#1
A Nice to have but annoying situation…. Feedback welcome…
My two main guitars to cover the tonal palette from L to S… Gordon Smith Graduate (Les Paul) and my Mexican Strat… (Both with Seymour Duncan Pups Aph’s & SSL’s) I’ve never really had much of a relationship with my strat.. until recently! I seem to have found my mojo with it! Some great funky/rocky rhythms that sit somewhere between the Chili Peppers & Foo Fighters (for reference)….

The problem being, I used to solely use my Les Paul in band situation (the other guitarist uses a Strat) and they both complemented each other and were bringing something different to the party at the same time… I took my strat to the last practice session and although on a few tracks it worked as intended, where both guitars were coving the same sections rhythm wise, it kinds got lost in the mix.. :-(

I know there’s a simple solution to this… use the right guitar for the right song… but that just sounds like a pain in the ass…. And lets face it I don’t have a road crew to sort my levels out and bring my guitar on stage… :-) but that would be good if there’s any volunteers!
What does anyone else do in this situation?
Gordon Smith Graduate - [SD Alnico APH1 (Neck), SD Pearly Gates (Bridge)]
Hohner LX250 | Stagg NA38MJ

Marshall Valvestate VS100R | Vantage VG15

Pocket Pod | Backtrack | Dunlop Crybaby | Steve Clayton 0.63 | EB RPS 10's | Earthwood 10's
#2
have it as a back up guitar to e used in case your main fails
or
have a sound check with both the guitars and just mark off where the strat would be knob wise with a bit of tape so you could switch guitars and just move the knob on your amps quickly
#4
Using similar guitars doesn't have to be a problem at all. You should just go for a tone that "suits" your part of the sound spectrum -> if you're the rhythm player and the other dude plays more arpeggiated stuff chances are your amps/amp settings and effects (and all the other things that contribute to your tone) are pretty different already. So yeah, as long as you don't have a sound technician you're just gonna have to learn how to achieve certain goals on the fly and by yourself (whether it's boosting your signal, adding more bass, treble or mid-end, tightening sh*t up with some compression or just altering your technique for certain parts...)

Naturally, you can be twice as effective at shaping a badass live sound if the other guy's just as capable of doing so (if he isn't already). You don't even have to give him the "dude, we have to talk" speech, he'll learn from watching you work your magic and vice-versa, but you guys have to be vocal about this: just keep experimenting, tell him when you change something and why (or hell, include the rest of the band as well because in the end it's the entire band that gets squeezed through those venue monitors) and don't hesitate to share your discoveries if you find something that works...

As a rule, the more "diverse" your band sound is, the better you become at picking the right tone for the occasion. Perhaps it could be a good idea to lend the other guy your guitar for a specific track (not because you think he "has to play something other than a strat every once in a while", but because you're curious what he sounds like if he's playing other instruments). Who knows, it might turn him onto other types of guitars just as you have. Also, there's more to life than fenders and gibsons so if he talks about considering other guitars you could try talking him into trying some semi-hollows, super- or fatstrats, guitars with active or sustaining pickups, different types of tone woods, bridges, locking mechanisms, etc. The more open you are to experimentation, the easier it'll become to break the "I'm rarely satisfied with my live sound" cycle...

/] 三方 [\
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#5
It seems to me like a simple arrangement problem, provided you're talking about live situations.

Does the strat get lost in the mix when you're practicing, or are you talking about recording?
OBEY THE MIGHTY SHITKICKER
#6
thanks for the suggestions all! I'll give some of the ideas a go this Sunday (next practise), I'm thinking my I'll have to did my EQ pedal out from the bottom of the draw and use that to teak it in the offending parts!

@JustRooster, yeah its in the Live/Rehersal where this is happening.

Thanks again.
Gordon Smith Graduate - [SD Alnico APH1 (Neck), SD Pearly Gates (Bridge)]
Hohner LX250 | Stagg NA38MJ

Marshall Valvestate VS100R | Vantage VG15

Pocket Pod | Backtrack | Dunlop Crybaby | Steve Clayton 0.63 | EB RPS 10's | Earthwood 10's
#7
Yeah, the band I joined a couple weeks ago had this issue sorta. I played my Strats, and the other guy was playing his LTD. He had a B52 AT100 rolling, and I was playing my twin. He had his stack next to my combo, and we just couldn't figure out the levels until we pulled our heads out of our asses and decided to spread the two out and face them inward so that everyone was getting the sound in variable directions.

Sometimes it's just as simple as that (Although to get into a debate about speaker placement would be anything other than simple).

If you guys are using mics for your amps live, it'll help curb that problem. You can let the soundman know ahead of time that when you're pulling out your strat that you'll need a bit of a boost to fit the mix again.
OBEY THE MIGHTY SHITKICKER