Showing posts with label sound notes. Show all posts
Showing posts with label sound notes. Show all posts

Tuesday, December 24, 2013

Tone is in your bones

Tone is in your bones

In an attempt to put an end to the endless debate about “Tone” (which is really  senseless since it’s a matter of individual perspective based on abstract experience) within absolute logic by means of deductive reasoning. Interestingly I find that those who are stubborn enough to express their absolute opinion on the matter are always resorting to very trivial arguments to the point that they fail to realize that guitars regardless of make, cost, and other bells and whistles are still just guitars. The guitar is both science and art but its main purpose is predominantly for art. If you take away the science part it becomes purely mystical and subjective, on the other hand if you take away the art part of it the debate about “Guitar Tone” becomes meaningless or pointless for it serves no real purpose if isolated from the context of art. If the goal is objectively looking for the greatest factor contributing to one’s tone or where it truly exist here is my deductive view. 



Without the art or the artist associated with it, the guitar is just a glorified plank of wood with some wires and metal. It can either be an overpriced ornament or as good as firewood. Think of Brian May and Van Halen, if these guys did not became God like in both playing and fame how would their guitars be appraised? The Red Special is as good as firewood while the Frankenstrat is generic as hell. So how did these seemingly cheap/decent guitars become legendary and expensive? Because of the players associated with them or rather the players they got associated with. With that in mind now we see the logic behind guitar endorsement right? Oh yeah there is this one guy who became the image of a guitar company called Gibson, he rose to legendary status playing a fake Gibson and his name is Slash eventually Gibson made a signature model out from that fake Gibson model. So what have we eliminated in this? The brand and maker, Brian’s Dad made his guitar he’s not even a guitar maker, Eddie made his own guitar from generic parts wound his pickups at random tries until he gets what he feels is the right for him, Slash had someone built him a clone. And we all agree that these guys have definitive sounds of their own. The guitars do not define the player, the player define the guitar. Figuratively speaking tone is in their bones. The ax is as good as the one wielding it. The guitar is only as good as the player. The player is only as good as his sense of art. 




What about specific gear combinations defining tone? Okay let’s talk about the Edge a little bit. What If he didn't have his hands on a memory man? Or say the delay effect was never invented? How would he become famous and associated with his legendary sound then? Did the memory man define his sound? Of course not right? Because if that was the case, then we are giving credit to the tools used rather than the artist who used them. The delay pedal was invented for the player the player was not born to be a user of the Memory Man. No one really thought about the dotted 8 note repeats while playing 16 notes more than the Edge at that time. And there were many other echo devices out there that could do the same trick it so happens that the Memory Man is what he had. What if he never had the Vox AC30 or the Gibson Explorer? Fast forward a little bit… He had this black strat, a Marshal, and TC electronics delay unit. It’s a different set of combinations but still sounds like him right? Oh yeah he had racks and racks of FX devices and have like 20 to 30 guitars in one show rarely (and at times not even) repeating the same combination yet we all agree that it still sounds like him. So what can we eliminate here? Is it the gear combination that create his tone or is it he who create the tone(s) using the gear combination(s)? Of course it is he who creates the tone. Figuratively speaking the tone is in his bones (in his mind) and not in the gear, the gear were merely tools. Tools are only as good as the one who is using them. 



We can only come to the conclusion via deductive reasoning that tone is in the mind, body, and soul of a player it is he who create tone(s) by using and combining different set of tools with different make and cost for different artistic reasons. The tools themselves are just tools, inanimate objects with no life and purpose other than what the player gives them. Tone is in your bones, you are the tone. No matter how hard you try or what you use you are going to sound like you if you have it in you. If you can’t hear the tone in your mind you will never get it in any piece or combinations of gear. Just like everything that is created or invented it can never exist in its material form if it did not exist in someone’s imagination first. Whatever gear combination you have you will use it and tweak it according to what you hear in your mind. In the complete absence of tools, one will definitely find a way to create such tools needed to produce for the expression of art. Or use whatever is available. History has proven that. A guitar or gear combination regardless of make and cost can produce good and pleasant tones in the hands of a player who can use it effectively and it can work the other way around it can sound horrible in the hands of an incompetent player. The question of artistic beauty is totally subjective consequently the tools regardless of make and cost are again dependent on such given factors based on that subjective experience (Marketing and Cultural influences included). On a final note, Tone is in your bones… the rest are merely augmentations and various expressions of that tone which is you or a representation of something that exist within you.


Wednesday, February 15, 2012

Kustom Powered - HV30 experiment












Bang! It was February 15 and I got blown away by the performance of the Kustom HV30 combo amp that I decided to take with me to a gig. The place was called Amos Café located along Kamias Road Quezon City I was invited by Renmin Nadela of Republika Delata / Agaw Agimat for Guerilla Music Productions. An Indie production outfit that I am honored to be a regular feature. I often bring along a Defender V50 an all tube amp which my Boss sir Alvin Q offered to me as a work perk but for this event I had the crazy idea of bringing in a smaller amp and see how it would hold up against the amps that were installed in that joint they were mostly 100 watt combos. I knew that the Kustom amplifier lines are very conservative in publishing power ratings ever since I first tried them but I wanted to see how far they can go. Just by feeling the amps nominal volume levels I kinda know that the Kustom 30 watt rated amps can hold up against 50 watt ratings from other brands so I thought that this would be a perfect time for a case study. In all fairness the HV30 is equipped with an amazing speaker emulated output so in case It fell short of what I expect it to do I can always plug it to the P.A. but as we breezed through the soundcheck (a jam of Richie Kotzen’s “Doin what the devil says to do” Check out the link ) I felt that I don’t need to hook up to the P.A. The HV30 had so much headroom that I was able to cut through. The usual combo amp matching is 60 watts vs 100 watts guitar and bass amp respectively but the experience proved my theory I was using a 30watt combo but I was right there between the drums and bass.


Monday, December 19, 2011

Work Perk

Please enjoy this instrumental Jam of a song from the Spirit of Radio CD which I released this year. I used it to demonstrate the sound the of the Kustom Amp KG210fx - pretty good amp for an entry level solid state model excellent price and cosmetics as well. I feel very honored to have been offered a Job by http://www.modulardisplaypro.com/ what else could be a dream day job for a guy like me? It's been a long time since I was connected to any Music Gear marketing company now I'm back and really excited. I'd probably write more in the next few weeks regarding this new Job and new toys that I've been playing around in the office. My job entails doing these things shown in these videos on a regular basis. Hope you enjoy them as much a I did.









Please feel free to comment

Monday, April 18, 2011

Guitar Chat

As much I’ll miss the customary free drinks while having guitar conversations with younger players and peers in between live sets, I took the liberty of sharing these common topics by means of this blog to everyone who is interested in my style as a guitar player.

A style built on personal and logistical limitations

The first would be “The Sound” – The most common pick up line would be… “sir ano yang tatak ng gitara mo tsaka setting ng mga FX mo ganda kasi po ng tunog?” Like most of you know I’ve been using OEM and self built copies for the longest time (I haven’t had branded guitars in like 6 years or so) and I usually play through 3 or 4 basic cheap pedals. Most of the time they just wonder, how I pulled off that sound or “The Sound” Since I always get these questions I developed this standard response… “When I was starting out I didn’t have the resources to play with branded equipment so I developed the ability to tweak and maximize whatever gear combinations that I am playing through. Even my sound is built from logistical limitations I had no choice but to try to sound good with what I have. Fast forward to the present I could somehow get close to my identified sound (whatever that is) with whatever gear combination. How does one do that? Usually that’s the follow up question. My response to this is that I am only dialing in tones according to what I hear and see in my mind… again somehow I get close to that. No special techniques, secret tricks, no nothing. Much of that although debatable I believe is the combination of my anatomical or physiological structure, and emotional response to music…. The gear combinations are just augmentations of the sounds which I am attempting to make. Since “Tone” and “sound quality” are arbitrary I put less emphasis on them as the identifying sound and more on the Metaphysical element… well for me at least.

The second would be “The Technique” – I always say that I am not a very technical player at all, my first heroes where actually Anti-Heroes…Dave Evans and Johnny Marr. But of course later I discovered an inclination to African American music as I go back in time studying. Although I don’t sound like traditional blues players 90percent of what I do is borrowed from R&B, and 70’s east coast soul. Again the emphasis is on the Metaphysical element and not so much on technique. I’m not saying that I didn’t study theory, actually I did. In the first 2 years of my venture into guitars I did the rigid studying of Scales, Modes, and Progressions. But I started to appreciate my playing when I started to just play and not mind theory. In doing so it allowed me to play freely and not constantly think of what to play next. That was the beginnings of my spontaneous style of playing. You still need to study theory but let it sink to your sub conscious mind to be able to play free and not continually analyze your performance in realtime. In short study with your Left brain and play with your right (http://www.funderstanding.com/content/right-brain-vs-left-brain). What usually happens in my experience is I just ride the music and about a couple of milliseconds before I actually play a part I grab it and try to put lots of conviction to it. I don’t think too early and I don’t super impose what to play. It’s all within the moment give or take those milliseconds. I guess the fluidity in my playing is attributed to that behavior. This behavior again is a result of my personal limitations. I have very poor verbatim memory that means I’m better at remembering things in context so naturally improvising is the better approach for me. I am naturally inclined to play simple but fluid and effective rather than super imposed complex thought off parts but obviously challenged. A few coherent set of words communicates well than a thousand words you missed.

That’s all for now I hope you got something out from this.

Wednesday, June 2, 2010

Geek stuff again

Okay here we go again I had to re configure my pedal setup right before we went on tour in support of Sugarhiccup's fourth album entitled "After Five Years" that kicked off from April to June. Well since we will be (were) playing the new stuff I got enough reason for me to do some geeky tinkering with my pedal setup to suit the needs for my live guitar sounds.

My current signal chain goes like this.....

The guitar signal goes into aTS808 (1) clone which I modded to facilitate an external loop going into another pedal a Boss DS1 (2) using the 808's stomp switch to toggle between pedals... of course the 808 is for my main crunch while the DS1 is for the more saturated drive tone.

From the 808's(DS1) output the signal goes into an Artec Twinhead (3)Pedal which I use for Feedback and Solo Boost from there goes into a DOD Vibrothang (4) set to play like a leslie for especial tender moments then goes to a Tuner (5) before going into a cheap volume pedal (6) that I use for swelling and silent tuning then it goes into an Artec delay (7) and a Boston engineering Chorus pedal (8) completing the chain before going to the amp, the board is powered by a 1spot power supply (9) re-cased into a printer adaptor (I hated the 1spot plug shape).

I run the sound still very much the same... the 808 as the main tone always with a little fiddling of the guitar's volume knob for the right clean or crunch tone... toggles to the DS1 for a more heavier drive then stomp on the twintube fr more juice.... I sort of have a triple stage drive circuit with this setup.... so here is a closer look at em.

Sunday, May 10, 2009

Sugar Sound

It's been a while since I last wrote something about my gear, well since I'm the new guy playing guitar for Sugar Hiccup allow me to share my current setup for this award winning group from the Band explosion during the 90's. Here it is....

My pedalboard contains the following.... Boss DS1 distortion, - TS808 Clone, - Matrix Tuner, - DOD Vibrothang, - Artech Analog Delay, - Beta Aivin, - Ch1, - Behringer Mic100 Tube Preamp

So that's about it.... I often use my Les Paul copy for Sugar Hiccup gigs with the TS808 clone always on, I just roll-off a few increments of the volume knob for cleaner passages and crank it all the way up for OD crunch then step on the DS1 for the patented screaming flamboyant rock & roll guitar solos (hehehe mondo gain is needed for that). To add some dimension and ambiance The Analog delay is mostly turned on as well (at about 330 milliseconds one time slap... plays the dots on a dotted 8 note feel but i do'nt want to give away my guitar hero for that so make a wild guess... so? yes i kinda ripped off some from his bag of tricks. if i try to gallop with that "on" i could get that 8 note shuffle feel playing only the first and 3rd note of a triplet feel.... actually that's how i know that i got the delay time right, when that shuffle thing is going like that). Plus a touch of slightly detuned chorus for songs like "5 years" and "Awa". The Vibrothang is then used for special moments to add some drama to my minimalistic approach, that little thing is set to play something close to a Leslie... of course i have to kneel down and tweak the speed knob to match tempos with the song('s). The last piece the mic100 preamp is only used when im plugged in a rather crappy amp hoping to sound better... yes you still get to play crappy amps (it's a fact of life in a 3rd world nation) even if you play with a celebrated band from the 90's.

Anyway here is a soundcheck clip from the Monster Radio RX concert series appearance....



Check out the actual videos of the performance from the said show to hear them in action.

Till next time,

Tuesday, February 24, 2009

More guitar stuff

here is another video of me noodling around with my inexpensive gear, it's a kind of statement that you can sound good even without expensive gear...

Monday, September 8, 2008

My Current Rig

My wife is questioning me again for a couple of gear acquisitions this month luckily for me I have an excuse this time with my new band Pearldrive (new band new gear some excuse ha). Anyway I recently got hold of an old Multi FX by Korg... an AX30G in perfect gigging condition and a Korean Lespaul copy which is actually a good looking good sounding knock off of the real thing. I have utilized this new setup in the last 3 PD gigs and kinda satisfied about it. Here is my setup.... GUITAR - (cheap) wah – Matrix tuner – Korg AX30g – Arion EQ- (cheap) Volume Pedal (ax30 exp controller) – DOD vibrothang – AMP.

Tone Breakdown: I use the Korg Multi basically for overdrive, modulation, and delay combos. Replacing 4 pedals that I have been using for several years those pedals are the following... Boss BD2 blues driver, Arion Stereo flanger, Ibañez phaser, and Boss DM3 Delay (the ngongo decaying sound of the delay tail is so very nice. that is what's actually adding sugar to my sound coz it rolls off those nasty highs) all of which are exhibiting retirement symptoms. Sound wise I like the transition the only trade off is the micro second glitch in between changing presets. Which I kinda learn to live with Live. Its an old unit but sounds better than the new ones to my ear (its not as super sterile sounding)... kinda analog-ish sound. The Delay on it is a perfect replacement for the DM3, it can recreate the low fi analog decay tone to one's liking... yes a separate parameter just for that, and the tap tempo is amazing too. I still kick on the Arion EQ for solo boost a must in a live situation. While the DOD Vibrothang is used for special moments. I'ts a very nice pedal you get four different types of sound in this one little pedal... from vibrato, leslies, tremolo, with a little bit of phasing and flanging. Maybe I'll try to upload a video run through of my rig and let the sounds do the talking...

Like I always say “The tone is in your bones”. From all analog to a hybrid setup? It was just ok, maybe soon I'll learn to love the feel of an all digital modeling FX for my live rig.

till next time.

Tuesday, July 22, 2008

Gain Before Feedback

As a gigging musician we all should know this electronic concept. All amplification systems have Maximum gain before feedback. It means that there is a limit to how far an amplification system can be cranked up before this thing we call feedback burn our ears. Bands, Roadies, and Managers, often almost immediately commands a sound engineer to turn the mixer faders up whenever they think they are not hearing the vocals enough. They go on saying like “put more volume on the mic I cant hear the vocals” and ignoring the the soundtech when he says it's on the max already. For experienced players they ask often like this “can we put some more volume on the mics?” What we don't realize especially that if your like the third band already, maximum gain before feedback settings are already on since the first band. Ever wonder why the sound engineer is not giving your request?... It is because he has nothing more to give... the next thing you'll get is feedback. If the singer is complaining that all he can hear are the guitars, maybe just maybe they are a bit too loud (duh!) so if my calculation is correct then if we turn down the guitars we could hear the vocals more. elementary science tells us that matter can't occupy the same space at the same time, That simple? as simple as it is... Yes that simple.

Case study

Roadie- hey dude the guitars are not on the house
Tech- are you kidding me? Its in the walls, the ceiling, the restroom, and the parking lot. The only thing that's not on the house are the drinks you'll have to pay.

What the tech is saying is that the guitar amps are too loud its all over the place that even if it was already muted from the house PA they are still ringing the whole joint.

Roadie- Cant hear the vocals turn the mic up
Tech- Is he singing I thought he was just lipsyncing. I'm in full throttle and hes not even exciting my compressors. Maybe he should consider singing on an acoustic band instead of metal.

There are just some singers who cant put out enough air to move and excite the mics enough to cut through a dense mix pushing the volume wont help, again the next thing you'll get is feedback.

In Conclusion Everyone on Earth knows that in a musical piece the vocals should be on top of the mix, don't you think the soundtech don't know that? Of course he does maybe the band should know that too and be vigilant with their stage sound especially if they cant afford to hire their own soundguy (by that I mean someone who knows how to run, tweak, and troubleshoot a system and not just a loyal fan that tags along). The sad reality is that most roadies that bands hire don't even know how to turn on an amp and I'm not joking I see them every night at gigs and they call them techs. Get a roadie that knows your music and some basic electronics.

Lets give them sound Engineers a break

Sunday, May 25, 2008

Live Show Techno Stress

I hope you find these articles useful as you travel to your artistic journey. After more than 15 years of experience playing from both sides of the glass I've taken the liberty of sharing these concepts and realities pertaining to creating, playing, and producing music that would provide artistic fulfillment as well as objective beauty. Fortunately for me I had the chance to experience being both as a performance artist and a live (studio) sound engineer at the same time, with this I have a balanced (as opposed to biased) understanding of both fields freeing me from stress and paranoia that live production and all it's thrill brings when I'm playing as a performer or an engineer. My 15 year training consist of pursuing performance arts as you know mainly as a guitar player, a songwriter, and a singer during the nighttime, 10 of those 15 years I worked for 2 of the biggest music and concert equipment provider in the country as a sales supervisor and technical consultant during daytime. I had the joy of studying and enjoying all those gear and how they work at my disposal (I just wish I could own them all the only problem is they wont fit in my house.... oh and I don't have the money to buy them either sucks!). Yes you have probably met me and talked to me about music and gear stuff if you were visiting Perfect Pitch and JB Music. About 8 of those years I also had the chance to work for 3 media production companies (one of them I co-owned). I hope you trust me on this. I perfectly understand it's your art and there are no rules to what is right or wrong in the field of arts, but I also believe that there is such a thing as objective beauty and order. Heck it’s a free country take it if you like spit if you don’t. I'll be posting them in the coming days do watch out!

Tone Chase

Listed below are all the gears that I have owned and used for live gigs and recordings most of them are either sold, lost, destroyed when my house was burned or just broke down beyond repair, the bold ones are what's left with me... Despite having all this gear I firmly believe you can never get your sound from the gear that you are using, they only augment your playing and sound... Your sound basically comes out from what you hear in your mind, how you attack your playing, and how you dial in tones according to what you physically hear from whatever gear you are using. The Tone is in your Bones I always say.

Guitars: Yamaha Classical guitar, Local made strat copy (from Santa Mesa),Local Made Les Paul copy, Aria Pro 2, Custom Built Telecaster by Doro, SRV strat copy, Genesis Series Superstrat, RJ Stratocaster with a Fender Japan aftermarket neck, Custom Built Les Paul Junior by Fredo, Frankenstrat by me, Fernando Korean Classical Guitar with active electronics, 60's re-issue Fender Strat with Texas Specials, Korean Squire Telecaster by Fender, 50's vintage Telecaster copy by Arie, another Les Paul Junior copy, Epiphone Acoustic Guitar, Fernando Korean Made Stratocaster, Korean Made Les Paul copy, Fat Telecaster copy

Amplifiers: Yamaha 15 watts, Marshall MS2, Fender Bullet Reverb, Behringer V-Tone Amp... I never got to own bigger amps since I always do rehearsals at rented studios while gig venues often had better amps than I do so I just had those little practice amps

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Analog Pedals: DIY overdrive pedal, Boss Metalizer, Guyatone Phase Shifter, vintage Roland Jet Phaser, Arion Analog Delay, Boss DS1, Boss MT2 (x2), Daphon V847 copy wah, Boss DD3 (x3), Boss RV3, Boss CH3, Boss DM3, DOD Vibrothang, Marshall DRP1, Boss, OD3, Boss DS2, Boss PS3, Arion Flanger, Arion Octaver, Arion EQ, Zoom FP01, Boss HM2, Korg EXP2, Boss TM7, DIY Loopers, Boston CH100, Dunlop Crybaby, Daphon Chorus, Daphon Stereo Volume Pedal, Lazer Crybaby (x2), Morley PMV2 wah/volume pedal, Ibañes Soundtank Phaser , Danelectro T-Bone Distortion, Boss BD2 (DIY Keeley Mod), Denio Super Overdrive

Digital Multi FX: Korg G3, Korg AX1G, Korg PX3, Korg A4, Korg AX30G, Zoom 1010, Zoom 3030, Zoom 707, Zoom Studio 1201 Rackmount Processor

Others: Matrix Fender and Seiko Electronic Tuners, OFC Cables, 1.5mm Tortex Picks