settings

James Martin (U.K.) · Post by **James Martin (U.K.)** » 11 Oct 2005 11:56 pm

Hi all, Do you make drastic changes to your amp settings when playing an instrumental within a band situation? I find I need a thinner sound when playing back-up and a richer fuller sound for soloing.

Jack Stoner · Post by **Jack Stoner** » 12 Oct 2005 2:03 am

I may be in the "dark" and in the minority, but I don't change settings. I've never had the need, in a live situation, to change my tone from backup to doing the break in a song.

On occasion, for a specific song, I may add an effect to a certain part of the song, but that's all.

James Martin (U.K.) · Post by **James Martin (U.K.)** » 12 Oct 2005 2:34 am

Sorry Jack, what I meant was when playing a complete song on the steel, not the break in the vocal song!

Jack Stoner · Post by **Jack Stoner** » 12 Oct 2005 7:18 am

Still, I don't have a "backup" tone and a "solo" tone. I have "my tone".

Bobby Boggs · Post by **Bobby Boggs** » 12 Oct 2005 3:20 pm

Same tone.I always play a little louder on solos whether it be a turn around or instrumental.After all, It's your time to shine.......bb

Larry Bell · Post by **Larry Bell** » 12 Oct 2005 3:40 pm

I don't change settings. I use exactly the same EQ and listen for the same sound regardless of whether I'm playing a band gig or a steel show, for example.

I think we all hear a sound in our head that we strive for. I know I do. Listen to most any Buddy Emmons album. That's the sound.

I think a lot of steel players overdo EQ in the first place. The secret is in the midrange -- both lows and low mids (too much is too woofy) and highs and high mids (too much is too brittle sounding).

Don't underestimate how much variation in tone can be accomplished without touching the EQ controls. Where you pick can make LOADS of difference in which overtones are emphasized. The position on the neck you use to play a chord can either contribute to overall sonic clutter or add to the tonal diversity of the ensemble. If a tele picker is wailing way up the neck, play lower voiced stuff. If he's beatin' up on the low strings, bring it up north a bit. It's just common sense AND common courtesy to stay out of the way in more ways than one.

Also remember that a REST is as important (sometimes MORE important) as a NOTE, in many instances.

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

James Martin (U.K.) · Post by **James Martin (U.K.)** » 13 Oct 2005 12:52 am

Thanks everyone for your interesting answers.

Michael Garnett · Post by **Michael Garnett** » 13 Oct 2005 11:47 am

I'm with Bobby. I'm gonna invent a volume pedal with a little switch on the top that gives you a +5db boost when you need it.

-MG

Oh, by the way, you might want to invest in a goodrich Matchbox, that way you can have a tone and gain knob for fine tunings at your fingertips. I notice I like a little bit brighter tone (like 6 or 7) when playing C6th, but I back it off to a little less than 5 when I'm playing E9th stuff.[This message was edited by Michael Garnett on 13 October 2005 at 12:49 PM.]

David Doggett · Post by **David Doggett** » 13 Oct 2005 1:45 pm

James, I agree with you that you need a thinner sound when playing with a group, even if the "group" is a recorded track with bass, drums and rhythm guitar. When playing completely solo steel, with no accompaniment, you can have a fatter, bassier tone. That sounds great by itself, but the extra bottom sounds muddy or is lost when playing with accompaniment. For that same reason, a 15" speaker sounds best to me solo, but some people prefer 12s to cut through with lead in a group.

James Martin (U.K.) · Post by **James Martin (U.K.)** » 17 Oct 2005 1:46 am

Yes Danny, that was my point, I think a thinner tone cuts thru the bass and drums and allows you to be heard without increasing volume. Thanks again everyone who answered. James

James Martin (U.K.) · Post by **James Martin (U.K.)** » 19 Oct 2005 12:29 am

Sorry David about your name, mind elsewhwere. James

Mark van Allen · Post by **Mark van Allen** » 19 Oct 2005 9:05 am

I vary my tone quite a bit, with hands 'n knobs both. Depends on the song, and the gig! In a 70's band I play with, I play most of the keyboard lines, and often use a darker tone, and effects like Leslie sim, chorus, which both also darken up the tone.
Some gigs I stick with one basic setting all the way, others, I frequently change. I'm just trying to get the most complimentary tone and "aural placement" for each situation. In the studio, if the steel's going on 8 or 10 tracks, I also might try for different tones to suit the moods and support each song differently. One of my favorite examples for that approach is Gary Morse's incredibly varied and tasteful steel backing on Yoakum's "Tomorrow's Sounds Today"- sounds like five different steel players, each one tasefully matched tot he track. Sweet.