The Boss RC2 and RC3 are small looping pedals that have a pretty vast memory. Completely safe to save a track on there, even when you switch batteries or just use the AC cable. Most looping stations have memory that you can save your recordings on.
Normally people put their looping station on the end of their effect chain so that you can loop any of your effects, I don't see much of a problem with putting any of those pedals through a looping station.
If you really want to have a pedal that you can tinker with, the Boss RC300 has multiple footswitches where you can tap and record, which means you can have multiple loops that you can switch on and off without getting down and switching between them.
There are also a few looping stations that are combos with other effects and more complicated interfaces, but if you are new to looping, I would start with one of the simpler ones. I love my RC2 personally. Never had any trouble with it and I have owned it for about 3 years.
Well you could always try to move to your treble pickup and cut the treble out by turning your tone all the way down. Then have fair amout of distortion: OCD with a less than noon drive and about 7-9 o'clock tone. Make sure that your amp is set with the treble and mids pretty low, with the low end higher. The big key to a classic tone is to get rid of a lot of distortion and use volume instead. Try these settings on the clean channel of your amp. Then crank the master volume and the OCD volume and see what happens.
And presence can be added with more lows than highs too, I always like my tone better when there is more bass than treble and a bit of fuzz.
DADGAD tuning can give you that feel and allow you to have ringing chords without worrying so much about fingering. I would actually try to stay away from "what scale am I going to use" and get more to the point of "what notes do I want to hear through the song." You aren't going to be making up some new kind of scale, but you will be tailoring exactly what you like to hear come out, which helps A LOT with the actual writing process.
And, just to plug alternate tuning a little bit more for your project here, multiple octive spanning of the same note (especially with one of the roots droned as the bass note) gives you a very old-time folk (mystical, as you said) feel to the song.
Also, you will find (as you probably already know) that it is more often that you stumble on something awesome when you are just playing around with delay than when you plan something for it. Pick a root, drone it on the bottom, and play all over the fretboard with harmonizing to it and you can get something great.
oh, the shit was just corrosion. and when my pickup went it was the same symptoms. (without me checking the wires before it went really low.) I still havent fixed the pickup, b/c i had two from an lp that im painting so i just swapped them out. i would spend a few $ and get a cheap multimeter so that just in case you dont have to go through the process of resodering if it is just the pickup. but thats just my opinion.
i had that problem when my pickup got too much shit in between the backing and the magnets. did you check the resistance? should be 10-15 ohms for both pickups. if the resistance is way higher, then its the pickup, not the sodering, wiring, exc.
guitar center is having a sale this month on epiphone dot deluxes. normally $700, but now $375. Vintage Sunburst, gold hardware, semi-hollow goodness. i got one a few years ago and it was the best buy i have ever made. if you are looking for versatility, the dot deluxe can do it. the only thing that you might not like is how fat the neck is. its a little on the big side, but if you like blues it makes a lot of stuff easier like vibrato and bends. try it out.
what kind of amp/efx do you have? b/c a guitar in and of itself isnt gonna do much as far as those types of tones are concerned. you need distortion for the 1st and 2nd sounds you want, and probably a wah for metallica. but, as far as cheap, but quality guitars are concerned try an epiphone sg or epi les paul. I have had to epi sg's and they have always been able to get the crunch and even squeal that you are looking for.
Okay, don't take this the wrong way, but start playing the stuff that influenced all of those bands you listed. All of your metal came from the blues; learn the blues, add distortion and crazy effects, and you have metal. And the key to the blues is through the box pentatonic, and some other things that are almost never taught. Feel, duration, bending, really making the guitar talk. Personally, I hate most shredders. They do exactly that: shred. Make the guitar talk, slow down the solo, make it FEEL good. Pentatonics though is a good place to start. 5 notes, infinite solos. And maybe look up "Victor Wooten: Groove Workshop." It is mostly funky stuff as far as the actual music, but the techniques for learning and making music are phenominal.
It all depends on what is going on with the song as a whole, but phrasing is probably the biggest part of making a scale into a solo. Don't really worry so much about the notes themselves. Most people use the root notes of the scale to begin and end their licks, sustaining/emphasizing them. But again, it all depends on what the song is doing as a whole. (A soulful, pentatonic blues solo does not sound very good in a heavy metal song, although there is always a possibility for a creative combination.) The best thing to do in order to get good at improv is listening. Both to a LOT of other guitarists and the song itself. Remember, there are only 12 notes, and even less in most scales. Good musicians only know when to use a note, and how long to linger with it. Experiment with some backing tracks. You know the scales, all you have to do is start using them in context, and improv will be easy.
My friend (Drummer) and I (Guitarist/Singer) have been jamming for a while and we need a bassist and a rhythm guitarist to get things going. We are both in South Jersey, I'm close to Camden and he is in Voorhees. if you are interested then send me a message. What we would be playing is mostly Classic Rock, Blues, and some funky stuff too. (Think AC/DC, Eric Clapton, Jet, Joe Walsh, The Guess Who, and even Bill Withers.)
well, i dont know much about hardware, but guitar center is having a holiday sale where you can get sony acid software for free after mail in rebate. and you will be able to do a whole lot with that no matter what you use to record. just a suggestion.
Vocals - Bon Scott Vocals 2 - Andrew McMahon Vocals 3 - Billie Joe Armstrong Piano - Andrew McMahon Lead Guitar - Eric Clapton Lead Guitar 2 - Angus Young Rhythm Guitar - Slash Rhythm Guitar 2 - Jack White Rhythm Guitar 3 - Billie Joe Armstrong Drums - Tre Cool Drums 2 - J.J. Johnson Bass - Flea Bass 2 - Mikey Way
Now to explain the drastic differences in choices. If you have like a couple tracks with the primairies and a few with the secondaries that would be an awesome CD. And the live performances would be absolutely sick.
um well you can get angus' tone and sound perfectly with almost any amp that is over 25 watt. look up solodallas on youtube and you will see a man who is the next angus young. just make sure that you have the overdrive off. he never used it except for like riff raff and a few other songs. but yes i agree with you all that AC/DC is the greatest band to ever play on the face of the earth. and as far as the "personal preference" issue goes, yes it is true that people get hyped b/c its what they like. but has it ever occured to you guys that they are mainstream for a REASON? they became big in an era that was dominated by good guitarists, great lead singers, and lots and lots of powerful and moving type of music. AC/DC is mainstream b/c it captured that generation's preferences (which were tuned to all those things) and it is mainstream now b/c those things are coming back. yes, it is "simplistic" but it gets to you. you caqn actually feel whats happening in the music, and that is what makes a good band - reaching the audience.