Jon Thorne 的 Joanna TonePrint

Named after Jon's wife, Joanna, this TonePrint for the Corona Chorus is a rich and enhancing chorus tone aimed to beef up his basic sound. Despite its richness, it is still a rather subtle and slow chorus, which Jon feels would work great in combination with some reverb and distortion. As a result of the deeper tones, a unique snaring sound appears up top to add even more flavor to the sound.


试听片段 Uriah Duffy

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Jon Thorne's Joanna TonePrint for Corona Chorus

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C: Why did you choose to do a Chorus TonePrint? Thorne: A lot of the more frenetic playing that I do is going to involve some more ‘out-there’ kind of effects. Whereas I am thinking of Lamb tunes such as Gabriel for example, where the notes are quite long and have a chance to breathe and sing out a bit more; I want to enhance the sonic of that. I think the right kind of chorus would be perfect for that.

TC: What kind of sound are you looking to create? Thorne: What I am really aiming for in my head is something that, when I am playing single notes and letting them really breathe, that it has a really nice form; grand kind of power. This bass is great since you can pull tones out of a note even after you have played it.

TC: Can you describe the sound for us? Thorne: It is really nice because, even as it stands, it isn’t overly dominant as a tone but it is really enhancing everything that I am doing. That is what I was after with this rather than it being some kind of face-melting, weird tone, which I think in combination with some of the other pedals would really hurt the front row for the rest of the tour, especially with the Dark Matter distortion. It would be nice to try some of these in combination with a bit of reverb, the Dark Matter and some chorus and get some seriously effective bass sounds going. The depth also adds a different dimension to the tone up top; a snaring sound.

TC: How has your time with Lamb influenced your playing style? Thorne: It was immediately a brand new world because I had no reference points for that and the music was as futuristic and interesting as anything I had heard. It was bringing elements from all kinds of situations. It was really fresh. Andy’s programming is highly unusual and you had the two human voices and also myself. It was almost less about bass playing for me and rather about trying to evolve a different kind of way of approaching playing within that framework because there was already a lot of bass there. So you had to go with that or keep out of the way or find a way to enhance the music appropriately. Andy mixes the gig live every night and sometimes he’ll throw things on my sound and I’ll react to that, which will bring something else out. So it does have jazz elements in it in that respect, in the improvisation.

TC: How is it to play a double bass in an electronic band? Thorne: It has been great to take double bass into electronic music and use it as a viable instrument rather. To actually be able to evolve a language over the last 14-15 years playing live with the band has been brilliant. They have given me ‘carte blanche’ to go and try stuff right the way through so it has been very liberating and highly enjoyable, and it’s a constantly evolving process.

TC: How would you use the TonePrint? Thorne: I like to be able to play one note and really get inside that one sound. That can be as effective as playing lots of different notes. I want to thicken and enhance what is already there. I am going to have it on all the time. I am actually going to make it a part of my primary sound. It has just given it the edge that it was lacking. It had that depth but it was a little bit nasal and not quite rich enough. It will be my starting point for all my other live tones.

TC: Do you have a name for this TonePrint? Thorne: I am going to name it after my wife because she is inspiring and extremely deep. Call it Joanna.

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