As you can guess after reading the subject of this thread, my question is:
how to achive that sustaining, feedbacking guitar tone you colud assume to
get with those Fernandes Sustainer PUs in studio. You know, I'm looking for
the tonal effext that Santana descirebes when speeking of sustain: to find
that "sweet spot".
I know how to get it when I'm not seated at the mixing deck and I let the
volume shred my pants, but nowadays I play the role of the musician and the
engineer at once - therefore I in front of the mixer.
Well, in my home studio I have a separated bedroom for my 300 W Marshall
1960A speakers cabinet and I sit in another room when recording my playing.
Also, I can't admit too high a volume in the "control room" because I live
in a block-of-flat. The cabinet is threated by Marshall's PowerBrake 100
this way achieving a lower volume.
Thanks for answering me if you have any useful suggestions:

bence

"Back in the day" as the young kids say, I used to plug a Strat or 335 into
either a Bassman or Marshall 100 head through a speaker tieline into the
studio, mic up a fender or 4X12, crank the return path through a pair of UREI
813's(gulp) driven by TWO Bryston 4B's.
I remember plenty of feedback, and also feeling something in my pants...er
whatever.

I also understand how that doesn't help you at all, but I'm grinning just
thinking about it.



Kevin M. Kelly
"There needs to be a 12-step program for us gearheads"

When you're in the same room as the amp - one trick is to touch the
headstock of the guitar to the speaker cabinet (not the head) to get an
instant feedback. I'm pretty sure it would work the same way with the
control room monitors (be careful not to touch the actual speaker
cones). The vibration of the guitar note resonates the headstock and the
rest of the guitar creating a true feedback loop. Works at fairly
reasonable volume levels too.

D Owen



Locsmándi Bence wrote:

As you can guess after reading the subject of this thread, my question is:
how to achive that sustaining, feedbacking guitar tone you colud assume to
get with those Fernandes Sustainer PUs in studio. You know, I'm looking for
the tonal effext that Santana descirebes when speeking of sustain: to find
that "sweet spot".
I know how to get it when I'm not seated at the mixing deck and I let the
volume shred my pants, but nowadays I play the role of the musician and the
engineer at once - therefore I in front of the mixer.
Well, in my home studio I have a separated bedroom for my 300 W Marshall
1960A speakers cabinet and I sit in another room when recording my playing.
Also, I can't admit too high a volume in the "control room" because I live
in a block-of-flat. The cabinet is threated by Marshall's PowerBrake 100
this way achieving a lower volume.
Thanks for answering me if you have any useful suggestions:

bence

Thanks a lot, Owen, I'll try it soon!!!

b.

"Noizman" az alábbiakat írta a következo üzenetben
.. .
When you're in the same room as the amp - one trick is to touch the
headstock of the guitar to the speaker cabinet (not the head) to get an
instant feedback. I'm pretty sure it would work the same way with the
control room monitors (be careful not to touch the actual speaker
cones). The vibration of the guitar note resonates the headstock and the
rest of the guitar creating a true feedback loop. Works at fairly
reasonable volume levels too.

D Owen



Locsmándi Bence wrote:

As you can guess after reading the subject of this thread, my question
is:
how to achive that sustaining, feedbacking guitar tone you colud assume
to
get with those Fernandes Sustainer PUs in studio. You know, I'm looking
for
the tonal effext that Santana descirebes when speeking of sustain: to
find
that "sweet spot".
I know how to get it when I'm not seated at the mixing deck and I let
the
volume shred my pants, but nowadays I play the role of the musician and
the
engineer at once - therefore I in front of the mixer.
Well, in my home studio I have a separated bedroom for my 300 W Marshall
1960A speakers cabinet and I sit in another room when recording my
playing.
Also, I can't admit too high a volume in the "control room" because I
live
in a block-of-flat. The cabinet is threated by Marshall's PowerBrake 100
this way achieving a lower volume.
Thanks for answering me if you have any useful suggestions:

bence