Cool distorted lead electric guitar effect for Waves GTR 3 amps and effects software By Yoad Nevo (Pet Shop Boys, Sugababes, Bryan Adams, Air) For more info, go to www.waves.com
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This is a way that I discovered to get distortion like sound with actually distorting it. It probably won’t work for the kind of distortion used on a guitar, but for the bass it is a good substitute. It offers an interesting trade off of control: it lets the player have complete control of when (by loudness) of when they want distortion, but it only allows for one effect.
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What does a traditional-sounding accordion sound like when you plug it into a guitar amp?
Let’s find out.
The song is “Iron Man”, but I’m pretty sure most of you know that.
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Musical equipment demonstration. I have no connection with these companies, I just love these particular products. The only clip I could find of the discontinued Electro-Harmonix Freedom Amp when I was shopping for one was Yngwie Malmsteen busking on an Amsterdam street, and that disappeared from youtube shortly thereafter. Great little portable rechargeable amp…this demo may drive up the used price, possibly to my own detriment if it ever craps out and I have to find another one, but it’s just too good for there not to be a demo of it somewhere.
You can hear me play actual songs on my record–visit my youtube page for details.
Guitars:
1991 Fender USA Strat Plus
Fender-Lace Sensor pickups: neck/middle: gold
bridge: silver
2001 Gibson Les Paul Studio Plus
neck pickup: Gibson ‘57 Classic
bridge: ‘57 Classic Plus
Bass:
1977 Fender Precision with active Alembic pickup.
Guitar amps:
Electro-Harmonix Freedom Amp
15 watt 1×8 closed back combo
In production starting 2000; discontinued around ‘06. This is nothing like the larger black 1×10 open back Mike Matthews Freedom Amp of the ’70’s that ran on either A/C or FORTY D-cell batteries. This one has a rechargeable 12-volt battery inside, and does not run on A/C.
Vol is on 1, a good strong living room volume…say loud enough to jam with a stand-up bass and piano. This amp is just stupid loud for its size. At about 0.5 it’s conversation volume. Apparent volume about doubles from 1-7, gets as loud as most 30w solid state amps I’ve heard. Around 8 it starts distorting in that fizzy solid state way, but up to there it just goes from loud to louder. Tone on about 4, Bite (presence or high treble) about 4.
In the blues backing track on the left side is a clean rhythm guitar…it’s the same Strat (neck pickup) and Freedom Amp; but instead of Holy Grail reverb, I recorded dry and added reverb with Cool Edit Pro plugin.
Vox Cambridge 30
1990s 30 watt 1×10 open back solid state combo
On the blues backing track on the right side you hear a muddy warbly-sounding thing playing chords and bits of chords mostly in upper registers, which I intended to function like an organ part. It’s the Strat bridge pickup with the tone turned all the way down, running into a Morley Bad Horsie wah pedal, then into the Vox clean channel, with the treble turned all the way down on the amp, and all remaining high end rolled off at mixdown. I jiggled my foot on the wah pedal to phony up a rotating leslie speaker. The commenter on my ‘07 gear demo who thinks I wah on too many notes should really hate this one. I also used a big hall reverb plugin to push this part further into its strange place. So not at all a fair/straight demo of this very good amp. Incidentally it’s a great living room bass amp too believe it or not.
Effects:
Electro-Harmonix Holy Grail Reverb pedal, ’spring’ setting, on about 4.
Danelectro Fab Distortion pedal: for blues track, tone about 4, distortion about 3-4; for the hard rock bits I just turned the distortion up to 10.
Morley Bad Horsie wah pedal:
see “Vox Cambridge 30″ above for description.
Bass amps:
For the blues backing track I’m using an SWR Interstellar Overdrive as a stand alone 5 watt EL84 tube amp, into an Aguilar GS112 1×12 bass cabinet with the piezo tweeter turned all the way down. Simultaneously tracked the bass DI .
For the hard rock moments at the end, I ran the bass into a Line 6 Bass PODxt then straight to sound card—behind the Strat hard rock part I used the “Huge 360″ preset (models the ’70’s era Acoustic Control Corporation 360 with 1×18); with the Les Paul part I used the “Eden 112″ preset.
Drums:
The snare, cymbals, and toms are single hit samples from the Bun E. In A Box sample/loop collection. I don’t use loops, I manually copy and string together dozens of single-hit samples—e.g. a snare drum being hit once—to create my own beats/fills. The kick drum is a secret found sound I recorded at home which I will reveal to the world someday, can you guess what it is?
Recording chain:
Guitar: Shure SM57 dynamic mic to M-Audio DMP-3 dual channel mic preamp, to M-Audio Audiophile 2496 sound card to PC hard drive.
Bass: For the blues track I mic’d the Aguilar cabinet with a Studio Projects C1 large diaphragm condenser mic, about 10″ out from the speaker and closer to the edge of the speaker than the middle; tracked DI simultaneously and mixed the two later. For the hard rock bits at the end I recorded direct using Bass PODxt, see above.
Tracked/mixed with Cool Edit Pro 2.0.
Event ASP8 Studio Precision monitors.
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Get Stuff not on youtube!! http://www.guitarjamz.com/new_requests/
Learn guitar at http://www.guitarjamz.com
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Line 6 POD X3 – Marshall Models
Most of the Marshall Models that can be found on the Line 6 POD X-3, just the Amps emulation, without any effect or stomp box simulation added. Played with an Epiphone Les Paul Standard. The models included in this videos are:
- Brit J-900 Clean (* based on a Marshall JCM900 clean settings)
- Brit J-900 Dist (* based on a Marshall JCM900 Distorted sound)
- Brit J-800 (* based on a Marshall JCM800)
- 1968 Plexi Variac´d (* based on a Super Lead as used by EVH)
- 1965 Plexi 45 (* based on a Marshall JTM-45)
- 1968 Plexi Lead (* based on a Marshall Super Lead)
- 1968 Plexi Jump Lead (*based on a Marshall Super Lead with Ch1 and 2 jumpered together
(*) These trademarks are use solely to identify the products of those manufacturers whose tones and sound were studied during Line 6´s sound model development.
Line 6 POD X3 – Modelos Marshall
Una gran cantidad de modelos Marshall que se pueden encontrar en el Line 6 POD X3, unicamente la emulación de amplificador, sin agregado de effectos. Grabado con una Epiphone Les Paul Standard. Los modelos en order de aparición son:
- Brit J-900 Clean (* basado en un Marshall JCM900)
- Brit J-900 Dist (* basado en un Marshall JCM900)
- Brit J-800 (* basado en un Marshall JCM800)
- 1968 Plexi Variac´d (* basdo en un Marshall Super Lead modificado por EVH)
- 1965 Plexi 45 (* basado en un Marshall JTM-45)
- 1968 Plexi Lead (* basado en un Marshall Super Lead)
- 1968 Plexi Jump Lead (*basado en un Marshall Super Lead con los canales 1 y 2 unidos)
(*) Las marcas antes mencionadas son utilizadas unicamente para identificar los modelos sobre los cuales Line 6 se baso durante el desarrollo de sus productos.
Hope you like it, more to come
Regards
Martin
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Some distorted sounds I have with this stuff:
Hartke PiggyBack 60w + Korg AX1000G + Epiphone Les Paul Studio Red Wine (´98 Edition)
It´s not a Marshall and Gibson but I think it sounds great!
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Jon Lord, Ian Gillan, Ian Paice and Roger Glover talk about Jon’s overdriven / distorted Hammond organ sound(mostly referred to as “The Beast”) used on various Deep Purple records, albums such as In Rock, Machine Head and Made In Japan. Jon also gives a nice demonstration, playing the organ solo from Highway Star. Truly a great piece of Deep Purple history!
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Clean and distorted sounds of the Powerblock head. I’m using the Crate 1*12 GT112SL cabinet. Sorry for the quality, I used my digital camera.
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Clean and distorted sounds of the Powerblock head. I’m using the Crate 1*12 GT112SL cabinet. Sorry for the quality, I used my digital camera.
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