Five Faces of the MESA/Boogie Fillmore Series featuring Jamie Humphries – Part Five – Hard Rock

Published on 19 May 2020 by GuitarEuroMedia Category Tag

In this fifth and final part of a multi-session series, MESA artists Jamie Humphries runs through an 80’s style Hard Rock track inspired by Edward Van Halen, showcasing medium to high gain tones available from the Fillmore 50 combo. This track focuses on higher gain using both the “Drive” and “Hi” modes on the two channels. This track was recorded and performed on an early 90’s Music Man EVH signature model, with medium output custom EVH DiMarzio pickup’s, for that classic “Brown Sound”. This track also showcases how the Fillmore 50 handles pedals, and features an MXR EVH Flanger and Phaser.

Our first tone is our main driven rhythm tone that is featured throughout this performance. This tone has a thick, tight low end, for plenty of thump, with the mid range boosted to achieve that familiar mid boost heard in Eddie’s legendary tone. The treble and presence are pushed to achieve some top end bite, helping this thick tone cut through in the mix. The DRIVE mode is being used on this tone. The EVH Flanger is also used on occasions with this first tone.

Our second tone features a similar EQ setting to our first tone, with the bass rolled off slightly, and also features a slightly lower gain setting. This tone is used during the verse, for a tight palm muted “Van Halen 1” inspired chord arpeggio riff, referencing the classic Eddie tone.

Our third tone can be heard during the “post solo” break down, which feature atmospheric “topped” harmonic chords. This tone has the gain backed off, for a slightly pushed tone, with the reverb dialed in for some ambience. The bass was rolled off while the mid was pushed to aid the performance of tapped harmonics. This tone was also used for a second “recorded” guitar part using the EVH Phase 90.

Our fourth tone uses the “HI” mode, with the gain fully pushed for a smooth yet aggressive distortion, ideal for flowing legato and tapping lines, as well as tapped harmonics. The bass is dialed in to produce a rich low end, while the mid and presence were pushed to allow the tone to cut through the mix. Although the gain is fully pushed, the sound remains dynamic, and defined. The EVH Phase 90 was used during the first half of the main solo, and during the outro licks.

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