Which is worse?

Which is worse?

>guitar
>music

none, it's the poeple who use them that is either a teeny metal edgelord or some hipster nu male fag

I mean in terms of hardware fender is better. but if your good i mean that dont really matter

The Fender, only because it doesn't have humbuckers. A guitar without humbuckers is a useless guitar.

warlock is sick and if you aint sick you prolly just ill if you naw mean

>Humbuckers
>good
pick one

>implying single coils don't sound like thin, clippy shit

>Has only played Telecasters
>implying Humbuckers don't sound like mud

Jazzmaster fans
>sophisticated and mature tastes
>appreciation for finer details
>diverse tastes in music
>healthy, exercized regularly
>highly educated, but not pompous about it
>volunteers to local soup kitchens on Sundays
>well informed citizens who contribute positively to society
>excellent musician who, despite being classicaly trained, isn't afraid to experiment
>maried to a wife who is beautiful on both the inside and the outside
>upper middle class, working on raising a family and retirement

Warlock fans
>overweight, acne ridden 20 year olds
>still listens to Linkin Park and Three Doors Down
>entire wardrobe is full of black clothes
>wears trip pants in 2017
>borderline autistic, is only social when in groups of other autists
>admins multiple tumblr Overwatch porn blogs
>smells like ass, showers twice a week
>can't cook, never cleans his apartment
>goes to Guitar Center and only plays the riff to Back in Black
>will almost certainly die a virgin

Single coils are the ones that sound like mud, bruh.
If the humbuckers do that, your amplifier's fucked.

t.death metal fan

For once, user is completely fucking correct.

this

The shitty pointy one, the fender is decently made and on far more iconic records.

Jazz masters have heavy sounding pickups for single coils.

They still don't have the extra hum cancelling coil, as far as I know. Which it has to have.

While I agree with you, if you look at the pic closely, that is a jaguar not a jazzmaster, and jaguars are pretty Wavves tier

People who play the warlock are the same people commenting on youtube videos about being born in the wrong generation and hating Kanye West

I never got rid of my Warlock. Solid teen guitar but maaan it sounds pretty bad.
I think the last thing I did with it was put thick ass shit strings on it, tune it to A standard to try to get something out of it. Nah.

Sounds like you are a metal fag

That's exactly what I did with my fucking Fender Stratocaster. Sounds purdy good, actually.

I don't know shit about guitars, but Warlock looks fucking terrible and even though Chuck used to play B.C. Rich guitars, I don't respect that shit at all.

Already admitted to that here:

I love it and you can never tear us apart.

There's that pedal again. I've found that it works great for black metal. And it's fucking horrible for death metal. Ironically.

only contrarians shit on Jazzmasters

It's a jazzmaster you tard, it has the soap bar pickups. Jaguars have chrome metal control surfaces, I own a jaguar on with humbucker pickups, and I've played both.

some "le indie kids" are just really annoying

What about a jaguar with humbuckers?

Definitely that over the Warlock.

I literally have this guitar and mentioned it in this thread, it has humbuckers, but it still has the strangle switch of the jaguar, and the rhythm circuit works great as a kill switch. It's jap made too, so it's better build quality than most American/MIM fenders.

>jap made
>better quality
How much did you pay for it?
I have a Mexican Stratocaster, and I believe that's considered "mid range", as far as Fenders are concerned. Build quality is excellent, though.

Thnx im a hipster black metalist so i wanted a guitar that looked vintage and avant garde but sounded metal

>vintage and avant garde

nigger do you even know what those words mean

I do that on my Fender Strat. I just wanted something better than what I already had, and that's what they had at the "local" guitar shop.

i was pretending to be retarded m8

>pretending

About 500, I have MIM fenders too, which usually go around 300, and the neck finish and pickups on those is usually worse than on Jap fenders. I think the only thing that American fenders might have better is neck quality.

The stock pickups are kind of muddy, and the bridge is fixed, which doesn't do tremolo, but also doesn't go out of tune. The bridge pickup still gets that shrill jag sound and neck gets heavy metal tones.

What the fuck, man. I paid around fucking $1000 for mine.
I guess they're just more expensive outside of the US. Good thing I got a bunch of free shit with it, I guess.

desu I'm actually using it for black metal at the moment, but I find most tr00 kvlt black metal boring and prefer using it to play goth rock, shoegaze, and post-rock.

I buy used guitars, Jap fenders are cheaper than American fenders, but buy them used in the US. The price of new guitars will often fuck you hard. American fenders are overpriced as hell.

You have a point there. Black metal, for the most part, isn't supposed to be fun to play, it's way more enjoyable to just listen to it.
It's way too repetitive in nature for its playing to have a "fun" side to it, in my opinion.

Yeah, you pay out the ass for that "made in USA" imprint.
As a reference, $500 is what you'd give for the fucking Warlock where I live. Which honestly isn't a bad price as far as guitars go here.

I like the riffs but BM riffs are all single note shit, I like playing chords, and especially weird chords and stuff that has a dark and dissonant color to it, a lot of the sort of chords I use are more like jazz chords.

It's far worse for Gibsons, though I'd love a 335 if I could afford one.

Same. I use very little of the typical single-note tremolo picking in my compositions, and rather base it on heavier power chords, diminished and augmented power chords as well as "eerie" sounding open chords.

Fuck yeah, that's why I don't have a Gibson. I did consider just getting a Les Paul at the time, but then I saw the fucking prices.
You don't need to sound that good when you're playing black metal, basically.

Yeah that, I do that but with syncopated up and down strokes, sounds sort of black metal but a bit more like rock/punk, and not in standard tuning.

I like riffs and not playing the same chord for hours.

...Which is exactly why I don't have any intentions of ever playing live. It sounds nice and comfy, but jesus fucking christ, is it tedious to play.

>I'm literally in high school: the pedal

Try using a pedal for real musicians.

Got it right here. Most underrated pedal of all time.

It requires stamina to play live, someone pointed this out in another thread, you need a lot of stamina and precision in your playing to play black metal, but it is boring to stick with as a style.

I like a lot of ambient and experimental guitar playing as well. I'd never be able to play one genre across an album.

Yeah, I tend to record my tracks in one single take, and I can tell you, I have a fucking crab arm at this point, and it's not even from jerkin my gerkin.
I probably could do it live, but I'd have to agree with what Varg Vikernes said at one point about it not being "suitable" for a live performance.
As for the overall style, I like to mix it up anyway. I have some black metal in there, some death metal, even some dark ambient. Sticking with one genre is just generally boring.

Good for harsh noise I hear

I have a serviceman jaguar. Not many of them around, found it at a pawn shop! Doesn't sound too bad, I reckon i could use the old, cheap tone it puts out for something. It almost sounds like a sitar sometimes.

Of course. That's what you get when you make a distortion pedal that doesn't have a fucking gain dial.

I play fingerstyle too for some songs, either acoustic or electric. I like black metal but since I usually write for 2 guitars I don't do a lot of stuff live the same way as on albums.

The one thing I also don't like are solos/leads, I'm pretty clumsy but good with writing/playing riffs or ambience.

That's pretty much my reasoning for playing black metal too. I find that solos and a lot of leads just break up the atmosphere. Which black metal is supposed to be, atmospheric. Can't have that.

>I find that solos and a lot of leads just break up the atmosphere.
The thing that I really hate in black metal is that riff that you want to hear forever is usually played for something like 30 seconds and replaced with a shittier riff. Varg got it right. Play the fucking riff, and play it for the entire song, no sudden breaks in tempo, make it hypnotic.

Oh yeah, he especially got it right with Filosofem and Hvis Lyset Tar Oss. I've lost count of how many times I've fallen asleep to that shit.

It's a lot more like industrial music than rock, since it's just a repeated pattern that you end up succumbing to. Mechanical and trance-inducing.

It's kind of like what goes on in Keanu Reeves' head whenever he says "woah".

Yeah, it's using music to induce a dreamlike state. That's what metal should be, you become focused on the riff, and the riff is all that matters. It consumes you, it possesses you.

And here we are, in 2017, where all that matters is how the "front man" looks. gg.

The blame for that lies on PR/marketing/etc. all bullshit.

jazzmasters are cool. not leo's fault that YOU're lame

Yep. I'm actually seriously considering making an entire drone album with that "Filosofem" sound. Which I have more or less successfully replicated. Not enough bands record their shitty stereos with fuzz pedals going into them.

>Yep. I'm actually seriously considering making an entire drone album with that "Filosofem" sound. Which I have more or less successfully replicated. Not enough bands record their shitty stereos with fuzz pedals going into them.
I'm obsessed with that sound. There's nothing like it, it's just like pure godly fuzz tone. I can't imagine how long it took for him to get that specific guitar sound dialed in, even with the stereo and fuzzes.

I'm guessing it didn't take him very long. He was looking for the shittiest equipment he could find, after all. And somehow managed to make fucking history. Mission failed, I guess.
What I did, however, was to just plug a fucking Boss Metal Zone into my stereo from ~2000. It's not spot on, but it definitely has the same kind of texture to it.

>Boss Metal Zone
That is actually one of the pedals that'll do it. Surprisingly it's the cheaper distortions that will get that sound. I have boutique fuzzes and they can't even get close to that sound. I know which ones may though, tubescreamer is one of them.

No bass, all treble and mids.

He actually used multiple fuzz pedals at the same time, if I remember correctly.
Which is why I just figured "fuck it, this distortion pedal will do the same job as two or three fuzz pedals". I honestly do believe that with enough fucking around, I can get very close to the sound in question. I have a bunch of overdrive pedals as well, which also should do the same thing. I'll have to check once I find an actually convenient way of doing it.

>He actually used multiple fuzz pedals at the same time, if I remember correctly.
Yeah, what that does is that it EQs the signal. An EQ will probably work too, since some of the pedals act as high pass, while others act as low pass filters. They really need to make more fuzzes that are really just multiple fuzz channels built into the same box.

There's also the post processing. God knows what they did after they'd recored that fucking thing. The stereo may or may not have had its own EQ as well.
That said, however, the only microphone I currently have is an SM57 which, you know, works great, but it's too good for something like that.

I remember an interview with Alan Moulder where he talked about Kevin Shields doing something similar with Loveless, he used at least 2 fuzzes on most of the tracks, one was an octavia fuzz, I forget the other one, but he used a vorg warp fuzz as a low pass on Sometimes, and on most tracks he close mic'd a Neumann U87 with 2 amps placed facing each other right up to the mic covered in stuff like blankets/pillows, and changed strings constantly.

>covering the microphone
I actually don't think I've ever heard of anyone doing that before. I'll definitely try that the next time I'm recording something. Even if it is just for shits and giggles.

Well he didn't cover the mic, he covered the space that the room and mics were in, so that there would be no room sound or reverberation.

I wonder if Varg used overdubs. There is at least a second guitar following the main riff in the other stereo channel, but I don't know if he doubled the original guitar tracks on each channel. It's probably not the whole Smashing Pumpkins treatment.

That may be reverb you're hearing on Filosofem. Pytten (the engineer) is notorious for his abuse of reverb. Albeit natural reverb.
It's more apparent on albums like well, Burzum and Belus, because those weren't recorded on a potato, basically.

>Kevin Shields
>doing something
pick one

>Pytten (the engineer) is notorious for his abuse of reverb. Albeit natural reverb.
Then was it room micing? That will get natural reverb and sort of fill the stereo space.

I was doing the whole 5-6 overdubs thing within stereo space, and it works with effects and different mics, but not with distortion. I think 2 is ideal for that sort of thing.

If you mic too many guitars in a single track, the mix becomes too loud, and the individual guitars have to be made too quiet and will sound muddy. I think it's fewer guitars, but maybe double tracked and/or double mic'd.

It must have been something like that, yes. Either that, or the microphone was one of those that just pick up absolutely everything around them. It was a shitty headset microphone from 1992, after all.
Using actual room mics makes more sense on Belus, to be honest, as he actually wanted good production then.

It would also make more sense if the guitars on Filosofem weren't recorded at the volume you'd usually record guitars at. Keeping in mind that he didn't use a guitar amplifier, and all that.

>headset microphone from 1992, after all.
That was used on vocals, I thought he used another mic on guitar, I have no clue what it is, there are dynamic and condenser mics that good for recording guitar cabs, and ones that aren't. It doesn't sound like a headset mic, there's more range than that.

>Using actual room mics makes more sense on Belus, to be honest, as he actually wanted good production then.

For instance, if the guitar was mic'd in mono it would only fill the center of the audio field, or a narrow portion of each of part of the stereo field if it were panned. It sounds more like it fills the field, as if it used reverb, but it lacks the haziness of reverb and has the sort of sharpness and clarity of close micing, which would lead to suggest either multiple mics in the same take, or overdubs.

Maybe I'll just fucking go ask the engineer. He's still alive, and he lives not far from where I live.

lol.

I mean, if he's autistic enough to be an audio engineer, he's autistic enough to write that shit down too.

If you're going to do it, please figure out which specific microphone he used for the guitar cab. The actual type of microphone used and its range is probably something that would have defined how the entire album sounded.

Will do, the next time I see him at the grocery store or some shit. Waking up an old man in the middle of the night just to ask about some studio equipment he used some 25 years ago is what I'd consider rude.

No but their are stacked p90s that you can get put in if you are looking for a much more heavy sound and it cancels hum

I have a Mexico Fender Jaguar "blacktop.

It's got humbuckers. I got it because I wanted a jaguar. It's actually really good.


Ever watch a video of US Vs Mexican fenders being played back to back? Surprisingly the Mexicans sound slightly better...

Got a Blacktop Stratocaster. Blew the balls off my friend's custom shop. I kek'd.

haha that was my first pedal that my drug addict dad picked out for me when i was a kid

As I mentioned earlier, you can get some good results with it. For black metal. It has a very raw sound.

Let's be honest though, the true working musician's guitar is a Tele

The real question, what's the ultimate synthesis of the two?

yup teles are the objective GOAT

Do want

Any of you niggies play gypsy jazz?

how? lmao