ultimate djent tones

clarky said:
here's a thought…
as with all styles of music.. it all starts with the player, the instrument and how it's set up..

we all know that Djentlemen like to tune low
here's the thing though… strings - thickness, tension and tone..

tuning thin strings low kills the tension and make the string react slower.. not good for those fast palm muted quads and sextuplets
however…
thick strings pull the tension back, but become clumsy to play.. and thick strings kill the top end..
Djentlemen like top end.. top end = attack and definition when it comes to all those fast palm muted quads and sextuplets..

so I see that there are opposing things going on in terms of behaviour vs needs..
there has to be a middle ground string gauge for given drop / down tunings [on 6 / 7 and 8 strings]

my 7-string tuned concert is nailed: Ernie Ball Hybrid 9's with a .58 for the low B
my 6-strings tuned to D standard are nailed too: Ernie Ball Power Slinky and swap out the 5th for a .40 and the 6th for a .50
then they feel like "Hybrid 9 and a smidge" 's but in D standard
My 7-string in D standard [with a low A] just ain't doing it..
.58 just didn't work - way too slack
wasn't so sure about the .60 - still a little slack but sounded ok
trying a .62 right now, liking the tension, not liking the thickness or the tone [it's a little dark]

I'm considering going back to the .60
Click to expand...

Its a trade off really. Guys compensate, both literally and figuratively haha, by get longer instruments. My 7 is a baritone (I play in drop A also) and it allows for slightly less heavy gauges. 60-70is the way to go especially if your playing a standard scale.
 
clarky said:
here's a thought…
as with all styles of music.. it all starts with the player, the instrument and how it's set up..

we all know that Djentlemen like to tune low
here's the thing though… strings - thickness, tension and tone..

tuning thin strings low kills the tension and make the string react slower.. not good for those fast palm muted quads and sextuplets
however…
thick strings pull the tension back, but become clumsy to play.. and thick strings kill the top end..
Djentlemen like top end.. top end = attack and definition when it comes to all those fast palm muted quads and sextuplets..

so I see that there are opposing things going on in terms of behaviour vs needs..
there has to be a middle ground string gauge for given drop / down tunings [on 6 / 7 and 8 strings]

my 7-string tuned concert is nailed: Ernie Ball Hybrid 9's with a .58 for the low B
my 6-strings tuned to D standard are nailed too: Ernie Ball Power Slinky and swap out the 5th for a .40 and the 6th for a .50
then they feel like "Hybrid 9 and a smidge" 's but in D standard
My 7-string in D standard [with a low A] just ain't doing it..
.58 just didn't work - way too slack
wasn't so sure about the .60 - still a little slack but sounded ok
trying a .62 right now, liking the tension, not liking the thickness or the tone [it's a little dark]

I'm considering going back to the .60
Click to expand...


And this article is some how viable... THE “DJENTSTICK” — HILARIOUS JOKE, GENRE PARODY OR MUSICAL WAKE UP CALL? | The Circle Pit
Take it for what it is worth. And no, I don't feel the same as this guy, I just saw his point.

Now, all that being said, its in your HANDS. :)
 
fkn awesome…. lmao…
love it..

btw - toolfan.. you gave me my 2000th like
cool.. thanks for the 21st century landmark.. lol..
 
2001 A Like Odyssey.. lmao

so... here's what I'm thinking..
given that for just a few days I seem to have acquired a new found interest in Djent, I've also immediately understood it's limitiation from a song-writting perspective..
that said, I think it has a great deal to offer me personally in a great many areas..
easily enough [and some] to warrant deeper study of this style..
being a progger I love the screwy timing and the out-there harmony
being a headbanger I love the power and general mayhem
being a bit of a shredder I really appreciate and rather admire the technical difficulty
being a producer / sound designer I'm interested in what's going on with the tones, recording, mixing etc

I reckon that if I can [to even a moderate degree] get this style down, really absorb all of the principle elements
that there could be some very interesting new tools in the Clarky progger tool kit

don't matter how long we've been playing..
there's always something to be had for trying something new and different..

and being a headbanging prog rock rock shredder type..
this won't exactly be a total away game..
 
I've noticed that the definition control in the amp block (often by several db) sometimes helps with djent tones. It's a delicate balance between using it and the treble/presence controls. Sometimes you have to decrease treble or presence when increasing definition but increasing definition (depending on what amp you're using) really helps achieve the clarity often heard in djent tones.
 
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