesize waifu pillow
it only tracks one note, so its like grabbing a tuner and playing a chord. It only reads the most prominent note
>mountains of Death
damn what an epic venue
btw how to voice tone??
good, try to stay away from both of them
In Marshalls and Tweed-era Fenders, it decreases the negative feedback sent back into the amp, which "loosens" the amp's high end response, making it more "present". It doesn't change the tonal response, but moreso the dynamics of those frequencies.
With the presence control up, the higher frequencies will distort much easier, giving the amp the classic "crunch" tone everyone loves about cranked Marshalls.
Which anon from the last thread has the Joyo chours? Which one do you have mate? Would you recommend it?
stfu you meme apologist
the thing i find surprising is that it isnt the 40 year old fat fucks who grew up with 8bit games that are buying these things, its generally the kind of nerd who actually thinks star wars is good and that talking about anime is "sociallizing"
>the thing i find surprising is that it isnt the 40 year old fat fucks who grew up with 8bit games that are buying these things, its generally the kind of nerd who actually thinks star wars is good and that talking about anime is "sociallizing"
yea, it's some new version of 'le wrong generation' or something i guess. i'm almost 30 years old and i just don't have any interest in creating or listening to music specifically built with those retro sounds, it's just fucking stupid to me
So I'm going to my first Open Mic next Friday, covering "The Man Who Meme'd The World" because I'm a hack, Thanks Bowie
Any tips? Its probably going to be a small crowd of 30-ish people, comprised of edgelords, adults from their daily jobs that have no friends, etc (don't worry I'm edgy enough for the bowster)
There's another place thats inviting people to Open mic but charging performers $30 and audience members $10 for entry, they claim to give "professional feedback" for the performer. Scam? New to this.
Get a good tight sound from your HM-2? Mine stays pretty on the ball after some tweaking.
Both of those words are correct sound terminology though?
put new strings on your guitar a couple days before the gig and stretch them. make sure your guitar is in tune before you get on stage, no one wants to hear you tune. if you break a string just try and finish the song, don't just stop, they'll appreciate the effort at the very least.
and yea, that professional feedback stuff sounds like a complete bullshit. at the very least you perform for free, you never fucking pay someone to listen to you, that's ridiculous.
There's a marshall bass head at my local music store, but when my friend tried it there through an ampeg 6x10 it sounded pretty underwhelming, it had a great tone, but it had just that tone, no way to do anything else. For something that was priced at around 1,4k, it was really niche.
I think it was strandberg who did a small study by making different samples out of different wood and yeah the difference was pretty minimal.
I tried a hand built RAT clone with two blendable channels the other day, I was surprised at how versatile it was.
God damn I love the huge chainsaw like sound of the HM2, are there any other non-boutique pedals that can go there ?
its rare that a bass player says something this smart/inspiring, thank you senpai
dont worry about fucking up, being entertaining is infinetely more valuable than playing all the right notes. Just get up there and have fun
do the bartenders there pay so they can "learn" to make cocktails for people??
i would stay clear of any pedal that lowers your sound by two octaves, that shit bad as hell
strandberg, thank you anon
yes, but still not as much as the affermentioned.
Also, are Gibson selling the brass zero frets to 2015 owners because I noticed that the 2016 models use a titanium one, so wouldnt it make sense to sell the titanium one to the 2015 LP users as well?
That's the third time I've been complemented on not saying retarded shit despite who I am, thanks man
I know that -2 would sound terrible but It's still there if someone wants to play mario-core in standard tuning
>mario-core in standard tuning
please dear jesus, no, stop
That's what I was saying to that anon sorry. Resonance is a real sound term and is fairly complex to explain. Opacity is as well.
Sounds scammy. Pay to play is common here, but not for open mic nights. Typically you'll pay to hire the room and make your money back on the door.
>I tried a hand built RAT clone with two blendable channels the other day, I was surprised at how versatile it was.
Not him but basically an R2DU?
>God damn I love the huge chainsaw like sound of the HM2
I use mine a lot.
>are there any other non-boutique pedals that can go there ?
DS-1 can depending on your rig.
>Never pay to perform. That's fucked up.
Not him but it's pretty common. For open mic night, yeah it's weird, but it's not uncommon at all to pay to hire a venue/room for a show.
I agree with what you said about hiring a venue being the norm but I think most anon here read pay to perform as basically paying to earn money for someone else since in a lot of places that will charge you, you don't get to make anything.
this as well
also try to get your guitar in a warm area before you go on stage. If your like stage side and then run on stage a few seconds before you start playing your guitar is gonna go outta tune really fast
>it was really niche
although you get this very often, we're spoiled by amps with lots of options
no offence to you, but bass players are always kicking the mics just after the actual musicians have spend forever micing their amps to get the perfect sound....
never played with one, but i love brass nuts
pgs Andy does some nice Pumpkins on that thing. I haven't seen the schematic for this guy pop up, so no clones for me yet.
If I had three hundred or whatever dollars just to throw at a fuzz I'd have a hard time between this, Analogman's Sunface (red dot nkt275), crystal dagger, and some original shin ei
>didn't meant to respond
All good, I haven't used them myself though so I can't comment. Never been into the huge bridge swapping thing.
The only time I've really heard of a pay to play situation I had an issue with was when bigger touring bands (internationals) were essentially auctioning off their opening spots to the highest bidder. End result is always a bunch of no-name opening acts with rich members / parents fronting the bill. Lowers the quality of the show by potentially and usually removing relevant (and good) acts.
Friend of mine has an RD2U, weird unit but sounds fierce. I'd assume the pedal you used was based on it in some way.
Then you haven't listened to many different fuzzes.
The "generic" ones are thought of that way now because they sounded great and everybody wanted one. But even in that first era, there were lots of different designs that sounded very different.
Some, like the Maestro Fuzz Tone, are thin. Others like the Fuzz Face and Vox Tone Bender, are full-frequency and compressed, while still others like the Fuzzrite are harsh and trebly. And while they're all different, they all sound excellent in their own way.
Yep. I teched a show for them last year. Was going to be doing Bolt Thrower as well, but obviously that couldn't happen.
They're a really odd band to work with.
No idea, haven't asked the builder yet. But I was pretty surprised by it, haven't tried a RAT in person but from what I've heard on the internet I don't really like it.
But the two channel RAT was pretty interesting as you could just roll down the gain on one channel and go full grindcore on the other and still get something clear.
The fuzzrite sounds sorta interesting, I'm not too big on fuzzes but I'm pretty sure you could get a really interesting stoner tone with one of those, a phaser and more distortion.
>play gig last night
>bass players head explodes in the middle of the song
>WHERE IS THE FUCKING BASS?
fucking bass players always fucking shit it god fucking damnit. at least it was one of the last songs of the night
6 month old gk, that's all i know, i don't really know much about bass heads or anything
something overheated in it, everyone in the band kept saying they smelled that distinctive electric-burning smell for like 3 songs before it finally shat out. we plugged him into the pa for the last two songs
>working on no name el84 push pull amp
>old as shit, would blow any fuse, lights up my light bulb current limiter like the fucking sun
>rebuild power supply because someone must have been ad-libbing and the filters were hosed
>terminal strip that's also responsible for a bunch of grounding is held to the corroded chassis by the same screw as a tube socket
>all pots deserve to be binned, and the rest of the cc resistors and caps are sketchy
I at least got this thing to pass signal. It's kicking out about a whole watt of what should be about 17.
I don't care about fuzzes that much, they're rather simple compared to some other stomp boxes and I think the people that obsess over them are really anal.
They're definitely not expensive or challenging to make either.
I have one-a '74.
The Marshall Super Bass amp isn't so much a bass amp as we think of it today as it is a bass amp from the mid-1960s sense of an amp that's mediocre for actual bass (and EVERYTHING was mediocre for bass in that era), but incredible for guitar. And the Super Bass has the same circuit as the original JCM45/100s, while the Super Lead is voiced to emphasize more of the high treble.
In terms of real wattage, it's only 100 watts, so it's along the lines of a V4B or Bassman 100-just barely enough volume for the bass to keep up at club level gigs without distortion. That said, paired with modern bass cabs it is surprisingly capable.
Maybe not, but if you get one that's voiced to match your guitar and/or amp properly (eg Fuzzrites for Fenders, a Tone Bender or Fuzz Face for Voxes and Marshalls, or a Maestro for Gibsons), it can be a revelation.
The different amount of distortion textures you can wring out of a single fuzz pedal just by varying your guitar's volume knob is really inspiring when you learn how to work with it.
In my case, it completely changed how I felt about my reissue Tone Bender pedal. It was WAY more touch-sensitive than I had imagined, and it suddenly went from a niche sound to something I couldn't get enough of.
Chorus pedals are one of those things that are best voiced individually for the instrument you're going to use them with.
A guitar-voiced chorus pedal will make a bass sound wimpy, and a bass-voiced chorus circuit may not have a strong enough chorus effect to suit a guitarist.
some people are very obsessive about their distorted sounds
i'm kind of like that. if i could i'd buy every single distortion, fuzz and overdrive on the planet and see which fits me best. different types of distortion is what i like to think of as someone's "core" sound, and everything else is built off of it.
i don't really care so much about what type of delay pedal i have as long as it doesn't sound like cheap shit. i'm sure there is someone out there that is the complete opposite of me and considers how a delay sounds more important than distortion.
yea, i'm not really into that modulation stuff so much, i don't really play music that calls for it and i don't know what i'd do with those sounds even if i had them. i guess i'm more traditional or something, i just know i'm very particular about distortion.
I have a question about bass overdrive.
I play a epiphone pro 4 thunderbung. Like the guitar (heavy as fuck aside), and play a genz benz neo-pak 3.5 through a 210 and 115. I like the sound out of both, but want a little grit.
I can get close to the sound I desire but only if I start getting breakup on the speakers by putting the power amp section to around 3 oclock, which brings the guitarist (who plays a 120w stack) up louder making the sound in our practice space terrible.
So I am looking for a slight overdrive. I am looking at either the ts9b, the sd-1. or a joyo od pedal.
The tone I am looking for is similar to this
Clean tone, bumped mid/hi, ever so slight overdrive. I thought it would be an easy tone to find, and it is at low volume, but at live setting volume its hard to get it clean sounding with out mudding up the bass.
help me olbasswan
Turn down the extreme low end to deal with the mud. The bass knob doesn't really help your core bass sound nearly as much as the lower end of the midrange frequencies. See pic related for a better idea of what needs to be boost or cut to get the sound you're after.
I'm starting to question whether it was a mistake to pick up bass instead of guitar, but I'm also a beginner and terrible so what do I know. I should probably stop caring about that stuff and practice instead.
As for the bass sound on that song, the bassist on that track is Joe Macho (aka Joe Mack), a tremendously talented studio bassist who had a nearly four decade career.
On that track, according to his daughter, he played a 1956 Precision (the last year of the singlecoil pickup) strung with LaBella flats. It is also likely he played through one of the Ampeg B15s that were in all of the big New York studios in those days.
Just the fact that I've hit a plateau at the moment and that you simply can't play a "song" on bass, very rarely is a song defined by its bassline. But putting on a groove to a drumtrack is also pretty sweet.
I honestly wish i didnt start playing guitar with pleb mentality. Back when i could spend money on gear i got all meme metal shit but now i have no $$ and am only interested in Jazz and music theory.
All i want is an electric archtop on the cheap that isnt garbage.
Fucking nice. I'd like to get a Super Bass at some point. The plane Jane black tolex early 70's ones are not too horrible expensive, and they sound fucking killer. I'd sure as fuck need an attenuator for most of my playing, but that's ok.
most people start playing guitar with pleb mentality and buy dumb shit, nothing wrong with it
i mean really, what 12 year old in this day and age tells his mom he wants to get a guitar for christmas because he wants to learn how to play like joe pass
that would be one weird fucking kid, he'd probably end up being good, but still, it's just fucking weird.
that sounds more like studio fuckery than an actual technique, or at least that's what i'm hearing. listen closely, the end part where it starts doing the wacky tremolo stuff sounds like an overdub or something, he's not playing that
someone correct me if i'm wrong, but that's what i'm hearing, i can also hear another guitar deep in the mix that's playing some type of tension harmonic against what he's playing
Am I a fool to buy this? I cant stop admiring it.
It looks nice although I'm not a fan of actives.
Since it's an Indo you should check everything before the return period expires. They sometimes need some extra fret work or setup.
huh? if anything I need to stop listening to Chon
i played live with my 76 custom for like 4 years, the thing weighs at least 12 pounds, no weight relief, just a huge chunk of fucking wood
i started playing with a telecaster because the LP was just simply killing my fucking shoulder
i had a 50lb drum strapped to my chest for 2 hours a day for 4 years and there's people who bitch about 12lb guitars? holy fuck
That thing's on both shoulders with partial weight distribution on your hip. A guitar has its entire weight on one shoulder.
>mfw the guy before you plays the man who sold the world
Weight distribution is a lot better for that. Most guitar straps will put the weight almost entirely into your shoulder. The harness for a drum will use both shoulders, your hip, and your abdominal muscles depending.
It's the same as a cheap backpack versus something that puts the weight on your core.
It'll probably sound awful. The only pedal I'd blend with a DS-1 would be an overdrive of some sort to tidy it up. I use the same premise with my HM-2s, albeit I ran HM-2 -> TS-9, not the other way as people generally do.
That clip I posted earlier >>61801271 is a parallel signal, one is TS-808, other is HM-2 > TS-9.
>meme fuzz edition
What's /mu/'s opinion on this fuzz? It's not much of a meme other than the name and the octave. Well I guess it's an /mu/ meme in the way of Kevin Shields from My Bloody Valentine using one. If I got one I would probably get a reissue seeing as they're cheaper and have the option of 9v adapter.
You would because though it sounds great, it is ludicrously loud.
The next time I just have $6000 laying around, I thought of getting some Marshall cabs with the G30Hs (my SB has four output jacks, and my wet dream is to use them all).
The thought of going through all of them at the same time...
Peavey T-60 is pretty beefy, as are Travis Beans, EGCs and 1970s aluminum-necked Kramers.
That said, if you REALLY want to let everyone know you're not a pussy, pick up bass and get a Peavey T-40, Gibson Les Paul Triumph bass, Ovation Magnum, or Kramer 450B. The 70s-era Fender basses aren't too far behind in the weight department either, and you'll be well on your way to scoliosis in no time.
Get a distortion or OD and look into having fun with it in the style of bands like Lightning Bolt, Death From Above 1979 and Royal Blood. If you're into this type of metal you could tune the E up to an F and play Meshuggah, Demiurge is a fun song to mess around with for example.
I think you would like it then, specially if your brand of punk is more towards the noise-rock side of things. It doesn't have a tight low end so it's not good for palm mutes and such.
It changes the voicing from a normal hail satan to the green russian hail satan. So basically the switch would make it sound more like a Russian Bug Muff. This is the deluxe model btw.
A lot of people don't realise that you can get HM-2s for good prices if you ignore eBay. A lot of the clones have extra things added or improvements over the original design though to be fair.
I use HM-2s because that's the sound I'm going for, but a lot of people find the things like the dist gain doing nothing between 3 and 8 annoying.
Still love my parallel approach.
I thought the proco rat was a muff on steroids?
Also, I've got this pedal my guitarist gave me called a witch burner, shits way too much imo.
The lack of tight low end is fine, if anything better because I would also be using a decent amount of reverb to just be stupidly loud. It's also fine because songs where I do allot of palm muting use overdrive/distortion instead of fuzz. The overdrive/distortion songs remind me of early Bad Religion and the ones I want fuzz for have more of a Mudhoney and METZ vibe.
I am getting pic related for my birthday. At the same time, I have been wanting a guitar equipped with a Floyd Rose tremolo for ever.
I am thinking of buying this guitar and ordering a Floyd Rose system and letting it be assembled on the guitar. I suppose some guitar tech has to saw through the body to make place for the tremolo and so on, do you think that it is possible?
Do guitar shops take these kinds of requests?
How meni dollars might htis cost?
>still making excuses
i've used both a snare drum strap which goes over one shoulder AND the harness thing you're talking about and both are / feel much heavier than a fucking les paul
you guys are pussies end of story
you don't need a tremolo
please don't do that to that beautiful guitar
you will turn it into a piece of shit
if you want a FR to dick around on buy a ~ $300 jackson dinky or something
don't buy that guitar just to fucking ruin it
On an LP-Style guitar you're talking major surgery, like $300 or more with no guarantee that you'll like it on the back end.
A locking trem much more suited for an LP is the Kahler. It has almost all of the advantages (and drawbacks) of the Floyd but in a top-mounted design, meaning MUCH less routing and installation cost.