#1
hey,
how r u?
i play guitar for 10 years now, and only now decided to do some metal records.
many questions arise now.
could someone explain how mid scooped guitar is switched to play full frequency lead parts? scooped guitar is good for palm muted gallop rhythms, but when i want to play solos i miss a lot of richness due to lack of mids. what is usually prefered in such situation?
constant eq pedal switch? constant amp channels switch? what is going on here?

kerry king from slayer says that he uses eq to boost solos. what did he mean?
did he leave scooped amp and switches between eq pedal settings?

personally, i, cant imagine a good sounding solo with scooped amp.

many thanks.
Last edited by mariusmaklaudas at Dec 15, 2009,
#2
you use pedals to attain different sounds between a set,depending on what you have.if you like multi-effect pedals then you can set one channel on your rhythm parts and save another channel prior to your show for solos and switch into it when required.if you use stompboxes then well,thats straightforward.
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#3
I use either a single distortion pedal or a MFX unit and keep the amp at a cleanish flat EQ. The pedals do the work. The MFX is great for giving that mid & boost for lead breaks but as my pedal also has a decent EQ on it, I can get by with that most times, with scooped mids but switching off for breaks.
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#4
An EQ pedal in the FX loop could help. A/B to switch amps if you really wanted to. MultiFX etc. Lots of possibilities...
#5
i play metal... and i just dont scoop my mids... i damn near bump them... i guess it depends on the type of metal you play
"it aint a brooks n dunn tattoo, WITH OUT RONNIE DUNNNN!!"
#6
i think i will use my laney's distortion channel with scooped mids on it - for rhythm.
and
clean channel with stomp box distortion+eq stompbox - for leads.

so, ill switch between 2 amp channels.

i use stomp boxes like hm-2, mt-2 + ge7, cs3, marshall booster, others.
mfx not for me.

btw, what do u think about using a distortion pedals through effects loop?
some say, it even harms amp.
i tried metal zone and it sounds cool even with very distorted amp when mixed together.
kinda adds something nice. i think there is endless possibilities mixing distortion through effects loop with various levels of amp distortion.
and also i find my ge7 being crucial designing custom sound. thats why all famous guys build in eqs in their amps. it a secret to so called signature sound. highly recommend.

thanks for nice conversation, and see ya. keep rockin metal.
#7
Quote by concealer
i just dont scoop my mids... i damn near bump them...

could u explain more about it. in detail.

im more into thrash slayer, entombed thing. i like playin gallopy, steam engine shredding.
but sometimes death melodic parts to add.
metal f thanks.

ye, your carrionvael ****in rules. is it your playin?
Last edited by mariusmaklaudas at Dec 15, 2009,
#8
just go to my bands page... i recorded that stuff ... solo's and all... with bumped mids... i mean... i think it sounds pretty good...... i dont like scooped mids... i play pretty much as follows... Trebble 6 Mids 5 Bass 5.... not exactly bumped... but more of a flat line... one a mesa boogie or something like that... i'd probably have the mids at 6 and trebble and bass at 5.... all depends what you like i suppose.
"it aint a brooks n dunn tattoo, WITH OUT RONNIE DUNNNN!!"
#9
exactly, i also keep mids around 3-4 (9-10 oclock). can i call it scooped.. i think ye.
what do u think about dist pedals through effects loop with more or less distorted amp?

i found it very potence for sound exploring.
Last edited by mariusmaklaudas at Dec 15, 2009,
#10
i like that raw, free natural passion in your www.myspace.com/carrionvael.
really good. nice ideas flow. good songwriting. keep spreading it.

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Last edited by mariusmaklaudas at Dec 15, 2009,
#11
ha... most of our songs are about Tv shows and movies... i'd prefer they be about porno movies to be honest. wurd up ... but.. yeah.

i've never really ran a distortion peddle over distortion... so i cant speak on that... the only thing i run is a noise suppressior... and i strongly recommend one.. boss ns2... those things kick ass. that and a 5150 with JJ tesla tubes. and then whale
"it aint a brooks n dunn tattoo, WITH OUT RONNIE DUNNNN!!"
#12
hi yo,

whats new?

1. could someone explain how two guitars work together. i found that the more different guitars are together, the more pleasant sound is. if two guitars are very similar in sound, then it sounds kinda out of phase. what are rules choosing two guitars sound to work nicely together?

2. guys,
i started to think about bass more then i started create my own music. i play guitar, not bass and sing.

the thing is that i would like to know, how bass substitutes another guitar in for ex. 3 piece band and what gear(pedals, effects or what?) is being used on live playin?
in ex. pantera's bass fills everything when dimebag used to play solos.
the same is for ozzy's, van halen band. and lots of others.
bass sounds as bass and also kinda emulates another guitar next to itself.

what are tricks in real world and in recording to make bass substitute another guitar and sound like another guitar??

many many f thanks.
#13
In response to the first question, I use (and recommend) a Dunlop Wahwah pedal for solos. I, too, use a heavily scooped tone (mids on 2 or 3) and I find that the Wah pedal really brings out the mids again. I believe many other guitarists (dime, zakk wylde, slash...) use a similar set-up.

OK, your second question.

1. Tone-wise, yes you probably want two guitars to be different- but if there are two playing the same thing it's more likely to sound out. Try and get each guitar to play a different thing. That could be in harmony, or different voicings of the same chords.

2. I play in a three-piece band myself and when I go for a solo, sometimes the bass player uses an overdrive pedal to fill the sound- but I don't that that's what Pantera do. On their recordings there's actually another guitar track recorded in for the rhythm.

I don't know if that really helps, but if you find that there is something missing when you solo it could be because your tone is too scooped? Any band with no mids to the sound is going to sound a bit empty.
#14
Quote by concealer
just go to my bands page... i recorded that stuff ... solo's and all... with bumped mids... i mean... i think it sounds pretty good...... i dont like scooped mids... i play pretty much as follows... Trebble 6 Mids 5 Bass 5.... not exactly bumped... but more of a flat line... one a mesa boogie or something like that... i'd probably have the mids at 6 and trebble and bass at 5.... all depends what you like i suppose.

Why...are you...writing...like this..?

It all depends on what you're playing. For regular, non-solo parts of songs, I like to have my mids just a little scooped. But I usually boost them for solos, so that I cut through better.
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#15
A parametric EQ in the loops with a boost centered at 800hz is a classic old school solution to this problem - especially for studio work.
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#16
Quote by smartalec007
Why...are you...writing...like this..?


i think a guy said :
"all depends what you like i suppose."

could u exactly explain your setup?

could everybody give exact examples of your set ups.
this way we could all understand how things are made.
not boost this or boost that.
thanksssssssss.
#17
Quote by Even Bigger D
A parametric EQ in the loops with a boost centered at 800hz is a classic old school solution to this problem - especially for studio work.

could u please explain in detail.
is this ge7 going throug the loop with increased slider of 800hz?
and the amp stays scooped?
is here a reason to decrease natural mids from an amp, and then increase them artificialy with eq pedal?

many thanks.

give set up examples please, in detail.
#19
Quote by ext1jdh
See this for some more info http://www.amptone.com/g228.htm


ye. interesting. who are those writers? they want this site to be "a standard through all the industry".

i use marshall's bluesbraker2/booster to boost a signal before amp.
and also ge7 after distortion.
they say that ge7 is good in every stage.
as i said before, eq is one of the main devices to develop a sound. it looks like i was right

thanks for the link. now more sleepless nights are waiting while reading all this stuff.
thanks
Last edited by mariusmaklaudas at Dec 18, 2009,
#20
cause thats how i do it.....
i use a 5150 II with JJ tubes.
through two mesa 4 x 12's.... full stacks.
with an emg loaded gibson explorer....
what i find works best for a good sound is... to use really good equipment!!.... and turn that shit up!!! if you go to a studio... go to a good one... and the producer will tell you how to record and he should be able to make it sound good.
and lay down a lot of guitar tracks... gives it a natural reverb i think... obviously makes it sound better and thicker... and live... i like to write a lot of harmonies.
If your a 3 piece... get a full stack and rock hard.
"it aint a brooks n dunn tattoo, WITH OUT RONNIE DUNNNN!!"
#21
Quote by concealer

and lay down a lot of guitar tracks... gives it a natural reverb i think... obviously makes it sound better and thicker... and live...
If your a 3 piece... get a full stack and rock hard.


other guys also recommend to lay more tracks for the guitar and use them for a panning to R, L and CENTER for a thicker, varied sound.

assuming that solo parts don't need that thickening/overdubbing, and that we have 2 guitarists in a band:

should both guitars make 3 tracks/attempts each if they both play rhythm section of the song? total 6 tracks? wtf?

if two guitars play rhythm section they already make 2 tracks. so where is the need laying more tracks here?

please explain how that layering is done and used?

big thanks, bros
Last edited by mariusmaklaudas at Jan 4, 2010,