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Grateful Dead Music Forum

A place to talk about the music of the Grateful Dead 

 #157346  by Jubal
 Fri Jul 07, 2017 3:26 am
williamsaut wrote: Specifically the solo in Tales of Yankee power off of the 1991 Double Live CD which has always blown me away.
Oh man! I think about that tone a LOT! That blooming sustain when he first starts winding up that solo. You know it's about to blow. That solo, in particular, is just so soulful.

Anyway, I get something very close to that sound by jacking up my sensitivity knob on my Dyna Comp. completely cutting the tone on my tubescreamer, volume at 12, Gain at 9. Then I add a light blending of reverse delay setting on my FlashbackX4, just a touch, a little tail at the end of your notes, the Comp making your guitar very touch sensitive, that blooming sustain enriches the reverse delay tails. Your guitar should be on the edge of feeding back when idle. Then, of course, I like to add a shimmering reverb, but toned down quit a bit, so the trails aren't overwhelming.

Also, I've not gotten the chance to try it out yet, but Digitech's Freqout pedal....
Every time I see an ad for it, when I hear it, I immediately think of that Freqout pedal. Check it out.
I feel like there are a lot of Jerry's sounds in there, especially when he stretched out in the JGB.

Garcia's Lazy Lightnin' you know... it's not all that easy to catch.
 #157347  by Jubal
 Fri Jul 07, 2017 3:27 am
williamsaut wrote: Specifically the solo in Tales of Yankee power off of the 1991 Double Live CD which has always blown me away.
Oh man! I think about that tone a LOT! That blooming sustain when he first starts winding up that solo. You know it's about to blow. That solo, in particular, is just so soulful.

Anyway, I get something very close to that sound by jacking up my sensitivity knob on my Dyna Comp. completely cutting the tone on my tubescreamer, volume at 12, Gain at 9. Then I add a light blending of reverse delay setting on my FlashbackX4, just a touch, a little tail at the end of your notes, the Comp making your guitar very touch sensitive, that blooming sustain enriches the reverse delay tails. Your guitar should be on the edge of feeding back when idle. Then, of course, I like to add a shimmering reverb, but toned down quit a bit, so the trails aren't overwhelming.

Also, I've not gotten the chance to try it out yet, but Digitech's Freqout pedal....
Every time I see an ad for it, when I hear it, I immediately think of that Freqout pedal. Check it out.
I feel like there are a lot of Jerry's sounds in there, especially when he stretched out in the JGB.

Garcia's Lazy Lightnin' you know... it's not all that easy to catch.
 #157348  by Jubal
 Fri Jul 07, 2017 3:27 am
williamsaut wrote: Specifically the solo in Tales of Yankee power off of the 1991 Double Live CD which has always blown me away.
Oh man! I think about that tone a LOT! That blooming sustain when he first starts winding up that solo. You know it's about to blow. That solo, in particular, is just so soulful.

Anyway, I get something very close to that sound by jacking up my sensitivity knob on my Dyna Comp. completely cutting the tone on my tubescreamer, volume at 12, Gain at 9. Then I add a light blending of reverse delay setting on my FlashbackX4, just a touch, a little tail at the end of your notes, the Comp making your guitar very touch sensitive, that blooming sustain enriches the reverse delay tails. Your guitar should be on the edge of feeding back when idle. Then, of course, I like to add a shimmering reverb, but toned down quit a bit, so the trails aren't overwhelming.

Also, I've not gotten the chance to try it out yet, but Digitech's Freqout pedal....
Every time I see an ad for it, when I hear it, I immediately think of that Freqout pedal. Check it out.
I feel like there are a lot of Jerry's sounds in there, especially when he stretched out in the JGB.

Garcia's Lazy Lightnin' you know... it's not all that easy to catch.
 #157349  by Jubal
 Fri Jul 07, 2017 3:27 am
williamsaut wrote: Specifically the solo in Tales of Yankee power off of the 1991 Double Live CD which has always blown me away.
Oh man! I think about that tone a LOT! That blooming sustain when he first starts winding up that solo. You know it's about to blow. That solo, in particular, is just so soulful.

Anyway, I get something very close to that sound by jacking up my sensitivity knob on my Dyna Comp. completely cutting the tone on my tubescreamer, volume at 12, Gain at 9. Then I add a light blending of reverse delay setting on my FlashbackX4, just a touch, a little tail at the end of your notes, the Comp making your guitar very touch sensitive, that blooming sustain enriches the reverse delay tails. Your guitar should be on the edge of feeding back when idle. Then, of course, I like to add a shimmering reverb, but toned down quit a bit, so the trails aren't overwhelming.

Also, I've not gotten the chance to try it out yet, but Digitech's Freqout pedal....
Every time I see an ad for it, when I hear it, I immediately think of that Freqout pedal. Check it out.
I feel like there are a lot of Jerry's sounds in there, especially when he stretched out in the JGB.

Garcia's Lazy Lightnin' you know... it's not all that easy to catch.
 #158135  by williamsaut
 Tue Aug 29, 2017 9:26 pm
Jubal wrote:
williamsaut wrote: Specifically the solo in Tales of Yankee power off of the 1991 Double Live CD which has always blown me away.
Oh man! I think about that tone a LOT! That blooming sustain when he first starts winding up that solo. You know it's about to blow. That solo, in particular, is just so soulful.

Anyway, I get something very close to that sound by jacking up my sensitivity knob on my Dyna Comp.
You know, mentioning a compressor for Jerry tone is taboo here! I picked up a BYOC Mimosa in the hopes of getting some of that. I used a 2000 series Dyna Comp years ago right at the beginning of my tone quest but got rid of it. I've often felt the even though Jerry didn't use a compressor, his whole rig had a compressed sound because he was pushing it so hard. I've yet to try out a straight ahead tube screamer pedal. I'll have to check it out. The more I listen to the Yankee Power solo, the more I think a lot of that bloom was his uncanny ability to palm and finger mute pinch harmonics with an otherwise over the top amount of stacked distortion combined with the tone roll off he employed. The dude was a tone junky for sure. On another note, have you ever noticed that wonderful growl that can be had when rolling back the guitar tone knobs when using the Mutron III? Just playing with tone from the guitar can expand the available palate tremendously. Tone down, Volume up and vice versa.
 #158139  by MattMan
 Wed Aug 30, 2017 4:16 am
williamsaut wrote:
Jubal wrote:
williamsaut wrote: Specifically the solo in Tales of Yankee power off of the 1991 Double Live CD which has always blown me away.
Oh man! I think about that tone a LOT! That blooming sustain when he first starts winding up that solo. You know it's about to blow. That solo, in particular, is just so soulful.

Anyway, I get something very close to that sound by jacking up my sensitivity knob on my Dyna Comp.
You know, mentioning a compressor for Jerry tone is taboo here! I picked up a BYOC Mimosa in the hopes of getting some of that. I used a 2000 series Dyna Comp years ago right at the beginning of my tone quest but got rid of it. I've often felt the even though Jerry didn't use a compressor, his whole rig had a compressed sound because he was pushing it so hard. I've yet to try out a straight ahead tube screamer pedal. I'll have to check it out. The more I listen to the Yankee Power solo, the more I think a lot of that bloom was his uncanny ability to palm and finger mute pinch harmonics with an otherwise over the top amount of stacked distortion combined with the tone roll off he employed. The dude was a tone junky for sure. On another note, have you ever noticed that wonderful growl that can be had when rolling back the guitar tone knobs when using the Mutron III? Just playing with tone from the guitar can expand the available palate tremendously. Tone down, Volume up and vice versa.
Right on! That's exactly what happens when a properly modified Twin (e.g., Maestro mod) is hit hard with a DP104 (tapped or hum)--plus Jer is probably in hum on that particular JGB solo. In other words, yes, my tone acquires a quasi compressed flavor when I'm getting the Twin to work. I don't why this is at all, but its cool! And, yes, cranking the Mutron III through the Twin with some umph gets you some sick clipping. I thought at first that Jer was using an OD1 after the Mutron III on some of the 1988 Estimated's, but I've been able to get that tone without the OD1 and Mutron III by just getting my K or E120' speakers to move a bit. In small clubs, you can do it by making sure that nobody in the audience (especially the sound person) gets a direct aim from the speakers (i.e., tilt back).