The oft-neglected equalizer is the secret of tone. I don’t know how many times I’ve seen friends, journalists and reviewers talk about finding tone with a specific stompbox, amp, or other signal processor. Once the signal has left your guitar the first thing you ought to do is equalize it for the environment, be it recording or performing. EQ is the first thing that should happen to a guitar signal and also the last (if you want) to take care of unforeseen frequency introductions along the signal chain – also to manage the acoustics of the environment.
In recording mixes EQ is what will sort out your takes and make them sound great. Mid-scooping for metal rhythms, mid-boosting for lead breaks, and cutting annoying ‘not quite right’ resonances. Quite frankly I’m amazed that EQ is not talked about more, until I think, “Cui bono”. Who benefits?
All the businesses that sell magic-tone-oil devices benefit from the market ignoring EQ. It’s a cheap (enough) way to alter your tone to get what you find the sweet spot. Even 31-band parametric EQ’s can be had for under $300 if you look hard enough, and parametric are the better devices.
So all you tone-freaks, here’s the unvarnished truth. You want tone? Control it with an equalizer.
One of the things that can lead to self-attack for me is unfinished ideas. Everyone has at least one. For me it’s recording songs that come into my head. Making them “listenable” tracks for sharing. So the plan is to create a YouTube monetized channel once my first track is finished to share these ideas. What will I call it? Who knows? Maybe “Liquid Electric” which I’ve liked for ages.
For metal projects I’ve got these ones:
And of course as an over arching, progressive, kind of brand:
It’s all just ideas and that is what blogging is about.
Today I fixed a few things around the house and it’s put me in the mood to do more. Since I’ve fixed the loose tile and meshed-off the chimney against stupid possums the next task will be more for personal. I will re-cover my amplifier and cabinet with tolex as shown below.
It is called “Wine Buggy Whip” and I’ve found a supplier in Australia called Evatco – which is very cleverly Octave backwards. They also sell ‘corners’ and I can use this to make the Laney head and cabinet look a bit more classy with nice shiny steel pieces instead of the rough black-plastic corners that are currently fitted. It will be a challenging but rewarding project.
The trouble with GAS is that it is a symptom of avoidance. I’ve got a bunch of savings and on top of that I have the proceeds of my sales. That money is tempting me into more and more purchases that are ostensibly for music but I’m not actually improving my practice. The one thing that is helping, that I recently bought, is the Zoom HD16CD recorder. It helps me hear my playing whilst I’m not actually working the instrument: I can just listen and hear my various errors and inaccuracies. A wake-up call, that is, alright! Although there is some things that gear allow you to do the gear itself doesn’t make you a better musician!
So I’m venting about my wont to purchase stuff that is high-quality whilst not getting into a better practice routine. And I feel better already.
Through the marvels of eBay I’ve purchased a Zoom HD16CD multi-track hard drive recorder. It has built in drum & bass machine and rhythm (I think). My intent with this unit is to record and hash-out song ideas. Also to try it out as a control-surface for a DAW such as Cubase. I’m hoping that it’ll help me like it has helped others: such as those who have reviewed it such as on this page here. At the very least it’ll be a good record & playback device to track my progress on guitar.
On closer checking of the Yamaha it’s got a SA800 truss-rod cover plate. I’ve edited the listing and set the price as “firm”. Had a sniff but waiting on a private-message with e-mail address to send pictures to. I don’t think that person will buy it and my wife reckons I should keep the Yamaha and the Schecter.