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Post by Pete aka shouldb on Aug 12, 2015 3:20:07 GMT -7
I usually play my Therapy with the V between 1 and 3 o'clock, and the rock tones are GLORIOUS! But this last weekend, Aynsley Lister played both my Therapy and my Z28.........and had the Z28 set at 333, then rolled back the T to 2 and the Bass to 1, THEN hit the front end with my Soul Food set zero Gain and the Volume maxed. He rolled his GV back to 3 and worked it between 3 and 10..........oh GOOD GRIEF!! Such RIGHTEOUS tones! I need to get close to that with my Therapy.....I just NEED to! It was WAY to loud for the gigs I do, and was even louder than his Marshall 2144 2x12 (!!) so using the Therapy MV is a must, and I like the added harmonics and slight "give" in the Therapy ............. Pete is on a QUEST!!
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Post by j4gitr (John) on Aug 12, 2015 6:42:06 GMT -7
I like the idea of opening the amp up and dialing back the guitar. There is so much tone and texture in those volume and tone pots. I used to play everything wide open on the guitar, then realized they were put on the guitar for a purpose. Why not make use of them. A little boost pedal can awaken things as well which is how Aynsley apparently was working the Soul Food.
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Post by kc on Aug 12, 2015 7:12:47 GMT -7
I like the idea of opening the amp up and dialing back the guitar. There is so much tone and texture in those volume and tone pots. I used to play everything wide open on the guitar, then realized they were put on the guitar for a purpose. Why not make use of them. A little boost pedal can awaken things as well which is how Aynsley apparently was working the Soul Food. +1000! kc
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Post by southmusic70 on Aug 12, 2015 7:41:02 GMT -7
Having done a lot of playing on guitars that are prone to feedback (arch tops, etc.), by necessity I stay pretty low on the guitar volume control(s) and let the amp do the work. There's a really good sound that comes from a full-body arch top w/volume set under 5 into a big bottle tube amp; with the volume set there - or even lower, the guitar keeps more of its acoustic identity, and that's probably a lot of the reason why jazz players will use an amp as powerful as, say, a Fender Twin Reverb.
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Post by doctorice on Aug 12, 2015 7:41:49 GMT -7
I'll be following your quest, Pete, to see where you go next.
Did Aynsley dial back from 333 to match up to his guitar and/or the "always on" Soul Food? Perhaps he did that to push the mids up a bit?
I may have to pull the Z-28 off the shelf...
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Post by Pete aka shouldb on Aug 12, 2015 10:04:15 GMT -7
I'll be following your quest, Pete, to see where you go next. Did Aynsley dial back from 333 to match up to his guitar and/or the "always on" Soul Food? Perhaps he did that to push the mids up a bit? I may have to pull the Z-28 off the shelf... He did it to adjust to what the room was giving him.....it was a hard surfaced hall, so he was getting too much bite from the treble and too much boom from the bass........... he wasn't messing with the Soul Food (he uses a Klon on his board, always on, always clean.......) On his Strat he was playing down at 3 on the GV with no Treble Bleed cap! He doesn't believe in them, saying that the clean boost more than compensates, and the guitar opens up more.......... interesting twist, and he gets a HECK of a tone no matter what he plays........... a real authoritative tone!
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Post by premiumplus (Dave) on Aug 20, 2015 5:47:30 GMT -7
I like the idea of opening the amp up and dialing back the guitar. There is so much tone and texture in those volume and tone pots. I used to play everything wide open on the guitar, then realized they were put on the guitar for a purpose. Why not make use of them. A little boost pedal can awaken things as well which is how Aynsley apparently was working the Soul Food. I heard it on good authority that Walter Becker does just this with his amps. He opens them all up, cranks everything, then uses the guitar volume and tone to get him to the sweet spot. Seems like a recipe for noise to me, but it sure works for Steely Dan.
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