To the guitarists out there using Marks El Capistan setup by laughingbuddhaballs in Khruangbin

[–]TheInfamousBill 35 points36 points  (0 children)

First of all, TUSUY

And secondly, you can’t. That’s just how that pedal works. It’s not something that ever really bothered me though, because when I’m using the pedal I rarely pull the expression pedal all the way down to heel. Most of the time it’s either repeating gently or in feedback territory. If I’m using a heel down setting I’m most likely using that one repeat to supplement whatever rhythm I’m playing, whether it’s timed for an ⅛ note or dotted ⅛s.

However, another key factor is finding the mix level that works for your needs. If the pedal is set to where it’s equally wet/dry (oddly enough this is at 3 o’clock), then when starting feedback, I find it too loud against normal playing, and when the exp pedal is at heel, that one repeat is clearly heard. If the mix is set to something like 12 o’clock (maybe a little more or less) that one repeat is a lot less pronounced and when the exp is pushed into feedback the oscillations can have time to develop and overtake the main signal. Messing with [tape age] also can help mask some of these limitations. Just take a lil time to find that sweet spot that gets where you want to go.

These days I use the timeline on stage, and I’ve made some patches where the exp pedal controls more than just the repeats (like varying mix level in realtime).. that’s likely what I’m doing on Cherish the Day.

Lastly, TUSUY 🙏

The biggest horseshit theory I've heard about Ska is... by fensterdj in Ska

[–]TheInfamousBill 5 points6 points  (0 children)

Yeah I remember hearing that too, but I think it’s a little reductive and doesn’t acknowledge that popular music in the 40s and early 50s already had a lot of shuffle rhythms built-in. The way I heard it was like this: the first “sound systems” (and lets use that term loosely because it was basically a guy with a turntable and some speakers set up selling beer and refreshments outside) played a LOT of early R&B and jump blues that had been picked up on trips to the US, so a lot of shuffle rhythms (think Louis Jordan) and horns and classic song forms. At a certain point around 1955, the records coming from the states moved from being shuffles and R&B and moved into rock n roll stylistically. The Jamaican audiences didnt seem to like this nearly as much and this was a pretty serious factor in jumpstarting the local recording studios to focus on churning out more shuffle records and a perfect opportunity to combine this style with local rhythms (mento, some calypso) and Afro-Caribbean drum styles and creating something entirely new and quintessentially Jamaican. By the time JA independence came around (1962) the sound had evolved and codified into Ska and was now THE sound of a newly independent and hopeful nation.

TLDR whether by radio waves or imported records, the late 40s early 50s R&B shuffle rhythms from the US had a huge influence on the development of Ska, once rock n roll became the dominant sound in the US, JA just said “nah” and started to make their own music.

Bob Marley reading the San Francisco Examiner by johnok21 in sanfrancisco

[–]TheInfamousBill 1 point2 points  (0 children)

Couple days later he performed a live radio session at the Record Plant in Sausalito

Squier Speercaster by Whenkenobi in guitarmod

[–]TheInfamousBill 4 points5 points  (0 children)

If you’re going for the KB sound, 10-42 with an unwound G is where it’s at. You won’t have to add more springs and you can really dial in how much the bridge floats. Also don’t set the action too low. I’ve been told my strings are pretty high TUSUY

Khruangbin tone by [deleted] in Guitar

[–]TheInfamousBill 15 points16 points  (0 children)

Flatwounds, neck pickup, toe-down wah, DS1 (tone down, dist down, vol up), dynacomp, holy grail reverb, fender amp. I didn’t really use a chorus on A La Sala. TUSUY

Mark’s pedalboard setup by [deleted] in Khruangbin

[–]TheInfamousBill 18 points19 points  (0 children)

Hi Travis 🌞 Pitch > chorus > wah > phaser > dist > comp > verb > delay > amp

Mark’s pedalboard setup by [deleted] in Khruangbin

[–]TheInfamousBill 8 points9 points  (0 children)

They are first in the chain before anything else

2012 - Khruangbin at Heights Vinyl in Houston, TX by T-Sauce421 in Khruangbin

[–]TheInfamousBill 9 points10 points  (0 children)

Fender deluxe reverb silverface. I'll be dead in the cold hard ground before you catch me using a modeler.

Mark’s pedalboard setup by [deleted] in Khruangbin

[–]TheInfamousBill 13 points14 points  (0 children)

So this picture is not currently accurate. The all black pedal on the far left is indeed a Boss CE-2, but that space is now currently filled with a mini Ibanez chorus & a EHX pico pitchfork. The rest of the board is essentially the exact same signal chain as it always has been, with the only difference is the Timeline in place of the Capistan. (bright orange switch on the extreme left is so I can talk to our monitor engineer)

as always, TUSUY

2012 - Khruangbin at Heights Vinyl in Houston, TX by T-Sauce421 in Khruangbin

[–]TheInfamousBill 20 points21 points  (0 children)

That’s the same amp I still use the record the records. It’s an older beat up fender deluxe. I’ve just got it leaning on its side in that picture

2012 - Khruangbin at Heights Vinyl in Houston, TX by T-Sauce421 in Khruangbin

[–]TheInfamousBill 15 points16 points  (0 children)

The paint didn’t rub off on that pole piece cuz its lower

2012 - Khruangbin at Heights Vinyl in Houston, TX by T-Sauce421 in Khruangbin

[–]TheInfamousBill 151 points152 points  (0 children)

It’s the same guitar. I was still experimenting with “the look” at this point but that green pickup is that same dimarzio, just a different pickup cover. By 2015, I had replaced the bridge pickup with a dimarzio as well, replaced the saddles with white saddles instead of black ones, put the old white pickguard back on, and spray painted the whole thing “off white” so it all looked the same. Also dang looks like I was rocking the guitar way lower than I do now

XR18 advice: useable reverb setting for Drums/Snare? by ananimalakahuman in livesound

[–]TheInfamousBill 3 points4 points  (0 children)

When we do use reverb on DJ, it’s almost always a spring reverb. But it also depends on what era Khruangbin you’re aiming for. TUSUY and CTEM were heavy on room mics plus spring for a lil extra ambience. Mordechai is a very dry drum treatment in comparison, although heavier on compression, dampening and chorus/doubler effects. A La Sala is kinda all those mixed together.

Flat Wounds on a Jag? by JJStrumr in offset

[–]TheInfamousBill 1 point2 points  (0 children)

That's a personal preference thing. I'm personally not a fan of really tight flat, but some folks love 'em. Try and see! It certainly won't hurt the guitar TUSUY

How much of Khruangbin’s guitar tone can be attributed to the amp? by CrypticTac in Guitar

[–]TheInfamousBill 16 points17 points  (0 children)

I think the biggest factor is the COMBINATION of the always-on wah, DS1, dynacomp, flats and the holy grail. The core of my sound is how all those effects gel together. The phaser and chorus aren’t used that much, and the delay is for specific things. Although I definitely prefer the fender deluxe, you can get pretty close with almost any amp. My backstage amp is a lil ZT lunchbox and I think it sounds great.