How should I approach this tone?

Fabio KTG said:
How about the SLO 100 Amp model? The Soldano 100 is notorious for being brittle.
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I will absolutely give it a try tomorrow (or well, today).
I could be on an absolutely wrong track right now, but for some reason it doesn't seem that kind of Marshall-esque tone to me. I hear brutal mids (super honky) and a fair amount of treble paired with unbelieveable feedbacking.
 
May be my ears playing tricks on me, but sounds like there may be some subtle pitch shifting blended into that tone.
 
axel said:
May be my ears playing tricks on me, but sounds like there may be some subtle pitch shifting blended into that tone.
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This is what it sounds like because of the fantastic overtones that are happening, but I don't think that it would be so complicated.
 
just listened to the two examples and i've heard the exact same sound used by Steve Howe on the Anderson Bruford Wakeman Howe album (don't quote me on that though, my memory is a little hazy). it's an odd sound...massively compressed...a little boxy...and goes into a really lovely feedback seemingly at the drop of a hat... it wouldn't surprise me at all if it's just something like a rat pedal into a gallien kreuger... :)
 
simeon said:
just listened to the two examples and i've heard the exact same sound used by Steve Howe on the Anderson Bruford Wakeman Howe album (don't quote me on that though, my memory is a little hazy). it's an odd sound...massively compressed...a little boxy...and goes into a really lovely feedback seemingly at the drop of a hat... it wouldn't surprise me at all if it's just something like a rat pedal into a gallien kreuger... :)
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What a great catch, simeon! Yes, it's quite similar...
 
I've tried to get close today, but I had no luck at all. I've tried different amp models, cabs, etc. Everything seems so clear and smooth... I can hardly get the Axe to sound brittle. This would be a great thing if I wasn't after this kind of brittleness.
 
To me it sounds like the same part, doubled, with some delay and pinch harmonics. The pinch is always a little bit different so when put down together it gives it that phasey sort of sound.

I could be off but I'm betting it's something simple and just executed very well.
 
MaxStatic said:
To me it sounds like the same part, doubled, with some delay and pinch harmonics. The pinch is always a little bit different so when put down together it gives it that phasey sort of sound.

I could be off but I'm betting it's something simple and just executed very well.
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I don't hear a hint of doubling... the executed very well part is right, but the most exciting and unnatural part is the immediate feedback... just how?
 
simeon said:
(snipped)... same sound used by Steve Howe...and goes into a really lovely feedback seemingly at the drop of a hat...
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That to me suggests that it is less about effects and more about guitar/speaker interaction. Loud amp in the room with the guitarist. I wouldn't be at all surprized if it is a semi hollow guitar I am hearing, like a 135 or 335 (a la Steve Howe).

When recording, if you can get a small amp (whatever... a little 10 w peavey would be fine), plug it in to out 2 and turn it up. the more gain the better. Remember, you aren't recording this amp, so it doesn't matter if it sounds crappy. You are just using it to allow a bit of musical feedback to take off in the guitar.

That's my little direct recording secret out of the bag :)
 
yes, i agree that this isn't to do with fx, doubling or pinch harmonics. i think rook is onto something with the semi-hollow idea and the small amp. along those lines, i think another approach that would use the same physical feedback method would be one of the old sustainiacs that clamped onto the headstock. set to octave up and activated with a footswitch, you'd get that sound as well.
 
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