Ibanez AD-9 help please!

Guest · Post by **Guest** » Wed Dec 28, 2005 10:14 pm

I find Jimmy Pages work on the BBC sessions cd was boxy. Maybe it was the Supro he was using. It could have been anything with him. if you palm mute an chug chug the strings, its not bassy and has a ring. like lots of mids and an echo that you would get say in a shower room with all the tiles. As far as it not being hard to adjust, well maybe I'm stupid boy 2005 because I can get this AD-9 to sound real shitty. I have started to hone in on it though today. I have the delay time about 2:00 repeats all the way down which gives me 1 and level about 10:00. I'm still tweaking though and still dont fully understand what does what. I'm sure it's so simple thats why I'm having trouble. Now I feel the need to break something.

thunder970 · Post by **thunder970** » Wed Dec 28, 2005 10:19 pm

Damn, that was me ^

sub · Post by **sub** » Wed Dec 28, 2005 10:44 pm

I hate every digital (guitar) stuffs, but i love my (Japan) Boss DD-3 (between guitar <--> amp, not effect loop)

I never tried AD-9

Sub

rjgtr · Post by **rjgtr** » Wed Dec 28, 2005 11:03 pm

If you're looking for the early Page tone, it is a Telecaster and the Supro amp. A tweed champ will also get you the same kind of tone. A small speaker in a small cabinet close mic'd and a mic a few feet away.

A delay on a really fast slap might get close, but a cocked wah pedal might be even better.

Necrovore · Post by **Necrovore** » Wed Dec 28, 2005 11:19 pm

I think I know what you are talking about. Im not sure of the controls on your ad-9, but I get a similar effect on my old analog Boss delay that sounds like what you are describing. What I do is to set the repeat to one repeat, and the delay of the repeat just a slight longer then no delay. It sort of acts like a chorus would but doesnt modulate like a chorus does. This setting makes the signal sound a bit wider and you can only really notice it on single picked notes. Chords sound a tad fuller but nothing special.

Billy Batz · Post by **Billy Batz** » Wed Dec 28, 2005 11:53 pm

Yeah an almost inaudibly short delay repeat. It wont sound chorusy because it doesnt modulate and its not detuned so it just makes it sound a bit more... dont know how to describe it other then boxy. What I meant about the AD9 being simple to adjust is just that theres not many different sounds you can get out of it for a delay unit. You have short delay times and then longer delay times (for that unit) and one repeat to infinite (adjust the time while the repeats are sounding

. I can waste an hour making noises like that.)

Necrovore · Post by **Necrovore** » Thu Dec 29, 2005 12:36 am

You too? Delay is my favorite guitar effect. I always liked doing that effect where you ran the repeats into oscillation and then turned the speed back down to get that whoooomm sound.

thunder970 · Post by **thunder970** » Thu Dec 29, 2005 7:36 am

Thanks, I'll take notes and try the short delay thing as well. On the marshall I may even add in a touch of reverb. this weekend I'll have lots of time to play with it

This discussion is still open as I would like to hear how everyone uses them for what type of music if everyone fells up to typing. Thanks

NitroLiq · Post by **NitroLiq** » Thu Dec 29, 2005 12:52 pm

All the delay you hear on early zep stuff is actually achieved through a couple of things. EMT plate reverb, which is a big metallic reverb canister with a lever, allowing you to adjust the reverb times. Combine this with using tape delays. On analog multitrack machines, you have three heads that the tape passes over—the repro (playback) head, the sync head, and the erase head. There is a delay between the heads so if you record in say repro then record another in sync mode, you'll find an audible delay...like an echoplex, which is what Page used live for delay (think the rockabilly slapback in WLL or the Violin bow hits in D&C). Page experimented alot with this as well as ambient miking (using distance for verbs). Some things were just happy accidents like Plant's vocal bleed on the studio recording of WLL (the whole "Woman, you need love" bit) or the microphonic feedback at the end of "The Lemon Song".

I'm not familiar with the particular Ibanez model, but as far as reverb and delay settings go, less is more. The key is adjusting the mix levels on the effect to be more of the dry sound than wet. For reverb, use a higher predelay to allow transients to come through and a medium decay time...I usually start with a plate sound or medium room with medium decays. For delay, to thicken up the sound, I tend to start at 500ms with only 2-3 repeats. Turn the mix down so it's not in your face and doesn't turn to mush. You have to blend it with the reverb so they play nicely. When you get it right, you'll get a clear tone with those singing ghosty overtones that Page gets....too much and it'll sound like "Curve."

An alternate approach to dry/wet mix is to use two amps...one for the wet signal and the main one dry. Dry amp (line out) > delay pedal > wet amp.

Ideally, you set your delay time to match the bpm of your song. The equation is simple: 1/4 note in ms = 60000/bpm so say you know your song is at a tempo of 120. 60000/120 = 500ms. There are delay calculators out there as well which take the work out but with some simple math, you can figure out how to set various delay divisions - i.e., 1/8, 1.8t, etc. 1/4 note delays work fine for just thickening up your sound (ala page). Just as an aside, It's really cool when you have a stereo delay as you can set them to different beat values and give it a real rhythmic movement...very cool for percussion parts.

thunder970 · Post by **thunder970** » Thu Dec 29, 2005 8:05 pm

Wow, thats alot of info. Thanks

I found the sound I was looking for today. No repeats delay time about 11:00 and level about 11:00. Perfect echo like a hollow sound. Repeats are all the way down, but if I raise the level past 12:00 then I get 1 repeat. So I back it down to 11:00 to loose the repeat and It keeps the echo. Thanks for all the help