Experimental/Unique Tone?

[aceshigh025]

I'm looking to build my second guitar , and I would like to be able to get a pretty unique/raw/experimental kind of tone out of it.

My first is a swamp ash body/maple neck with a Rio Grande BBQ in the bridge and 490r in the neck
The humbucker setup I have on my first guitar gives a pretty standard rock sound, and I want something different.
Maybe P90's? If I went with P90's how should I have the guitar routed?
I play a lot of ambient/experimental/indie styled music.

Anybody know any good pickup/wood choices or just tone suggestions??

Thanks

[mhuxtable]

Lollar P90s are pretty badass.

[Bryan T]

Unique/experimental comes from the player, not the guitar. I've heard folks make unique sounds with everything from telecasters to mustangs to strats to 335s to classical guitars.

Having said that, my wife calls my 335 style guitars my 'soundtrack' guitars, as they seem to push me in the more experimental direction. Those just have normal humbuckers.

[mhuxtable]

Originally Posted by Bryan T

Unique/experimental comes from the player, not the guitar.

Hell yes brother. That is, unless its http://www.moogmusic.com/moogguitar/...oduct_id=21130

[aceshigh025]

Yes I do realize that the player is the foundation for experimental music, but I believe tone also affects how "experimental" music/a guitar can sound.
Take Sigur Ros for example, I remember reading in an interview that they said their music would be boring typical pop songs if it wasn't for the sounds/reverb they use.
Those guys are huge tone/gear freaks.
My Bloody Valentine would not be My Bloody Valentine if it wasn't for their creative use of effects in their songs. Their effects are tools that they use to create unbelievably creative music, so it does start with the player, but without those tools they would be nothing.

[AustinIsPresent]

I play "experimental" or "post rock" or whatever the in-vogue title is for "weird" music right now. We try to adhere to somewhat understandable structures, the way Explosions in The Sky, Sigur Ros, and Moving Mountains do, but my approach to playing is building landscapes of sound, painting with sounds, so to speak. I play a Mustang, a PRS SE semi hollow, and a Gibson Nighthawk (the #1 for sure) and all I can say is: the guitar I draw out my most "experimental passages" with is that which I am most comfortable on- the Nighthawk.

Tone, gear, these are vital to soundscaping, yes...but foremost is your comfort on your instrument! And for my playing, I cannot stress the importance of right hand technique enough...