ilovefuzz.com

Forrest, have you tried using a bow? Seriously, maybe you want to try a violin bow or ebow?
Conkers, that was the best standby switch story ever.
Soldano haters? That shit be strange.

Iommic Pope wrote:Forrest, have you tried using a bow? Seriously, maybe you want to try a violin bow or ebow?
Conkers, that was the best standby switch story ever.
Soldano haters? That shit be strange.

I'm usually a pretty humble guy, but lately I've been proud as fuck of my guitar tone. I let it do the talking last night. I would post clips, but a friend who rode with us recorded us and I learned that you never ever let a drunk guy work a video camera.

conky wrote:Played Atlanta for the first time last night. Had a blast. Every band was awesome at what they did. One was like if CKY, Eyehategod and Russian Circles had a baby. Their bassisty played through a V4, a Univox, and a Dean Markley amp, and the guitarist ran a Sovtek and a shit ton of pedals. Another band sounded like MBV mixed with surf rock covering Silversun Pickups. The bassist used an Elements and sounded so thick. Had one guy come up before oogling my rig while we were setting up and he was telling his hipster douchebag buddy that Soldanos were too icepicky and you couldn't get a heavy tone out of them, and how all they were good for was 80's cock rock. I flipped the standby switch off and hit an open A and let it ring out for a good 15 seconds before palm muting it a little. Shut my standby off and walked off stage while overhearing the guy's buddy saying he didn't know shit about tone. Sold some merch and left making a good impression on the club. Hopefully we'll be back there soon.

Ha! Love it.

Corey Y wrote:

ryan summit wrote:yessireee
love that shit
god that aria sounded so good too
just couldnt jive with the layout or the pink
i always said turning the aria on
was like unsheathing a huge sword

I've heard a lot of people complaining about the layout on that series of Pigtronix pedals. I don't mind it, I already have to turn things around every which way to fit, especially with Nick's huge ass pedals. I love the tones I can get out of that Aria though, I've used that thing on so many recording projects.

I definitely prefer the upright design, but guys Zvex and Pigtronix are representing the sideways pedals that some people only have space for. You can turn an upright pedal on its side, but then the jacks are in awkward positions. We need a few companies offering sideways pedals.

Forrrest wrote:

AxAxSxS wrote:Dial the gain back a bit? Stand farther away from amp? I know, neither option is something you want to do

is this the only real solution?


I've used compressors in the past, but I found I only went to feedback faster.
can anyone explain the dynamics of what happens exactly that makes your guitar feedback & not sustain the notes you're playing.

I can't explain the science behind it, but unless you test each possible cause one at a time you won't really know where it's coming from. A noise gate will definitely help, but some of them can suck your sound (that's their job). Running good ones with just a slight bit of attenuation is something to try. Find a friend who has a good one and ask him if you can borrow it for a couple of days to test it with your rig.

Regarding the microphonic pickups, this is quite possibly causing the unwanted feedback, but microphonics are often considered a desirable trait. It's not so in amps, but pickups have a different character to them when they're slightly microphonic. Most vintage guitars that cost $10,000 have microphonic pickups. It's actually considered a good find if you discover a vintage set of pickups that perfectly blend microphonics into the sound. However it does cause feedback.

conky wrote:Played Atlanta for the first time last night. Had a blast. Every band was awesome at what they did. One was like if CKY, Eyehategod and Russian Circles had a baby. Their bassisty played through a V4, a Univox, and a Dean Markley amp, and the guitarist ran a Sovtek and a shit ton of pedals. Another band sounded like MBV mixed with surf rock covering Silversun Pickups. The bassist used an Elements and sounded so thick. Had one guy come up before oogling my rig while we were setting up and he was telling his hipster douchebag buddy that Soldanos were too icepicky and you couldn't get a heavy tone out of them, and how all they were good for was 80's cock rock. I flipped the standby switch off and hit an open A and let it ring out for a good 15 seconds before palm muting it a little. Shut my standby off and walked off stage while overhearing the guy's buddy saying he didn't know shit about tone. Sold some merch and left making a good impression on the club. Hopefully we'll be back there soon.

Holy shit that guy is a tremendous idiot. Icepicky. MATT PIKE TONE IS TO ICEPICK, HIGHONFIR IS COCK ROCK

Sounds like it was awesome.

AngryGoldfish wrote: I can't explain the science behind it, but unless you test each possible cause one at a time you won't really know where it's coming from. A noise gate will definitely help, but some of them can suck your sound (that's their job). Running good ones with just a slight bit of attenuation is something to try. Find a friend who has a good one and ask him if you can borrow it for a couple of days to test it with your rig.

I don't think a noise gate is going to help me, I can easily mute the strings with my hands as needed when the feedback starts building. It's mostly just an issue of getting the sustain to last longer before the feedback creeps in. Better bridge/nut?

AngryGoldfish wrote: Regarding the microphonic pickups, this is quite possibly causing the unwanted feedback, but microphonics are often considered a desirable trait. It's not so in amps, but pickups have a different character to them when they're slightly microphonic. Most vintage guitars that cost $10,000 have microphonic pickups. It's actually considered a good find if you discover a vintage set of pickups that perfectly blend microphonics into the sound. However it does cause feedback.

I'll try a bunch of things later this week, change things up, see what's working what's not. I just want to write songs with longer sustain and i'm limited by my gear... or I'm spoiled that my synth can blast an infinite sustain chord.

Forrrest wrote:

AngryGoldfish wrote: I can't explain the science behind it, but unless you test each possible cause one at a time you won't really know where it's coming from. A noise gate will definitely help, but some of them can suck your sound (that's their job). Running good ones with just a slight bit of attenuation is something to try. Find a friend who has a good one and ask him if you can borrow it for a couple of days to test it with your rig.

I don't think a noise gate is going to help me, I can easily mute the strings with my hands as needed when the feedback starts building. It's mostly just an issue of getting the sustain to last longer before the feedback creeps in. Better bridge/nut?

AngryGoldfish wrote: Regarding the microphonic pickups, this is quite possibly causing the unwanted feedback, but microphonics are often considered a desirable trait. It's not so in amps, but pickups have a different character to them when they're slightly microphonic. Most vintage guitars that cost $10,000 have microphonic pickups. It's actually considered a good find if you discover a vintage set of pickups that perfectly blend microphonics into the sound. However it does cause feedback.

I'll try a bunch of things later this week, change things up, see what's working what's not. I just want to write songs with longer sustain and i'm limited by my gear... or I'm spoiled that my synth can blast an infinite sustain chord.

i'd definitely start with the guitar. bridge and nut replacements may help, as well as pickups. you said you're playing a tele, right? in general bolt on neck guitars tend to have less sustain than a set neck or neck through, with neck through having the most. although the trade off is usually that you will experience a slightly darker tone with set neck and even more so with a neck through. also, the room you're recording in can have a big effect on feedback. treat the room, or record in a different room to see if you get better results. try standing further from the amp, or perhaps behind it or off to the side when recording. if that doesn't work, perhaps you can find a pickup more suited to your goals. if that doesn't work i would maybe consider borrowing some different guitars from friends to see if that helps before you start dropping a bunch of money into nuts and bridges.

the amp is maybe the least likely culprit. i would start with the guitar and you can't get any improvement there then start looking for other dirt pedals.

Fans of Karp, Helms Alee, Big Biz, BSOK, etc:

http://sandrider.bandcamp.com/album/godhead

This shit is pretty good.

Hell yeah, Sand rider is rad.

If anyone cares: Black Sleep of Kali are calling it quits. Denver Black Sky is their last show. I AM BUMMED.

That sucks

It's like listening to a guitar being played from inside a very thick, shaggy dog

I'm a firm believer that all amps needs a "Fog" control.

Yea check I got one of those.

Scientist Pun for Today. (Taken from spam email for upcoming MRS meeting)

"It never Hz to ask!" (in reference to a high frequency imaging system)

pelliott wrote:Fans of Karp, Helms Alee, Big Biz, BSOK, etc:

http://sandrider.bandcamp.com/album/godhead

This shit is pretty good.

Been waiting for this one to come out, I was listening all day yesterday, killer album.

Yeah that Sandrider is fucking great. Thanks once again, doom room.