I always thought that sounded like bass going through a leslie rotating speaker.
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Power Trio... What do you do?
- Thread starter Scott Waldy
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I always thought that sounded like bass going through a leslie rotating speaker.
I think I have been confusing the 4, 5, 6 piece sounds with the Trio Sound, as was mentioned.
When I listen to groups essentially a Trio + Vox, they usually have backing Rhythm tracks. It's those that I feel that I need to try to emulate in order to fill up the sound when the Guitarist goes into solo mode.
Yes, our band is a Classic Rock Cover Band. I should have been more specific in the OP. My apologies.
When I listen to groups essentially a Trio + Vox, they usually have backing Rhythm tracks. It's those that I feel that I need to try to emulate in order to fill up the sound when the Guitarist goes into solo mode.
Yes, our band is a Classic Rock Cover Band. I should have been more specific in the OP. My apologies.
This was my fix. I run the effect out of a Fishman Fission pedal into a guitar processor. The Fission adds an Octave Up, a 5th above that, and then a 2nd Octave above the original. This basically makes a power chord out of the note you play. So when the guitar player takes a solo, I pop on the Fission and... INSTANT RHYTHM GUITAR PLAYER (and one that won't drink my beer)... I use it for stuff like "Sweet Child of Mine" during the end solo, the into to "My Own Worst Enemy" to fatten it up, "Hit Me With Your Best Shot" during the solo.... you get the idea.
The tough part of this pedal is playing technique and blending it in the mix. Because its a multi-pitch pedal, its easy for it to get "confused" on the notes. Therefore you have to make sure you are playing clean (like with most octave pedals). Blending it with the band is the other challenge. The built in drive kinda sucks, so that is why I go into a guitar processor (Zoom G3) and into a separate channel on the board. This allows the sound guy to control the level of the effect vs the rest of the band and lets me use an amp modeler for a better distortion sound (A Line 6 POD would work well too, but I opted for the G3 because of the XLR DI out.. and the fact that I got it for $99).
If you pick up the Fission, give it an honest try. It sounds odd if you play it on its own, but it mixes well. If I get some recordings from this weekends gig, I'll post so you can hear it.
The tough part of this pedal is playing technique and blending it in the mix. Because its a multi-pitch pedal, its easy for it to get "confused" on the notes. Therefore you have to make sure you are playing clean (like with most octave pedals). Blending it with the band is the other challenge. The built in drive kinda sucks, so that is why I go into a guitar processor (Zoom G3) and into a separate channel on the board. This allows the sound guy to control the level of the effect vs the rest of the band and lets me use an amp modeler for a better distortion sound (A Line 6 POD would work well too, but I opted for the G3 because of the XLR DI out.. and the fact that I got it for $99).
If you pick up the Fission, give it an honest try. It sounds odd if you play it on its own, but it mixes well. If I get some recordings from this weekends gig, I'll post so you can hear it.
In my metal band that we tube to drop B and drop C I tend to only use a few effects, pretty much my dry tone of amp with low mids boosted, ibanez pd7 in overdrive mode and boss bass chorus.
when my guitarist is soloing / bridges / quick licks I usually just keep holding the Rythm section with the drums and either add a sparkle of chorus to it if I'm playing higher notes... Overdrive is usually kept one for the whole song for parts so if guitarist is doing a solo well still have a phat bottom end coming through. We tend to leave it though and let guitar "breathe" and do its thing and same for when the guitar is doing guitar only parts, only occasionally will I add an harmonic or root note part but usually let the guitar so it's thing.. The few bass intros / bridges I have guitar lets me hog the limelight too... My only big thing is now looking at the source audio OFD to blend my sound with a bit of overdrive so can hold a natural sounding grit for any parts guitar is soloing and make it heavy yet defined. Save the PD7 either off the board or only for parts it needs extreme boost ( my settings have it for pretty extreme)
when my guitarist is soloing / bridges / quick licks I usually just keep holding the Rythm section with the drums and either add a sparkle of chorus to it if I'm playing higher notes... Overdrive is usually kept one for the whole song for parts so if guitarist is doing a solo well still have a phat bottom end coming through. We tend to leave it though and let guitar "breathe" and do its thing and same for when the guitar is doing guitar only parts, only occasionally will I add an harmonic or root note part but usually let the guitar so it's thing.. The few bass intros / bridges I have guitar lets me hog the limelight too... My only big thing is now looking at the source audio OFD to blend my sound with a bit of overdrive so can hold a natural sounding grit for any parts guitar is soloing and make it heavy yet defined. Save the PD7 either off the board or only for parts it needs extreme boost ( my settings have it for pretty extreme)
The Ofd is great for that ! I use it that way, and there's the bonus of a second setting available.
Glad to know others are using the OFD - there's one song in particular where it has a bass intro and a bass driven verse, wanting to get the whole overly compressed slap heavy overdrive yet still have definition on the "pops"... Every demo I listen to comparing it to other stuff ( even b3k) has me more and more set on OFD, that and having the second setting available!
