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Post by grampalerxst on Dec 5, 2018 6:55:44 GMT -6
I've made it no secret that I've been deep-diving on Pride and Joy the last few weeks. Playing along and listening carefully at slow speeds I felt I was going nuts because I swore I heard some modulation in SRV's guitar tone. I know on In Step he was using something that is easy to hear on regular playback (dual detuning was in fashion then) but on P&J this was something that wasn't apparent to me except at painfully slow tempos. I thought it was an artifact of the slowing down process but there were some other little things that I had a really hard time nailing down tone-wise. I thought it was mostly an artifact of my picking (strumming, actually)--and to a good extent it was/is. But I learned today watching a demo of some new Boss pedal by Pete Thorn that SRV did use a Boss Dimension D on parts of the Texas Flood album (albeit very subtly), including Pride and Joy. A delicate glaze of chorus would likely explain what I've been hearing.
The good news is that I am not going nuts. The bad news is that what I have held up to myself as a goal in maybe the most perfect instance of capturing a pure guitar tone (guitar+player->amp->mic->tape) wasn't actually that.
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Post by cunningr on Dec 5, 2018 10:03:18 GMT -6
Yeah he used a rotating speaker ie leslie on some songs as well like Cold Shot. SRV tone is strat super heavy strings and loud lol
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Post by Phil on Dec 5, 2018 10:34:58 GMT -6
I'm impressed by SRV's ability to wail away on all 6 strings and have only one note sound out. That's a difficult technique to master, muting unwanted strings with the fretting hand.. Wait a minute.....that's how most of my chords sound.  |
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Post by cunningr on Dec 5, 2018 12:27:25 GMT -6
Yeah He has that distinctive rack for sure.
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Post by grampalerxst on Dec 5, 2018 17:13:55 GMT -6
I'm impressed by SRV's ability to wail away on all 6 strings and have only one note sound out. That's a difficult technique to master, muting unwanted strings with the fretting hand.. Wait a minute.....that's how most of my chords sound. That's one of my biggest accomplishments of the last 1.5 years is getting a handle on fret-hand muting in bluesy contexts. Still a WIP in many respects and for the most part I can't hit all six strings and only sound one desired note, once you get on the upper three strings it gets nearly impossible. Keith Wyatt emphasizes it in Blues Rhythm Guitar (only place I've seen it systematically taught).
P&J uses it on the base line, then on the syncopated stabs he lets the upper strings ring for just an instant before muting them--the kind of thing that makes a guy pull his hair out trying to coordinate when alterenated with the "slapping" technique (Wyatt's term) on the bass notes.
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Post by grampalerxst on Dec 5, 2018 17:24:13 GMT -6
Yeah he used a rotating speaker ie leslie on some songs as well like Cold Shot. SRV tone is strat super heavy strings and loud lol Yes he did use a Leslie on that one, and I think on Tightrope. I think he might have had a cocked wah in his chain most of the time to tame the bass and give the mids some oomph on his neck pickup. Also used a tube screamer often which is another mid boost. He also overdrove his fender amps and ran his Marshalls clean (both at the same time).
It's sort of funny with SRV. I admire him immensely but I'm not a huge fan of the part of his tone that colors what happens downstream of the guitar pickups, at least in general. P&J and Lenny are notable exceptions. The part of his tone that comes from his mind and hands can often be breathtaking to listen to even now.
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Post by Phil on Dec 5, 2018 18:21:48 GMT -6
Yeah He has that distinctive rack for sure. I think your confusing him with Jimmy Pages new wife. |
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