Xoo Posted February 19 Share Posted February 19 If anyone has any suggestions, I'd be very appreciative. I've been trying for years to get a sound approaching that of the guitar in the video below - I know what's played, but the guitar sound is so unique. Link to comment Share on other sites More sharing options...
Grem Posted February 19 Share Posted February 19 (edited) Listened to it on my Surface. All I can tell from that is a Chorus and Delay, with distortion. Wasn't quite sure what guitar that was, but I think those pups has a lot to do with the sound. I did like the opening. And all the lead breaks. I wanna listen later on today with my monitors. I may be able to tell more then. Edited February 19 by Grem Link to comment Share on other sites More sharing options...
Xoo Posted February 19 Author Share Posted February 19 I *think* it was a Roland SpaceEcho for the chorus and delay. It's a Les Paul Custom I think (possibly this one ). It's the distortion/amp I can't get anything like - maybe it's the chorus that makes it so unusual? Link to comment Share on other sites More sharing options...
Grem Posted February 19 Share Posted February 19 3 minutes ago, Xoo said: maybe it's the chorus I love Chorus. And yes Chorus can alter/enhance distortion. And with the almost endless combinations with Rate/Depth/Mix.... the brand of chorus, type of chorus: Sine, Triangle, dual, triple, it gets overwhelming trying to figure out a sound. Link to comment Share on other sites More sharing options...
user 905133 Posted February 19 Share Posted February 19 I like the song, I don't play guitar, I am not familiar with the band or its members. Is the guitarist Huw Lloyd-Langton? If so, does this site help? If not, never mind. Link to comment Share on other sites More sharing options...
Xoo Posted February 19 Author Share Posted February 19 It is Huw, yep. I'd looked there actually only a few days ago, so I think it might be a Peavey amp, but not sure which (I had one by chance once a long time ago and it sucked no matter what sound you wanted from it :-)). 1 Link to comment Share on other sites More sharing options...
Grem Posted February 19 Share Posted February 19 I watched the guitar cleanup video. That's a Norlin era Les Paul. Looks like the stock pups too. Watched the live video again and I can see he's got his guitar set to the bridge pup. 1 Link to comment Share on other sites More sharing options...
Grem Posted February 19 Share Posted February 19 (edited) The guitar in the 'clean-up' video isn't the one he is playing in the live video. The one in the live video looks like a dark burst finish. Also no bead on the pup selector. Edited February 19 by Grem Link to comment Share on other sites More sharing options...
Jim Roseberry Posted February 19 Share Posted February 19 (edited) Sounds like moderate gain tone... with chorus and delay (as was mentioned above). Alex Lifeson used a ton of chorus in the 80s... Andy Summers did as well. Probably be easier to list who wasn't using chorus in the 80s. ? Edited February 19 by Jim Roseberry 1 Link to comment Share on other sites More sharing options...
Xoo Posted February 19 Author Share Posted February 19 26 minutes ago, Grem said: The guitar in the 'clean-up' video isn't the one he is playing in the live video. The one in the live video looks like a dark burst finish. Also no bead on the pup selector. You have better eyesight than me! 1 Link to comment Share on other sites More sharing options...
Old Joad Posted February 19 Share Posted February 19 Sounds like a RAT distortion pedal. or maybe Boss DS-1 and chorus and delay.. Link to comment Share on other sites More sharing options...
markno999 Posted February 19 Share Posted February 19 Try adding a Tri-Stereo Chorus to moderate gain tone. The Dynatronics Tri Stereo chorus was used extensively in the 80's, I think Eventide had one too. But there are many other options these days in pedals and software plugins that fit the bill. Sounds good clean or distorted, and on lead tone. 1 Link to comment Share on other sites More sharing options...
Grem Posted February 19 Share Posted February 19 (edited) OK, I have confirmed it is Huw's "Howard Robert's Fusion" guitar that he is playing at Hammersmith Oden 1985. It is a Gibson, and that is probably the real source of his sound, enhanced by the chorus and delay, then the added distortion. I had never heard of a Gibson "Howard Roberts Fusion I" I found this info on the Howard Roberts. Seems Huw is playing a Fusion I, and not the Fusion III. Fusion Info: If you really want to know about this guitar, from the standpoint of a working guitarist who is also a luthier (repairman), this lengthy review might be worth your time. I have owned four Howard Roberts Fusions; two HR Fusion I models (1979 and 1980) and two HR Fusion III models. Anyone who has looked into these different models knows how radically different they are, although they at first may look similar because of the overall design. Both models have a 14.75" lower bout width, single cutaway and are 2 5/16" in depth (that is 1/16" deeper than the ES-135 and over 1/2" thicker than the ES-335), something to consider if you play in the high frets a lot. The HR Fusion I had a maple block through the center with a stop tailpiece. Because of that thick maple block, a 3-piece laminated maple neck (very strong), two "sustain sisters" (brass seatings under the adjustable bridge bolts) and a TP-6 tailpiece (popular from 1978-1982, looked cool, but not very functional), these guitars usually weigh up to 12 lbs. However, it has a beautiful note bloom and it sustains all day. It had an unbound ebony fretboard, all hardware was chrome and the toggle selector switch was on the upper bout (like a Les Paul). This was a great design, thanks to the fact that Gibson LISTENED to Howard Roberts, who wanted a versatile guitar for rock, jazz, country and studio work. He wanted essentially a "mini" ES-175 with a thinner body, maple block (like ES-335) and stop tailpiece. Gibson delivered that, and IF you can handle the weight (and remember Roberts rarely played standing up), it is a terrific guitar. The Fusion III another one of Gibson engineer's "brilliant" attempts to "improve" what could have been a classic instrument. Their plan was to lessen the weight and create a bit more of a jazz instrument. In the process, they changed a lot and, in my opinion, neutered the guitar as a versatile "fusion" instrument. The Fusion III had a slightly larger cutaway to allow greater access to upper frets, which did not make a significant difference because the guitar was still too thick/deep. This guitar now had a chromyte (balsa) center block (like the ES-135 and both Chet Atkins models of that era), a resonant wood that prevents feedback but noticeably decreases treble response and sustain. The toggle switch was moved to the lower, treble-side bout (like an ES-335), but if you look closely, the toggle switch and the neck pickup volume knob positions are switched. Why Gibson thought anyone would like this is frankly beyond comprehension. This model had binding on its ebony fretboard and all hardware was gold. The neck was still maple, but the block wood difference, removal of the brass "sustain sisters" and the change to a new, finger trapeze tailpiece resulted in a much lighter weight guitar. The sound differences between these models are significant, with the HR Fusion I being far more versatile: like an ES-335 with more sustain and more note bloom. The HR Fusion III has a more swinging, airy jazz tone. If you are a player skilled with your use of your guitar and amp tones, they are both good guitars. Drawbacks of both: the thicker body makes access to the top frets much more challenging than the ES-335. My opinion: had Gibson just kept the same body design, decreased its depth to 2", kept the maple block, eliminate the brass sustain sisters and kept the toggle on the upper bout, they would have created a true classic that would rival Les Pauls and ES-335s. Howard Roberts had the right concept, but rather than making little improvements in the original design, Gibson "went off the deep end" again: proof again that post-Norlin designs are not necessarily better. One final word about the HR Fusion III: if you are a string bender, you will have constant tuning problems with this instrument, no matter how you adjust the truss rod, set intonation, adjust the finger tailpiece, and lubricate nut and saddles. So Fusion III is not recommended for blues players, classic rockers or country pickers. It would be great for jazz or Western Swing; anything with minimal bending. Edited February 19 by Grem Link to comment Share on other sites More sharing options...
Old Joad Posted February 19 Share Posted February 19 Cool song.? 1 Link to comment Share on other sites More sharing options...
craigb Posted February 19 Share Posted February 19 22 minutes ago, Old Joad said: Cool song.? Talk about abrupt endings though! ? It's been awhile since I've had a Hawkwind discography day; will have to have one soon! Link to comment Share on other sites More sharing options...
Xoo Posted February 19 Author Share Posted February 19 2 minutes ago, craigb said: Talk about abrupt endings though! ? It's been awhile since I've had a Hawkwind discography day; will have to have one soon! It segues into another song (Elric the Enchanter Part II) on the album. Thanks to everyone for the input: I have the software tools to play with the delay (tri-chorus is one, although I know the Space Echo was in use at that time) and RAT. Then play with the amp - I think speakers will make a huge difference too. 2 Link to comment Share on other sites More sharing options...
craigb Posted February 19 Share Posted February 19 Just realized that a Hawkwind day would make alphabetic sense for me! ? I've been in a Prog mood lately and went from Djam Karet, to Eloy, to Gentle Giant (who I'm listening to now). I guess an "H" band should be next, ya? (The alphabetic order wasn't intentional, and I guess "F" got left out!?) All of that out of the way, there certainly were a lot of items discussed that bring back memories! I used to play a '76 Les Paul Classic through a Rat with a Space Echo. I had a Peavey amp around that time as well, but I must have gotten one of the crappy ones and got rid of it fairly quick. My main talent was that I was completely able to make it sound like muddy crap! ? 2 Link to comment Share on other sites More sharing options...
Old Joad Posted February 19 Share Posted February 19 Yeah, some of the Peaveys in those days were really bad, Like the ones that had a single 10-in and all the effects built in, just awful. 1 Link to comment Share on other sites More sharing options...
Grem Posted February 19 Share Posted February 19 2 hours ago, Old Joad said: some of the Peaveys in those days were really bad But some of those early Peavey guitar amps back in the day were monsters. Such as this Musician III I still have two PV guitar amps that work. A PV Decade that is still kicking after 40 plus years. You could plug into the #1 input and plug a foot switch halfway into the #2 input and switch between both channels. It had a great distortion sound for practice. I would use it in the back room to warm up before we went on stage and in between sets. And a PV Rage 158 that worked well too. I bought a Carvin 10" speaker and built a cab for it to use with the Rage but it never really sounded as good unless it was with the 8" it came with. Same with the Decade. And I still have a PV 130 Monitor amp that just will not die!! It got buster one night in a surge (along with some other PV 800's) and we drove to Meridian Mississippi to have them fixed. We walked in and put them all on the counter, told them what happened, and they said give us a few minutes and we will have ya fixed up. One guy came from the back asking where did we get that PV 130 Monitor amp. He said it was some of the first stuff PV ever put out!! And was really pleased that we were still using it. It had a VU meter on the front, but that was broke off when I got it. We asked him if he could fix that and he said don't worry about that. It will work fine without it!! LOL! And it has... all these years. I can't even find a pic for it. It's just a mono amp with two inputs, two outputs, and has one big volume knob on front in the middle. 1 Link to comment Share on other sites More sharing options...
Xoo Posted February 19 Author Share Posted February 19 4 hours ago, Old Joad said: Yeah, some of the Peaveys in those days were really bad, Like the ones that had a single 10-in and all the effects built in, just awful. Mine was a 2*12 combo - I picked it up second hand cheap because my old amp got stolen, and I needed something fast. It was built like a tank. Sadly, it also sounded like one. 1 Link to comment Share on other sites More sharing options...
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