#1
HI.
Could anyone tell me how to get that zz top sound particulaly the squeeling sound
on some of the tracks of eliminator.
#2
Those are called pinch harmonics, and I'm sure there are several articles here on UG that can tell you how to do them.
WHY IS EVERYONE IN THE PIT A FUCKING METALCORE KID
#4
I know billy gibbons did some recording on legend amps with his firebird
Fender American Standard Telecaster
Martin DC-16RE Premium

Fender Snakeskin Champ 12
#5
they are pinch harmonics, however, another contributing factor which is a bit unique is that Gibbons uses a peso for a pick, which accents the squeal
#6
first of all you MUST grow a long beard.Then you have to buy a guitar covered in Fur.

I think that is a pinch harmonic ( like on "she's got legs") Look it up. Basically you pick the string and gently touch it with your picking thumb a millisecond later.
Jackson Dxmg w/dimarzios up n down
Jackson DK2t
Carvin DC127
ValveKing 100 head
5150 head
Recto-Verb 112
1960a Marshal 4x12
FFFDFEFRFKFFF,jeremylp,atreyurock9, noahfor, Vangkm, Used666, and sgtshak- great sellers/traders!!
#7
Thanks for that guys,so I need to learn about pinch harmonics as also used a lot by dave gilmour also.
I dont have a peso will a euro do?
#8
Quote by TIMBOMAX
Thanks for that guys,so I need to learn about pinch harmonics as also used a lot by dave gilmour also.
I dont have a peso will a euro do?

Not if your playing a Mexican Strat.
Euros only work if you have a ENGL amp
Jackson Dxmg w/dimarzios up n down
Jackson DK2t
Carvin DC127
ValveKing 100 head
5150 head
Recto-Verb 112
1960a Marshal 4x12
FFFDFEFRFKFFF,jeremylp,atreyurock9, noahfor, Vangkm, Used666, and sgtshak- great sellers/traders!!
#9
Quote by TIMBOMAX
Thanks for that guys,so I need to learn about pinch harmonics as also used a lot by dave gilmour also.
I dont have a peso will a euro do?


Just use a standard pick to avoid spending your Euros on new sets of strings.
#10
Yea coins are really hard on strings they tend to saw thru after a little while. Guys like gibbons have boxes of strings laying around and guys to put em on for him. Plenty of people do harmonics with a plastic pick.
#11
From the horse's mouth, Terry Manning, ZZ Top sound engineer on "Eliminator".

Mon, 07 February 2005 21:19
Compass Point Studios, Nassau


The amp used, almost exclusively, on Eliminator was a Legend. This was about a 50 watt hybrid unit, employing a tube/valve preamp, and a transistor power amp. This is the amp which has a finished wood case, and a rattan-type cane grill. It has one 12" Celestion speaker. Legend were later bought by, or at least distributed by, Gibson, but they were independent when we started using them. I still have this amp; it is almost new. A couple of years ago I plugged one of the Eliminator guitars into it, just to see...there was the sound!

The guitars were custom built by Dean. Dean were out of Chicago, and were trying to break into the high end (a la Jackson, PRS) market. They were very nice, albeit different, instruments. Subsequently however, they got a contract with Sears to make guitars, so they opted for the big bucks, Korean manufactured, low end market instead. But the ones we used were very nicely made. There were two which we employed. One was somewhat like a cross between a Flying-V and a Moderne shape, very long "ears," and the other was a sort of a warped, pointy Stratocaster-y shape. Both guitars had a single DiMarzio Super Distortion high output pickup, and almost no controls. I don't think there is even a tone control...what would you need one for? They have big, heavy, brass bridge/tail pieces bolted into the body. These guitars were very live, very resonant, and would verge on resonant feedback at all times; they were also very hard to keep in tune because of this. But they were always alive. Billy has the first one mentioned, and he gave me the latter, which I still have.

The guitar was recorded with basically only one setup; one amp (Legend), one speaker (12"), one guitar (Deans, the two were almost exactly the same), one mic (AKG 414B-ULS, I still have it) in one position (about 5" from the cone, placed at a slight angle off axis), one mic pre (the SpectraSonics console). 98% of ALL guitar on this album, whether lead or rhythm was done this way. Any variations were from the player himself, who, remember, did not even have a tone control. That's how good Billy was back then. We did use very briefly a small amp by Ross, but we didn't like it much, and I think only a tiny part or two was kept from this, if any.

The rhythm guitars were done in a precursor-to-Protools style. Short phrases were played, and then double tracked, onto one set of tracks, and then the chord change/next phrase was played on a second set of tracks. This allowed a seamless transition between changes; since the Deans were so close to feedback at all times (acoustically, through the fairly loud JBL monitors), we couldn't even lift the fingers to change chords! Then I would trim the edges of each section by punching in and out to silence at the beginnings and ends of the phrases (somewhat analogous to "trimming the region" today). This method also "eliminated" to a degree the loud harmonic squeaks between chord changes. The punch in/out points, if done exactly perfectly, made for a primitive cross fade of probably 10-20 ms, and ended up sounding very different as rhythm guitar, sort of like a big train rolling down a track, almost out of control; without knowing how it was done, one wouldn't really realise why it was different.

For the leads, as always, there was a lot of punching done.

The bass was mostly played either by Billy or by me, and was either a bass instrument, or a Moog Source (the Source was a Mini Moog [rhymes with 'Vouge'] analogue synth with digitally controlled parameters...I still have this, too). Synth chords were played on a Memory Moog (polyphonic Mini).

Billy sang great, different vocals, as usual, and the harmonies were done either by Jimmy Jamison or by me.

There are a MILLION more things which could be told about this distinctive album, but as mentioned, most of it is probably better left unsaid. But one interesting thing, at least to me, was the recording of "Legs." We had tried it a couple of ways unsuccessfully at Ardent, so I decided to try a new approach. I had a 24 track studio in my attic at home, so I took Billy's lead guitar and vocal home on a 1/2" two track L/R ("samples"). I recut the entire track myself, and then hand flew in Billy's parts onto the track. This meant careful timing of the play button on my MCI 1/2", for each and every phrase, as after a few seconds, they would drift out of sync. I mixed it there through my Soundcraft 1200 console (these were also the mic pre's) onto the MCI 1/2". The multitrack was also the Soundcraft 2" machine, which I really loved. Then I did a totally different version, which became the long "dance mix" later released to clubs, and it is now included in the new box set. Later, I saw a review of this dance version credited, to Jellybean Benitez ...go figure!

Anyway, that's a lot about Eliminator for now. Thanks for your interest!

Terry


In another post (ed. dated 2006), Terry mentions that the digital mastering process to CD *completely* destroyed some incredible dynamics unheard at the time, notably the drums, that Terry managed to get after months of hard work combining and mixing together drum machines, synthesizers and a real drumset, onto the original analog mixdown recording.

A complete re-mastering of Eliminator and Afterburner is in the plans, expected by the end of next year.

(ed. The 25th Anniversary "Eliminator" CD/DVD was released in Jan 2008)
Last edited by ColdGin at May 20, 2008,