Yup. Maybe it's being HFA. Maybe it's having cut my teeth in the era before effects. But I seek out tones that function the way I need them to, not necessarily tones I've heard someone else use. I like that about myself.
In the same way you can study music theory to figure out what the rules are and then break the rules, I think you can do that with your gear to get sounds. So I don't see any harm in learning what's out there.I see threads all the time of how do I get this certain artists tone. I approached it from the beginning of having my own tone.
I found your post to have invigorating cilantro overtones with an oaky roundness and a harmonious aftertaste of Sicilian horseradish with a violent macadamia nut finish coalescing in an easy to miscontrue yet thunderously decadent bouquet of regurgitated barbecue. Two and a half stars.I don’t think the wine guy was absolutely right. He was absolutely wrong. It’s easy to make something unique. It’s harder to make something good. And the point of drinking wine or making music is to enjoy yourself, not to congratulate yourself for being different from the masses. The guy sounds like a complete tool.
If you think tone chasers and wine reviewers are picky, try milk tasters:A long time ago, in the late 1990s a number of us young guys at a firm I worked at at the time went up to the house of a guy who was one of the Editors of Wine Spectator Magazine because the firm wanted us to learn about wine from him so we wouldn’t look like knuckleheads when out entertaining clients.
This guy had us sitting around the table where he poured bottle after bottle of amazing stuff. Afterwards, we went out for drinks and I asked him, “hey that was truly awesome, but most of that stuff is tough to find, and I’m never going to buy a $500 bottle of wine at home. So what’s some “good” bottles of wine in the $25-30 range.
He looked across the table at me and said, “F- -K YOU! Have you not heard a word I said?? The point is not to find a “good” bottle of wine. The whole point is to find a bottle of wine that tastes like no other - where the taste of land (terroir) where the grapes were grown, and the winemakers personality, and the weather that year, etc combine in the wine to make it like no other. This is art. And you are looking for something unique - not just something pleasing. The concept of ‘good’ wines is for rubes. Leave that to the idiots clapping themselves on the back as they order the Silver Oak. You are better than that. Get it together!!! I don’t want to ever hear you use the phrase ‘good wine’ again. That’s embarrassing.”
Well ok, but I don’t see how that’s relevant. The Edge and whoever else make sounds that are relevant to their respective bands, and it obviously works. Why would they need to sound like anything else but themselves, for the music they are playing?Meaning that they are perfect for their bands but they are not known as players that can play with anyone in any context. That said, maybe Josh can? I don't know his music too well. Just going off of what I heard which is minimal. But for example, Edge does the Edge thing very well and just got really good at doing that.
Edit: Example...most guitar players don't look at the Edge and say "wow, I wish I could play like him" when they are picking up guitar. It's more like "Wow, I love U2, great songs. I love the way the guitar sounds." It's not like EVH where some people are like "wow, he is amazing. I want to play like him. I like some Van Halen songs." Does that make sense?
I feel like the OP has heard about or seen cover bands and/or tribute bands.. so maybe "aside from cover band playing" should have been in the OP.Because people will pay you to play covers
Because not everybody wants to be the best guy for their band. Some people want to be the best possible player and adjust accordingly. Which also means sometimes learning to do what the Edge does. I guess I would like to know more of a player's player so to speak who has unique tone. Like guys who really focused on playing vs just their band/project.Well ok, but I don’t see how that’s relevant. The Edge and whoever else make sounds that are relevant to their respective bands, and it obviously works. Why would they need to sound like anything else but themselves, for the music they are playing?
Sounds like you are talking more about studio session guitarists like Tim Pierce, Tom Bukovac, and the like.Because not everybody wants to be the best guy for their band. Some people want to be the best possible player and adjust accordingly. Which also means sometimes learning to do what the Edge does. I guess I would like to know more of a player's player so to speak who has unique tone. Like guys who really focused on playing vs just their band/project.
Yea to a degree. But even I guess a guy like Hendrix or Clapton would fit the bill. Like Clapton went through so many tone changes based on what was going on musically. I don't know why I am having such a hard time explaining this properly LOL. But I really don't mean it as a diss though.Sounds like you are talking more about studio session guitarists like Tim Pierce, Tom Bukovac, and the like.
pedantic and obtuse it is, then.Firstly, you’re the one who began the personal attacks. My intention was to answer the OP, and in the course of my multiple posts, I suggested a few different perspectives, ‘confessed’ that I have been/still am a rabid tone chaser, and also included some self-deprecating comments. I also talked about how I learn techniques by trying to match what other players are doing.... All toward discussing a Concept. Which, of course, was too grand a notion for your small-minded, puerile sensibilities. You couldn’t just disagree with some civil thoughts. You had to throw out your trite buzzword. And then you posted some ridiculous diatribe in which you went against published information about a slew of artists. And now you’re doubling down on the nonsense, but you need to move the goalposts to do so. Now, it’s a matter of how old those guys were.... And even so, you ignore the fact that a great number of ‘original’ artists still sometimes play covers. You ignore/dismiss the scores of talented musicians that play covers for a living. You can’t see far enough past your own arrogance to recognize that talented original artists play other people’s music, even if they don’t try to precisely mimic a tone, but somehow learning someone else’s music is different for you than learning how they produce that tone in a signal chain. I incidentally just saw Gary Clark Jr playing Hendrix. I recently saw John Mayer playing Van Halen. SRV played Hendrix.... Keith Richards was trying to play American blues. The Edge was in a cover band. EvH used to play Clapton note for note. They don’t count, though.
Apparently, you know what all these musicians you revere do when they’re not on stage or recording. They can’t possibly still play songs they love but didn’t write. But most obvious is the simpleminded ignoring that people can do more than one thing. They can chase tones and they can create their own.
But, whatever. It‘s lovely that you’re out there creating. And have no inspirations that move you far enough toward mimicry. I don’t envy that attitude, though. I enjoy that aspect of music.
Peace and Meow.