Ways to beef up guitar when you're the only guitarist?

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FarleyUKFarleyUK Frets: 2377
Hi all,

I've started up a side-project with a couple of guys I know from other bands, and I'm the only guitar player. I'm used to having a rhythym player present to help beef up the sound, so I was looking to see if anyone knew of a way to help thicken up the single guitar sound so it doesn't sound quite so empty (especially during solos)?

I've got some delay on all the time (not a huge amount, just enough to thicken it slightly) and some reverb, but beyond that I'm not sure what else I could do.

ANyone else in the same position?
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Comments

  • p90foolp90fool Frets: 31367
    Rory Gallagher used to use an octave pedal on some songs, adding just a touch of the octave below.
    It doesn't work on everything but it allows you to play simpler phrases more powerfully.

    Apart from that it's often a case of reducing the power and breadth of your rhythm tone in order to leave something in reserve, plus a healthy dose of attitude.
    It sounds daft, but if you think big when playing lead it actually sounds big too.
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  • OssyrocksOssyrocks Frets: 1673
    I've played trio format for years.

    The trick is, don't try to sound like a 4 piece, embrace the space!

    Three piece is wonderful, it's so much easier to bounce off each other, and no-one occupies anyone else's sonic space.

    But, if you can't back off on guitar, or even stop playing and have the bass player and drummer carry it on their own, then you may have the wrong bass player and drummer. 


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  • smigeonsmigeon Frets: 282
    I've learned that improving your *timing* gets you (me!) a long way towards beefing up the sound of a trio. A trio really exposes you, and it's easy to think that the weakness you hear is to do with "sound". But if you can all hit that groove it almost doesn't matter (at least not as much all that) how beefy or otherwise your sound is. So my suggestion would be to get going with the metronome out and then consciously work on timing with the band (apologies if this doesn't apply to you).
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  • guitarfishbayguitarfishbay Frets: 7953
    Firstly do you need to take traditional single note high pitched wailing solos that leave a space or could you do something else? Chords and delay with some leading notes in between can work to fill out your part.

    The other important bit is how you arrange with the other players. Make sure that if you want a fat sound the bassist is providing a solid low end during your solos rather than playing high up etc.
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  • Danny1969Danny1969 Frets: 10356

    If it's originals and your making your own solo's then you generally use things like drone strings and double stops to thicken things up. 

    If your playing covers and have to copy the solo that's there then I record pads into a Roland sampler and trigger that while taking a solo, that works really well, like having a very well behaved keyboard player in the band :)

    I mixed a Queen tribute last night and every time fake Brian took a solo it sounded thin and weedy, it is something people need to think about
    www.2020studios.co.uk 
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  • FarleyUKFarleyUK Frets: 2377
    Great stuff, thanks guys - food for thought!

    It's all covers, but things from Paul Weller and the Foos up to Motorhead and Ozzy.... so pretty different 'playing' requirements (I like to think, anyway!).
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  • RocknRollDaveRocknRollDave Frets: 6433
    Fuzz + octave pedal = huge

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  • Danny1969Danny1969 Frets: 10356

    Another couple of things

    Size comes from contrast, don't use too big a rhythm  sound as there's no way you can then make a big solo sound

    Get the bass player to use a touch of distortion only when there's a solo, 2 bass amps one clean and one dirty pref but even a touch of grit will help from one amp .......... again size comes from contrast - if he use's a bigger sound when you solo than he does when your playing chords it will sound bigger

    To be honest triggering pads is best left to a bass player as they have very little to do under most rock solo's, I mean triggering the key pads under Mr Crowley would be a piece of cake for a bass player rather than you doing it while solo'ing ... I only do it cos I can't trust my guy to hit the right pad :)
    www.2020studios.co.uk 
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  • sweepysweepy Frets: 4158
    Run a stereo rig too, it can make a huge difference
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  • FarleyUKFarleyUK Frets: 2377
    sweepy said:
    Run a stereo rig too, it can make a huge difference
    You mean buy a second amp and cab...? Don't think the Mrs will go for that...!

    I could run the amp into the PA mixer as well though, that might help...
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  • sweepysweepy Frets: 4158
    edited June 2016
    Try something like a s/h Line 6 Flextone and have it at 75% the output of your main amp, v cheap and easy fix, you'd be surprised how cheap an old Flextone is . You could get an old Pod or something similar and double that through the PA, it's worth borrowing one to try
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  • Danny1969Danny1969 Frets: 10356

    Just remember there's no point using 2 amps to boost up your sound all the time as it will then still go flat when you solo. The fake Brian I mixed was using 3  x AC30's  ........ one Centre and dry, 2 effected and mixed hard left and right through the PA. Sounded huge when playing chords and riffs BUT when he started solo'ing it fell flat because all of a sudden there's nothing underpinning the solo and as the solo sound is no bigger than the rhythm it can only sound smaller cos your using less notes.  
    www.2020studios.co.uk 
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  • EricTheWearyEricTheWeary Frets: 16253
    RocknRollDave;1103108" said:
    Fuzz + octave pedal = huge
    I was thinking about Warren Haynes - that's very much one of his sounds. Now, who do I know who likes Warren Haynes...
    B-)

    With covers it can be useful to mooch around on YouTube to see if anyone else has done something with a similar line up and nick their ideas; or possibly get a clearer idea of what doesn't work.
    Tipton is a small fishing village in the borough of Sandwell. 
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  • RocknRollDaveRocknRollDave Frets: 6433
    Another thing to fill out the empty space left when the rhythm guitar drops out for a solo is to have some very simple backing vocals - ooos and aahhhs. Maybe not mimicking the chord progression as such, but adding a bed of some sort beneath the lead break.





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  • RocknRollDaveRocknRollDave Frets: 6433
    RocknRollDave;1103108" said:
    Fuzz + octave pedal = huge
    I was thinking about Warren Haynes - that's very much one of his sounds. Now, who do I know who likes Warren Haynes...
    B-)


    ....I may have mentioned him a few dozen times....this month alone.....:)

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  • robinbowesrobinbowes Frets: 3021
    Ossyrocks said:
    But, if you can't back off on guitar, or even stop playing and have the bass player and drummer carry it on their own, then you may have the wrong bass player and drummer. 
    This.

    Your bass player needs to play more, including chords, etc.

    Listen to Cream and/or Mountain and hear how Jack Bruce/Eric Clapton and Felix Pappalardi/Leslie West work together.

    R.
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  • PolarityManPolarityMan Frets: 7273
    have the bass player turn on distortion when your soloing

    It's his job to hold down the groove when you're playing lead.
    ဈǝᴉʇsɐoʇǝsǝǝɥɔဪቌ
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  • PolarityManPolarityMan Frets: 7273
    dammit danny beat me too it in one of his posts above :D
    ဈǝᴉʇsɐoʇǝsǝǝɥɔဪቌ
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  • ESBlondeESBlonde Frets: 3576
    It sounds counter productive, but sometimes less is more. If you are playing copy solos then a little more delay and possibly chorus will fatten it up, otherwise slow down so the space (with appropriate reverb and delay) becomes the context of the solo. Drummists too can get some differing cymbal/bell tone in there as required, think Stewart Copeland.
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  • RocknRollDaveRocknRollDave Frets: 6433
    ESBlonde said:
     Drummists too can get some differing cymbal/bell tone in there as required, think Stewart Copeland.
    That is a great suggestion, would never have thought of that.

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