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2007 April archive at Joe Plessas

Archive for April, 2007

Tonal Development

I’m not typically in the habit of giving away the shop, as they say, but an interaction with a curious audience member at a recent Phantom Pilots show has gotten me to thinking: what little tidbits of gear configuration can I pass along?
Well, let’s begin by deconstructing one of my favorite tricks - string swells. To start, it’s neccesary to have a few basic elements on hand; namely (working from last to first) , pitch transposition, reverb and easily variable volume.
So, from the guitar, you’ve got your basic tone: it’s vital to tweak the envelope. The reverb should be set as such: Mixed fully wet, decay about 7-10 secs and dampening to taste. I’ve found that the Alesis Ineko is capable of some truly lush reverbs. My particular favorite is the “Space” preset - transcendent!The pitch transposer, in this application, is particular to the purpose of lending a nicely detuned octave. This gives a tonal quality similar to a cello/viola pairing. However, (of you’re lucky) that’s just the tip of the iceberg. A few years ago, I came across an old Boss RPS-10 Delay/Pitch Shifterand picked it up for not too much. These little beauties are a member of the short-lived Micro Studio Series; half-rack units from the mid-80s. Not only does this model have a multi-range digital delay (with reverse! not to mention a very analog sound), but a splendid pitch shifter that operates in three modes - tight, loose and reverse(!). Also, the coolest feature about the RPS-10 is the keyboard control. With ANY keyboard, you can vary the transposition in nice, neat steps. By employing the hold function, you can lock in a transposed pitch and play it like a sample. Quite nice. If you can find an RPS-10, do not hesitate to purchase it. You’ll thank me.
For maximum response, it’s best to throw a volume pedal at the head (from the guitar) of the line. Control is vital to keep these lovely swells from breaking over the wall of the rest of your sound. I have a couple of volume pedals; an Ernie Ball and a DOD FX-17 Vol/Wah. The Ball’s action is quite luxurious, although the DOD has a distinct advantage by way of its optoelectronic operation - no crackles or dead spots.
Well, I hope this little tutorial has been helpful. Until next time, remain electric!