The MESA experience will leave a permanent mark on the musical part of your brain and you’ll find you’ re smiling… saying under your breath, “damn this sounds good.” It’s that sound you’ve heard in your head and searched for all your playing life and yet, never attained until now. The instant attack morphs stylistically under your command, the layers or rich harmonics create dimension and the newfound, willing sustain grant you access to the next level in your own development as a player. But it’s REALLY great, and as soon as you plug in, you get it. It’s hard to put into words the feeling of reward you get when all the hours of practice are suddenly supported and embellished and your playing jumps to a whole new plateau. From the moment you first plug into a MESA, you’ll experience new levels of responsiveness, feel, nuance, and sound and you’ll quickly understand why MESA has always referred to their amplifiers as “Instruments”… because they are!Īfter experiencing your guitar coupled with the effortless and empowering playability and a new freedom to express emotion through attack and sustain characteristics that seem to read your passion… for most, there is no going back to “an amp”. Plug into a MESA/Boogie® amp and it will change your ideas about tone and your playing forever. Give other types of music a chance.Īdd new flavor to your songs by turning straight major chords into major 7ths, major 7ths into major 9ths, straight minors into minor 7ths, minor 7ths into minor 9ths, and so on.Description The boutique company that invented high-gainĮxperience the innovative full-throttle guitar tones of MESA/Boogie® on your computer It’s kind of like the way people feel about broccoli - yeah, you know it’s good for you, but you know, it’s broccoli. We all have certain types of music that we just don’t “get.” You might be a rocker who thinks classical music is boring or maybe you’re a blues purist who can’t stand metal. As the band gets louder, increasing the presence may really help with the cut and general audibility of your guitar. As such, it’s worth setting your bass/mid/treble how you like them, then tuning the presence to taste, depending on your environment. It works in the power section, often controlling the negative feedback. On traditional amps, the presence control is quite separate from the main EQ. Presence is for dialing in your tone for different environments. Oftentimes guys start out with 50 pedals or plugins or whatever, and they never really discover the sound that their hands, a guitar and an amp can make.”Ģ2 BRING GEAR APPROPRIATE FOR THE SESSION Once you do that, you can augment your sound with pedals. Find the sounds that are in the Les Paul or the Telecaster or whatever it is you’re playing. “When you remove all the barriers between your guitar and the amp, you’ll force yourself to make something happen. You might have had experiences where you’re playing live or in rehearsal and you’re saying, ‘Who’s out of tune?’ And the answer might be you.” Once you do this homework, you’ll start to see how valuable it is. A lot of times the meter will say the guitar is in tune, but to my ear certain chords might sound a bit off. When tuning your guitar, play a bunch of chords you know to make sure they sound right. “I know this sounds academic, but there are some tricks to tuning your guitar properly. And that’s how all the good shit starts to happen.” When you collaborate to write music, the best thing you can do is to accept somebody for who they are and let them feel able to express themselves. We all have relationships with our parents, children, friends, co-workers, siblings, lovers - but when you go into a relationship with another songwriter, it’s different. “Collaborating is actually more intimate than most relationships. But - again - when I sit and work it, I raise the bar.” If I just hit record, something will come out, and it could be inspired or it could be crap. When I sit and work on something, I raise the bar: I’ll sit and take one section, loop it, and play over it until something bizarre and interesting and quirky and lyrical comes out. But what I usually do is play something a bunch of times. “When I record a solo, sometimes I just play one pass, on the fly, and see what happens.
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