FTWGeorgeF wrote:The benchmark:
[youtube][/youtube]
fucking love this. first heard it at a mates house around 16 years of ages.
Durham Electronics Crazy Horse
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Progrockabuse
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fucking love this. first heard it at a mates house around 16 years of ages.
Fender Classic Player 60’s Stratocaster>East Coast T1 Tele>
Epiphone Les Paul SL>Ovation 12 String acoustic>Peavey Strat DIY Relic
Marshall Origin 20H>James’s old purple 2x10
Marshall MG10 Combo
1 time host of PROGFEST
Epiphone Les Paul SL>Ovation 12 String acoustic>Peavey Strat DIY Relic
Marshall Origin 20H>James’s old purple 2x10
Marshall MG10 Combo
1 time host of PROGFEST
I haven't seen that since it aired -- amazing. He also kicks something from 1:24-1:33 that sounds fucking incredible, but it's probably just a boost to slam the Deluxe even harder.robroe wrote:do you guys remember when Neil played with pearl jam on MTV VMA's like 15 years ago ?
his guitar sounds were fucking crazyyyyyyyyyyyyyyy
this shit he is doing around 5:55. it sounds like a plane crashing with the horn from a fire dpt stuffed inside the cockpit going off► Show Spoiler
I also just found a version of RITFW on Saturday Night Live in 1989, which is another killer performance.
And a big thanks to markeeee for having done the necessary legwork. How do you like your 5E3 clone? I've always wanted to build one, as it's a dead simple circuit.
Here's some more crap I found about Neil Young's setup.
Well, I do love this amp. It was built for me by a guy called Trevor Ridney who builds as Tipton Amplification. It's basically a 5e3 circuit with the ability to switch it into a more blackface-y mode - kind of Princeton-ish. It has a GIANT reverb tank and a lovely bias trem. Trev built it as a prototype and I loved it so much I just bought it outright. Nice of him to let me off the additional cost of a production model. It totally nails a certain Neil Young tone, rendering the Les Lius pretty much redundant.
As much as I love it, I do realise it can't do everything. I play in a band with a guy who owns a Tipton JTM45 clone and it just DESTROYS me. Also, it breaks up fairly early and just compresses thereafter. That's not a complaint - it was exactly what I wanted at the time, but I now realise I want some other tones too. I think next up for me will be something Marshall-ish.
Thing is with Neil Young tones though, is that I think that there are several.
If you want to hear (I think) just the 5e3, I'd recommend Everybody Knows This is Nowhere and the 1970 Fillmore East live album - although I believe he's using Filtertrons rather than the Firebird/P90 combination that's in Old Black nowadays.
Zuma is an interesting one. That's the tone I spent waaaaay too much time and effort trying to rip off before realising I was being a dick. Danger Bird is the reference for me. After having gone as far as I could with the 5e3 thing, I read somewhere recently that it was wasn't a 5e3, but apparently two Silverface Bassman heads IN SERIES. Bugger.
Then you have Rust Never Sleeps. That's clearly when the pedalboard and the whizzer first appear.
I think that most of us, when we say 'Neil Young sound' are thinking of the Freedom/Ragged Glory/Arc Weld era, which is the full-on giant distorted mess. If you read that Larry Cragg interview on Thrasherswheat you'll see that it's far more than a cranked 5e3. Of course there's the whizzer, but I think the thing most of us overlook is the fact that he's using a colossal Magnatone, HIS OWN PERSONAL PA SYSTEM and in more recent tours, at least one tweed Twin alongside the Deluxe and the Magnatone. Obviously most of us can't manage a setup like that, so we focus on the one part we can achieve - the 5e3. But the Arc Weld tone is clearly more than just that.
PLEASE HELP ME. I CAN'T STOP.
Ta,
Mark
As much as I love it, I do realise it can't do everything. I play in a band with a guy who owns a Tipton JTM45 clone and it just DESTROYS me. Also, it breaks up fairly early and just compresses thereafter. That's not a complaint - it was exactly what I wanted at the time, but I now realise I want some other tones too. I think next up for me will be something Marshall-ish.
Thing is with Neil Young tones though, is that I think that there are several.
If you want to hear (I think) just the 5e3, I'd recommend Everybody Knows This is Nowhere and the 1970 Fillmore East live album - although I believe he's using Filtertrons rather than the Firebird/P90 combination that's in Old Black nowadays.
Zuma is an interesting one. That's the tone I spent waaaaay too much time and effort trying to rip off before realising I was being a dick. Danger Bird is the reference for me. After having gone as far as I could with the 5e3 thing, I read somewhere recently that it was wasn't a 5e3, but apparently two Silverface Bassman heads IN SERIES. Bugger.
Then you have Rust Never Sleeps. That's clearly when the pedalboard and the whizzer first appear.
I think that most of us, when we say 'Neil Young sound' are thinking of the Freedom/Ragged Glory/Arc Weld era, which is the full-on giant distorted mess. If you read that Larry Cragg interview on Thrasherswheat you'll see that it's far more than a cranked 5e3. Of course there's the whizzer, but I think the thing most of us overlook is the fact that he's using a colossal Magnatone, HIS OWN PERSONAL PA SYSTEM and in more recent tours, at least one tweed Twin alongside the Deluxe and the Magnatone. Obviously most of us can't manage a setup like that, so we focus on the one part we can achieve - the 5e3. But the Arc Weld tone is clearly more than just that.
PLEASE HELP ME. I CAN'T STOP.
Ta,
Mark
I'm glad someone's been through the motions for me 
. I've tried to get a similar sound by stacking a Danelectro French Toast going into a Boss OD3. Unfortunately it's such a fine balancing act getting enough fuzz and drive without it getting too saturated and gated that all you get is a booming hum noise.
. I've tried to get a similar sound by stacking a Danelectro French Toast going into a Boss OD3. Unfortunately it's such a fine balancing act getting enough fuzz and drive without it getting too saturated and gated that all you get is a booming hum noise.
Mark, I'm the same, I'm just a lurker but I can't hold my tongue. I just wish in the 2K plus posts I've had I could of got enough knowledge out than you have in this thread. Amazing tidbits mate. I look forward to more of the samemarkeeee wrote:Aw, thanks.
But really, this is the only thing I could ever hope to be able to claim to be any kind of an authority on. I've just thought about it a hell of a lot. I'm a long time lurker on this forum and have learned so much from all of you.
Ta,
Mark
plopswagon wrote:I like teles and strats because they're made out of guitar.
robroe wrote:I dont need a capo. I have the other chords in my tonefingers
Aw, you're too kind, really. If I can save just one kid, I'll consider my work done.
I perhaps should have mentioned that my favourite NY album is Tonight's The Night - which sounds bugger all like the 'Neil Young tones' we've been discussing here.
But anyway, if you want classic Neil tones, all you need is a very particular (apparently he owns around 450) '50s tweed Deluxe re-biased for 6L6-es (you'll need several electric fans to keep it from frying) with a custom made device to mechanically alter volume and tone settings for both inputs to pre-set levels, a Magnatone the size of a house, one or more tweed Twins, a personal PA system that only you can hear on stage and a Les Paul of dubious origins with a Firebird pickup and - if you really want to stay up to date - a switch to bypass all the controls on the guitar. And be Neil Young. On a good day. Simple really.
But I'd look seriously at the Crazy Horse. Its reputation as a Neil Young machine belies the fact that it's just a fucking awesome drive/fuzz. The Les Lius? Well, I'll probably keep it for now, but it falls into that category of ODs that almost think they're amp simulators. It's VERY good at 5e3 tones, but pointless if you actually have one.
Try a CH if you have an amp that can give you the base tone you want and has enough headroom to accommodate something with that much range.
Ta,
Mark
I perhaps should have mentioned that my favourite NY album is Tonight's The Night - which sounds bugger all like the 'Neil Young tones' we've been discussing here.
But anyway, if you want classic Neil tones, all you need is a very particular (apparently he owns around 450) '50s tweed Deluxe re-biased for 6L6-es (you'll need several electric fans to keep it from frying) with a custom made device to mechanically alter volume and tone settings for both inputs to pre-set levels, a Magnatone the size of a house, one or more tweed Twins, a personal PA system that only you can hear on stage and a Les Paul of dubious origins with a Firebird pickup and - if you really want to stay up to date - a switch to bypass all the controls on the guitar. And be Neil Young. On a good day. Simple really.
But I'd look seriously at the Crazy Horse. Its reputation as a Neil Young machine belies the fact that it's just a fucking awesome drive/fuzz. The Les Lius? Well, I'll probably keep it for now, but it falls into that category of ODs that almost think they're amp simulators. It's VERY good at 5e3 tones, but pointless if you actually have one.
Try a CH if you have an amp that can give you the base tone you want and has enough headroom to accommodate something with that much range.
Ta,
Mark
Let me second Mark's opinion on the Crazy Horse. I've only used one a few times (Mark's actually, as I'm the aforementioned other guitarist in his band with the Tipton JTM-45 clone), but it's a great pedal.
On the 5e3 VS JTM-45 thing... my Tipton is based on JTM-45 Mk IV, and is set up with 6V6 output valves, putting out around 20 watts, so the wattage isn't so different. Subjectively the volume from my amp is louder than Mark's, although we've measured with a DB meter, and there's only around a 2db difference. Our current theory is that it's the headroom and the voicing that make the difference, but I dunno.
-Brendan
On the 5e3 VS JTM-45 thing... my Tipton is based on JTM-45 Mk IV, and is set up with 6V6 output valves, putting out around 20 watts, so the wattage isn't so different. Subjectively the volume from my amp is louder than Mark's, although we've measured with a DB meter, and there's only around a 2db difference. Our current theory is that it's the headroom and the voicing that make the difference, but I dunno.
-Brendan
Oh, I dunno. 'Words' and 'Alabama' are, I believe, just a 5e3 and a White Falcon. The Les Lius will do a damn good there. I suppose access to a big barn would help a little.
'Cortez' on Zuma is possible. 'Cortez' on Arc Weld? Yeah, that's tricky.
When life is slightly less insane, I'll demo the LL, the Crazy Horse and my Sansamp Blonde with a selection of our fave NY riffs.
Do try to contain your excitement.
Ta,
Mark
'Cortez' on Zuma is possible. 'Cortez' on Arc Weld? Yeah, that's tricky.
When life is slightly less insane, I'll demo the LL, the Crazy Horse and my Sansamp Blonde with a selection of our fave NY riffs.
Do try to contain your excitement.
Ta,
Mark
You sir, are a legend.markeeee wrote:Oh, I dunno. 'Words' and 'Alabama' are, I believe, just a 5e3 and a White Falcon. The Les Lius will do a damn good there. I suppose access to a big barn would help a little.
'Cortez' on Zuma is possible. 'Cortez' on Arc Weld? Yeah, that's tricky.
When life is slightly less insane, I'll demo the LL, the Crazy Horse and my Sansamp Blonde with a selection of our fave NY riffs.
Do try to contain your excitement.
Ta,
Mark
I've been able to get an okay face-melty Cortez sound by going:
Dano French Toast -> Boss OD3 -> Blackstone (clone) sometimes having a compressor on at the beginning of the chain.
When driven by another pedal the OD3 chokes and sputters and goes a little velcro, but the tightness of the Dano means it doesn't get too boomy or lose all clarity. The Blackstone just adds a little more gain and wideness. All the gain stages makes a real thick fuzzy sound, plus if I want a regular drive sound I just turn off the Dano. Great fun.
Just realised I wrote that higher up. Anyway, stacking drive pedals is a good way to get close to that sort of sound.
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dorfmeister
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I have a crazy horse, it is a great pedal but I have the old version with the pain in the ass jacks. I love the tones you can get out of it, but i really want to get a dark delay (fingers crossed on a dod680 on ebay right now, hammering out shipping details) to try and get the sounds off the "deadman" soundtrack, I LOVE that album.