This page is pretty much for techies. Tim studied Electronics Engineering some 20 years ago, and has been toying with it ever since. The guitar world is a perfect place to "practice".

Guitars, Guitars, Guitars.....

Tim plays an assortment of guitars, but the main axes used on this album were his Custom Yellow Strat, his Greco Solid Body, and his 73 Cherry Sunburst Les Paul Deluxe. All have been customized.

The Custom Yellow Strat ( The Banana ) was "home made" with a Japanese left-handed neck attached to a mid-90's Mexican Strat. The custom California Hot Rod yellow paint job is the impetus for the nick name. Pickups are Van Zandt Rock, with the bridge pickup reversed. Coupled with the reversed neck, that provides a bit of a fatter sound ( The 6th string is now 6" longer ). Hendrix or Stevie Ray fans may have always thought these guys played this setup to look cool, but it did provide a thicker sound. Rhythm guitar on "See You There Alone" is a good example of the this.

The Greco Solid Body ( Joe ) is a guitar designed and owned by Ibanez. It was gutted and re-fitted with Joe Satriani's electronic configuration of a DiMarzio FRED in the bridge position, and a DiMarzio PAF Pro in the neck position ( At least that's what he was playing in 1990 when I did this ). These are pretty full bodied PU's and are very thick and loud. But they can be extremely clean and noiseless as well. Any mellow Joe fan should recognize this. Conversely, cranking them through a Marshall is about as Rock'n Roll as it gets. Listen to the lead guitar on "See You There Alone". This guitar is very versatile. I installed a switch for each PU, to toggle between single, double parallel, and double series settings. Couple that with the actual Les Paul style PU selector, and you get 9 very different sounds. And not like the Fender Strat sounds. These are different in volume. So you can be playing a nice, smooth set back rhythm part on the neck PU in single coil mode ( Black Friday - right channel ), and then flip a switch to the bridge PU in double series mode for a blistering lead ( See You There Alone lead ). Heck you can even set this guitar up to strum an Eagles song!

The '73 Cherry Sunburst Les Paul Deluxe ( Ace ) is the Early 70's Les Paul with the baseball bat neck. It really is horrible to play for anyone who is used to a nice Fender 'D' or flat style neck. Ace is featured on the left rhythm guitar for "My Worried Life", among others ( It wasn't the feature rhythm guitar on this CD, but wait for the next Dyslexic Love release ). This is the LP that has the mini Humbuckers ( usually silver ). Over time these PU's tend to get really noisy and start feeding back like crazy, so I re-fitted it with the classic 70's setup of a DiMarzio Super Distortion ( bridge ), and DiMarzio Super Distortion 2 ( neck ). Go see Ace Frehley, Peter Frampton, Tom Sholtz, or any other guitar player from 1975 for more info. The problem with this, of course, was that DiMarzio humbuckers are full-sized PU's and the Les Paul Deluxe only had enough room for the mini HB's. Thank God for the Dremel Company......


Rhythm guitars were all recorded using the Fender Ultimate Chorus amplifier and a Marshall JCM900 in tandem. This blended tone is made up of the Fender's dirty channel chorus ( both channels for stereo effect ), and the Marshall's crunch ( right channel ). The result is a wall ( beginning of See You There Alone, Yesterday, Travellin' Lite ).

Lead guitars were recorded using an assortment of setups. A Garnet Session Man, Marshall JCM900, and a Line 6 Flextone Head ( an actual 300W head with all the POD options, not the Line 6 POD ). These are all mixed up but examples are: Marshall ( See You There Alone lead ), Flextone Soldano Setting ( My Worried Life leads ), and Garnet ( Losing You lead ). This is the area I experiment with the most because there never seems to be a cut and dried solution for all songs.


For guitar recording, there weren't a whole host of effects used. The only effect for lead guitar is Tim's "Brown-Modded" Ibanez Tubescreamer TS-9 ( circa 1981 ). The "Modding" refers to an alteration to the original TS-9 ( early 80's ) that makes it sound like it's predecessor the TS-808 ( the Holy Grail - you Stevie Ray techies know all about this ). The end result is a bit more sustain through specific tube amps. The Tubescreamer is played exclusively through the Garnet Session Man amp for lead guitar. The Session Man has an overdriven "Solo" circuit built in, so coupled with the TS-9 there's sustain galour. They seem to compliment eachother quite well as far as sustain and noise ratio go. And just for you guys out there who complain about the Tubesreamer uproar - they provide a whole lot more SUSTAIN than they do DISTORTION. So metalheads beware - you're wasting your money!

All Rhythm guitars have been recorded in stereo with the Fender Ultimate Chorus amp's chorus and distortion circuitry. It's pretty clean whether you use the Stereo line out, or mic both speakers with SM57's. The end result is a nice wide, panning Rhythm guitar.

Vocal effects include a Joe Meek VC3 Preamp/Compressor in the recording stage, a Lexicon MPX-100 for "color", and more Joe Meek MC2 Stereo compression at mixdown. That's about it. All vocals recorded with the Rode NTK Tube Microphone ( Pretty sweet bang for the buck ).

Drums and Bass contain the usual compression effects. Nothing extreme, but enough to make the kick/snare combo sound effective.


The entire CD was recorded using Pro Tools 5.3.1/Digi001 on a Windows-based System. Mixing, editing, and mastering took place using Pro Tools 6.7/Digi002R on a Mac-based system. If any of you want an honest opinion on the Pro Tools Windows/Mac war, feel free to email me ( Tim ). I can give you a lot of ammo! I've pretty much used every superlative there is in the last couple of years!!!

Plugin software varied, but the most common modules used were Waves L1 Ultramaximizer, Waves LinMB Compressor, Waves LinEQ Equalizer, PSP Vintage Warmer, Wave Arts TrackPlug, and a whole host of native Pro Tools plugins. And FYI....There are a lot more companies popping up out there who have good products at a fraction of Waves prices ( PSP, Wave Arts, etc. ). So don't be afraid to scour the web. Yes, Waves are great, but they're starting to get a big head.

And anyone out there that wishes to discuss their DAW with me, feel free. I'm always searching for the "next step". I'm really starting to research the Linux OS and their Kernel for audio. I think this will be the next thing I try in the next couple of years. Software is what I do, and 'free' is always a good thing.

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