The board's server will undergo upgrade maintenance tonight, Nov 5, 2014, beginning approximately around 10 PM ET. Prepare for some possible down time during this process.
FAQ    Search

Board index » Watched from the Window ... » Pearl Jam




Post new topic Reply to topic  [ 15 posts ] 
Author Message
 Post subject: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 8:47 am 
Offline
Yeah Yeah Yeah
 Profile

Joined: Wed July 22, 2015 1:37 pm
Posts: 70
Hi all

I thought that there used to be a 'gear and muso' section on the board, but couldn't find any more.

Nevertheless, was wondering if anyone has any info on Mike's gear - specifically effects and amps - used circa '94. Am interested in how he created that noteworthy tone and sustain without managing to sound effects heavy and too pristine. The sound I'm particularly interested in is the solo from Garden (refer Atlanta '94).

If anyone has any info, or could point me in the right direction, it would be most appreciated.

Also, anyone seen pedalboard pics of the band form this era through to 98?

Cheers


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 12:28 pm 
Offline
User avatar
I've been POOSSTTIiiEEnngeeaahh
 Profile

Joined: Tue January 01, 2013 9:38 pm
Posts: 11833
Mike's tech discusses his gear in this article from the April '95 issue of Guitar World: http://fivehorizons.com/archive/articles/gw04952.shtml

Quote:
Mike's rig is a pretty basic mid-seventies classic rock setup with nothing digital," says Jeff Ousley, McCready's tech. "He uses a lot of guitars: a maple-necked, hard-tail '56 Strat, a rosewood-necked '59 Strat, and a maple-neck '58 as well as a couple of '62 reissue Strats that we got from a Fender Custom Shop and two '52 reissue Telecasters. There's a Gretsch hollow- body that he uses on 'Glorified G.' He also owns a bunch of Les Pauls. There's the '72 three-pickup Gibson Les Paul Custom that he smashed on MTV when they did 'Rockin' In The Free World' with Neil Young. I've picked that guitar off the floor many times, but I guess that extra pickup holds it together. Mike's also got a '56 Les Paul that's been heavily modified. The P-90's were replaced with humbuckers and the neck is probably an early- Seventies model. There's a Tom Petty model Rickenbacker 12- string that Tom gave Mike, which he uses on 'Not For You' and "Corduroy.' Finally, there's a '68 Telecaster with a Bigsby that he uses in Mad Season."

All of Mike's guitars are strung with GHS Boomers 0.011's that he picks with Dunlop Tortex 0.88mm's. "The guitars feed a Sony WRR-840 wireless into a Rocktron Rack Interface buffer/splitter. The Interface has a 'Wireless Through' output that I send out in a loop that goes to the effects and back. From the interface, we go to an original Uni- Vibe, a Dunlop wah pedal with a built-in preamp that provides four different tone selections, an old Boos analog delay pedal and then to an Ernie Ball Stereo Volume pedal set in the 'pan' mode. One side of the pan pedal.. which feeds our clean amp.. goes back to one input of the rack interface, while the signal from the other side of the pan pedal goes to an old, puke green Ibanez TS-9 Tube Screamer. That signal then also goes back to the rack interface and into the dirty amp. When the pan pedal is all the way back, Mike just gets the clean amp, and when he pushes it all the way forward all he gets is the dirty amp. "The dirty amp is one of three Marshalls: a '68 50-watt Marshall plexi or one of two '69 100-watt Marshall Super Tremolos that have had the tremolo disconnected by Sal Trentino, who services all our amps and also does Neil Young's work. They're all four- input amps, so I jump the channels to get a little more gain." "The clean amp is a Mesa/Boogie Studio Preamp that runs into a VHT G2150 Classic power amp and two 300-watt Marshall 1960 4x12 cabinets."

I suspect he was using much the same stuff in 1994.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 12:48 pm 
Offline
User avatar
Misplaced My Sponge
 Profile

Joined: Thu January 24, 2013 4:32 am
Posts: 5548
:shock:

_________________
Red Mosquito: Come for the Pearl Jam discussion, stay for the rampant homosexual innuendo.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 2:24 pm 
Offline
Yeah Yeah Yeah
 Profile

Joined: Wed July 22, 2015 1:37 pm
Posts: 70
Birds in Hell wrote:
Mike's tech discusses his gear in this article from the April '95 issue of Guitar World: http://fivehorizons.com/archive/articles/gw04952.shtml

Quote:
Mike's rig is a pretty basic mid-seventies classic rock setup with nothing digital," says Jeff Ousley, McCready's tech. "He uses a lot of guitars: a maple-necked, hard-tail '56 Strat, a rosewood-necked '59 Strat, and a maple-neck '58 as well as a couple of '62 reissue Strats that we got from a Fender Custom Shop and two '52 reissue Telecasters. There's a Gretsch hollow- body that he uses on 'Glorified G.' He also owns a bunch of Les Pauls. There's the '72 three-pickup Gibson Les Paul Custom that he smashed on MTV when they did 'Rockin' In The Free World' with Neil Young. I've picked that guitar off the floor many times, but I guess that extra pickup holds it together. Mike's also got a '56 Les Paul that's been heavily modified. The P-90's were replaced with humbuckers and the neck is probably an early- Seventies model. There's a Tom Petty model Rickenbacker 12- string that Tom gave Mike, which he uses on 'Not For You' and "Corduroy.' Finally, there's a '68 Telecaster with a Bigsby that he uses in Mad Season."

All of Mike's guitars are strung with GHS Boomers 0.011's that he picks with Dunlop Tortex 0.88mm's. "The guitars feed a Sony WRR-840 wireless into a Rocktron Rack Interface buffer/splitter. The Interface has a 'Wireless Through' output that I send out in a loop that goes to the effects and back. From the interface, we go to an original Uni- Vibe, a Dunlop wah pedal with a built-in preamp that provides four different tone selections, an old Boos analog delay pedal and then to an Ernie Ball Stereo Volume pedal set in the 'pan' mode. One side of the pan pedal.. which feeds our clean amp.. goes back to one input of the rack interface, while the signal from the other side of the pan pedal goes to an old, puke green Ibanez TS-9 Tube Screamer. That signal then also goes back to the rack interface and into the dirty amp. When the pan pedal is all the way back, Mike just gets the clean amp, and when he pushes it all the way forward all he gets is the dirty amp. "The dirty amp is one of three Marshalls: a '68 50-watt Marshall plexi or one of two '69 100-watt Marshall Super Tremolos that have had the tremolo disconnected by Sal Trentino, who services all our amps and also does Neil Young's work. They're all four- input amps, so I jump the channels to get a little more gain." "The clean amp is a Mesa/Boogie Studio Preamp that runs into a VHT G2150 Classic power amp and two 300-watt Marshall 1960 4x12 cabinets."

I suspect he was using much the same stuff in 1994.


Thank you BIH for this most excellent piece of info. Now to find my 68/69 Marshalls...


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 3:45 pm 
Offline
User avatar
Looks Like a Cat
 Profile

Joined: Sat January 05, 2013 1:57 pm
Posts: 13499
Location: Where everybody knows your name
Jump the channels? Does that mean he plugs into all of them?


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 3:48 pm 
Offline
User avatar
NEVER STOP JAMMING!
 Profile

Joined: Tue September 24, 2013 5:56 pm
Posts: 23844
Location: Different mountains than Strat.
wease wrote:
Jump the channels? Does that mean he plugs into all of them?

It means he goes into one channel, then comes back out and into the next channel. It's a way to overdrive your tubes.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 5:50 pm 
Offline
User avatar
The Master
 Profile

Joined: Tue January 01, 2013 3:48 pm
Posts: 36051
Location: Mountains
That stuff will forever go over my head. Good thing ill never have to deal with more than 1 amp at a time!

Man, i wish he'd put back in his Boss DM Delay. What a beautiful pedal that is.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 6:23 pm 
Offline
User avatar
Looks Like a Cat
 Profile

Joined: Sat January 05, 2013 1:57 pm
Posts: 13499
Location: Where everybody knows your name
So, what little I've been able to find out about jumping is you plug your guitar into one channel and then, from the second input in that channel run a line to the input of the other channel. Sounds easy enough, but I'm not understanding going from an INPUT to an INPUT. How can a signal go OUT from an input.

I've also heard of using both channels by getting a y-splitter and splitting the signal coming straight from the guitar. Duane Allman was famous for that.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 6:28 pm 
Offline
User avatar
NEVER STOP JAMMING!
 Profile

Joined: Tue September 24, 2013 5:56 pm
Posts: 23844
Location: Different mountains than Strat.
wease wrote:
So, what little I've been able to find out about jumping is you plug your guitar into one channel and then, from the second input in that channel run a line to the input of the other channel. Sounds easy enough, but I'm not understanding going from an INPUT to an INPUT. How can a signal go OUT from an input.

I've also heard of using both channels by getting a y-splitter and splitting the signal coming straight from the guitar. Duane Allman was famous for that.


The second method doesn't give you more gain, but rather a balance of two channel tones. You could have one channel slightly overdriven, with the other channel clean and maybe with some reverb, then blend the two to taste. The jump channel method effectively takes signal gain from channel 1 and then adds more gain via the second channel -- it's a good way to get a little extra grit from an amp (like a Twin Reverb) that doesn't impart a lot of harmonic distortion without cranking it to a very loud level.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 7:10 pm 
Offline
User avatar
Looks Like a Cat
 Profile

Joined: Sat January 05, 2013 1:57 pm
Posts: 13499
Location: Where everybody knows your name
So, you actually go from input to input? How does that work?


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 7:25 pm 
Offline
User avatar
NEVER STOP JAMMING!
 Profile

Joined: Tue September 24, 2013 5:56 pm
Posts: 23844
Location: Different mountains than Strat.
wease wrote:
So, you actually go from input to input? How does that work?

Cut and pasted from an amp/guitar forum:

The reason is the inputs may be connected together by a resistor network. In a very simple way, imagine two inputs, each going to a separate resistor, and the other side of these two resistors tied together going to the preamp.

So signal from input 1 goes through resistor 1 to the common node where the resistors connect to the preamp. But, there’s nothing to prevent the signal from going back through resistor 2 and showing up on input 2.

It’s not an output in the sense that it is being driven by an output circuit.

Think of it like having a set of water pipes with two places to connect a water source (two inputs). If you have nothing connected to pipe input #2, the water from pipe #1 can come backwards through pipe #2.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 7:41 pm 
Offline
User avatar
Looks Like a Cat
 Profile

Joined: Sat January 05, 2013 1:57 pm
Posts: 13499
Location: Where everybody knows your name
:thumbsup: :thumbsup: thanks trag!

I'm trying this later. I've got a super deluxe to experiment on.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 8:10 pm 
Offline
User avatar
NEVER STOP JAMMING!
 Profile

Joined: Tue September 24, 2013 5:56 pm
Posts: 23844
Location: Different mountains than Strat.
wease wrote:
:thumbsup: :thumbsup: thanks trag!

I'm trying this later. I've got a super deluxe to experiment on.

Cool. Another option, if you're trying to get more of a saturated sound from a typically clean amp, is to remove a couple of the tubes. Then the remaining tubes have to work overtime. But be warned that prolonged use of this method will age your matched tubes differently, and could potentially lead to some serious bias/chassis issues if you pop the removed tubes back in after extended time on the sidelines.


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sat August 13, 2016 10:22 pm 
Offline
User avatar
Looks Like a Cat
 Profile

Joined: Sat January 05, 2013 1:57 pm
Posts: 13499
Location: Where everybody knows your name
Wow! What a difference! It was still sounding a bit off, so I switched the brightness off on both channels and BANG! That was it!


Top
 
 Post subject: Re: Mike's Tone circa '94
PostPosted: Sun August 14, 2016 2:49 am 
Offline
Yeah Yeah Yeah
 Profile

Joined: Wed July 22, 2015 1:37 pm
Posts: 70
Would be great to have the gear (and time) to experiment with this sort of arrangement. I'm more of a 1 amp guy. I note in the Guitar article on Stone's setup, he uses lower watt amps to drive tubes to distortion, but typically keeps the amps below the point of distortion and uses pedals to drive his amp over the edge. This is more aligned to my simple way of thinking (and budget).


Top
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 15 posts ] 

Board index » Watched from the Window ... » Pearl Jam


Who is online

Users browsing this forum: HardTI and 12 guests


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum

Search for:
Jump to:  
It is currently Mon October 22, 2018 11:53 pm