Help me on this EQ(?) tone quest guys..

Discussion in 'Effects, Pedals, Strings & Things' started by DanHorse, Mar 24, 2015.

  1. DanHorse

    DanHorse Member

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    Right, I have always loved a particular tone on the neck pickup, i can only define as squealy, harmonic, loads of presence in the pick attack range,upper minds (im no expert though), yet still retains the bell like tone above the 12th fret.

    Listen to this track, what i am talking about is around 3:53 mins, and here that note right on 3:59? Exactly what i want but can never get with my gear.


    So, im guessing EQ is the issue here? What really gets that mids character, boosting certain frequencies in the upper mids? And is it possible to get ballparked by using an EQ pedal (parametric im guessing?).

    Any help much appreciated ;)
     
  2. Chris McKinley

    Chris McKinley Member

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    Compression is a big part there, both amp tubes and studio comp. Miking technique, types of pickups, etc. It's not all that hard to get that sound ballpark, but getting the nuances can be a matter of a surprising number of factors.

    What pickups are you using? What amp? Settings? Any pedals? If so, what kind/settings, etc.?
     
  3. DanHorse

    DanHorse Member

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    Thanks for your reply Chris.

    I probably have all the wrong gear! Orange TT, various guitars, tele, PRS clone, Fender Pawn Shop 72 and Ibanez SA. Pedals, Dyna Comp, BYOC Shredder, TS808, BD-2, only thing that gets anywhere near that tone is using a wah left toe down and the top end dialled out on the shredder.

    Ive heard people get this tone with simple rigs, lavish rigs, so was assuming EQ, pickups to amp mostly? But yeah many things make up the nuance. This guy is using an Axe FX with a strat. Another chap gets similar using AxeFx 5150 with a Musicman JP with liquifire pickup.
     
  4. DaveKS

    DaveKS Member

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    You need a parametric, you can sweep that freq knob to find that tone that's being done by wah, but then you have actual knobs so you can set height of peak as well as width (Q) of the bump. Basically you find that res freq and highlight it as you see fit.

    VFE Rocket EQ is what I use, but given your example getting up into the more metal ranges a Empress ParaEQ whith it 3 bands of parametric will be your best choice.

    Set a big wide low mids/bass boost, then a narrower upper mids highlight and probably a wide, slight high end cut. Empress is superb for doing this if you have a loop or putting it after all your drives as master EQ section.
     
  5. DanHorse

    DanHorse Member

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    Dave, thanks - that makes a lot of sense, I will see if i can go demo one of the Empress EQs:D
     
  6. Phletch

    Phletch Member

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    The Empress ParaQ is a great EQ. If you don't need all the extra functionality of the Empress, though, check out the Fromel Shape for considerably less $$. It's the perfect choice if you're primarily only going for parametric mids control (but it does a lot more). I use mine mostly for mid boost. One of the best features of the Fromel is its low noise floor; the thing is very quiet.
     
  7. Chris McKinley

    Chris McKinley Member

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    At its essence, it's not hard to get that kind of tone. It's a neck pickup with good harmonic response into a high gain distortion circuit. After that, it depends on the exact combination of gear you've got going at the time. Tube amp dirt? Pedal dirt? Some combo? You can get that tone with nary an EQ anywhere in the chain. Then again, just the right frequency tweaking might be what you need to bring out throaty flute-like timbre of a neck humbucker without also running into the typical bugaboos of drowning in mud or turning up the treble only to find a myriad of pick and string noise instead.

    On one hand, you can plug a Les Paul into a 50 watt Marshall and get that sound. On the other, to get it exactly like you want, it might take Eric Johnson levels of gear and tweaking.
     
  8. stratoskier

    stratoskier Member

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    In addition to whatever may be going on with the EQ or other gear, I'm hearing it as if he's simply playing that note further toward the neck -- that is, moving away from the bridge area. It's surprising how much tonal variation can be achieved that way.
     

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