![]() ![]() Respond to each other's playing dynamics and be sure to switch it up: take the 'bass' in and out, add or remove distortion, and play riffs in different octaves. ![]() With only one other member in your band, it's crucial to work with your drummer. Meaty powerchords also work a treat, and don't be afraid to venture above the 12th fret, either: the lower-octave output will fill out anything you play at the dusty end, and makes it easy to weave melodies around riffs. Fortunately, with so much power behind you, single-note riffs take on a new lease of life, and are likely to form the bulk of your playing. The danger with playing guitar and bass at once is that octave-down chords can sound a little. Now, send the other ABY output to a guitar amp and hook the pitch-shifter up to a bass amp (or bass DI to the PA), and there you have it: instant bass.Įverything you play will be tracked down an octave and outputted through your bass rig, while your guitar playing will remain uneffected through your guitar rig - take a look at the diagram above to learn more. Next, grab an octave pedal or pitch-shifter - ideally one with polyphonic tracking - and crank up the one-octave down mix, then run one output of the ABY switcher into the octave pedal. A few choice stompboxes can sort out your bottom-end bothers: the first step is to split your signal using an ABY footswitch, or any stompbox with a stereo output. Don't ignore bass amps, either employing even a small bass combo can help to round out your low-end, especially if you're running a parallel effects rig - let us explain. Careful setting of each amp's EQ enables it to fill out the frequencies you lose from an absent bass player, but you'll need a serious signal splitter to run more than two at once (TG241 has more on using multiple amps together). Dan Auerbach forces his roadie to cart three huge rigs around, while Japandroids frontman Brian King employs no fewer than five on stage. Make your sound workįewer band members can mean only one thing: more amps. Also notice that you’ll see arrows going from right to left, as the input on the pedal is always on the right hand side and the output is on the left. Use it wisely, though a relentless onslaught of full-on dirt can be fatiguing, so experiment with different drives for your guitar and 'bass' sounds. The start of the chain is described as the point closest to the guitar and the end of the chain is the point closest to the amplifier. #Wet dry wet guitar rig diagram full#Your drummer will need to work to a click track, which could limit your ability to improvise, but you're guaranteed a full sound.įuzz is the natural ally of the two-piece, thanks to its suitability for both guitar and bass. Whatever model you choose, make sure your drummer can hear your loops - go out of time, and the whole song could fall apart.ĭon't be afraid to use recorded tracks for bass and extra instruments. With only two of you on stage, it could look a little lonely up there, so plan how you're going to perform: try spreading out à la early Black Keys gigs, or feed off each other's energy and rock out.Ĭan't replicate the overdubs from your recordings? It might be time for a looper. Here is the video if you have not seen it.Either way, prepare yourself for some serious work: as the only melodic instrument in the band, it's up to you to provide both rhythm and lead - no pressure! Four things to think about #Wet dry wet guitar rig diagram series#next video in this series will be about that. He used a single Lexicon MPX-1 for delays and reverb only. The best solution was the way Mike Landau ended up running his system. Some guys had all the units 100% and in parallel, but then you lost the coloration of the modulation etc on the delay repeats. But the complexity of the signal path of the effects made it impossible to do in a practical way. Later guys tried to come up with a way to run only effects in the wet cabs. You have most of the dialog (Guitar) in center but there is also dialog in the left/right speakers. think of it as the front of a surround system. It is basically just a regular stereo rig with an added dry channel. Other guys like Lukather had same types of rigs, but with more effect units. This is the original way to run a W/D/W setup. After hearing the huge sound of 3 4×12 cabs on stage he decided to go with it. Eddie told them to put the old speakers back. Turns out his crew had changed out the speakers in his cabs. He got excited and took the idea to Eddie. One day Bradshaw tried to use to use a real speaker cab as a center dry cab. I use my Yamaha SPX-90 for the detune, Roland SRV-2000 for reverb, and SDE-330 for stereo delays. Later they figured out that the speakers impacted how the amp sounds, so they started to bring sealed up speaker boxes to load the amps with instead. They started out running a Marshall Plexi maxed out into a static load box feeding signal to his stereo effects. He was working with Bob Bradshaw at the time. In this episode I run thru the ways EVH used to run his rigs from mid 80’s to around 91. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |