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Use flatwound strings. It’s almost guaranteed to up your jangle quotient. This advice is admittedly counter-intuitive—why should relatively dull-sounding flatwounds improve a guitar’s treble response? My best explanation is that when the lower-octave strings emit fewer highs, there’s less phase cancellation against the higher-octave strings. The round wound sound is pretty in its way, but the flat wounds sound tighter and more defined, and are definitely easier to situate in a mix. The strings simply sound more in focus. Don’t believe me? Hear for yourself.I’ve recorded the same lick with both types of strings—and you dang well better appreciate it! Do you have any idea what a pain it is to restring a 12-string twice within an hour? (FYI, the guitar is a ’90s Japanese-made Fender Squier with Duncan pickups.) Electric 12-string roundwound One problem with this approach: Not many companies make flatwound 12-string sets, and they tend to be expensive. I’ve used both Pyramids and La Bellas with excellent results. The latter are far cheaper in the States. And what’s the best amp? Bright Fender? Chiming Vox? Well, “Mr. Tambourine Man” was recorded direct into the board with no amp whatsoever, but tons of LA-2A compression. Try this recipe: Plug straight into your warmest-sounding preamp. Boost the crap out of everything above 2kHz or so. Scoop a narrow band of low mids around 160Hz. Set the compression between 4:1 and 8:1, but with a slow-ish attack. A touch of plate-style reverb lubricates the proceedings. On the other hand, maybe you want to liberate yourself from the conceptual prison on jingle-jangle 12-string. There’s no law that says you have to automatically start playing “Ticket to Ride” or “Turn Turn Turn” each time you heft one of these beasts. In that spirit, I offer a mismatched bouquet of alternative 12-string tones: Spacehead 12-String And that’s not even touching on the trouble you can into if you tune each each string in the octave pair to different notes . . .
Post your images to comments via a photo-sharing site, or email them to me. I’ll add each new mutant to the slideshow so the entire Internet can You can review the “rules” here. The prize is still TBD, but I guarantee it’ll be every bit as . . . something as the beauties displayed here. MORE→ Here’s a demo for our third DIY project: a combination clean boost and buffer. The project files are here. For other tips, tricks, and resources, as well as all the info on our first two projects, visit the Tonefiend DIY Club page. This is a super-useful guitar tool. You’ll learn about how to add more options to your effects via switching. You’ll also discover a) what a buffer is, and b) whether you need to care. (Answer: maybe.) And this concludes the initial set of DIY Club Projects. Now that we’ve learned some workbench basics, the next few projects will involve poking around inside your guitars, where it’s possible to do some real damage. Until then, keep your soldering irons tinned and your smoke alarms armed!
I hereby announce the first Tonefiend Mutant Beauty Pageant. I know many Here’s the idea: You post your oddities, and the coolest/weirdest item wins. They can be anything music-related: guitars, basses, amps, effects, CDs or vinyl, music industry swag, some crazy DIY project—anything goes! The winner will receive—well, let’s just say something as weird and cool as the stuff being posted. MORE→  Good, cheap tone doesn't grow on...oh, never mind. We all love tube amps. Yayy, tubes. Some of us love amp models. Yayy, models. And how about those cheap little solid-state amps? […crickets…] Oh, come on! Am I really the only person who digs the barking attack and corrosive crunch of the subcompact tubeless combo? Will none step forward to sing the praises of those brave little badgers of the amp kingdom? MORE→
This nasty little fuzz bomb is fun to build and fun to play. Audition it here. The project uses the same techniques introduced in Project #1, so if you survived that one, this should be smooth sailing. It’s also a great jumping-off point for custom designs, which you’ll get to explore in the course of the project. Bon Appétit!
Incredibly, I don’t know of any commercial manufactures who have co-opted this design. Which means, like they used to say on TV, “Not available in stores!” Here’s a demo clip. Forewarned is forearmed. If this sounds like your cup of dirt, please read this great article about the circuit and its variants. (It’s from a cool DIY site, home-wrecker.com/.) Using the techniques introduced in Project #1, you should be able to breadboard any of these and hear how they sound. In the meantime, I’ll be posting a step-by-step project PDF in the coming days. Check back here, or follow tonefiend on Twitter. UPDATE, 11.04.11:The files are here.  Don't fear the mic! (Illustration: Elise Malmberg) Recording be be brutal. Tracking vocals is tough. Capturing pianos or acoustic guitars is painstaking work. But recording electric guitars is easy, easy, easy—once you learn a few basics. The post focuses on the simplest way to record a guitar amp: sticking a single mic in front of a speaker. In future posts we’ll tackle the tricky stuff: multiple mics, unorthodox mic positions, amps in shower stalls or aluminum trash cans. Those techniques are great—but you don’t need any arcane tricks to record great electric sounds. You don’t even have to have a fancy mic—countless great guitar tracks have been recorded with the humble Shure SM-57. In fact, if the guitar, amp, and performance sound good, it’s actually pretty difficult to screw things up. Basically, you’ve got two things to consider: Which mic to use, and where to stick it. We’ll tackle those topics in reverse order. MORE→ This is my kind of pickup change: the easy kind! I got my hands on the new Seymour Duncan Everything Axe pickguard, which comes with three pre-installed Strat-format humbuckers (JB Jr., Duckbucker, and Little ’59). I’ve always avoided humbuckerized Strats because they remind of really bad ’80s bands. But I love the JB and ’59, so I figured, why not confront my prejudices? I slapped the pickguard onto your basic Mexican Strat, and voilà! Instant coolness. Here’s a little demo featuring all five pickup combinations. As the product name implies, this particular pickup trio yields many high-contrast colors. But I’m struck most by how much Strat flavor remains—there’s certainly no lack of shimmer and twang. I favored clean tones in the demo, just to deep-six my outdated stereotypes about harsh, compressed, over-distorted Strat humbucker sounds. And it really did take about five minutes. |
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