You get a similar effect by pressing the strings against your vocal chords (like you're using your neck as a slide) and singing. It's especially cool-sounding at high, feedback-friendly volumes.

[quote]Speaking of effects, if you plug in a wah pedal backwards (into the out jack and out of the in jack) you can get some really insane sounds as well, though you can't really control them and they're not very melodic.[/quote]

That's the Pink Floyd Seagulls trick from "Echos" (Meddle)...It's great, and you can do it with any guitar-you manipulate the pitch with the tone control on the guitar. It does sound best w/ a delay on the end.

Some dickweed in MOJO said "He (David Gilmour) used high volume, pre-amps and other equipment to create that tremendous sustain" or some crap. It's a Vox Wah wah plugged in wrong, ya knob.

anyone have any clue about the feedback on Drive Like Jehu's Yank Crime? especially in the last 3 minutes or so of 'luau'. it baffles me. ive kinda had the same results with pressing the E and A strings until they hit the pickguard on a tele through a couple of terrible distortion pedals and a crappy bass rig, but its no where near that shit.

-wiggins

Anyone know about the KRAZY quacking/talking voice sound that PETER FRAMPTON makes on his record FRAMPTON COMES ALIVE? you know the one its like He's Talking but its also like His Guitar Is Talking?
zow!

justinc wrote:Anyone know about the KRAZY quacking/talking voice sound that PETER FRAMPTON makes on his record FRAMPTON COMES ALIVE? you know the one its like He's Talking but its also like His Guitar Is Talking?
zow!

Yeah! Wow! He was pretty hardcore about it. Thing is, he had a tracheotomy and everything so he could do that. That's what shocked people in the '70s. I think he got the idea from all the time he spent working in the cancer ward as a janitor. (That was before his big break, of course.)

Today we have the Home Tracheotomy Kit, but back then you either had to spend a bundle, or lock yourself in the bathroom with a razor blade and a straw.

We've come a long way, baby!

I´ve got a couple of suggestions you could try out.

1. If you use a Fender Jaguar/Jazzmaster or another guitar where you are able to strum the strings between the bridge and where they are locked, you can try this. Just play a melody on the 3 upper strings, but strum them in the area described. You get some interesting overtones.

2. If you have a couple of different pedals (e.g. Wah, Distortion, Chorus, Delay, Pitch Shifter) and a smal practice Amp with two inputs (high and low or something) connect an effect chain and plug both ends into the amplifier. You should get a repetitive feedback signal that you can modulate with your effects ---> filtering with the wah, adding gain with distortion, modulate the wave form with the chorus and so on...

I did not try this out with my regular amp though, because i am not sure if it would take harm... With the 15W practice cab it worked out fine.

wiggins wrote:anyone have any clue about the feedback on Drive Like Jehu's Yank Crime? especially in the last 3 minutes or so of 'luau'. it baffles me. ive kinda had the same results with pressing the E and A strings until they hit the pickguard on a tele through a couple of terrible distortion pedals and a crappy bass rig, but its no where near that shit.

-wiggins

Are you talking about that crazy chirping bird feedback? John Reis also did that on RFTC's "Killy Kill" from Circa Now. Whatcha wanna do is turn your Marshall up REALLY FUCKING LOUD, and use a guitar with single coil pickups (A Les Paul with P-90's is ideal, though a Fender will do in a pinch.) and put your guitar up really close to the amplifier, and have your pickups somewhere near the power transformer. Voila! However doing this for very long will seriously put a strain on your power tubes, so don't do it for like, two hours or anything.

Someone mentioned Fred Frith's Guitar Solos - one of his tricks is to attach a pickup to the nut side of the strings and get the harmonics on that side of the strings. You can do this without attaching a pickup is you turn the amp up a little more, flipping the guitar upside down and carefully fingering different chords. Around the twelfth fret things get interesting because the subdivision of the overtones are very close to what they would be if you were playing right side up, but off by just enough to get some great dissonances. If you experiment with some different shapes, you'll get some interesting arpeggios with both sets of overtones.

If you want to try the "wrong side" pickup idea, you might want to check out K & K Sound's Big Shot pickup. It just sticks on--no ruination required. I'm using one on uke right now, and it seems to have a pretty high output. (You'll want to avoid putting it anywhere you might actually touch directly, though. So maybe slap it on the headstock.)

Something a bit silly: I put a glass of water, about half full, on my guitar's strings, right above the pickups with the guitar laying flat on the carpet.
When giving the glass a pinch, it'll keep wiggling from left to right more than an hour and it keeps making that tic-tac sound even iff the movement is barely traceable with the naked eye.

I know it's stupid, but i was surprised about how long it kept going without giving it an extra push. It was a longdrink glass and the guitar was a classic SG.

Peter