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georgemcdonnell314
This first time I heard this song was from a bootleg ...
There was a ton of crackles in the song, like it was copied from another album or 45...

I'm pretty sure that's how it was pressed! On 45rpm, b-side of IORR. My friend and I bought this brand new the same day, and both our copies had crackling all the way thru it, from the first time playing it. So likely that bootleg copy was recorded directly from the 45rpm, I would have to believe.

I love this song!!! Was so disappointed when it didn’t show up on the GHS deluxe. Maybe it will be on a IORR deluxe if they ever do that one….it is next in line ya know!

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Swayed1967

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JordyLicks96
This is a wonderful song and 10/10 B-side gem. The only problem is if you try to include it on GHS, there'd be too many ballads. Interestingly, I found an article from "RollingStone" before the release of GHS and this was one of the song titles listed to be on the album. The article lists these songs that would be on the album (and written this way in the article):

Silver Train
Starf*cker
Hundred Years
Can You Hear The Music?
Through The Lonely Hours
Angie
Hide Your Love
Crisscross
Do Do Do Do
Dancing with Mr. D (described as a "voodooish reggae")

Interesting. And mindboggling that ‘voodoo reggae’ crap made the final cut over gems like Through The Lonely Nights and Crisscross Man. In the case of Through The Lonely Nights though it was probably the song’s lyrics which condemned it to its obscure B-side fate. I mean the song is almost too ridiculously wistful and sad given that it’s about a guy who makes his girlfriend turn tricks. But I suppose there are pimps out there who occasionally reflect on what they’re doing and feel regret. At least it’s possible, I guess. Any pimps out there?

Dancing With MrD is the worst opening track of any of their albums.Any of Separately, Criss Cross, Waiting on friend, All the Rage,Wind Call, Traveling Man, should have been finished and replaced it

Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

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Taylor1

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Swayed1967

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JordyLicks96
This is a wonderful song and 10/10 B-side gem. The only problem is if you try to include it on GHS, there'd be too many ballads. Interestingly, I found an article from "RollingStone" before the release of GHS and this was one of the song titles listed to be on the album. The article lists these songs that would be on the album (and written this way in the article):

Silver Train
Starf*cker
Hundred Years
Can You Hear The Music?
Through The Lonely Hours
Angie
Hide Your Love
Crisscross
Do Do Do Do
Dancing with Mr. D (described as a "voodooish reggae")

Interesting. And mindboggling that ‘voodoo reggae’ crap made the final cut over gems like Through The Lonely Nights and Crisscross Man. In the case of Through The Lonely Nights though it was probably the song’s lyrics which condemned it to its obscure B-side fate. I mean the song is almost too ridiculously wistful and sad given that it’s about a guy who makes his girlfriend turn tricks. But I suppose there are pimps out there who occasionally reflect on what they’re doing and feel regret. At least it’s possible, I guess. Any pimps out there?

Dancing With MrD is the worst opening track of any of their albums.Any of Separately, Criss Cross, Waiting on friend, All the Rage,Wind Call, Traveling Man, should have been finished and replaced it

Totally disagree. Dancing with Mr D is underrated. People think it’s about the devil but it’s really about death and mortality, the Grim Reaper. The voodoo vibe is a perfect transition from Exile to Goats Head Soup. It’s fantastic. The Glyn Johns mix might be superior to my ears and the outtake with a Taylor solo is fantastic



Edited 1 time(s). Last edit at 2024-09-27 05:57 by TravelinMan.

This is one of my secret favorite tracks. It has a special atmosphere, the guitar is beautiful, Mick sings it very well. A typical Rolling Stones track with character, anyway.It would be pretty high on my top Rolling Stones list (which could be hundreds of songs of course).



Edited 1 time(s). Last edit at 2024-09-27 12:12 by 1962.

I get that.

In the days before the track was available elsewhere, it was possibly the most played B side of any single in my possession.

[perhaps along with Let it Rock from the flip of BS ]

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

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Mathijs

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.



Edited 1 time(s). Last edit at 2024-09-27 18:28 by TravelinMan.

And on the topic of the Hi-Fly effects unit: it is re-released!

[www.synthi.co.uk]

Five years waiting list and expensive...but it's there!

Mathijs

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Mathijs
And on the topic of the Hi-Fly effects unit: it is re-released!

[www.synthi.co.uk]

Five years waiting list and expensive...but it's there!

Mathijs

Wow! Thanks for sharing

Beats the $8k for a refurbished original

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Taylor1
Dancing With MrD is the worst opening track of any of their albums.Any of Separately, Criss Cross, Waiting on friend, All the Rage,Wind Call, Traveling Man, should have been finished and replaced it

All The Rage is bleh. Wind Call (Come To The Ball) is, at best, an album closing track, frantic and doesn't really do anything.

Criss Cross is the only song that's worth arguing to replace Dancing Mr D but Mr D is a fantastic song. Criss Cross certainly has the sound of GHS, though. It's obvious.

I've never heard an LP opening track for any Stones album that could've been better.

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TravelinMan

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Mathijs

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

Original post(er).

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

OP: original poster

He uses an Octivider on If you Really Want to be My Friend, but not the solo.

It’s an octave down so if he’s playing high up on the neck, the “bass” isn’t really in the bass register, but in the middle register. It’s just a doubling effect an octave down and its affected by the dynamics of string.

Dance Little Sister has some sort of effect on KR’s rhythm guitar. It doesn’t sound natural.


Let it Loose sounds like a Leslie to me. Leslies have a certain chime to them whereas Vibe pedals of the time were more rolled off treble. Harvey Mandel used a Vibe and Wah combo on Hot Stuff.

Thanks TravelinMan and others, I have now watched Octivider videos on YT explaining how the effect works. Someone commented that Jimmy Page used one in the early 70s and maybe that is what inspired the speculation about the TTLN solo (along with the Scarlet session rumors).

It is probably impossible to assess how much the choice of tone/effect adds to a solo, but it's clearly something that we hear and cherish without (in my case) consciously realizing it is adding to our enjoyment.

When the solo takes off, Taylor's gotta be on a Les Paul humbucker pickup, that's why it's so rounded and fat sounding. No wah, no phase, it's just really hot, the notes push themselves with the sustain.

If he did use a wah he set it.

Amazing depth in this song, the acoustic punchy yet warm, and very high in the mix; the wah-rhythm guitar, the other rhythm guitar sheened in phase, sounds like a Strat; organ? It sounds like there's organ in this but it could be the combination of the wah and phased guitars; the piano brilliantly mixed high.

There's another guitar in the background that kind of swoops, low notes, just moving, no actual note playing, just lumpy and chuggy, almost shadowing the bass.

But that overdrive Taylor's guitar has for the solo and then lead later... that's crazy. It's on the verge of being too much, being too dirty, yet maintains singularity.

They're probably hanging around saying, Eh, let's turn this knob up and print it, yeah, that's great! And not even thinking about it.

Just another song.

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maidenlane
Thanks TravelinMan and others, I have now watched Octivider videos on YT explaining how the effect works. Someone commented that Jimmy Page used one in the early 70s and maybe that is what inspired the speculation about the TTLN solo (along with the Scarlet session rumors).

It is probably impossible to assess how much the choice of tone/effect adds to a solo, but it's clearly something that we hear and cherish without (in my case) consciously realizing it is adding to our enjoyment.

I believe this Sustain Module was used in conjunction with the Octivider here as Taylor is playing up the neck and there seems to be an octave below blending in.

Besides this song here, listen to Taylor on Dancing with Mr D and Can You Hear the Music—I think he's using this Sustain Module to get that fuzzy sound. Heck, even Winter sounds like it now that I really listen.

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GasLightStreet
When the solo takes off, Taylor's gotta be on a Les Paul humbucker pickup, that's why it's so rounded and fat sounding. No wah, no phase, it's just really hot, the notes push themselves with the sustain.

If he did use a wah he set it.

Amazing depth in this song, the acoustic punchy yet warm, and very high in the mix; the wah-rhythm guitar, the other rhythm guitar sheened in phase, sounds like a Strat; organ? It sounds like there's organ in this but it could be the combination of the wah and phased guitars; the piano brilliantly mixed high.

There's another guitar in the background that kind of swoops, low notes, just moving, no actual note playing, just lumpy and chuggy, almost shadowing the bass.

But that overdrive Taylor's guitar has for the solo and then lead later... that's crazy. It's on the verge of being too much, being too dirty, yet maintains singularity.

They're probably hanging around saying, Eh, let's turn this knob up and print it, yeah, that's great! And not even thinking about it.

Just another song.

I hear an electric guitar being picked through a Leslie. Sounds like Keith Richards

Acoustic guitar - could be any of them, even Jagger.

Another electric guitar through a Leslie adding ornamental accompaniment on the right side beginning in the second verse. I think this is Taylor and he either rolls up his volume knob or steps on a pedal (Colorsound Sustain Module) for the lead breaks.

Piano - Nicky Hopkins

Bass - I don't know, it's pretty busy. Richards?

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

OP: original poster

He uses an Octivider on If you Really Want to be My Friend, but not the solo.

It’s an octave down so if he’s playing high up on the neck, the “bass” isn’t really in the bass register, but in the middle register. It’s just a doubling effect an octave down and its affected by the dynamics of string.

Dance Little Sister has some sort of effect on KR’s rhythm guitar. It doesn’t sound natural.


Let it Loose sounds like a Leslie to me. Leslies have a certain chime to them whereas Vibe pedals of the time were more rolled off treble. Harvey Mandel used a Vibe and Wah combo on Hot Stuff.

I think it's Keith on the rhythm part on IYRWTBMF. He is also using it on ATPTB. And someone is definitely using it on the instrumental part on IYCRM.

You guys are amazing in your knowledge of which guitars and pedals are being played As a layperson I thought initially that the guitar Keith played on If You Really Want to be my Friend was an organ.On the 1973 European Tour, Taylor’s guitar sounded different from the previous tours.What kind of effect is he using.Also, what is Keith playing on Luxury



Edited 1 time(s). Last edit at 2024-09-28 12:45 by Taylor1.

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DandelionPowderman

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

OP: original poster

He uses an Octivider on If you Really Want to be My Friend, but not the solo.

It’s an octave down so if he’s playing high up on the neck, the “bass” isn’t really in the bass register, but in the middle register. It’s just a doubling effect an octave down and its affected by the dynamics of string.

Dance Little Sister has some sort of effect on KR’s rhythm guitar. It doesn’t sound natural.


Let it Loose sounds like a Leslie to me. Leslies have a certain chime to them whereas Vibe pedals of the time were more rolled off treble. Harvey Mandel used a Vibe and Wah combo on Hot Stuff.

I think it's Keith on the rhythm part on IYRWTBMF. He is also using it on ATPTB. And someone is definitely using it on the instrumental part on IYCRM.

I never have used a real Hi Fly, but judging on the demos on Youtube and the remarks by Andy Johns, and the fact they recorded it at Munichland studio which was an early adapter of the unit, I think that just about all the phase/wah/fuzz/octaver effects on the IORR album are from that effects unit. Some are really clear, like the phasing and chorus-ing of Time Waits, to the solo's on IFCRM, ATPTB, IYRWTBMF to the Wah on FF, the phase of FF -it's all from the Hi Fly in my opinion, and I wouldn't be surprised that most of it was done during post-production.

Mathijs

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DandelionPowderman

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

OP: original poster

He uses an Octivider on If you Really Want to be My Friend, but not the solo.

It’s an octave down so if he’s playing high up on the neck, the “bass” isn’t really in the bass register, but in the middle register. It’s just a doubling effect an octave down and its affected by the dynamics of string.

Dance Little Sister has some sort of effect on KR’s rhythm guitar. It doesn’t sound natural.


Let it Loose sounds like a Leslie to me. Leslies have a certain chime to them whereas Vibe pedals of the time were more rolled off treble. Harvey Mandel used a Vibe and Wah combo on Hot Stuff.

I think it's Keith on the rhythm part on IYRWTBMF. He is also using it on ATPTB. And someone is definitely using it on the instrumental part on IYCRM.

Which songs?

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Mathijs

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DandelionPowderman

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

OP: original poster

He uses an Octivider on If you Really Want to be My Friend, but not the solo.

It’s an octave down so if he’s playing high up on the neck, the “bass” isn’t really in the bass register, but in the middle register. It’s just a doubling effect an octave down and its affected by the dynamics of string.

Dance Little Sister has some sort of effect on KR’s rhythm guitar. It doesn’t sound natural.


Let it Loose sounds like a Leslie to me. Leslies have a certain chime to them whereas Vibe pedals of the time were more rolled off treble. Harvey Mandel used a Vibe and Wah combo on Hot Stuff.

I think it's Keith on the rhythm part on IYRWTBMF. He is also using it on ATPTB. And someone is definitely using it on the instrumental part on IYCRM.

I never have used a real Hi Fly, but judging on the demos on Youtube and the remarks by Andy Johns, and the fact they recorded it at Munichland studio which was an early adapter of the unit, I think that just about all the phase/wah/fuzz/octaver effects on the IORR album are from that effects unit. Some are really clear, like the phasing and chorus-ing of Time Waits, to the solo's on IFCRM, ATPTB, IYRWTBMF to the Wah on FF, the phase of FF -it's all from the Hi Fly in my opinion, and I wouldn't be surprised that most of it was done during post-production.

Mathijs

I would say most of the guitar FX are definitely the Hi-Fli on IORR. I’d have to listen again to …Want to be My Friend to see if KR is using a Leslie or the Hi-Fli.

…Proud to Beg has some sub octave stuff going on as does Dance Little Sister. Might not be an actual octave down, but it’s a sub harmonizer function

I’m not sure if you’re referring to overdubs as post production or not. I don’t see them re-amping much in 1973-74. Maybe they tracked through an amp and ran an Aux to the Hi-Fli after the fact, but that just doesn’t seem like the way they worked back then. I tend to believe they tracked through the Hi-Fli either during basic tracking or overdubs. They didn’t mix the album in Munich, it was done elsewhere. I call the mixing stage post production, not overdubbing



Edited 2 time(s). Last edit at 2024-09-28 19:18 by TravelinMan.

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TravelinMan

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DandelionPowderman

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TravelinMan

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Mathijs

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TravelinMan

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Mathijs

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TravelinMan

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

OP: original poster

He uses an Octivider on If you Really Want to be My Friend, but not the solo.

It’s an octave down so if he’s playing high up on the neck, the “bass” isn’t really in the bass register, but in the middle register. It’s just a doubling effect an octave down and its affected by the dynamics of string.

Dance Little Sister has some sort of effect on KR’s rhythm guitar. It doesn’t sound natural.


Let it Loose sounds like a Leslie to me. Leslies have a certain chime to them whereas Vibe pedals of the time were more rolled off treble. Harvey Mandel used a Vibe and Wah combo on Hot Stuff.

I think it's Keith on the rhythm part on IYRWTBMF. He is also using it on ATPTB. And someone is definitely using it on the instrumental part on IYCRM.

Which songs?

If You Really Want To Be My Friend, Ain't Too Proud To Beg and If You Can't Rock Me.

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Mathijs
I never have used a real Hi Fly, but judging on the demos on Youtube and the remarks by Andy Johns, and the fact they recorded it at Munichland studio which was an early adapter of the unit, I think that just about all the phase/wah/fuzz/octaver effects on the IORR album are from that effects unit. Some are really clear, like the phasing and chorus-ing of Time Waits, to the solo's on IFCRM, ATPTB, IYRWTBMF to the Wah on FF, the phase of FF -it's all from the Hi Fly in my opinion, and I wouldn't be surprised that most of it was done during post-production.

Mathijs

I would say most of the guitar FX are definitely the Hi-Fli on IORR. I’d have to listen again to …Want to be My Friend to see if KR is using a Leslie or the Hi-Fli.

…Proud to Beg has some sub octave stuff going on as does Dance Little Sister. Might not be an actual octave down, but it’s a sub harmonizer function

I’m not sure if you’re referring to overdubs as post production or not. I don’t see them re-amping much in 1973-74. Maybe they tracked through an amp and ran an Aux to the Hi-Fli after the fact, but that just doesn’t seem like the way they worked back then. I tend to believe they tracked through the Hi-Fli either during basic tracking or overdubs. They didn’t mix the album in Munich, it was done elsewhere. I call the mixing stage post production, not overdubbing

Correct, post production is strictly editing, which usually is any sweeps or comps, mixing, which includes EQ, compression, effects that aren't in print, adding sample triggers, and then editing down, if necessary, for the LP version, and further editing for a single version for video, radio and general public.

And then mastering. Which 99% of the time means everything is finished.

Unless it's U2, who decide to do a new overdub while the album is being mastered.

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

OP: original poster

He uses an Octivider on If you Really Want to be My Friend, but not the solo.

It’s an octave down so if he’s playing high up on the neck, the “bass” isn’t really in the bass register, but in the middle register. It’s just a doubling effect an octave down and its affected by the dynamics of string.

Dance Little Sister has some sort of effect on KR’s rhythm guitar. It doesn’t sound natural.


Let it Loose sounds like a Leslie to me. Leslies have a certain chime to them whereas Vibe pedals of the time were more rolled off treble. Harvey Mandel used a Vibe and Wah combo on Hot Stuff.

I think it's Keith on the rhythm part on IYRWTBMF. He is also using it on ATPTB. And someone is definitely using it on the instrumental part on IYCRM.

Which songs?

If You Really Want To Be My Friend, Ain't Too Proud To Beg and If You Can't Rock Me.

Which rhythm part? I def think it's KR playing the Leslie guitar. I think a lot of people assume he always played the acoustic guitar, but that's a Jagger song and I don't think they were writing together at that point; at least how they used to.

The octave runs sound like they were part of a full take where most of it was mixed out. That sounds more like something they would do to MT.

When analyzing these songs from this era, the first step should always be "what sounds like the basic take", and then go from there.



Edited 1 time(s). Last edit at 2024-09-28 21:53 by TravelinMan.

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TravelinMan

I’m not sure if you’re referring to overdubs as post production or not. I don’t see them re-amping much in 1973-74. Maybe they tracked through an amp and ran an Aux to the Hi-Fli after the fact, but that just doesn’t seem like the way they worked back then. I tend to believe they tracked through the Hi-Fli either during basic tracking or overdubs. They didn’t mix the album in Munich, it was done elsewhere. I call the mixing stage post production, not overdubbing

The Hi Fly wasn't used as a guitar pedal like we use them nowadays for most parts, but it was applied during post-production. Meaning, they spiced up pre-recorded parts and tracks by running the channel through the Hi Fly and recording it on a separate track. The technology of effects units like this, the synthesizer's and having basically unlimited channels available from the mid-1970's is the bases of the disco era, and whatever music is created in the control room instead of the recording room.

Mathijs

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maidenlane
Can any guitar players explain the crunch sound on certain notes during Mick Taylor's solo?

He is not a big effects guy, but the effect seems precisely and intentionally used on TTLN and it's really crucial to the impact.

Does it trigger automatically on a pre-defined note? Is it invoked with a pedal? Or is it added afterwards?

Whatever it is, does it just add crunch to the note or does it shift the note (by an octave or something)?

Thanks in advance.

I’m pretty sure he was using a Colorsound Octivider, which responds to string attack. I think he used it on Can You Hear the Music, Living in the Heart of Love and some others.

It doesn't sound like an Octivider at all. It's phase with a fuzz pedal. He used a coloursound Fuzz/Wah pedal in 1973, they could have used a Leslie, or the Hi-Fly effects processor, or a Vibe pedal.

Mathijs

The OP asked about an octave pedal. I double checked and I know for a fact he owned an Octivider. Definitely the Fuzz-Wah on those songs I mentioned.

Highly doubt he used a vibe pedal, they used Leslies.


*He also had a sustain pedal by 1973, probably the Colorsound Sustain Module.

I don't know what 'the OP' is.

The only solo I can recall from Taylor where it sounds like any octaver is the intro to If You Can't Rock Me. But that also has phasing.

They did have vibe pedals in 1971 as evidenced on pictures from Nellcote. I have always suspected Keith going through a vibe on Let it Loose instead of a leslie.

Mathijs

OP: original poster

He uses an Octivider on If you Really Want to be My Friend, but not the solo.

It’s an octave down so if he’s playing high up on the neck, the “bass” isn’t really in the bass register, but in the middle register. It’s just a doubling effect an octave down and its affected by the dynamics of string.

Dance Little Sister has some sort of effect on KR’s rhythm guitar. It doesn’t sound natural.


Let it Loose sounds like a Leslie to me. Leslies have a certain chime to them whereas Vibe pedals of the time were more rolled off treble. Harvey Mandel used a Vibe and Wah combo on Hot Stuff.

I think it's Keith on the rhythm part on IYRWTBMF. He is also using it on ATPTB. And someone is definitely using it on the instrumental part on IYCRM.

Which songs?

If You Really Want To Be My Friend, Ain't Too Proud To Beg and If You Can't Rock Me.

Which rhythm part? I def think it's KR playing the Leslie guitar. I think a lot of people assume he always played the acoustic guitar, but that's a Jagger song and I don't think they were writing together at that point; at least how they used to.

To be honest, Jagger is really a very, very mediocre guitar player, and without a doubt he plays acoustic somewhere on the background when the credits read
'Jagger on acoustic', but all of his acoustic parts are always overdubbed by Richards. At least until the late 1980's.

Mathijs