Vibrato-TonePrint von Wesley Geer
The tonecontrol on Wes's shaker has a special feature, since it also controls the feedback. It takes it up to a hundred, but diminishes the highs cut at the same time. The highest vibrato speed is extremely high, twice the speed as normal. At 12 o'clock it delivers a somewhat subtle warbly sound, almost like a bad record not playing right anymore. At a quarter past 12 it's an old gangsta style evil keyboardy kind of sound. So Wes's From typical vibrato to spaceship. It works perfectly in latch mode for adding expression spanding from leslie like tones to psychedelic ones for those long dramatic tones to end a phrase or a solo. In Wes' own words: "The coolest vibrato ever"!
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Andere TonePrints von Wesley Geer
TC: Over the years, who inspired you to create your tone? WG: Well, you know, that changes. Eddie Van Halen was a big inspiration because he made so many non-guitar-like sounds, They were so creative and so beautiful sounding without the percussive picking. Then of course, Tom Morello – very inspirational. And then even the Korn guys. Seeing those guys being so creative with their tones, it’s just something I’ve been into.
TC: So what do you do to create your tone or your sound? WG: Usually it’s about the track. It’s about how the tone sounds in the track. Sometimes I’ll sit down with pedals and just turn knobs, and it’s the combination of those notes with that tone of the pedal that determines if it’s cool or not and it might inspire you to write a new idea. A lot of times though if I’m writing, you have your foundation maybe, your chorus and your rhythm and your bass line or whatever and then the guitar parts that require sound design and tone – I can do those in the track while recording. I can start turning knobs and see how it sits with everything. I think sometimes you see beginners just making a cool tone and not really thinking about how it fits with the rest of the ensemble. You really have to hear what’s going on. It’s like a symphony, everything has its right place.
TC: What about your live effects? WG: Coming into my position with KoЯn I wanted to keep it really simple. I have to do a lot of sound design things so I went to the G-System. In my opinion there are a lot of effects processors out there and messing with them over the years, they tend to get noisy and the quality of the effects isn’t so good. But TC has always been a really quality product and so when I wanted to get something that could simply switch my channels and turn on a chorus and a delay and a reverb and a vibrato all at the flick of a button, it was the G-System that worked really well for me. And if I want to add stuff to it, it’s very easy because I have the loops. And I don’t have to carry this big giant rig around. With KoЯn one day you’re playing Download Festival, the next you’re playing in Prague; the gear can’t keep up. So you have to have something that’s very easy to transport.
TC: So did you work on developing your tone and your use of effects over the years or do play as you’ve always used to? WG: I have favorites. But doing this KoЯn gig has taught me how to branch out a little deeper into choruses and vibratos which is really cool.
TC: So did you have any ideas about doing the TonePrint beforehand or did you get your inspiration on the spot? WG: I did actually have an idea. I used to have an old riff that I never used before and with the right effects it sounds really cool so that’s what I was going for. So thanks for your help with that.
TC: Do you think that creating a TonePrint will inspire you to make other cool tones or riffs? WG: Yeah. A lot of times for a guitarist like myself who likes sound design, it can spark a whole new song. If I have a cool tone, I’ll then make up a cool guitar part. It reminds me of The Edge – every part he does is a sound design part and you know, the best part in the world with a bad tone can ruin a song. But with the right tone in there, it makes it incredible.
TC: So are you one that triggers creativity and complexity or do you just like to keep things simple? WG: Well that’s why TonePrints are cool. Nowadays with where music’s gone, you’re always looking for new ways to find new sounds. So you could spend endless time buying pedals that have a small dynamic range of what they can do but with these TC pedals you can go to a lot more places. That’s great from a creative perspective.Lesen Sie mehr über Wesley Geer