Some advice for solo tone "cut" in my band please?

[Twinfan]

Well thanks again to everyone for all the advice.  I tried two things in rehearsal last night:

1)  Clean boost in the FX loop
2)  Mid-heavy boost in the FX loop

The clean boost gave the loudest volume increase, but boosted the bass and treble more than the mids.  This makes sense as my rhythm tone has a slight mid scoop for an aggressive edge.  The solo tone was then thin and spiky which just hurt my ears rather than cutting through the mix.

The EQ boost gave a great result with a slightly offset /\ shape.  I cut the bass side a little more and kept the very high treble at 0.  This really fattened up the sound and projected my solos really well.  I only have 15dB boost available and ideally I could do with a little more, but I think I can get away with it for now.

So cheers guys - you're a mine of information!

[Fourth Feline]

Hi TwinFan !

Just a simple observation from me, based on experimenting with a Telecaster  Les Paul and S.G. straight into a 20w valve combo:

I was generaly messing around with my tone controls to further refine my own 'no pedal' tone.

I usually have all tone controls on full tilt, but was very surprised to find the treble really 'cut' better when the treble control was just 2 notches behind the mids, not equal or in front of.

I then tried it through the bigger gear ( including a Laney LH50R head through a Matamp cab with 4 x 12 GT 12-75s) and it still worked. 2 extra notches of amp mid + no pedal = result !

it was basically:

Bass = 8

Treble = 8

Mid = 10.

If I widened the gap further I did not achieve a much greater result. It was one of those case where "less is more".

My S.G. has BKP Alnico II 'Stormy Mondays', so your Alnico IV 'Riff Raffs' should bring the house down !    :D

Congratulations of the Gigs by the way !

 :band5:

[Twinfan]

Cheers matey - some useful advice there too!

I'll give it a try...

[fps_dean]

You can try a Keeley Java Boost in mid or treble boost mode... that will help it cut through more and scream when you solo....

[Fourth Feline]

Hello again Twinfan,

Just a bit of random input to try. I was reading an article on the site "Singlecoil.com" where it gave the supposed 'ideal' setting for any Fender Twin you might find provided at a club gig. As the Twins have 6L6 output tubes (and so does my Laney head), I thought I would just mention the settings in case the un-obvious actually works. They called it the "rule of six".

Settings recommended were therefore:

Bass = 2

Middle = 3

Treble = 6.

This is supposed to get that cut'n'twang out of the box.

I also find my own 4 x 12 GT 12-75 cab quite bass heavy, so perhaps you could get away with these settings.

I do not use these settings myself, but a bit of random input/experimentation is always worth a go eh ?

All the best, and keep those Velocettes rolling !

Derek.    
 :D

[Twinfan]

Cheers matey.  We gigged on Saturday and the settings I used were pretty similar to those above, and I used the 1960A with my GH50L running EL34s.  It sounded awesome with my Riff Raff SG!  I reverted to the old volume knob trick and it worked really well - rhythm on 5 and 10 for solos.  With me on one side of the stage and bass/second guitar on the other I had no trouble cutting through.

It's not just your amp, pedals and speakers - stage placement makes a difference too!

[Fourth Feline]

Thanks for the feedback Twinfan,

You have raised and then solved a very relevant puzzle for many of us out here in BKP land.

I was especially interested in the use of the volume knob trick and your observations about stage placement.

I use the softer AII SMs in my S.G, but when I get a chance to gig again, the volume control trick will apply as much to sweet jazzy blues as it does to 70's rock. I find this method works well with the more subtle and well balanced BKP sets, whereas the (modern type of) stock Gibsons tended to totally change tonal character as well as volume when rolling up to ten.

 With BKPs I find that the volume changes, but your 'signature sound' stays intact. Quality goods indeed.  :D

I recently made a further breakthrough ( on my AIV Mule loaded Les Paul) in capturing my own tone ideal and pickup balance, by breaking convention and setting the neck p/u 1mm closer to the strings than the bridge p/u. This makes the volume(s) equal, yet took the attack slightly off the treble. As i have also done the phase reverse mod (ala Peter Green/Snowy White) it now works like heaven in the middle toggle position without having to back off the bridge p/u volume further than the neck p/u. The 'Riff Raffs' which you kindly recommended to me in the past sure do sound like an exciting pickup, but I need dripping honey...

Viva la difference !

Best of luck with future gigs, hope the news of your band spreads far and wide !

Regards,

Derek. :D

[38thBeatle]

I would add to the volume control "trick" -this was how I learned many moons ago- back off for the verses- full on for the solos etc Guitar + Amp and occasional wah or MXR distortion plus and that was it. Without going all misty eyed for the "good old days", the volume control on your guitar is a useful tool and BKP's seem to respond better than stock pups ( and EMGs) in my case.
Placement on stage is a vital ingredient- we use the same stage set up each time we play and obviously it varies from venue to venue depending upon space available.

[Twinfan]

What you guys are saying is true.  I've found the character of the Riff Raffs is the same at a volume of 5, but with less oomph and bite.  The tone is still there in abundance, it's just not pushing the amp as hard.  Wound up to 10, bite and aggression joins the party ready for my Angus pentatonic widdle-outs!

We hadn't tried this stage setup before, as the guys wanted to mirror the real DC - bass and lead on the drum snare side, and rhythm on the opposite side.  We basically swapped Malcolm/Angus and it worked MUCH better when backlining.  Through a PA it's less of an issue of course.

You learn so much more about guitars when you're gigging!