"Negotiate the medium"

DrewJD82

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I first heard Eric Johnson say this phrase and I was so stoked because it finally verbalized something I'd been trying to say in discussion for years. It was brought up in his interview on Dipped In Tone and, well he can explain it better-

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tl;dw - A racecar driver has to learn the nuances of a car and how the tires handle at certain speed at certain turns, an artist has to see the viscosity of the paint and know how much or how little to apply or how many hairs in the paintbrush will give the desired effect, a baker has to know when the dough is ready to go in the oven, etc. Gear is no different in that regard and sometimes there's a lot more negotiating required when it's something specific we want and there aren't a lot of ways to get there.

Sometimes when I read an opinion about the same piece of gear and hear a total opposite opinion of mine, like say what it feels like to play through a non-boosted Dual Rec, or maybe when someone says they did not find an amp to be "forgiving" and it's really "stiff", I'm always curious how much time was put into negitating the medium in those situations.

Had I not adapted my playing to the Plexi50, I'd absolutely find it stiff, lifeless and sterile. You can't really bitchpick through that amp and expect it's going to sound like Hendrix or Eddie. Same thing when I started playing Dual Rec but in reverse; I had to loosen up my picking hand quite a bit and lay into the mush factor to get it to 'perform' how I needed it to, it's a total different attack than a 5150.

I'm curious in which ways any of you have negotiated to get what you were going for? I think ultimately it's great to have a collection of these negotiations because it really allows for some versatility in your playing, tones and willingness to stretch in directions you wouldn't normally go in for the pursuit of a tone that strikes your fancy.
 
I'm curious in which ways any of you have negotiated to get what you were going for? I think ultimately it's great to have a collection of these negotiations because it really allows for some versatility in your playing, tones and willingness to stretch in directions you wouldn't normally go in for the pursuit of a tone that strikes your fancy.
I think this is really the crux of playing music on any instrument at all a something thats almost so fundamental that it gets overlooked. I've recorded a LOT of guitarists over the years and the very best ones have an intuitive sense of reacting and adjusting based on what they are hearing. And conversely, the worst ones are way too focussed on hitting the notes that they aren't really even listening to the result coming back at them (and certainly not adjusting what they are doing to what they are hearing). They're just hitting the guitar like its Guitar Hero.

I don't really see the negotiations as one off levelling up things, and more of an ongoing skill where you essentially just adapt to any situation. That could be timing related, tuning related, dynamics related, or even just what you're trying to play (chord voicings, how many notes you're trying to play, which octave you're in, which rhythms to emphasise, when to hold off etc). I'm adapting my playing constantly but it'll vary in so many different ways - where I'm muting, how I'm picking and attacking the strings, how I'm fretting notes. It's a constant feedback thing and it really just comes down to trying to get the sound out of the speakers that I'm looking for in that moment.

My favourite examples of it are when you see legendary musicians playing on the crappiest instruments, and they still just sound like themselves. They just intuitively adjust and find something that does what they're looking for and it's all subconscious and natural.
 
Fuzz has been another one for me, the fuzz can have a mind of it's own and you can't really be quite as agile as you can with other tones. It's not like amp distortion where you can lay into the strings and make it your bitch, it's almost the other way around.

When I was first getting into the Gilmour tones and playing with Big Muff circuits/models it was a whole different kind of learning curve because it definitely sounds like he just puts the strings in their place and as time went on he was, but he was also stacking signal chains of compressors, a Big Muff and then a Tube Driver and at that point you have a lot more you can dictate with the strings, but his earlier DSOTM/WYWH/Animals/The Wall tones were fairly basic and he wasn't quite as agile with the playing as he came to be in the 80's/90's.
 
I'm curious in which ways any of you have negotiated to get what you were going for?
I had this little Stephenson amp that was like a mini Trainwreck Express. I had to relearn how to control picking dynamics in an entirely new manner because it was so responsive to even slight changes. I wish I had not sold it but it was very saggy so it was like the perfect lead amp but the worst rock riff amp.

I came pretty close to sending the BluGuitar Amp1 Mercury Edition back. I felt it sounded harsh, and the EQ couldn't get rid of that. Well, turns out all I needed to do is learn to really use my guitar volume and tone knobs like on an old school Marshall with a big bright cap. Now it's one of my favorite amps.

I wonder if all those "this modeler sounds night and day better than this other one" experiences are often from people who didn't take the time to make a particular modeler work for them? Because I feel I've gotten great tones out of almost every one I've ever owned.
 
I had this little Stephenson amp that was like a mini Trainwreck Express. I had to relearn how to control picking dynamics in an entirely new manner because it was so responsive to even slight changes. I wish I had not sold it but it was very saggy so it was like the perfect lead amp but the worst rock riff amp.

I came pretty close to sending the BluGuitar Amp1 Mercury Edition back. I felt it sounded harsh, and the EQ couldn't get rid of that. Well, turns out all I needed to do is learn to really use my guitar volume and tone knobs like on an old school Marshall with a big bright cap. Now it's one of my favorite amps.

I wonder if all those "this modeler sounds night and day better than this other one" experiences are often from people who didn't take the time to make a particular modeler work for them? Because I feel I've gotten great tones out of almost every one I've ever owned.

Exactly what I’m talkin’ about! I’m also curious how many of those things we pick up and learn, then bring back to something we’ve played previously but now feel different about it as a result of having gained that experience.

I know as a result of dialing in Dual Recs to be as tight as I could get them, some amps felt too tight after and allowed me to dial in something not quite as sharp.

And I definitely think you’re onto something with your line of curiosity. I have an overall hunch that many people who play amps known for doing specific things but don’t get those specific things from that amp and flip while saying “I love it when other people who aren’t me play it”
 
And I definitely think you’re onto something with your line of curiosity. I have an overall hunch that many people who play amps known for doing specific things but don’t get those specific things from that amp and flip while saying “I love it when other people who aren’t me play it”
Yeah Rectos, 5150s, Fryettes..not for me but I acknowledge others make them work.
 
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