What I believed to be the foundation in my constantly expanding sonic dialogue has been shaken, crumbled, and rebuilt. I had thought for years that to gain the perfect tone in your playing, you must start out with a perfectly clean fundamental tone. I did and still do believe to an extent that the high gain screeching of the 70’s and 80’s rock guitar gods was a barbaric and primitive style of expression, reserved for those who didn’t have the knowledge nor the patience to truly sculpt their own sound. Obviously there are exceptions to the rule: There is the soulful blues of Stevie Ray Vaughan, the Ballsy-but-clean Led Zeppelin, and the classic and natural sound of Tom Petty & The Heartbreakers, but the list is much shorter than most people perceive it to be. The genre “Classic Rock” is anything but; filled with the he-man garbage of many a one hit wonder, but on occasion the music industry gets it right with bands like those listed above, and it is these bands that have inspired my next move artistically.
For those of you who know me, I am an aficionado of fuzz effects. The type of gain that is an almost 180 degree turn from the distorted Marshalls of classic rockdom. Thick and low gain, becoming lower and lower in fidelity with a thumping low end driving the amplifiers tubes into oblivion. Unlike regular distortion, fuzz gives you a more tangible feel for the gain stage of your signal. More cutthroat than the hardest distortion in some cases, and yet it can be more dynamic depending on the effect. The fuzz then is an extremely dynamic instrument, yet… yet this wasn’t working for me anymore.
Yes, fuzz does and will always have a place in my heart and on my board, but the difference between my clean sound and fuzz is just too drastic. To transfer from a smooth silky ala “Bon Iver” style verse to a heavier chorus using fuzz almost changes the attitude of the song, even at lower gain settings. Moving on from fuzz, I decided to try the extreme low gain types of boosts/overdrives. I’ve had and still use a Blackeye Effects Palmetto, a JHS Morning Glory V3 overdrive, and a DMB Cosmic Crunch among other low gain alternatives and still the difference between the two types of distortion couldn’t be spanned by a suspension bridge.
This is where I currently reside. I understand that I need a middle ground alternative to bridge the gap between crazy low and gritty high gain, without the thin snarly classic rock sound. After much deliberation and several hours of asking around and trying out, I have narrowed it down to two options. With both amps still set on a fairly clean setting, a JHS Angry Charlie or a boutique type of Klon Clone would both have enough gain to push the delays, amps, octave effects, and reverb just enough to squeeze every last drop of tone out of my rig.
My previously distorted ideas of distortion have been wiped clean, realizing that given enough searching and tweaking, I can make it work to better my own sound. Adding a rumble underneath the dark, rolling repeats of a Dbucket-style delay, or to push a smooth plate reverb just enough to lengthen the decay and boost its mix. This is how I will utilize the distortion effect to my own advantage, and how I will apply it to change the style of my music.