therevivalsband
The Revivals
I'm playing guitar for a high school play, but I don't think my punk amp settings are gonna fit in with the 50s theme. I'd love some pointers or Treble/Mids/Bass/Gain settings.
Can you provide an example of the tone/sound you're wanting to emulate?I'm playing guitar for a high school play, but I don't think my punk amp settings are gonna fit in with the 50s theme. I'd love some pointers or Treble/Mids/Bass/Gain settings.
Thank you, I should've been more specific but this still helps.Well, 50s-60s covers a lot of territory from the nearly the beginning of Fender Champ time to Hi-Watt stacks. So, going from early country-rockabilly (Carl Perkins) to the genesis of stadium rock (think Cream), you might need to be more specific on what you're looking for. And, style and technique will get you a long way. Go see Bill Kirchen and what he does with a Tele, Fender Deluxe and maybe an overdrive pedal (or two ).
Mostly, whether you're talking smaller, open back amps like Princeton/Bandmaster or a Hi-Watt stack, those amps were often dimed or close to it, and typically had minimal tone controls, maybe just "treble and bass" the guitar volume and tone did a lot of the control. Having a modeler would be useful, especially if you're covering a lot of that timespan. My 2¢.
Sure!Can you provide an example of the tone/sound you're wanting to emulate?
Thanks man, this helps.People think of specific 'tone' for eras, or genres, but it's been really just about players. 50-60s pop music was more about purity than treatment. You tended to find that everyone had minimum distortion as an aim and a 'nice' tone. So a bright Strat would have the top rolled of, but Gibson acoustic needed top adding to restore the norm. The venue size often mean more amps being turned up, so in-amp distortion crept into the sound, and for some, became part of the sound of the band. If you buy an AC30, you can sound like the Shadows, or Brian May with extra gizmos. I don't think there has ever been in the past, some kind of setting for these things. It's a recent phenomenon.
Here's some idea of what's involved :
I'm playing guitar for a high school play, but I don't think my punk amp settings are gonna fit in with the 50s theme. I'd love some pointers or Treble/Mids/Bass/Gain settings.
Like actual songsIt might be good to specify what you’ll be playing.
Background ambience in a 50s style? Or actual songs? If you’re doing songs, at least you can go find it and analyze that particular song.
woah thanks manSomething that hasn't been mentioned is that what you hear on the records isn't necessarily what was used at a concert. At a concert where you have a few thousand screaming fans, you might need a Dual Showman or Twin Reverb and turn it up all the way. Very few studios let you crank up an amp, especially in the late 50s and early 60s. Guys like Scotty Moore and Buddy Holly would have been running clean, usually with Fender amps, from the Princeton and Deluxe to the Showman and Bassman. Remember too that you didn't have 50 different overdrives, chorus, compressor and wah pedals. There were maybe a dozen companies making fuzz pedals back then, like Maestro, Roger Mayer's Fuzz Face, Mosrite FuzzRite, Jordan Boss Tone, and the Dallas Rangemaster. You had a couple of wah pedals, and a couple of oddball pedals like the Shin-Ei Univibe, and Roger Mayer's Octavia. Most of those came along between about 65-68.
Satisfaction was a major departure from the standard guitar sound (at least the fuzz part). The rest of the guitar is still clean. Go back and listen to early Beach Boy albums, Buddy Holly, Elvis Presley, Hank Marvin, Ventures, Chuck Berry, Roy Obison and Duane Eddy records. You'll hear clean guitars with reverb and tremolo as the effects, (except for Link Wray's shredded speaker on Rumble).
It wasn't until 65/66 that you had folks like Hendrix, Clapton, Townshend, Beck etc changing the overall sound of the guitar with massive overdriven amps. That's when you start seeing Marshall and Hiwatt stacks on stages. Even then that might not be what was used in the studio. Joe Walsh famously used a puny Fender Champ turned all the way up to get the sound of Funk 49.
So as others have said, you really don't have a "sound" over those 2 decades, especially since it was period of massive change in music.
Peavey VYPYR X1 to an HSS StratocasterWhat amp are you using?
I saw him twice, ampegs, I just did a quick search and from what I read you are correct but both times I saw him he was using an ampeg?I thought Johnny Winter was mainly using Fender Twins until he got his MusicMan amps. Bass and Mid controls all the way down, treble cranked up. I wasn't a huge fan of his live tone.
I remember quite a few bassists using the Acoustic amps. The blue stripe was very distinctive, almost like Kustom's tuck and roll.