Max Depth TonePrint by Dave Catching
For the Corona Chorus, Dave wanted something that could be used for classic strumming and finger picking patterns, but without getting too wet and swirly. So he dialed in a subtle, but still very rich and lush chorus that's perfect for adding a little bit of sparkle to clean parts.
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Other TonePrints by Dave Catching
TC: Who inspired you over the years when you were creating your own personal guitar tone? Dave: Many people have influenced me over the years. my brother, Jack has always been in amazing rock bands, he turned me on to guitars and was the first to show me how to play a few things. Alex Chilton was a big influence on me when I started playing the clubs in Memphis in the late 70's. His hollowbody harmony guitar into a blackface Fender Super Reverb with everything on 10, was out of this world! We played together for a few shows, in Panther Burns and the modifiers. He showed me how to play open tuned slide in New Orleans around 1982. I briefly played and grew up with Shawn Lane, a guitar prodigy from Memphis. He probably had the biggest influence on realizing how good you could get if you constantly practice. He was faster and better than almost anyone at 16. The usual rock guitarists like: Jimi Hendrix, Eddie Hazel, Mick Ronson, Jimmy Page, Jeff Beck, Phil Manzanera, Billy F Gibbons, Syd Barrett, George Harrison, Ace Frehley, David Gilmore, Ronnie Montrose, David Bowie, Glen Buxton and Michael Bruce, Chuck Berry, Brian Jones, Keith Richards, Poison Ivy, Larry Parypa, Link Wray, etc. Then I'd say people like Keith Levine, Robert Fripp, and Eno helped me realize the possibilities of creating sonic soundscapes with guitars, effects, especially delay and tone. Acoustic players like Robert Johnson, Django Reihnhardt, Blind Blake continually floor me. Hubert Sumlin always played great parts with killer tone mostly, I've learned a lot from people I have played with like Chris Goss, Joshua Homme, Jesse Hughes who all taught me interesting things about tone and tunings and you can't really learn more, or have more fun, than playing with those guys. Punk guitarists like Steve Jones, Brian James and Captain Sensible, Pete Shelley and Steve Diggle, Ron Ashton, James Williamson. Country greats like Leon Macauliffe, Merle Travis, Joe Maphis, Don Helms, James Burton and Kenny Lovelace are two favorites from Elvis' and Jerry Lee Lewis' bands.
TC: What are the main ingredients in your tone in terms of effects (e.g. chorus, flanger, delay, etc.)? Dave: I'd say delay is my favorite, preferably two or three, then a good distortion pedal, maybe a fuzz, stereo chorus, a nice wah wah pedal, maybe a flanger for getting out there.
TC: Have you ever been so inspired by a tone you created that you ended up writing a tune based on that specific tone? Dave: Absolutely. Most songs I write are started by the tone I have which inspires me to write riffs. Since I have a studio, that is the impetus to start recording a song.
TC: Do you work on developing your tone continuously, or do you feel that you have found a fundamental tone that will last throughout your career? Dave: Always there’s no such thing as getting to a point where you don't need to go further. I'm constantly searching for those things no one has heard.
TC: What inspired you when you created your TonePrints? Dave: Hanging with you guys and having so much fun trying the pedals out, getting to certain points where I really wanted to save those tones.
TC: You had access to a lot of tweakable parameters. Did any new ideas for future tones pop up in the process? Dave: Of course!! I have to admit, I'm more of a ''lose the instructions'' kind of guy. I love getting lost in the pedals and it leading to new things.
TC: Normally, do you prefer having access to many parameters, or do you like simple pedals with just a few knobs better? Dave: In the studio, I prefer more options and parameters. Live I love setting something up and not thinking too much about it.
TC: How come you signed up for creating your own personal TonePrints? Dave: TC Electronic have been very cool to me. One of the first pieces of gear I bought for the studio was a used TC Electronic 2290 Digital Delay. That was in 1993. It still works flawlessly and always sounds perfectly fantastic. You guys have continually created amazing sounding, impeccably made equipment, and stand behind it like no one else.
TC: In your opinion, what is the single coolest thing about TonePrints? Dave: Besides their sounds? Their ability to store a favorite setting for future use.
TC: Did a specific song or album inspire this specific TonePrint? Dave: For the delay, yes. It was for an Earthlings' song, "Nothing" from our first album. For any other TonePrints, no. We were just having fun creating sounds.
TC: How does this TonePrint fit into your current sound and gear set-up? Dave: I've been using the TonePrint delay on the current masters of Reality European tour. So far it looks like it will be replacing my old faithful Boss DD2 delay. It sounds clearer and does more.
TC: How did you go about creating this specific TonePrint? Dave: Myself, Tore and Tobias had dinner, some wine, and laughed as we played with all the TonePrint pedals. We had a lot of friends over that day, Chris Goss, Brian O'connor, Bingo and Hutch. We all jammed and had a blast messing around with them. When we got to something we thought was awesome, or even amusing, we'd stop and create the TonePrint.
TC: How long did it take before you were satisfied with the result? Dave: Not long! They all sounded pretty good as soon as the were plugged in! But we kept digging deeper until we amused you guys! Whenever you started liking it, or laughing at it, we knew we had something.
TC: What type of sound did you set out to achieve with your TonePrint, and did you succeed? Dave: With the delay, I wanted to have an easy go to for the song “Nothing”. We had it figured out in minutes.Read more about Dave Catching