GP-10- Looking for 2 guitar sounds

Started by MountainCraft, July 29, 2019, 09:49:53 AM

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MountainCraft

1) Early ZZ Top...
Tres Hombres to Fandango era (especially Tres Hombres)
Both rhythm and lead

2) 1st Montrose album

Also, is there any way to hit a note and have it sustain while I switch guitars (ie going from one song into another), until I hit the next patch change for the next song?

I am running the GP-10 into an MS-3 (I then run that into a TRIO+ which has a looper, but that seems like it would be the hard way to do things).. Hoping there is some effect in the GP-10 that will hold a note...

Thanks,
Mark

mooncaine

Would it help you to have VG-99 patches to look at? I got a pocketful of ZZ Top patches for my VG and those 2 sounds are standouts. I definitely *tried* to get something for Fandango's live set sound.
Even if you don't have a VG-99, you could probably look at their settings in the software editor.

MountainCraft

Quote from: mooncaine on July 29, 2019, 03:27:31 PM
Would it help you to have VG-99 patches to look at? I got a pocketful of ZZ Top patches for my VG and those 2 sounds are standouts. I definitely *tried* to get something for Fandango's live set sound.
Even if you don't have a VG-99, you could probably look at their settings in the software editor.

I don't know?
Worth a shot?

mooncaine

OK, I'm partly there. I found the old ZZ Top patches in a library file. I will need a little time to be able to xfer them to individual patches that you could look at (cuz I actually have to load them into a VG-99 before I can export each to a file format that you can look at in the editor).

mooncaine

Here's 2 of a set of ZZ patches I actually use. Not saying they are slavish imitations of sounds heard on the record, but I think they sound great coming out of my amps.

mooncaine


mooncaine


mooncaine

The 'Fat Tyres' patch was a real surprise to me. Sounds like stuff I've heard him do. Can't explain why it sounds right, but it has a grungy scruffy sound that's good for stuff like Hi Fi Mama and She Loves My Automobile.

plexified

#8
These core tones are pretty easy to dial in. You have to stay very minimal in building these patches. Old school Rock , non master volume amp, a boost pedal and a wah. Set them up dry with no verb or EQ. Use the amp each band used to record these records.

ZZ played Tweeds before Marshalls, as did Ronnie Montrose. So :

COSM Les Paul
Tweed or Deluxe amp with 10" speakers
Marshall MS1959 I or Marshall MS 1959 I+II original cabinet
Fat Wah

Pick a SM-57 Mic  set it off cone at 5 and work your way down for more high end : Switch to on cone for more high end. Off mic gives you more body to work with. Use this as your EQ and A/B with the record.
Keep your mic level @50 and COSM guitar around 50 to start also, it can gain things up as you go, but lower gives you more dynamic control to start with, meaning your riding the volume on your guitar or GK-3 set up that way.

Here is the Amp Module settings to work with, very minimal here too:

Level is always maxed out (simulating non master volume amp)
Tone controls at 12:00 and Prescence backed off to 10:00
Gain on Middle to start
Pre amp on 100

Add a lead boost for lead and run the fat wah or:

No wah and run a boost pedal

Tube Screamer
Rat
Govnur
Treble boost
ect, ect as a traditional pedal

That's it, Tweed is more 'ratty' and loose and splattered, Marshall is more focused and "Just got Paid" hah, hah and  BBQ.

Billy Gibbons further will like the delay hard panned one side, he plays with very low milliseconds and he also lays down slap to fatten and give the 'club room tone'.  Enjoy.

edit: forgot to mention you can only hold the oscillating synth, perhaps you can set up a delay with a high regeneration level to ring out, dual stacked etc.