Learn Your Guitar Amp! (YouTube Video Transcript)

(00:00:00) Your YouTube transcript will appear here (00:00:00) hey how you doing justin here continuing (00:00:02) our guitar tone adventure hoping that (00:00:05) you've already seen the video where we (00:00:06) talked about all of the different sounds (00:00:07) in the guitar and how important it is to (00:00:09) be thinking about what pickup you're (00:00:11) using and the tone control and the (00:00:12) volume control and how to manipulate (00:00:13) those things to get your sound today is (00:00:15) going to be about an amplifier and what (00:00:17) the settings are on an amplifier how you (00:00:19) adjust them and stuff like that now (00:00:21) you'll see here i'm using this looks (00:00:23) like a toaster thing it's called a (00:00:24) kemper profiler and it can sound like (00:00:27) lots of different amplifiers and here in (00:00:29) lies the first problem for somebody (00:00:31) who's really new to guitar sound and (00:00:33) that is different amplifiers can sound (00:00:35) very very different so a marshall sounds (00:00:38) very different to a fender it sounds (00:00:40) very different to a vox and at the (00:00:41) beginning you're unlikely to know what (00:00:43) those differences are like to recognize (00:00:46) a sound on a record and go that sounds (00:00:48) like a martial that sounds like a fender (00:00:49) that sounds like a vox that sounds like (00:00:51) a dumble what you know these different (00:00:53) amp types (00:00:54) so my suggestion right at the beginning (00:00:56) if you're really new to the whole guitar (00:00:58) adventure would be to get some sort of (00:01:00) device that has lots of different guitar (00:01:03) amp sounds within it uh boss katana is a (00:01:07) really good budget one if you're just (00:01:08) starting out but there are loads of (00:01:10) people doing this sort of amp sim now uh (00:01:13) fractal the famous axe effects a company (00:01:17) called torpedo or french guys do some (00:01:19) fantastic amp sims and speaker sim stuff (00:01:22) neural dsp there are loads of companies (00:01:24) now making guitar amp simulators for (00:01:26) phones and ipads and full computers of (00:01:29) course you need some sort of (00:01:30) interconnecting device (00:01:32) an audio interface uh to be able to plug (00:01:35) into something like that to use them but (00:01:37) anything like that where you've got a (00:01:39) range of different sounds to explore at (00:01:41) the beginning is a really good idea (00:01:43) probably you'll find eventually that you (00:01:45) like a particular thing so i tend to (00:01:48) like kind of silver face fender or (00:01:50) blackface fender sounds i know i'm quite (00:01:52) specific about it for me actually i've i (00:01:54) settled on my favorite of all time is (00:01:56) just behind me here the the tone king (00:01:58) imperial for me that is (00:02:00) the same as that kind of fender sound (00:02:02) but it just seems to refine it in a way (00:02:05) that i really really like however my (00:02:07) day-to-day guitar playing is nearly (00:02:10) always through the camper because it can (00:02:12) sound like lots of different things if (00:02:13) i'm doing a rock thing i can dial in a (00:02:15) marshall if i'm doing a clean guitar (00:02:17) sounding thing or a country thing i can (00:02:18) pull up a fender if i'm doing a bluesy (00:02:20) thing i can grab a dumbbell (00:02:22) i mostly use profiles by a guy called (00:02:24) michael britt (00:02:25) the campers for sure aren't cheap but (00:02:28) it's unlikely you're gonna need anything (00:02:30) else right so i use it for all of the (00:02:32) recording now i occasionally if i'm (00:02:34) doing a kind of a serious recording (00:02:36) project i'll grab the amps out but (00:02:38) grabbing an amp and a microphone and (00:02:39) plugging it into a preamp and setting it (00:02:41) all up and getting the right compression (00:02:42) all of there's so many steps there (00:02:44) compared to just turning a little knob (00:02:45) here to choose a different app it really (00:02:47) is an incredibly versatile (00:02:50) tool i'm not endorsed by kemper at all (00:02:52) i've bought i've got two campers i've (00:02:53) paid uh retail for both of them it's (00:02:55) like (00:02:56) it's just a i think a fantastic tool and (00:02:58) it's made my life uh doing what i do uh (00:03:01) we're both recording and doing tuition (00:03:03) videos incredibly (00:03:04) easy uh big up to to michael britt (00:03:08) nearly all of the profiles i use are (00:03:09) made by this one guy (00:03:11) for me the easily the best uh kemper (00:03:14) profiler maker (00:03:15) so definitely worth a look (00:03:18) so long and short of it get some sort of (00:03:20) device that that you can try out a load (00:03:22) of different apps on to see what it is (00:03:24) you like and then maybe down the line (00:03:26) when you really know what you like (00:03:27) you'll buy that type of amplifier or (00:03:29) maybe you'll be just you're happy with (00:03:31) the convenience that uh using sort of (00:03:33) some sort of simulator gives you the (00:03:35) good news is that pretty much all of (00:03:37) them have the same controls so that's (00:03:39) what we're going to talk about today (00:03:40) we're going to talk about gain we're (00:03:42) going to talk about base middle treble (00:03:44) and presence and we're going to touch a (00:03:46) little bit on reverb i'm not going to go (00:03:48) deep into the effects that's going to be (00:03:49) another video where i'm going to start (00:03:51) talking about the different effects type (00:03:52) and how to uh spot what those are and (00:03:54) how to be able to control the settings (00:03:56) for those things as well so (00:03:58) okay i'm going to start here with uh one (00:04:00) of the brick profiles i really like it's (00:04:02) uh 1969 marshall probably a plexi uh (00:04:04) this is the sound just straight out of (00:04:06) the box as it were (00:04:10) [Music] (00:04:24) fairly crunchy kind of a rocky sound (00:04:26) right now uh on the plexi just like a (00:04:29) regular amp we can change the gain (00:04:31) setting so gain is how much distortion (00:04:34) we've got and if i turn that right down (00:04:36) you hear it's very different sounding (00:04:50) now when you've got a cleaner sound (00:04:52) you're going to be able to play open (00:04:53) chords more so this kind of (00:05:01) you wouldn't want to do that with loads (00:05:03) again so if i go the other end of the (00:05:04) extreme and i turn the gain right up (00:05:11) this tends to sound really murky and (00:05:13) muddy i'm not really uh feeling that (00:05:15) much at all uh hopefully the noise goes (00:05:18) not on no it's not on (00:05:19) sometimes the noise gate on this uh (00:05:21) on these ants i hate the sound of it but (00:05:24) uh the gain is really really powerful (00:05:27) when you're listening to a record it's (00:05:29) one of the things no matter what amp (00:05:30) you've got what sort of amps him you (00:05:32) want to think about how much gain it's (00:05:33) got and generally i er on the side of (00:05:36) less so if i'm hearing like particularly (00:05:38) ac dc people tend to use too much gain (00:05:40) when they're playing ac dc songs so (00:05:42) whatever it is the the settings that (00:05:44) you're after have a listen to it and (00:05:46) then maybe just back it off a bit and (00:05:47) try and play it like that (00:05:49) do remember as well that you can clean (00:05:50) up using your volume control we talked (00:05:52) about that in the in the guitar controls (00:05:54) lesson so (00:05:59) [Music] (00:06:06) now this one i have to turn it quite (00:06:07) down quite a lot to be able to get this (00:06:08) particular sound to clean up it works (00:06:10) differently with different profiles just (00:06:12) like different amps clean up differently (00:06:13) different profiles clean up differently (00:06:15) as well so um (00:06:17) yeah gains a really big deal again you (00:06:19) have to experiment every amp is (00:06:20) different every pro different profiler (00:06:22) is different (00:06:23) so you really need to figure out your (00:06:25) own gear and see how it's working how (00:06:27) much gain you get out of the different (00:06:28) things (00:06:29) and you've got to experiment part of the (00:06:31) the journey of learning to recognize a (00:06:33) tone or a record and then trying to (00:06:35) emulate it or find a sound in your head (00:06:37) and then be able to realize to make your (00:06:40) guitar sound like what you imagine it to (00:06:42) sound like is experimentation right (00:06:44) there's not a rule book here and because (00:06:46) all of the gear is so different unless (00:06:48) you're getting a specific profile or a (00:06:50) patch for a particular amp if you've got (00:06:52) a boss katana you can go to their (00:06:55) tone (00:06:56) central i think it might be called where (00:06:57) you can download specific sounds and it (00:06:59) should sound the same on every different (00:07:01) amplifier that's a really useful thing (00:07:03) and again if you if you get a marshall (00:07:04) one of those and offended one of those (00:07:06) you'll probably start to get a bit of a (00:07:07) feeling for what those different things (00:07:08) are like um (00:07:10) and i think the the the boss ones are as (00:07:13) accurate as the kind of the kemper style (00:07:15) ones but it's still going to get you in (00:07:17) the ballpark for a lot less money so (00:07:19) let's talk about these other common (00:07:21) knobs again really common bass is (00:07:23) obviously a really big deal now if if i (00:07:25) turn the bass right up (00:07:32) doesn't sound that different (00:07:33) particularly if you've got headphones on (00:07:35) uh to what it did uh roughly in the (00:07:36) middle (00:07:40) but if i turn the bass off like as (00:07:43) little as possible (00:07:49) so (00:07:54) bass is important interestingly when (00:07:56) you're doing a record you very often (00:07:58) lose a lot of the bass on the guitar (00:08:00) sound anyway because it gets in the way (00:08:01) of the bass guitar and you want (00:08:02) separation in your different sounds so (00:08:04) when you're recording very often you cut (00:08:06) the bass anyway in eq so (00:08:09) bass for me is about my listening (00:08:10) experience as much as anything so when (00:08:12) i'm recording i'm probably going to pull (00:08:13) a lot of it out anyway so (00:08:15) that's just about getting a sound that (00:08:17) i'm happy with that i like (00:08:19) in my ears particularly if you're (00:08:20) playing on your own you probably want a (00:08:22) decent amount of bass now middle (00:08:25) is the kind of the next zone up so if (00:08:26) you think of in in terms of uh frequency (00:08:29) spectrum (00:08:31) bases the low sounds the really deep (00:08:33) sounds middle is the middle sounds and (00:08:35) top is the very high crispy sort of (00:08:37) sounds we have presents a step higher (00:08:40) than that as well a really useful thing (00:08:42) if you happen to have access to it if (00:08:44) you've got a a door a digital audio (00:08:46) workstation and you can get up an eq (00:08:48) which actually shows it as a line where (00:08:50) you can drag the line up and down to (00:08:52) boost the base and the the middle and (00:08:54) the top frequency so you get some sort (00:08:56) of idea of what the different frequency (00:08:58) ranges are and how they affect the sound (00:09:00) that can be a really useful experiment (00:09:02) just to record your guitar without (00:09:03) touching anything and then go into the (00:09:05) into the program the computer program (00:09:07) and muck around and get a feeling for (00:09:09) what it sounds like when you boost 1k or (00:09:11) whether you cut from 100 hertz down and (00:09:13) you get used to what these different (00:09:15) kind of frequencies are like really (00:09:17) really useful exercise uh and definitely (00:09:19) something i'd recommend as well give you (00:09:21) a better visual perspective (00:09:24) of what's going on here when you do that (00:09:27) so middle so looking at the middle now (00:09:32) right up (00:09:37) it's the middle right out (00:09:41) now (00:09:42) middle (00:09:43) is pretty important middle is the part (00:09:45) that cuts through of your guitar sound (00:09:48) so very often if you want to make your (00:09:49) guitar sound louder in a band what you (00:09:52) want to do is boost the middle not the (00:09:54) overall sound if you turn the whole (00:09:55) volume up and you just get annoying and (00:09:57) again like the bass frequencies of your (00:09:58) guitar are going to upset the bass (00:10:00) player and sound guy will get upset but (00:10:02) if you boost just the middle range of (00:10:04) your guitar it'll cut through a little (00:10:06) bit more so the mids are really (00:10:07) important um a lot of real heavy metal (00:10:10) stuff uh tends to like especially the (00:10:12) kind of 90s metal they did a thing (00:10:14) called a scooped mid where they turn the (00:10:16) bass up turn the treble up and then turn (00:10:19) the middle down (00:10:20) [Applause] (00:10:26) that kind of sound was a real popular (00:10:28) one (00:10:29) again boosting the bass boosting the (00:10:31) treble and then cut in the middle but (00:10:33) it didn't cut through very well and (00:10:35) often on those records they did loads (00:10:37) and loads of layers of different guitars (00:10:39) playing the same thing in order to give (00:10:41) it a lot of weight whereas because it's (00:10:42) the mid that was uh taken out there um (00:10:45) interesting thing tube screamer pedals (00:10:47) as well they're very mid-focused when (00:10:49) you put a tube screener on it kind of (00:10:50) boosts the middle frequency in a really (00:10:52) nice way which is why those popular (00:10:54) those pedals are so popular (00:10:57) you'll find all of these controls on the (00:10:58) pedals as well so you've got controls on (00:11:00) your app which you want to adjust and (00:11:02) then as you get start to get a pedal (00:11:04) collection of different types of (00:11:05) distortion which will change the sound (00:11:07) drastically then you've got another set (00:11:09) of tone controls which you're going to (00:11:10) worry about sometimes you just have one (00:11:12) control by the way called tone and (00:11:14) you'll find that turning it one way will (00:11:15) make the bass sounds louder and turning (00:11:17) it the other way will make the treble (00:11:18) sounds louder but again then you've only (00:11:20) got one knob you should just experiment (00:11:22) with it and get used to what it sounds (00:11:23) like so you know oh i want my tar to (00:11:26) sound more bassy so you turn it to the (00:11:28) left or whatever you know anti-clockwise (00:11:29) and hopefully you get more bassy but (00:11:31) that's should be a fairly easier bit of (00:11:33) an easier gig there if you've only got (00:11:34) one control um (00:11:37) you'll often find too that it sounds (00:11:39) have a sweet (00:11:41) spot um (00:11:43) i often find when i'm uh experimenting (00:11:45) with an amp that uh particularly real (00:11:47) amps more so than the profilers but i'll (00:11:49) just (00:11:50) experiment with each uh control all of (00:11:53) the way in each extreme and find one (00:11:54) point where it seems to make the biggest (00:11:56) amount of difference to the sound and (00:11:58) then i'll drop it in around there (00:12:00) that'll be the point that at least as a (00:12:01) starting point again (00:12:03) but a lot of it is experimentation (00:12:05) getting to know your gear i can't say it (00:12:07) often enough you know when you get a new (00:12:08) guitar a new amplifier a new pedal (00:12:10) really spend some time digging into it (00:12:12) don't expect to get an amazing result (00:12:14) straight away you want to get to know it (00:12:16) you know fi figure out where it's where (00:12:18) it's uh its best positions are you know (00:12:21) and what it's good for where you might (00:12:22) use it where you wouldn't you know um (00:12:25) so yeah middle middle is a good one (00:12:27) you don't want it to be too middly (00:12:31) it's a little bit honky (00:12:36) again it'll depend on the speakers as (00:12:37) well i've got this kemper just running (00:12:39) through these tiny little speaker tiny (00:12:41) little genelecs which is my little setup (00:12:43) where i'm recording but i've got another (00:12:45) recording studio bit with big focal (00:12:47) speakers over down there so sometimes (00:12:49) i'll get a sound here and think it's (00:12:50) really cooking and then i'll go over and (00:12:51) listen on the main street here oh it (00:12:53) wasn't really happening so you've got to (00:12:54) get to know your monitoring environment (00:12:56) as well (00:12:57) i know these little speakers fairly well (00:12:59) i've been using them for a couple of (00:13:00) years but (00:13:01) still it's it's very different to having (00:13:03) a guitar amp (00:13:04) in the room with you as well so (00:13:06) uh it's enough about middle now on to (00:13:08) treble now travel is a very kind of easy (00:13:11) one to get a grasp what it's doing (00:13:18) it's like that thing i talked about with (00:13:20) the guitar it sounds like somebody's (00:13:21) closed the door they're practicing (00:13:22) guitar in another room (00:13:26) you're really annoying them and you open (00:13:27) the door (00:13:32) it sounds like that and you tell them to (00:13:33) shut up and then (00:13:37) maybe they're still just playing as loud (00:13:38) as they were before so travel all the (00:13:40) way off (00:13:42) like you've got socks over your ears (00:13:45) a lot of the bite of the sound has (00:13:46) disappeared too much bite too much (00:13:48) trouble (00:13:54) she doesn't sound terrible here in this (00:13:56) with these particular speakers but it's (00:13:58) definitely going to be too bright too (00:14:00) sharp and crispy so you've got to be (00:14:02) careful with the treble again every (00:14:04) different amp is different they boost (00:14:06) different frequencies so you need to (00:14:08) experiment with your gear it's really (00:14:09) big deal (00:14:10) now this one also has a presence control (00:14:14) presence is higher than treble (00:14:20) regular (00:14:38) often you're going to get like wasp in a (00:14:40) jam jar thing if you've got your your (00:14:42) treble and your middle up too high no (00:14:43) bass (00:14:48) just sounds real scratchy and horrible (00:14:50) so you do need to be careful of that uh (00:14:52) stuff again it's just listening you know (00:14:55) at the end of the day all of this stuff (00:14:56) that i'm talking about is going to be (00:14:57) you listening to the sounds that you're (00:14:59) making and and then experimenting with (00:15:01) your gear to see what it is that that (00:15:02) sounds nice um if we turn the the (00:15:05) presents right down (00:15:21) it's kind of similar here (00:15:25) but (00:15:27) if i remember correctly those old plexis (00:15:28) don't have a presence control uh (00:15:32) he says does it have a presence control (00:15:35) it does have a presence control (00:15:37) but it's first below the base it's (00:15:38) presence (00:15:39) bass middle treble volume one volume two (00:15:42) on that old martial layer behind me (00:15:45) so actually yeah completely wrong (00:15:47) that my old marshals do have a presence (00:15:49) control uh (00:15:51) but yeah again (00:15:52) sometimes you'll find that the controls (00:15:55) function differently on different amps (00:15:57) so they say they kind of have a (00:15:58) different bearing trying to think if the (00:16:00) uh (00:16:01) no that that one doesn't have a presence (00:16:03) you see most of my other apps don't have (00:16:05) a presence (00:16:06) uh (00:16:08) yeah the old sir behind me power drive (00:16:10) base middle treble gain uh the lazy just (00:16:13) has volume and one tone control that you (00:16:15) turn around and one of them's a push (00:16:16) pull for a mid boost uh so yeah (00:16:20) different apps are going to have very (00:16:21) different settings and you're going to (00:16:22) have to explore them on your own (00:16:25) the other thing that's really common on (00:16:26) amps at least amps that i buy is reverb (00:16:29) so i'm just going to pop the reverb (00:16:31) setting on here uh if i turn the mix (00:16:34) right (00:16:35) up uh (00:16:36) it's a little bit little and i can't i (00:16:38) haven't got my glasses on so i'm having (00:16:40) trouble reading the thing but (00:16:42) [Music] (00:16:44) you can hear there and i'll turn the (00:16:46) delay time right up as well (00:16:49) turn everything up so you can really (00:16:50) hear that (00:16:53) [Music] (00:16:54) okay it sounds like you're in a cave (00:16:56) [Music] (00:16:58) now uh i (00:17:00) am definitely a reverberaholic i have (00:17:02) been most of my life i've always loved (00:17:04) the sound of reverb uh (00:17:06) rarely do i buy amps that don't have (00:17:08) reverb that's not true actually loads of (00:17:10) the amps i've got behind me don't have (00:17:11) reaver but i would always prefer to play (00:17:13) where i can hear reverb if not i'll (00:17:15) definitely be adding it on later in the (00:17:16) studio (00:17:18) quite often producers will want you to (00:17:19) play without reverb so they can add (00:17:21) their own reverb on later on because in (00:17:23) a recording studio you've probably got (00:17:24) access to better quality reverbs than (00:17:26) you that you might have built into your (00:17:28) amplifier which are usually a thing (00:17:29) called spring reverb which are actually (00:17:31) metal springs in a box that if you uh if (00:17:34) you've got spring reverb in your (00:17:35) amplifier and you bash the top of your (00:17:37) amplifier it sounds like thunder that's (00:17:38) the springs rattling around in their (00:17:40) metal box always a good trick when (00:17:42) you're you know doing a gig and you want (00:17:43) to upset everyone (00:17:45) but the effect of reverb is it kind of (00:17:47) makes it sound like you're in the room a (00:17:49) little bit which it can make it feel (00:17:52) nicer when you're playing it uh when you (00:17:54) don't have reverb you would call the (00:17:56) sound very dry (00:17:57) okay and when you put the little the (00:17:59) reverb on you would call it that you (00:18:00) would describe it as being getting wet a (00:18:03) wet sound has more effects more reverb (00:18:05) and delay usually um so that uh (00:18:08) that feeling changes how (00:18:11) you feel this that sound changes how you (00:18:14) feel when you play and that's why very (00:18:16) often those kind of effects are useful (00:18:18) to have on there when you're practicing (00:18:19) on your own it just it feels more (00:18:21) uh (00:18:23) it feels more natural which doesn't make (00:18:25) sense because it should feel natural (00:18:26) without it but there is something about (00:18:28) it's putting the the guitar sound in an (00:18:30) environment uh you definitely don't want (00:18:32) to overdo reverb uh i have been probably (00:18:35) guilty of doing that a number of times (00:18:37) but generally speaking too much reverb (00:18:39) can get a little just a little bit (00:18:41) makes all of the sound a little bit (00:18:42) murky uh again there are lots of (00:18:44) different types of reverb (00:18:46) this one has tons of different reverbs (00:18:48) built in most amplifiers will just have (00:18:49) a reverb control for the amount of (00:18:51) reverb that you have on if you if you (00:18:53) want to get more into reverb when you (00:18:55) buy a nice reverb pedal uh then you're (00:18:58) going to find lots of different (00:18:59) parameters if you go into something like (00:19:00) this you've got tons and tons of (00:19:02) different types of reverb you've got (00:19:04) like studio style plate reverbs and (00:19:06) halls and cathedrals so they're (00:19:08) emulating the sounds of different spaces (00:19:11) like if you put your guitar ramp in a (00:19:12) cathedral this is what it would sound (00:19:14) like uh plate reverb is metal plates (00:19:16) spring together not like you would put (00:19:18) your guitar on a plate and play it um (00:19:21) but the names are usually descriptive of (00:19:22) how those uh sounds were there like a (00:19:24) spring reverb is the one generated by (00:19:26) those uh springs in the back of an (00:19:28) amplifier which is the most common type (00:19:30) of reverb that you'll find (00:19:31) on an amplifier if it's built in (00:19:34) so the long and short of this hopefully (00:19:36) that's given you a bit of an (00:19:37) understanding of what the controls do (00:19:38) but you know i'm going to say it one (00:19:39) more time you got to try out your own (00:19:42) gear you've got to take your guitar and (00:19:44) your amplifier and experiment spend it (00:19:47) give yourself like a half an hour block (00:19:49) and do nothing but muck around with the (00:19:50) controls on your app just try stuff what (00:19:53) happens if i do this what happens if i (00:19:55) do that you know can i (00:19:56) use the front pickup which has got a (00:19:58) fatter rounder sound and then turn the (00:20:00) treble up on the amp what (00:20:01) does that work um there's a i don't know (00:20:04) if exactly if it's true but there's a (00:20:06) jeff beck thing apparently where he (00:20:07) turns the the tone control down for the (00:20:09) bridge pickup and then boosts it on the (00:20:12) amplifier (00:20:13) rather so that when he goes on the front (00:20:15) pickup it doesn't sound quite so dark so (00:20:16) it still sounds bright enough so that's (00:20:18) a really you know that's an interesting (00:20:20) and very kind of (00:20:21) i'm not aware of that many other guys (00:20:23) that do that but it's definitely (00:20:24) effective he's one of the you know he's (00:20:26) got some of the best tone of of anyone (00:20:28) um (00:20:29) it's definitely a never-ending quest the (00:20:31) sound that you want that you know uh (00:20:33) guys like eric johnson that have got (00:20:34) incredible tone you know like really (00:20:37) really obviously uh fine-tuning the (00:20:40) detail on stuff like that and (00:20:42) you will find that it's a journey that (00:20:44) kind of doesn't end there's there's no (00:20:46) end of my new tie of rabbit holes that (00:20:48) you can go down and reviews of pedals (00:20:50) that you can watch to see if you want to (00:20:52) get this distortion or that distortion (00:20:54) and does this cable sound better than (00:20:56) that cable and should be you be using (00:20:57) true bypass or not true or buffered or (00:21:00) what there's all of these things but (00:21:01) they're really the minutiae and (00:21:03) particularly i'm assuming that your (00:21:05) early days in your guitar (00:21:07) tone journey so you just want to be (00:21:09) thinking about the basic stuff what does (00:21:11) the treble do what does the middle do (00:21:12) what does the bass do what does gain do (00:21:14) how much gain do i want how does it (00:21:16) react and interact with the settings (00:21:18) that i got on my guitar having more gain (00:21:20) on the amp less gain on the guitar the (00:21:21) other way around what are the different (00:21:23) amps sound like how can i learn the (00:21:25) difference between the sound of a fender (00:21:27) a clean fender sound very bright crispy (00:21:29) shiny sort of thing in a marshall with (00:21:31) crunch or that voxy middley kind of tone (00:21:34) like how how are they different learning (00:21:36) to recognize them will be really helpful (00:21:38) when you're playing that song and you're (00:21:39) going oh i really want to play this (00:21:42) gary moore song how do i get that sound (00:21:45) oh i don't know look up some pictures (00:21:47) you know say oh there he is with a les (00:21:48) paul on a marshall maybe that's you know (00:21:50) that's the way to do his sound you know (00:21:52) maybe it's not not that's maybe a bad (00:21:54) example i'm exactly sure what gear he (00:21:56) uses that's a very rough guess (00:21:57) definitely there's paul but not sure (00:21:59) about the marshals anyway (00:22:00) you get the idea doing a little bit of (00:22:02) visual research can help you but most (00:22:04) importantly is trying out your gear if (00:22:06) you can some sort of device where you've (00:22:08) got access to different types of (00:22:10) amplifiers that you can experiment with (00:22:13) and then hopefully your ear will pick up (00:22:15) the sounds that you like and you can (00:22:17) further refine the sound that you want (00:22:19) to become your sound further on down the (00:22:21) line really hope you enjoyed this like i (00:22:23) said if you haven't seen the lesson (00:22:24) about the guitar sounds i'd definitely (00:22:25) recommend that you check that out and (00:22:26) stay tuned for more about guitar effects (00:22:28) and how we're going to use it and (00:22:29) recording and all of that sort of stuff (00:22:30) this is part of the grade three uh (00:22:33) lessons over on justiceguitar.com if you (00:22:35) haven't been over there for a while go (00:22:36) and check it out there's loads of (00:22:37) awesome stuff practice assistance we've (00:22:39) got tabs now we've got all sorts of (00:22:40) stuff going on so hopefully uh you'll (00:22:42) pop over and enjoy that stuff if you're (00:22:44) not there already uh i'll see you for (00:22:47) plenty more very soon have yourselves a (00:22:49) fantastic day you take care bye