Tears Delay-TonePrint von Michael 'Padge' Paget
When Michael 'Padge' Paget made his Flashback Delay TonePrint, he created a nice analog delay sound with a bit of chorus. He named it Tears Delay.
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Andere TonePrints von Michael 'Padge' Paget
TC: Who has inspired you to create your guitar tone?
Padge: Mostly the heavy players like James Hetfield and Dimebag Darrell. But I wouldn't say that anyone specific has inspired me when it comes to my tone. It's more up to what you feel in the studio and what you feel live. As long as it sounds nice and fits into the tempo of the song – It works!
TC: So you don't use many effects?
Padge: I don't tend to go through too many sorts of effects or stomp boxes in my rack. Just go through the amp and maybe one or two kinds of effects. I used Tube Screamers before and now I'm on the MXR's Zakk Wylde. So nothing major, just straight out of the amp, through the pedal, straight out through the guitar and the EMG pickup.
TC: When you use effects, do you prefer to have a bunch of parameters, so you can tweak a lot of knobs, or do you prefer just an 'on and off'?
Padge: It depends. If it works immediately when you press on – great. But usually in the studio you try everything first until you end up with the best sound. With the optional parameters the possibilities are endless.
TC: Right now you are using the G-system, what do you like about it?
Padge: It just organizes everything into one unit. It's got some awesome effects and it totally helped on my footwork! It's really hard to tap dance. Usually when you go to from one sound to another, you have to turn effects on and off, but the G-System organizes it very well.
TC: In your opinion, what is the single coolest thing about TonePrints?
Padge: Definitely the parameters you can download, because you are sort of limited with just the four knobs here. If you find something on here you like, you can go to the computer and tweak it some more, which is very clever. Also you can download somebody else's file, which is very cool as you can get a tone from your favorite guitarist or band. Then you can put your own signature on it yourself. All in all, it's very cool.
TC: How is a song for Bullet for My Valentine born?
Padge: 95% of the time it's born from a guitar riff. Maybe Matt's got a melody in his head that will inspire a riff, but it's usually a guitar riff that comes first - or a clean riff. And then everything comes after as we build up the song.
TC: Do you jam or do you work on it in the studio?
Padge: Both. It's always good to go into the rehearsing room and jam on some stuff. Just be inspired by different places, maybe go to a studio somewhere else in the country or just get inspired by different surroundings. So when we finally go into pre-production we've got a big bunch of stuff ready to go. Then things will come in the studio - Hopefully!
TC: Do you play around with a lot with effects in the studio when you're writing songs?
Padge: I've got a small board in the studio, if things need to be 'nice'ned up or go through a bunch of choruses and different sorts of reverb.
TC: Do you continuously develop your guitar tone and use of effects?
Padge: In the studio we use a lot. Live is like a stripped down version of what we do in the studio. But we want to stay as close as possible to the song.
TC: So you tend to take the effects you used in the studio and try to take them onstage?
Padge: Yeah, we try to take them onstage or try to emulate them with the gear, we use on stage.Lesen Sie mehr über Michael 'Padge' Paget