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Mathijs

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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

Correct, which is why I mentioned the technique of tracking through an amp then running an auxiliary output to the Hi-Fli. One advantage of tracking through the device is nailing the sound "on the way in". However, it should be noted one loses flexibility this way. Most pro sessions will run a direct-in in addition to micing an amp with guitar FX. By having the direct signal, the engineer can re-amp or add FX after the fact.

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TravelinMan

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DandelionPowderman

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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

It was evident Jagger and Taylor were working together during this period. I don't see Taylor sitting around while the rest of the band records in Jamaica or LA. This is why I believe Taylor plays the acoustic guitar on Waiting on a Friend.

As far as the IORR sessions, MT obviously wasn't there for the late 1973 sessions with Billy Preston, so he isn't on Proud to Beg, Drift Away, Slow Down and Stop, I think Fast Talking is probably from these sessions and he's not on that one despite being listed in the new Tattoo You credits. He overdubbed on If You Can't Rock Me.

But take a song like If You Really Want to be My Friend which features Nicky Hopkins. This was obviously from the early 1974 sessions where Taylor was present. So which part is MT's from the basic tracking session? It could very well be the acoustic guitar, or perhaps he had a broader part which was mainly mixed out: the sub-octave part perhaps.

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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.

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

It was evident Jagger and Taylor were working together during this period. I don't see Taylor sitting around while the rest of the band records in Jamaica or LA. This is why I believe Taylor plays the acoustic guitar on Waiting on a Friend.

As far as the IORR sessions, MT obviously wasn't there for the late 1973 sessions with Billy Preston, so he isn't on Proud to Beg, Drift Away, Slow Down and Stop, I think Fast Talking is probably from these sessions and he's not on that one despite being listed in the new Tattoo You credits. He overdubbed on If You Can't Rock Me.

But take a song like If You Really Want to be My Friend which features Nicky Hopkins. This was obviously from the early 1974 sessions where Taylor was present. So which part is MT's from the basic tracking session? It could very well be the acoustic guitar, or perhaps he had a broader part which was mainly mixed out: the sub-octave part perhaps.

As far as I can tell Taylor is on Drift Away, and I also thought on ATPTB, but I have to listen to that again.

Mathijs

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TravelinMan

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DandelionPowderman

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TravelinMan

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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.

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

It was evident Jagger and Taylor were working together during this period. I don't see Taylor sitting around while the rest of the band records in Jamaica or LA. This is why I believe Taylor plays the acoustic guitar on Waiting on a Friend.

As far as the IORR sessions, MT obviously wasn't there for the late 1973 sessions with Billy Preston, so he isn't on Proud to Beg, Drift Away, Slow Down and Stop, I think Fast Talking is probably from these sessions and he's not on that one despite being listed in the new Tattoo You credits. He overdubbed on If You Can't Rock Me.

But take a song like If You Really Want to be My Friend which features Nicky Hopkins. This was obviously from the early 1974 sessions where Taylor was present. So which part is MT's from the basic tracking session? It could very well be the acoustic guitar, or perhaps he had a broader part which was mainly mixed out: the sub-octave part perhaps.

As far as I can tell Taylor is on Drift Away, and I also thought on ATPTB, but I have to listen to that again.

Mathijs

Well, you could be right and he overdubbed later. It’s been a while for me too