Korgscrew
Group: Super Admins
Posts: 3511
Joined: Dec. 1999 |
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Posted: Oct. 25 2008, 09:34 |
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I'd guess that the cabinet model you'd want to try first would be the Line 6 1x12 - that's closest to what the original amp had. Sometimes it's not so predictable what's going to work best, though (sometimes these models don't quite deliver what you'd expect based on your knowledge of how things are in reality!). It's always worth trying something like a 10" for a more midrangey sound; the best thing is often just to flip through them until you find something that's closest to what you're after.
It does look like the only option open for getting more drive is cranking up the drive level to maximum. You could always try going into the Pod through an external overdrive pedal, if turning up the drive alone doesn't give enough/the right kind of saturation, but I'd think caution would have to be exercised there (ramming too hot a signal into a digital input stage is of course likely to not be quite as pleasing on the ear as it would be if you were going into a valve amp!). By all means try the compressor on it - it should add some sustain, and might smooth out some of the fizz if you're lucky. Fizz is of course not necessarily bad - sounds often need to be rather brighter than you'd expect to really come forward in a mix...what sounds good on its own may sound dull and mushy once it's in with other things. The wasp in a jam jar sound is to be avoided at all costs, though!
I think electric guitars are extremely unforgiving, actually, especially when you get the distortion going. I think sounds like Mike's can sound dreadful in the wrong hands, and I think that's a big part of the key to getting some of these sounds to work - figuring out what kind of touch to use. Once you've worked that out, the rest falls into place. I would say that Mike's style needs a generally light touch, with a bit more pressure being applied for a more aggressive vibrato. The really screaming sound comes partly from the picking - it has to be quite deliberate and hard, like a classical rest stroke. The main force of the picking should be using a combination of force from all three of the finger joints, but with the third joint fairly relaxed - if they're all tense, you'll end up clawing at the strings, which tends to sound horrid (though if you combine it with the right touch on the fretting hand, that's how to get that Mark Knopfler percussive kind of sound...that involves pulling the finger upwards more, though). The idea is to come fairly gently, but firmly across, bringing the finger to rest on the next string. That action involves bringing the finger down in an arc which sees you almost hitting down on the string with the fingernail at the same time - if you don't, and come up from underneath the string instead, you get more of a choked sound (which of course can work if what you're doing with the other hand takes that into account, but it can just sound painful if it doesn't).
The lighter stratty sounds (like this ) need a much lighter touch, almost just brushing them as they're picked, and fretted very lightly (but still firmly and deliberately, otherwise you'll lose the control). In reality, it's all about combining those approaches, constantly varying the touch to suit what you want to get across with any particular note. The trick is, of course, doing it all without thinking about it...
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+ one ! I'm using Toneport UX1 with Gear Box since yesterday and i would be interested too !
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Hey ! I didn't have seen replies there before tonight ! Sorry Korgscrew and thanks for all of these advices ! I'll try tomorrow with Gearbox !