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Вот про фильтры, которые FZ использовал в своей гитаре и настраивал их маленькой отверткой:
Working with Franks discerning ears, Sloatman developed an onboard preamp/EQ system that was eventually installed in nearly every guitar Frank played. "They were identical parametric filter circuits," explains Sloatman. "One of the filters was set for the bass frequencies from about 5oHz to 2kHz, and the other one was set for the top end, from about 500Hz up to 20kHz." The filters had a variable resonant frequency ("q") independent from the EQ gain. "You could find a tone and get right on top of it, tweak it. and nail it," says Sloatman. The Q ranged from .7 to 10, or a very wide dynamic range to a very narrow one, and was adjustable via a 1/4" screwdriver notch on the face of the guitar. This allowed Frank to control his feedback characteristics in any hall. He could basically tune his guitar to the room, find out how the room responded to the amplifier, and dial it up so he could have maximum control of the feedback. That was the whole point behind the equalizers. But Frank also played a lot with his left hand, and in order to hear the nuances—the string presence—he'd have to bring the treble up, which is another thing he liked about the filters. He could pick high frequencies anywhere from 4k to 8k and bring out the nuances of the strings, so you could hear what his fingers were doing, even if he wasn't picking every note."
The Seymour Duncan humbuckers in Frank's Les Paul could be switched between single-coil, humbucking, or single-coil out-of-phase settings, and a toggle switch controlled whether the pickups were wired in series or parallel. A 9-position wafer switch afforded all the possible combinations. The Les Paul and the Hendrix Strat also housed a Dan Armstrong-designed Green Ringer, which, explains Sloatman, "is a low-pass filter into a DC rectifier circuit. Because it's trying to convert AC to steady DC, it produces an abundance of a second harmonic. It kind of feels like it's feeding back, because you play a note and instantly hear the octave. But any time you play more than one note, it does this horrible modulation stuff, which Frank loved."
Zappa admitted to being "real fussy about equalization." and he used his wah-wah pedal more as an equalizer than a dynamic device. "Very seldom do I just step on it on the heat like on the old Clapton records where he goes wacka-wacka-wacka," he told Rosen. "Usually what I do is shape the notes for phrasing with it, and the motion of the pedal itself is very slight. I try to find one center notch that's going to emphasize certain harmonics, and ride it right in that area. As a matter of fact, I think I was one of the first people to use wah-wah. I'd never even heard of Jimi Hendrix at the time I bought mine. I had used wah-wah on the clavinet, guitar, and saxophone when we were doing We're Only In It For The Money in '67, and that was just before I met Hendrix."
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ИМХО фильтры (?) в таких соло... (Прочитано 287 раз)
