Randolf Arriola (embryo) Guitar Gear 101
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embryo
New member
Hi Lifele55 and Guitarsan,
Wahhh! Real sweet to receive such fine compliments but even sweeter when I learn my tone quest rambles have helped you somewhat in coming closer to getting "that sound" you've been hearing in your heart! Tanx!
Wahhh! Real sweet to receive such fine compliments but even sweeter when I learn my tone quest rambles have helped you somewhat in coming closer to getting "that sound" you've been hearing in your heart! Tanx!
embryo
New member
Howdy folks!
Hah, Ok, I just realized that it's been coupla months gone by since I last posted here to update on music, guitars, amps and most things related to the musical axe.
Work n Play
It's been a pretty interesting busy 1st half of the year among usual things adding on n juggling with several music and commercial production work. Talk about blurring the lines between work and play. Heh. I intend to find the time to document the process and put it all up along the way for folks who'd find interest and offer continued support as I prepare the launch of a new virtual home coming up...real soon.
Fav Guitar Gear...(so far this yr that is)
My current favs this year revolve around the varied toneful uses of;
Guitars: Klein Electric, Gibson LP Goldtop, Tele, Godin Multiac Steel Duet & SA & Chapman Stick
Amps: Hughes and Kettner TriAmp MKI & TriAmp MKII Alex Lifeson Vox DA5 & Fender Super60
Pedals: Boss CS3, SD1, DD3, DD6 (all modded) Line6 DL4, Yamaha Magicstomp, Roland VG99, Roland Sonic Cell, GR1 & GR30
DAW
I use a self assembled PC with tweaked XP running on a Quadcore Intel Cpu. Keeping a close watch on Vista and the driver and 64bit support, im staying with XP for the moment. Why XP? Well if it's good enough for Hans Zimmer... Continuing from the mid 90's my longtime DAW of preference has and is Steinberg's Cubase now ver 5 with Waves plugs, Spectrasonics Omnisphere, Stylus RMX & Trilogy. My choice of kybd controller is the Akai MPK49. A wonderful new addition to the DAW gear crew that raised my brows and perked my ears is this incredible device called the KRK ERGO. Perhaps someday I'll get round to getting a ReacTable...yeah dream on! Hah!
Thanks to everyone here for the continued support and well wishes, more along the way. Till then...
Stay tuned!
Hah, Ok, I just realized that it's been coupla months gone by since I last posted here to update on music, guitars, amps and most things related to the musical axe.
Work n Play
It's been a pretty interesting busy 1st half of the year among usual things adding on n juggling with several music and commercial production work. Talk about blurring the lines between work and play. Heh. I intend to find the time to document the process and put it all up along the way for folks who'd find interest and offer continued support as I prepare the launch of a new virtual home coming up...real soon.
Fav Guitar Gear...(so far this yr that is)
My current favs this year revolve around the varied toneful uses of;
Guitars: Klein Electric, Gibson LP Goldtop, Tele, Godin Multiac Steel Duet & SA & Chapman Stick
Amps: Hughes and Kettner TriAmp MKI & TriAmp MKII Alex Lifeson Vox DA5 & Fender Super60
Pedals: Boss CS3, SD1, DD3, DD6 (all modded) Line6 DL4, Yamaha Magicstomp, Roland VG99, Roland Sonic Cell, GR1 & GR30
DAW
I use a self assembled PC with tweaked XP running on a Quadcore Intel Cpu. Keeping a close watch on Vista and the driver and 64bit support, im staying with XP for the moment. Why XP? Well if it's good enough for Hans Zimmer... Continuing from the mid 90's my longtime DAW of preference has and is Steinberg's Cubase now ver 5 with Waves plugs, Spectrasonics Omnisphere, Stylus RMX & Trilogy. My choice of kybd controller is the Akai MPK49. A wonderful new addition to the DAW gear crew that raised my brows and perked my ears is this incredible device called the KRK ERGO. Perhaps someday I'll get round to getting a ReacTable...yeah dream on! Hah!
Thanks to everyone here for the continued support and well wishes, more along the way. Till then...
Stay tuned!
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Whitestrat
New member
Klein? As in that odd shaped thing? how does it play? I've heard mixed reviews on this.
embryo
New member
The Klein Guitar
Michael Hedges with the Klein Harp Guitar
I'm a big fan of the tones, designs, look and feel of the classic Stratocaster and Gibson Les Paul guitars and have over the years also developed much appreciation for the various hybrids and superstrats.... and then there's the Steinberger which led right up to KLEIN!!!
The Klein Electric because it's such a radical looking guitar for most players, myself included will initially be thrown off at first sight of it. It is only when you hold and play to get intimate with it for awhile sitting and standing will it reveal just how beautifully thought out and refined in design, make and playability the instrument is. Unlike most other traditional guitar designs whether seated or with a strap on the center of gravity of the Klein instrument is such that the 24th fret is right in the middle of one's solar plexus.
The angle and positioning of the neck is just incredibly well placed making chording and single lines from the nut position right up to the last frets very ergonomically placed. One could choose to comp jazz or thrash at it this guitar's designed to take it all with equal grace and power.
The tones from the instrument (as far as mine is concerned with Seymour Duncan 59's bridge and neck) ranges from warm low output humbucker Les Paul to sparkly Tele/Strat like. The neck's profile and dimensions in width and fret radius are just perfect to and for me. The Steinberger TransTrem as I've always maintained was and still is best tremolo design that has so much musical possibilities. The parallel transposing features of this bridge design makes the chordal bends sound always in tune and so steel guitar like.
How does it play and what's it best for? Well the Klein seems to respond to and somewhat encourages me to play anything (within n beyond my abilities) from subtle to brash. I find myself thinking and feeling more about the music than trying to replicate and should I choose to replicate when the need arises it still responds very well.
What amazes me most about this instrument is that unlike with the Strat and Les Paul it seems easier to play the Klein with more honesty, personality n intention. Playing any great icononic instrument without being subconciously influenced & obligated to play and sound like any of the greats that chalk up the long list of rock guitar history is difficult to totally avoid....Somehow with the Klein I've found my voice and if ever I feel like paying homage to the greats... or Guitar Hero I pick up the Strats and Les Pauls.
Michael Hedges with the Klein Harp Guitar
I'm a big fan of the tones, designs, look and feel of the classic Stratocaster and Gibson Les Paul guitars and have over the years also developed much appreciation for the various hybrids and superstrats.... and then there's the Steinberger which led right up to KLEIN!!!
The Klein Electric because it's such a radical looking guitar for most players, myself included will initially be thrown off at first sight of it. It is only when you hold and play to get intimate with it for awhile sitting and standing will it reveal just how beautifully thought out and refined in design, make and playability the instrument is. Unlike most other traditional guitar designs whether seated or with a strap on the center of gravity of the Klein instrument is such that the 24th fret is right in the middle of one's solar plexus.
The angle and positioning of the neck is just incredibly well placed making chording and single lines from the nut position right up to the last frets very ergonomically placed. One could choose to comp jazz or thrash at it this guitar's designed to take it all with equal grace and power.
The tones from the instrument (as far as mine is concerned with Seymour Duncan 59's bridge and neck) ranges from warm low output humbucker Les Paul to sparkly Tele/Strat like. The neck's profile and dimensions in width and fret radius are just perfect to and for me. The Steinberger TransTrem as I've always maintained was and still is best tremolo design that has so much musical possibilities. The parallel transposing features of this bridge design makes the chordal bends sound always in tune and so steel guitar like.
How does it play and what's it best for? Well the Klein seems to respond to and somewhat encourages me to play anything (within n beyond my abilities) from subtle to brash. I find myself thinking and feeling more about the music than trying to replicate and should I choose to replicate when the need arises it still responds very well.
What amazes me most about this instrument is that unlike with the Strat and Les Paul it seems easier to play the Klein with more honesty, personality n intention. Playing any great icononic instrument without being subconciously influenced & obligated to play and sound like any of the greats that chalk up the long list of rock guitar history is difficult to totally avoid....Somehow with the Klein I've found my voice and if ever I feel like paying homage to the greats... or Guitar Hero I pick up the Strats and Les Pauls.
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embryo
New member
Guitar Setup Part 1: Neck Relief, Action, Intonation... and Grrrls!
It's interesting to note how many players are rarely acutely aware of the effects of playing guitars with setups that carefully balance between the instrument's playability and it's inherent tonal and dynamic range.
In the early days of most young players the guitar is viewed and treated more like a weapon, a prized gaming tool or sex toy. Speed, flash, note density and trophy like iconic association take top if not total priority over everything else in life including in cases.... Girls! Hah, Ok U get the point. I hope Heheheh.
Ok so more about guitar setups along the way. In the mean time give it some tots and perhaps picture ur fav guitar and girl standing right in front of you and decide for yourself which one has better action.... No seriously tink about it.
It's interesting to note how many players are rarely acutely aware of the effects of playing guitars with setups that carefully balance between the instrument's playability and it's inherent tonal and dynamic range.
In the early days of most young players the guitar is viewed and treated more like a weapon, a prized gaming tool or sex toy. Speed, flash, note density and trophy like iconic association take top if not total priority over everything else in life including in cases.... Girls! Hah, Ok U get the point. I hope Heheheh.
Ok so more about guitar setups along the way. In the mean time give it some tots and perhaps picture ur fav guitar and girl standing right in front of you and decide for yourself which one has better action.... No seriously tink about it.
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rhcp clean guitar sound
randolf, i remembered you told me once that john frusciante's guitar setup is a difficult one, since he put a strat to a marshall and play with not much distortion.
what i would like to ask you is that, where does his sound come from?
i'm referring to his crisp yet clean sound.
i was thinking that it's due to certain compression, which i highly suspect now to be true. but it seems that it's not only compression that is his way of getting that tone.
my next suspicions are his strat, and a germanium drive pedal (?).
mind shedding some light in this issue?
thx :]
randolf, i remembered you told me once that john frusciante's guitar setup is a difficult one, since he put a strat to a marshall and play with not much distortion.
what i would like to ask you is that, where does his sound come from?
i'm referring to his crisp yet clean sound.
i was thinking that it's due to certain compression, which i highly suspect now to be true. but it seems that it's not only compression that is his way of getting that tone.
my next suspicions are his strat, and a germanium drive pedal (?).
mind shedding some light in this issue?
thx :]
embryo
New member
Hi Boyl,
Compression with low output pickups is what Fruciante uses for tunes like "Under The Bridge" It's apparently a Boss compressor according to past articles I vaguely now recall. The other distinctive drive sound that Fruciante uses seems to indicate his preference( tho not exclusively) for Fuzz over the usual overdrive and distortion. Germanium is what's usually used in classic fuzz designs.
What I meant by by saying the Strat/Marshall combination being difficult is that it's a very dynamic but also unforgiving sound which really demands alot of control and stamina from the player eg. Fruciante, Uli Jon Roth, Eric Johnson,J Beck, Clapton, Blackmore, Hendrix, SRV, Malmsteen etc. What I've noticed is that you can distinctly hear a player's character more easily with a Strat. Ever noticed how Malmsteen's notes and overall sound seems to cut across when compared to Vai and Satriani in their G3 DVD?
Hope this has been helpful for you.
Compression with low output pickups is what Fruciante uses for tunes like "Under The Bridge" It's apparently a Boss compressor according to past articles I vaguely now recall. The other distinctive drive sound that Fruciante uses seems to indicate his preference( tho not exclusively) for Fuzz over the usual overdrive and distortion. Germanium is what's usually used in classic fuzz designs.
What I meant by by saying the Strat/Marshall combination being difficult is that it's a very dynamic but also unforgiving sound which really demands alot of control and stamina from the player eg. Fruciante, Uli Jon Roth, Eric Johnson,J Beck, Clapton, Blackmore, Hendrix, SRV, Malmsteen etc. What I've noticed is that you can distinctly hear a player's character more easily with a Strat. Ever noticed how Malmsteen's notes and overall sound seems to cut across when compared to Vai and Satriani in their G3 DVD?
Hope this has been helpful for you.
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ah, ok2, thx for the very useful info!
yes, i agree with your opinion regarding strat being more transparent and hence show one's characteristic more.
is it down to the single coil?
or is it simply strat, the combination of the body and pick up and everything?
and also, for strip my mind, a song by RHCP, is the intro a sound of clean tube amp on the verge of breaking?
yes, i agree with your opinion regarding strat being more transparent and hence show one's characteristic more.
is it down to the single coil?
or is it simply strat, the combination of the body and pick up and everything?
and also, for strip my mind, a song by RHCP, is the intro a sound of clean tube amp on the verge of breaking?
embryo
New member
Hah! It's been awhile....tending to the necessities of life and I hope one and all here are in best spirits ya.
Ok let's see...
To me the true single coil pickup especially when it's of the lower output type reproduces a more accurate version of the overall tonality of the instrument. It's also interesting to note that there is a detectable difference in overall tone when low output pickups are mounted on the pickguard or direct on the body. Personally I don't necessarily prefer single coils over humbuckers as both have their own distinctive tonal characteristcs.
Boyle, I make no claims to having the secret recipes but from what I hear it sounds like John's using a Strat with the neck pickup into a (non mid boosted) Marshall stack. The character of the low end thump sound and the spanky top end is that distinctive 4 x12 closed back speaker cab type. The sound of those opening chords is unassumingly interesting because it has that live 3 dimensional quality to it without obvious processing. There are many ways to achieve this including the use of multiple mics capturing the cab in different angles and distance in the same room. The other simple way is to use 2 mics for a 4x12 and a second amp like a Twin Reverb (which has the open back twin speakers) and mic that with single or 2 mics. and then mix them to taste.
What I've always admired about John Fruciante's sound is he always has a wide range of tasty tones to match his always familiar yet interesting lines from classic to wtf type modulated over the top fuzzes and yet it always suits the tunes like hand in the glove.
Ok let's see...
To me the true single coil pickup especially when it's of the lower output type reproduces a more accurate version of the overall tonality of the instrument. It's also interesting to note that there is a detectable difference in overall tone when low output pickups are mounted on the pickguard or direct on the body. Personally I don't necessarily prefer single coils over humbuckers as both have their own distinctive tonal characteristcs.
Boyle, I make no claims to having the secret recipes but from what I hear it sounds like John's using a Strat with the neck pickup into a (non mid boosted) Marshall stack. The character of the low end thump sound and the spanky top end is that distinctive 4 x12 closed back speaker cab type. The sound of those opening chords is unassumingly interesting because it has that live 3 dimensional quality to it without obvious processing. There are many ways to achieve this including the use of multiple mics capturing the cab in different angles and distance in the same room. The other simple way is to use 2 mics for a 4x12 and a second amp like a Twin Reverb (which has the open back twin speakers) and mic that with single or 2 mics. and then mix them to taste.
What I've always admired about John Fruciante's sound is he always has a wide range of tasty tones to match his always familiar yet interesting lines from classic to wtf type modulated over the top fuzzes and yet it always suits the tunes like hand in the glove.
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embryo
New member
Looperlative LP1 - The Mothership of Creative Live Looping
I'm very pleased to announce the timely arrival of the Looperlative LP1 It's the mothership of time bending creative live looping hardware devices available today. This is my unit which was hand assembled by the inventor maker Bob Amstadt himself with a custom purple faceplate. I've been told that it's the only piece in Asia but I'm glad the maker and the user community support has been incredibly prompt and personal.
What does this do? Well for starters it allows me to do what all existing hardware live looping devices including the Boss RC50 simply can't....to personalize the mixing functions for the wildest live looping dreams possble and it's got 8 Stereo channels. The machine is really deep and continously updated regularly by simply connecting to the net via it's onboard ethernet port. More to share along the way...
I'm very pleased to announce the timely arrival of the Looperlative LP1 It's the mothership of time bending creative live looping hardware devices available today. This is my unit which was hand assembled by the inventor maker Bob Amstadt himself with a custom purple faceplate. I've been told that it's the only piece in Asia but I'm glad the maker and the user community support has been incredibly prompt and personal.
What does this do? Well for starters it allows me to do what all existing hardware live looping devices including the Boss RC50 simply can't....to personalize the mixing functions for the wildest live looping dreams possble and it's got 8 Stereo channels. The machine is really deep and continously updated regularly by simply connecting to the net via it's onboard ethernet port. More to share along the way...
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embryo
New member
Custom Leather Strap by Xan
Would like to share with you a wonderful discovery of meeting a fellow by the name of Xan Loh who's incredibly talented with leather works. He hand crafted this beautiful one of kind customized high quality leather with python strap for me which is now permanently the strap for my oldie goldie Gibson Les Paul. Xan is Singaporean (ie. kaki nang) Do come by my facebook to browse the photo gallery for more closeups of both guitar and Strap.
Would like to share with you a wonderful discovery of meeting a fellow by the name of Xan Loh who's incredibly talented with leather works. He hand crafted this beautiful one of kind customized high quality leather with python strap for me which is now permanently the strap for my oldie goldie Gibson Les Paul. Xan is Singaporean (ie. kaki nang) Do come by my facebook to browse the photo gallery for more closeups of both guitar and Strap.
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embryo
New member
The Calm before or after the Storm...in the workroom
Trust me o this but this is a very rare sight in the workroom! Just wanted to share with you and remind myself what it can look like when you know it's time to do something spotting roaches scurrying about on their tip toes!
The pedal chain in a semi circle with the Boss RC50 Loop Station is up till recent the typical setup I use for my weekly gigs at Harrys Dempsey Hill. The other pedals that I use but are not in the pic are my "Undark" modded Line6 DL4 and a TC Helicon Voice Create which I use with my mic sending the output to the Boss RC50's mic input.
Trust me o this but this is a very rare sight in the workroom! Just wanted to share with you and remind myself what it can look like when you know it's time to do something spotting roaches scurrying about on their tip toes!
The pedal chain in a semi circle with the Boss RC50 Loop Station is up till recent the typical setup I use for my weekly gigs at Harrys Dempsey Hill. The other pedals that I use but are not in the pic are my "Undark" modded Line6 DL4 and a TC Helicon Voice Create which I use with my mic sending the output to the Boss RC50's mic input.
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embryo
New member
The Klein Electric Guitar - My 6 String Sonic Paint Brush
For most of the works done this year with the electric guitar and studio productions this has been my main workhorse and inspirational tool. Be it Ambient, Jazz, Rock or Electronica, the Klein performs wonderfully. It's fitted with Seymour Duncan 59's pups, has the Steinberger Trans Trem Bridge and is retrofitted with the Roland GK3 midi pickup which I use to drive the Roland VG99 and Guitar Synths including the GR1, GR20, Sonic Cell and Spectrasonics. This will definitely be my main axe for sonic adventures in live looping together with the Looperlative.
For most of the works done this year with the electric guitar and studio productions this has been my main workhorse and inspirational tool. Be it Ambient, Jazz, Rock or Electronica, the Klein performs wonderfully. It's fitted with Seymour Duncan 59's pups, has the Steinberger Trans Trem Bridge and is retrofitted with the Roland GK3 midi pickup which I use to drive the Roland VG99 and Guitar Synths including the GR1, GR20, Sonic Cell and Spectrasonics. This will definitely be my main axe for sonic adventures in live looping together with the Looperlative.
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embryo
New member
Godin Multiac Steel Duet - A time tested breadwinner
The Godin Multiac Acoustic Electric Guitar is the guitar of choice that has continued to serve and provide music, inspiration and a livelihood for almost the whole of Y2K. I love them so much I have 3 of them, 2 of them are Steel Duets and the 3rd is a Steel SA which has the Roland Synth Access 13pin jack. These are my desert island pick workhorse guitars.
The Godin Multiac Acoustic Electric Guitar is the guitar of choice that has continued to serve and provide music, inspiration and a livelihood for almost the whole of Y2K. I love them so much I have 3 of them, 2 of them are Steel Duets and the 3rd is a Steel SA which has the Roland Synth Access 13pin jack. These are my desert island pick workhorse guitars.
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embryo
New member
Cityscapes - Moodscape Paintings with the Guitar and Infrared Photography
My contributions in sound paintings with the Klein Guitar on the piece "Think Feel Know" and my Infrared Photography for the cover and art work for the Cityscapes project involving participating talents from the Singapore Association of the Visually Handicapped together with 8 artists in the field of sound design including our own like Eswandy Sarip, Mux, Sonicbrat and includes a collective remix by Germany's Michael Fakesch who in the duo electronic outfit "Funkstörung" did high profile remixes for Bjork, Wu Tang Clan and Jean Michel Jarre.
The Cityscapes project was recently featured in the Singapore Design Festival 2009 with exhibition space at City Hall. 80% of all proceeds from the sale of the limited cd and books boxset edition goes to the support of S.A.V.H.
My contributions in sound paintings with the Klein Guitar on the piece "Think Feel Know" and my Infrared Photography for the cover and art work for the Cityscapes project involving participating talents from the Singapore Association of the Visually Handicapped together with 8 artists in the field of sound design including our own like Eswandy Sarip, Mux, Sonicbrat and includes a collective remix by Germany's Michael Fakesch who in the duo electronic outfit "Funkstörung" did high profile remixes for Bjork, Wu Tang Clan and Jean Michel Jarre.
The Cityscapes project was recently featured in the Singapore Design Festival 2009 with exhibition space at City Hall. 80% of all proceeds from the sale of the limited cd and books boxset edition goes to the support of S.A.V.H.
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embryo
New member
I'll try to communicate this observation in a hopefully articulated way.
Especially in clean and slightly overdriven amp settings the difference in overall tone of the pickup be it floating (as in mounted on the pickguard) compared to being attached directly onto a solid body is more noticeble especially when the signal driving the amp is from the lower output type This is one several prominent factors contributing to the "woodier" sound often described of the tone from vintage spec'd output pickups. Many players love that but not necessarily everybody. High output pickups seem to show less tonal differences and in extreme settings it almost makes no difference if the guitar body and neck were made of wood or concrete. This isn't necessarily a disadvantage.
For humbuckers eg. try a experiment on your own listening to a set of eg. SD 59's on a full hollow body and then compare that to a Les Paul with similar SD59's and then try a set of hot rodded pickups eg. "Live Wires" set on both guitars and hear the differences. Again this isn't about which is better or best rather it's a way to take into consideration the variables that result from combining different pups with different guitar body/neck/metals combinations.
Hope this helps.
Especially in clean and slightly overdriven amp settings the difference in overall tone of the pickup be it floating (as in mounted on the pickguard) compared to being attached directly onto a solid body is more noticeble especially when the signal driving the amp is from the lower output type This is one several prominent factors contributing to the "woodier" sound often described of the tone from vintage spec'd output pickups. Many players love that but not necessarily everybody. High output pickups seem to show less tonal differences and in extreme settings it almost makes no difference if the guitar body and neck were made of wood or concrete. This isn't necessarily a disadvantage.
For humbuckers eg. try a experiment on your own listening to a set of eg. SD 59's on a full hollow body and then compare that to a Les Paul with similar SD59's and then try a set of hot rodded pickups eg. "Live Wires" set on both guitars and hear the differences. Again this isn't about which is better or best rather it's a way to take into consideration the variables that result from combining different pups with different guitar body/neck/metals combinations.
Hope this helps.
hey dood u mentioned that single coils sound diff when fixed to a pickguard compared to when fixed to the body of the guitar. mind elaborating please? btw is this the same to humbuckers as well or only for single coils? thanks
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