Use the COMP setting and turn the SUSTAIN up to 65, the ATTACK up to 75 and the LEVEL at 50. In order to get the sustain that’s in the recording we need to run a large amount of compression. If you are using a humbucker in the neck it may still sound very close because the compression that we’ll add shortly changes the attack of the guitar tone. I’ve used a Fender G-5 Stratocaster with a single coil in the neck, so it is already quite similar to the front P-90 pickup in a Les Paul Gold Top. You will need to use effects to modify the pickup tone to allow for your guitar tone. You’ll notice that while there isn’t a great deal of gain running on the amplifier, there is a LOT of sustain on the recording, which we cover in the effects. Set the gain stage at about a quarter of a turn (9 o’clock).īy now you should have a good idea of what the plain amp tone sounds like with a mild amount of gain, so you can also hear the gain stage character. For this particular tone we can leave the EQ at these settings. This gives you a neutral starting point so that the EQ isn’t colouring the tone. all settings at the half way point or 12 o’clock).
Since we are going for something close to an early Mesa Boogie Mark I Amplifier that had a very smooth sounding gain character, so we will use the BOSS ME-80’s ‘LEAD’ Amp setting.
SOLIDWORKS 2018 SP4 FULL
Remember any multi-FX / amp simulator like the BOSS ME-80 is simulating a room full of gear, so think about it like that – you wouldn’t walk into a room full of amps and FX and start by turning everything ON would you? You would plug into an amp, get a good basic tone, then turn on any effects one at a time and build up your sound…. The AmpĪlways start with everything off – I can’t stress this enough! Find the OFF button for everything in the signal chain so all you can hear is your dry guitar sound coming through. On a 2-humbucker guitar like a Les Paul, just select the neck pickup, you can compensate for the tonal differences later in the EQ, Compressor and FX sections. If you don’t own a guitar with a singe-coil pickup in the neck position, use the closest approximation on your guitar. This is a neck pickup type of tone, you can tell by how ‘mellow’ and ‘hollow’ it sounds. You will need to make slight adjustments in your final settings depending what guitar you are using. To recreate the ‘Another Brick in the Wall – Part II’ guitar tone, I use a Fender G-5. The original P-90’s predated the humbucker and, being big single coils pickups, had more top end in their sound. The Guitarįor the solos on Another Brick in the Wall Part II, Dave Gilmour used a Gibson Les Paul Goldtop with P90 soapbar pickups. In an earlier blog article, I spoke about the best way to approach a tone is to consider the 4 Elements of Guitar Tone and using those principles, we have: 1.
Since I used the BOSS ME-80 on my Classic Patches Medley video, I’m going to go through how I would create this tone on it, but essentially the process would be same on any of the BOSS multi effects units.Ĭontributed by Josh Munday – Tone Designer On the original recording, he played a Les Paul Gold Top (with P-90 pickups) direct into the mixing desk and then gated and compressed the signal, before running it back out again and into a Mesa Boogie Mark I Amplifier which was mic’d up and recorded…phew. If you Google a very specific search term like ‘Another Brick in the Wall Part II guitar tone’ you still get more than 16 million entries! There are some strange and crazy theories out there, but fortunately for us Dave Gilmour has done some video interviews describing the sound behind one of the most iconic guitar solos of all time.
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