I’ve had a few people ask me about the gear I used for the ‘How To Do Satch-Style Harmonic Squeals’ video I posted on the weekend. Here’s an edited version of a response I wrote to a user on Jemsite.
* Ibanez RG550 20th anniversary reissue with stock pickups.
* Marshall JCM2000 DSL50 amp
* AxeTrak isolated speaker cabinet
* MXR/CAE Boost/Overdrive pedal
* MXR Carbon Copy analog delay.
About the guitar: A lot of people change these pickups straight away without even giving them a chance, but I think they’re great. There’s a little 30-second shred video on my YouTube channel www.youtube.com/iheartguitarblog which is the same exact amp and effect setup but using the neck pickup instead. The neck pickup reminds me of Andy Timmons.
I fully expected to change out the stock V2 pickups, but after playing them for a few days I decided they were fine (although the single coil is a bit microphonic so if I’m using that I turn the boost pedal off). I never really liked the V8s – too barky for the sound I’m going for. The V2s sit very nicely in the mix and they’re great for either alternate picking or legato. They seem to emphasize everything you do, so if you have your phrasing together it really shows.
About the amp: The guitar is recorded directly from the AxeTrak into my Digidesign M-Box with no processing. For the recording I used the amp’s lead channel (in normal mode, not ‘Ultra’). Gain at 5, master at 6, through an AxeTrak isolated speaker cabinet. All of the tone controls on the Marshall are turned up to 10, although when using a regular Marshall cabinet instead of the AxeTrak I reduce the treble and presence to 5 to get the same sound. The AxeTrak sounds great but you just have to learn to compensate for its natural tone a bit. Once you do it sounds very similar to a Marshall 1960A cabinet. In the interests of full disclosure, I bought my amp on endorsement terms by arrangement with the distributor. I shopped around and tried out a bunch of different amps by many different brands, but the DSL50 was the one for me. I bought the exact amp that I’d been using at World of Music to test guitars when I was working there.
I’ve found that the balance of a medium amp gain, combined with a cranked boost, seems to make all these cool harmonics come out which would otherwise be squashed with too much preamp gain. My theory is that when you increase the amp’s own gain, you increase the harmonics so much that they all start fighting for attention. Doing it the way I do seems to emphasize only the best ones. Think of it like increasing the contrast and brightness controls on your TV, where the boost pedal is the contrast and the amp gain is the brightness. If you turn them both all the way up, you’ll just get a white screen, whereas if you turn up the contrast and find the sweet spot with the brightness, you’ll get that glowing, David Lee Roth video kind of look. I also use the boost on the amp’s Rhythm channel. I set the channel’s gain at about 6, then use the pedal to increase it to around the same level as the lead channel’s halfway point. It sounds a bit Nuno Bettencourt like this, and gives me just the right individual gain levels for rhythm and lead, while allowing me to set different volume levels for each channel. The end result is that it pretty much sounds like I’m on the lead channel all the time, but increasing the gain and volume when switching channels. If I want a clean sound, I just turn off the boost when on the rhythm channel, and maybe roll the volume control on the guitar down a little if I’m using high output pickups.
About the boost: For the recording I had only the boost side engaged, turned up to full volume. This pedal is designed by Bob Bradshaw of Custom Audio Electronics, and his amps have been used by guys like Steve Lukather and Eddie Van Halen, who used a CAE preamp on ‘The Dream Is Over’ from Van Halen’s For Unlawful Carnal Knowledge album back in 1991. The overdrive part of the pedal sounds cool too but I don’t use it very often.
About the delay: The Carbon Copy’s repeats are a little muffled, which seems to add a little bit of warmth to the overall tone, although I wouldn’t go so far as to say it’s one of the key elements. I’d say the biggest contributing factors to the tone are the stock Ibanez bridge pickup and the effect of using a clean boost to increase the gain of the Marshall, instead of cranking the Marshall’s own gain.
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I’ve been using a Bob Bradshaw-designed MXR/Custom Audio Electronics Boost/Overdrive for about six months now with my Marshall JCM2000 DSL50. I set the amp’s gain levels relatively conservatively, then hit the preamp with increased output from the boost when required, so I have 4 levels of gain across 2 channels. Then I stomp on the overdrive section if I need even more gain.
The latest from the CAE/MXR collaboration is the MC-404 CAR Wah. I can’t wait to try this one, and maybe add more sweet CAE/MXR gear to my pedalboard.
Here’s the press release.
The MC-404 CAE Wah was developed by Bob Bradshaw of Custom Audio Electronics and the Crybaby design team with the goal of creating a highly versatile wah-wah of top-grade components. It features dual Fasel inductors with two distinct voices (high-end emphasis or low to mid resonance), and a built-in MXR MC-401 Boost/LineDriver adds even more flexibility. Choose between inductors and turn the boost on or off with the side-mounted kickswitches; bright LEDs on each side of the wah indicate operation status. The MC-404 boasts true hardwire bypass, a long-life CTS potentiometer, and internal pots for “Q” and gain adjustments – high performance and quality that you can only expect from Dunlop, the world leader in wah-wah technology.
List price: $298.68 Street Price: $169.99
For more information, visit their web site at www.jimdunlop.com.