Chasing Tone


Last night was “let’s experiment.” Rearranged some furniture so I could set the amp atop a table–read where it greatly improves the Vox’s tone–and it did seem much more resonant. Also made it easier to get to the controls. Fooled around with a few settings I’d seen Voxheads post on the Net; a couple of them were worth writing down in my guitar notebook, which is filled with arcane notes about gain, level, and tone.

Found just a beautiful combination of reverb, chorus, slight overdrive, light delay, and the “Blackface” amp (emulates a Fender Twin Reverb). Perfect for the Epiphone and the blues, a haunting, shimmering American roadhouse sound that reminds me of Ry Cooder’s “Paris, Texas” soundtrack. Just makes you want to slowly play chords unitl you drift away. You can almost hear the oil pumps clanking in the distance.

Got a little writing done too. Not a bad day in the Art Ghetto.

S

About Steve Patterson

Steve Patterson has written over 50 plays, with works staged in Portland, Los Angeles, Chicago, Detroit, Austin, Tampa, and other U.S. cities as well as in Canada and New Zealand. His works include: Waiting on Sean Flynn, Next of Kin, Farmhouse, Malaria, Shelter, Altered States of America, The Continuing Adventures of Mr. Grandamnus, Bluer Than Midnight, Bombardment, Dead of Winter, and Delusion of Darkness. In 2006, his bittersweet Lost Wavelengths was a mainstage selection at Portland Center Stage's JAW/West festival, and, in 2008, won the Oregon Book Award (he also was an OBA finalist in 1992 and 2002). In 1997, he won the inaugural Portland Civic Theatre Guild Fellowship for his play Turquoise and Obsidian. View all posts by Steve Patterson

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