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I also have a high output bridge pickup and low output neck so get a lot more variety with the selector switch.
This covers everything from Talking Heads to REM to ACDC to Green Day/Whitesnake and beyond. Perhaps it's a bit more rocky for the cleaner tones but it fits with how we play.
And I'm sure you'll approve that we do it with two guitar solos seeing as there are two of us on guitar
If I ever ventured into even plexi gain levels, I'd get a lecture via text the next day.
One thing I did note, was that the audience never cared at all. The only time I have ever had compliments or criticisms about tone was from musicians.
Maybe worth bearing in mind?
My view is never apologise for being on stage. Some songs need an aggressive very distorted tone so just use one. That aggression is part of the songs appeal IMHO so there's nothing professional or clever about trying to tame it down.
I know we always say the audience doesn't care. They don't care about the tone, they don't notice if the drummer is a bit unsteady, they don't care if you can't play the solo's note for note or that the singer is ca bit pitchy here and there.
The way I see it is, if this is true then why are some bands pulling in 1.5K a night and some struggling to pull £500 ?
FFYL goes down a treat with the punters. Such a good number and great fun to play
It's like a drummer who only has one tempo or a bass player who only plays root notes.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
Nobody Cares
In reality ,if it sounds vaguely like the song and the vocals are about right then that's all the public know or care about
I turn down for a cleaner tone. If need to swap between clean and distorted tone quickly,I use the selector switch on my guitar to go to an out of phase sound which drops the volume and adds loads of treble for a sparky tone.
I constantly change my volume and tone control and pick attack. I rarely play on the neck. Bridge single coil 80% of the time. No reverb or delay either, live.
This is possibly because I'm lazy and cant be bothered to plug pedals in and switch them on and off.
The truth is, often the £1.5k and struggling £500 bands are actually the same band. I really wish it were just based on ability and quality, but most high paying gigs these days are locked up tight with either agencies or “brand-bands” which will happily send out four or five different acts in one night under the same name.
Looking at my own view though, across a lot of bands I know (and running a studio for 5 years means I know a lot of bands) the best earners are generally very good muso's ..
Then again to a lot of us this is a hobby and those with proper jobs aren't as keen to gig in london on a school night even if the money is great.