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Hi, guys,
Couldn't agree more about the bass cut. I have a gemini. The straightthrough sound from the AC30 or 15 is nowhere near the original early record sounds-much too round, but when the gemini is set to positions 2 or 3,hey presto, the sound is there. Interestingly, when i am recording some of the early numbers, some more fiddling with the EQ is needed to cut the bass even more. To start with, the only way to do this is not in relation to the sound in your head but by listening to the record and adjusting the amp bit by bit and then the record again and more adjustments and so on and then the EQ on the recording. Without this basis, I don't think that any particular echo unit or tweeking of it will produce the correct result, or at least something very close, which is probably the best most of us can achieve.

regards,

franz

I honestly believe that the simple truth of this 'bass cut' was the parametric EQ that every recording studio seemed to have back then.
I remember well in recording sessions when the engineer would call on me to play an example of my part and I could hear in my headphones the effect of the parametric on the tone of my guitar as he swept throught the frequencies, many times hearing the sound of which we are all speaking of here - it' as simple as that and no mystery.

Interesting...I used to have an amp with a 5 band graphic EQ built in-it was a sort of Japanese copy of a Mesa Boogie - you could tweak it and get virtually any tone from any guitar- some other amps had parametric EQ controls included (rather than graphics) back then (late '70's/early '80's). Maybe it was just a fad or trendy feature at the time, but you don't see those devices much these days.

Might be worth looking for an outboard parametric or graphic unit?

I think when you listen to the original Move It, on which Ernie Shear played a Hofner Jazz guitar, as far away from a strat as you can get, but the similarities in tone of the two guitars without a Meazzi, indicates what was actually done in the studios in the early days. Apart from sound colouration, they also seemed to have guitars going into the red when recording, listen to the early Chet Atkin's stuff, his sound was also breaking up.

I did look for an outboard parametric EQ unit and they are available. One I was keen on was this one now discontinued but can pick one up. Never got around to getting one though. There are several foot pedals that do Para eq but typically only do a single mid band often with fixed Q mixed with ordinary tone controls. The ones in the studios were much more complex targeting low/high mids as well as bass treble and high frequencies and having High and Low pass filtering too.

I think you can get a reasonable approximation with a simple Graphic eq and the so called Smiley curve where you cut the treble after 1K and the lows before 1K and that simulates the EQ the Meazzi circuits did to some degree. Only problem is the correct frequencies are not targeted but that said I know of a few who do this and it gives an great Shadows guitar sound from a variety of amps.


http://www.presonus.com/products/EQ3B

also see this one

http://www.soundsgreatmusic.com/product ... ic-EQ.html

and another

http://uk.jtote.com/product_info.php/em ... pcaoftpcs4

example of one used (scuze noise)

http://www.youtube.com/watch?v=x_FoTn6t-nM

The closest EQ pedal for guitar frequencies, is the now discontued Boss GE10 which Ronnie Gustavison has used for many years with great effect.

Alan, I see with interest that there are three Boss GE10 units for sale on Ebay in the UK and several international ones.

Look at the prices Roger.

MXR 10 Band Graphic EQ covers more or less the same freqs as the Boss GE10 and is a lot cheaper.


http://www.ebay.co.uk/ctg/Dunlop-MXR-10 ... -/78744850