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quantise
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Joined: 06 July 2004
Location: United Kingdom
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Posts: 70
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| Posted: 09 February 2010 at 11:30am | IP Logged
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In response to LezPaulEpiphone back on page 2..
Yep, as others have noted I use a Boss GT-10 as my primary sound
maker. This goes into the PA directly and I use a Roland keyboard combo
to monitor onstage.
Thing is I've always been a valve amp guy but I've had GT series pedal
boards since the GT-6 and each iteration gets better and better. The
setup is also way lighter/smaller than the equivalent valve amp setup.
What I did was try to emulate in the GT-10 software the exact same
setup I used to use 'back in the day" and I reckon it gets pretty close. So it
is a Vox AC30 top boost amp, Ibanez Tube Screamer for solos, DDL set at
500ms and 330ms for Dancing in the Shadows.
The sustain you're hearing is a combination of the Vox amp model, which
is quite 'middy' sounding with the Ibanez Tube Screamer kicked in but
there is another trick I use and that's to stand close to the guitar monitor
and find the sweet spot where the guitar pickups start to feedback. You'll
hear this a lot on Bright Lights. If you get this right you can get the notes
to sustain forever!
By way of further info just in case you're interested..
There are a couple of other patches that I've written for acoustic
instruments but I now use an acoustic instrument preamp, in fact Rob
and Pete also have one of these made by a firm in Exeter called, Orchid.
http://www.orchid-electronics.co.uk/
I've used the Ibanez RG550 for the last two tours with the old trusty
Stratocaster as backup. I also use a Godin and another Strat from time to
time. Currently lusting after a Les Paul Custom like the one I had that is
featured on the back of one of the albums. My acoustic instruments were
made for me by David Oddie, also from Exeter. These include the famous
mandocello, used currently on Carry Me Home, a mandolin and an
acoustic guitar. I also have a 25-year old Takamine.
There you go, that's me. Hope that helps.
John
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John Russell
johnrussell@afterthefire.co.uk
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Night Gnome
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| Posted: 09 February 2010 at 12:23pm | IP Logged
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Is this how you got those bendy wa wa wah notes during live Billy
Billy, etc?
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Jules
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Halligan
Band
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| Posted: 09 February 2010 at 12:28pm | IP Logged
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No - he does that by putting his leg on the monitor. 
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robhalligan.co.uk
Go bye the latest CD 'Best Thing Thats Happened'
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mike_1stgear
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Joined: 19 October 2004
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| Posted: 09 February 2010 at 12:50pm | IP Logged
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yes but only if you hold up a lighter
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quantise
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| Posted: 09 February 2010 at 2:01pm | IP Logged
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I think you might be referring to the start and end of the Billy solo, Night
Gnome. - Luv yer avatar BTW
It's technique called 'violining' where you hammer the string onto the fret
you want to play and turn the volume control up 0-11 just after the
hammer-on.
I first saw this technique used by Rory Galagher back in the Taste days.
Have trouble getting the leg up on the monitor these days but certainly
held up lighters help.
Cheers
John 
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John Russell
johnrussell@afterthefire.co.uk
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LezPaulEpiphone
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Joined: 30 January 2010
Location: United Kingdom
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| Posted: 09 February 2010 at 7:42pm | IP Logged
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quantise wrote:
In response to LezPaulEpiphone back on
page 2..
Yep, as others have noted I use a Boss GT-10 as my
primary sound
maker. This goes into the PA directly and I use a Roland
keyboard combo
to monitor onstage.
Thing is I've always been a valve amp guy but I've had GT
series pedal
boards since the GT-6 and each iteration gets better and
better. The
setup is also way lighter/smaller than the equivalent
valve amp setup.
What I did was try to emulate in the GT-10 software the
exact same
setup I used to use 'back in the day" and I reckon it
gets pretty close. So it
is a Vox AC30 top boost amp, Ibanez Tube Screamer for
solos, DDL set at
500ms and 330ms for Dancing in the Shadows.
The sustain you're hearing is a combination of the Vox
amp model, which
is quite 'middy' sounding with the Ibanez Tube Screamer
kicked in but
there is another trick I use and that's to stand close to
the guitar monitor
and find the sweet spot where the guitar pickups start to
feedback. You'll
hear this a lot on Bright Lights. If you get this right
you can get the notes
to sustain forever!
By way of further info just in case you're interested..
There are a couple of other patches that I've written for
acoustic
instruments but I now use an acoustic instrument preamp,
in fact Rob
and Pete also have one of these made by a firm in Exeter
called, Orchid.
http://www.orchid-electronics.co.uk/
I've used the Ibanez RG550 for the last two tours with
the old trusty
Stratocaster as backup. I also use a Godin and another
Strat from time to
time. Currently lusting after a Les Paul Custom like the
one I had that is
featured on the back of one of the albums. My acoustic
instruments were
made for me by David Oddie, also from Exeter. These
include the famous
mandocello, used currently on Carry Me Home, a mandolin
and an
acoustic guitar. I also have a 25-year old Takamine.
There you go, that's me. Hope that helps.
John |
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Thanks, exactly what I was looking for!
I was surprised to see that you didn't have a valve amp
on stage, and even more surprised to hear such great tone
coming from the PA! My rig at the moment is a Blackheart
Handsome Devil head, with a Marshall 193six (Sorry, my
six key is broken.  )I don't know if you're familiar
with it? It's valve, and I can't get that much
sustain whatever I try to do. I think I might buy a TS9
and maybe a compressor to really boost my sustain?
Thanks. :)
Edited by LezPaulEpiphone - 09 February 2010 at 7:44pm
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quantise
Band
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| Posted: 09 February 2010 at 7:55pm | IP Logged
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The key to controlled valve amp sustain is to crank the preamp and keep the
master volume low. Then, use the mid control to bring out the warmth.
Not familiar with the Blackheart but have had a few 1936's in my time.
Have fun!
John 
__________________
John Russell
johnrussell@afterthefire.co.uk
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LezPaulEpiphone
Newbie
Joined: 30 January 2010
Location: United Kingdom
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Posts: 13
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| Posted: 09 February 2010 at 7:59pm | IP Logged
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quantise wrote:
The key to controlled valve amp sustain
is to crank the preamp and keep the
master volume low. Then, use the mid control to bring out
the warmth.
Not familiar with the Blackheart but have had a few
1936's in my time.
Have fun!
John |
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Thanks. :) I love my mids, I generally dislike 'scooped'
mid tones. Blackhearts are pretty much low budget valve
amps. The HD is about £250 for the head, and is 15 watts.
It's a lovely amp, just lacks a tiny bit of the sustain
that I like.
-Gabes.
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Night Gnome
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Joined: 07 February 2010
Location: United Kingdom
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| Posted: 09 February 2010 at 8:04pm | IP Logged
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Your guitar amp goes up to 11? That's much louder than 10. Sad to hear you can no longer get your leg over. What Avatar? .. that's me .. all those gigs ... all those pubs ... all those bright lights ...
John, how did your set-up change Narnia ... Starship ... ATF?
Also, what happened to your Superman suit?
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Jules
Friends | Flickr | FB
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quantise
Band
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| Posted: 09 February 2010 at 8:19pm | IP Logged
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Let me think..
Narnia: Burns amp followed by Marshall stack. Hayman guitar followed by
my first strat which was right handed played upside down.
Starship: Session combo. Les Paul Custom. Used also in ATF.
In ATF original series, I used two AC30's. One was cranked to full volume
but had a dummy load soaking the power and I had an output fitted that
took the signal into a second AC30. I was doing this before I discovered
later that Brian May did something similar, except he had 12 of the
things!!
I also had a DOD overdrive pedal, which I still have somewhere. It was
heavily modded in Musicland Studios, in Munich by one of their techs to
give it more gain than was sensible back in those days. 
Delay was provided by a 2nd hand Roland box, which was analogue. No
digital then.
As for the Superman suit. It actually belonged to my brother and was
made for a fancy dress party. I borrowed it to take on the Queen tour.
Freddy loved it! I don't know what happened to it.
There is no way either of us would get into it these days.
Fun times!
John
__________________
John Russell
johnrussell@afterthefire.co.uk
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