Newsgroup: it.arti.musica.strumenti.chitarra
Titolo: Henderson blue Ibanez

Sto guardando un video di henderson (mi pare sia melodic phrasing, non 
so di che anno ma lui mi pare decisamente piu` giovane :p), e mi piace 
particolarmente il suono; per curiosita`, qualcuno sa che pickup aveva 
su quella ibanez?
-- 
Chuck Norris fuma toscani. Vivi.
Jimi Hendrix suonava la chitarra coi denti. Anche Chuck Norris suona la
chitarra coi denti. Di Jimi Hendrix.
Dopo aver visto la cassetta di The Ring a Chuck Norris non squilla il 
telefono, gli arriva una ricarica da 95 euro
Chuck Norris ha trovato l'ago nel pagliaio e ora lo usa per spaccare in 
4 il pelo nell'uovo.

 su quella ibanez?
facile:
Seymour Duncan '59 (double screw) in tutte le posizioni.
Dopo aveva messo un Seymour Duncan Jazz Neck al manico.
sono riuscito a reperire un video bootle dei Tribal Tech dove suonava
quella chitarra dentro un rack e un preamp Mesa Boogie.
Suono spettacolare, nonostante lui dice oggi che se ne vergogna.
D.

S. Duncan A. Holdsworth -ssl1 e 59 al manico (il primo ora lo fa solo il 
custom shop seymour duncan, ha tutti i poli regolabili e... suona 
tantissimo - lo ho su una delle mie frudua)
Igor 

 Suono spettacolare, nonostante lui dice oggi che se ne vergogna.
azz... beh, fossi in lui mi vergognerei principalmente 1: dei capelli 2: 
dei suoni di synt che tira fori ogni tanto :Ğ


 tantissimo - lo ho su una delle mie frudua)
grasie anche a te :p cmq sul ssl1 sei sicuro? perche` ho letto nel suo 
forum che parlava di un fender, ma magari l'ha messo successivamente.


Risposta a tutte le domande da Scott:
What about previous records?
I get this question a lot, so I decided to write this section for the
website.
Hopefully this will satisfy those of you who are curious about amps and
recording, and maybe you'll learn something from my mistakes......
I'll start with the first Tribal Tech album "Spears". Back then I was
playing a basswood Charvel strat with Seymore Duncan double screw '59
humbucking pickups, which are still the pickups I use now. The amp was
a Peavey Special 130 that I used as a preamp, with the power section of
a Peavey 100 watt tube amp that I can't remember the name of. The mic
was a Nuemann 87 and I was using EV speakers, which is why my tone was
more midrangey back in those days than it is now. This was also my amp
and mic setup on "Dr. Hee", but at the mixing session, Allan Holdsworth
was kind enough to bring over some of his studio toys and give the
guitar tracks some stereo imaging which helped a lot. The guitar on Dr.
Hee was my first Ibanez, which was also basswood. My tone was kind of
thin on these records but the transistor Special 130 probably wasn't
the best choice for a preamp.
On "Nomad", I was using a Boogie Quad preamp that I modified a little
with my very limited tech skills by changing the cap on the treble pot
to voice the treble a little higher. The power amp was a Boogie 295. In
the 80's I was using preamps and power amps instead of heads because
back then everyone was playing in stereo on their gigs and lugging
around lots of rack gear. I was young and my back was strong. My gear
changed on the recording of "Tribal Tech" to a Boogie Studio preamp and
a 395 power amp.
Then I switched to a Lee Jackson preamp that I used for the next three
albums - "Illicit, Face First and Reality Check". My power amp for
those records was a Boogie 290, and I switched to Celestion speakers.
Also, those three records were done with my second Ibanez guitar which
was alder instead of basswood. "Reality Check" was my first venture
into home recording and is probably my worst tone to date. I was using
a rather complicated system involving amp attenuation devices to lower
the volume in the house and I learned an important lesson - don't do
that. Volume is good.
"Dog Party" was done with a 35 watt Matchless amp, Celestion Vintage
30's, a Shure 57, and a Tube Screamer. The guitar was a re-issue '57
Strat with Lindy Fralin pickups. Since the guitar tracks were all done
in the studio, I didn't get the chance to screw them up at home. I
decided at this point that I really liked the good ol' Shure 57 and
never went back to the Nuemann. On Tore Down House, I learned that the
Matchless was great for that sparkley clean blues thing, but I needed a
heavier, more gainy sound for the songs on this record so I bought an
old 50 watt plexi Marshall that worked better with distortion pedals
than the Matchless. The plexi was used for about half the album. For
the rest of the album I used a Custom Audio 3+ preamp with the Boogie
290. I put John Suhr's pickups in my strat, which are warmer and a
little darker than the Fralin's. The big mistake (again) on this record
was made during overdubbing at home.... My wife wasn't too happy about
my abandonment of the speaker attenuation gear but she put up with it,
and I was thankful, knowing that really loud guitar in the house has
probably been the cause of some divorces. Anyway, I thought I could put
the extremely loud speaker cabinet in a small bedroom, but even though
the mike was ultra close to the speaker, I learned that the sound of a
bad recording room can really ruin the tone. The stuff I recorded at
home sounds tanky compared to the studio tracks. Also, there are
moments when I had the amp up too loud and those stupid Vintage 30's
made their famous double-note sound. My engineering skills were.....
well, the word crap comes to mind.
On "Thick", I was playing a Fender Strat that John Suhr made for me
while he was working at the Fender custom shop. I finally got away from
the preamp thing when Custom Audio made the OD-100 head, which I used
for the whole record. I improved my home recording scene a lot by
building a big box to put the speaker cabinet in. It was made of
pressboard with a layer of cork inside and a layer of two-inch cotton.
The box lowers the volume a lot, but it gives the tone it's own
frequency that isn't completely natural sounding, though it's a fairly
subtle thing that you wouldn't notice unless you were comparing it
directly with the same cabinet miked up outside of the box. One cool
thing about this idea was that I could take the box to the studio
sessions with me, and when I wanted to keep my live tracks but fix
parts of them at home, my tone stayed the same. If you're playing a
loud cabinet and change rooms between sessions, you'll have a difficult
if not impossible job of dialing up your original tone.
For "Rocket Science", I went back to Celestion 25 watt Greenbacks,
which are the speakers I used when I was fifteen, and I should've
stayed with them. The OD-100 got modded for this album by putting in a
deep bass knob and was used for the whole record except for the cut
"Econoline", which is a '64 Fender Bandmaster modified by Alexander
Dumble. John Suhr was making his own guitars by now so I used them on
this record, and that brings us up to date.
Oh, I forgot about the first VTT album... THAT's my worst tone ever! We
recorded at Steve Smith's house and rather than try to rent a cabinet
with 25's up in San Francisco, I brought a 4x10 cab with me, but this
cab had a closed back! Yuck! Here I learned a huge lesson - Kendrick
Blackframe speakers are great in open-back cabs but in a small
closed-back cab they sound like pancakes! Also, the only place for the
cabinet was in Steve's daughter's bedroom which was about 100 feet from
the amp, so lots of tone was dropped off in the living room, kitchen,
bathroom, ect. The second record was done in a real studio and the
overall sound of the recording is much improved over the first one.
Ecco qui!  :-))
D.

 particolarmente il suono
Mi sarei preoccupato un attimo se tu avessi detto che ti piace lui.
--
Alessio "The Sentinel"