Guitar
PickupNeck SSV
Push-pushPARALLEL on
Volume10
Tone8
Five patches engineered to exploit what the Black Burst does that the Modern can't — chambered okoume bloom, the parallel-split humbuckers, and the floating Gotoh 510. Each carries a matched B-minor riff with intent.
SIGNAL › Guitar › Venus › Butter Machine › AC+ › split › Badger 18 (dry) / 5:25 (wet) › wet loop: Mobius › Timeline › BigSky
Neck pickup split to parallel so the okoume resonance reads through a thinner, airier voice. Held notes bloom and breathe. Play sparse — this is the calm before the strike.
All bypassed. Pure amp + chamber.
e|-------------------0----------------0-- B|----------2----------2-----------2----2 G|-------4----------------------4-------- D|----4----------------------4----------- A|-2----------------------2-------------- E|--------------------------------------- B F# B C# E ( repeat, let every note ring )
Attack: fingerpick or hybrid, no pick attack on the top voices. Let the whole shape sustain into the Bloom verb — the chamber gives you a singing decay the Modern's solid body kills. Add slow 510 vibrato on the final E.
Full neck humbucker into a transparent low-gain stack. The okoume keeps the sustain elastic and singing rather than compressed — legato phrasing floats. Tone rolled to 7 for the woody dark lead.
e|------------------------------7---10b(full)~~~~ B|------------------7----10---10------------------ G|--------7----9------------9--------------------- D|-9h11------------------------------------------- A|------------------------------------------------ E|------------------------------------------------ B C# D E F# A A B D->E ( bend & hold )
Attack: legato the ascent (hammer 9→11 on the D), pick only the accents. End on the full-tone bend D→E and let the 510 add a wide, slow vibrato. Kick the AC+ here for the lift into the money note.
Bridge humbucker in parallel thins toward single-coil quack without leaving the HH format — a percussive rhythm voice the Modern can't reach and distinct from the Classic S because there's still humbucker body underneath.
Bypassed — clean and quacky. Butter on tap for edge.
e|------------------------------------------ B|-7-7-x-7--7-x-7-x---7-7-x-7--7-x-x-7------ G|-7-7-x-7--7-x-7-x---7-7-x-7--7-x-x-7------ D|-9-9-x-9--9-x-9-x---9-9-x-9--9-x-x-9------ A|------------------------------------------ E|------------------------------------------ ( Bm triad: D=B G=D B=F# ) keep the wrist loose
Attack: right-hand 16ths throughout, choke the strings for the x ghost-chucks. The parallel split makes those mutes snap. Slow rotary widens it without washing out the percussion.
The Modern's locked bridge can't do this. Volume swells with bar warble into reverse delay and Shimmer — the chambered body holds the swelled tails long enough to drift. Aftermath ambience.
Bypassed. Let the verb do the violence.
e|------------------------------------------- B|--------------------------7~~~~~(bar)------ G|-7~~~~~(bar)--------9~~~~~------------------ D|-9~~~~~------------9~~~~~------------------- A|------------------------------------------- E|------------------------------------------- B+D (3rd) B+E (4th) F# ( each one swelled in )
Attack: pick with volume at zero, swell in with the knob or a pedal, then add slow 510 bar vibrato on the held dyad. Stagger the swells so the reverse delay catches the tails and throws them back inverted.
Both pickups, amp pushed into breakup. Okoume openness keeps the low chugs articulate instead of flubbing — note separation under gain that the tighter Modern flattens. This is the riff that levels the block.
e|------------------------------------------- B|------------------------------------------- G|-4---------------4------------------------- D|-4---4--4--4-----4-----5--5-----7--7------- A|-2---2--2--2-----2-----5--5-----7--7------- E|-----------------------3--3-----5--5------- B5 (PM gallop) B5 G5 A5 ( b6 - b7 push )
Attack: palm-mute the gallop on the B5, open up on the accented hits. The G5→A5 (b6→b7) is the renegade move — it pulls hard against the Bm tonic, all menace, no resolution. Let the ring-out chords breathe; the chamber keeps them clear.