Honne and Tatemae – The Deep Keel

Video

80 bpm

Just the Amp and Trem Pedal:

60 bpm

Fender Telecaster

Pickup Position: Neck

Zoom G3Xn ON

106 Princeton

Joyo Tremolo OFF

Intensity: 50%
Rate: 50%

Fender Blues Jr. III

Volume: 4.5
Fat: OFF
Treble: 5.5
Bass: 4.5
Middle: 5.0
Master: 4.5
Reverb: 1.0

Blue Yeti

Gain: 9 o’clock
Mode: Cardioid mode, 4” from speaker, slightly off-axis

Dolby ON

OFF

Zoom G3Xn “Princeton” Patch Checklist

Guitar: Fender Telecaster MIJ, neck pickup, Master Volume ~9, Master Tone ~9
Zoom: G3Xn, Firmware 2.20, Patch cell 106, Patch name “Princeton” Goal: Warm, articulate Princeton Reverb-style clean tone with shimmer trem and spring reverb
Amp: Fender Blues Jr III (real amp, miked — no Zoom amp/cab sim used)

Signal Chain

Guitar → RackComp → RC Boost → Tremolo → FD Spring → Zoom output → Blues Jr input → mic

Note: guitar Volume/Tone currently near max (_9/9) rather than rolled back. Brighter/more aggressive than original plan — if tone feels too bright or aggressive once recorded, roll Tone back to 6-7 as first adjustment.

Block 1 — RackComp (DYNAMICS)

THRSH: 25
Ratio: 3
ATTCK: 5
VOL: 100 (unity/pass-through — not a boost like RC Boost’s Volume)

Block 2 — RC Boost (DRIVE)

Gain: 15
Bass: 50
Treble: 55
VOL: 65 (adjusted down from 100/max after A/B testing — 100 was a noticeable level jump, not a subtle push)

Block 3 — Tremolo (MODULATION)

Wave: TUBE
Depth: 35
Rate: 30
VOL: 100

Block 4 — FD Spring (REVERB) — sole reverb source (Option A)

Decision: FD Spring is the sole meaningful reverb source. Blues Jr’s physical Reverb dial has no true zero (range is 1–12), so it stays at its physical minimum (1) — this contributes a negligible touch of onboard spring underneath and is not treated as problematic stacking.

Block 5 — Rhythm (RHYTHM AND LOOPER) — practice aid, not part of the recorded tone

Active: ON (intentional — metronome for practice)
Pattern: Metro4 4/4
Volume: 4
Reminder: disable or mute before any actual take — this is a metronome click, not a tone-shaping effect, and isn’t meant to bleed into the final recording

Amp Settings — Blues Jr III (dials 1–12, no true zero)

Mic Setup — Blue Yeti (on stock desktop stand, floor placement)

Mode: Cardioid
Orientation: logo side of mesh grille facing the amp (this is the capsule’s listening face — confirmed correct)
Distance: 4–5 inches from grille
Position: base shifted slightly to the right of the amp’s centerline (creates true off-axis angle, since the stock stand doesn’t swivel sideways)
Tilt: forward, toward the amp — this aims the capsule up to cone height (compensating for the stand sitting lower than the speaker on the floor)
Gain: set using the loudest tremolo peak, target -12 to -6 dB, no clipping

Notes: - Forward tilt = vertical aim adjustment (reaches cone height), not the off-axis angle - Sideways base offset = true off-axis angle (softens pick attack/harshness) - Both adjustments are used together in this floor setup since the stand can’t swivel independently

Test Pass

Turn OFF/mute Rhythm (metronome) block before recording an actual take
Record 15–20 seconds of comping/chords
RC Boost check: at Volume 65, should feel like a mild lift, not an obvious pedal jump. Adjust down further (55–60) if still too pushed.
Reverb check: FD Spring is the sole meaningful reverb source (amp Reverb sits at its physical minimum of 1) — confirm the overall reverb amount feels right, not doubled
Tremolo check: TUBE wave should feel smoother/rounder than a standard triangle wave trem
Compression check: RackComp should be felt as sustain/evenness, not obvious pumping
Guitar tone check: Volume/Tone near max (_9/9) — if the result feels too bright/aggressive, roll Tone back to 6–7 first
Overall: does the amp feel like it’s “working” a little (natural compression) rather than stiff/clean?
If still too clean/stiff: raise Master first, before touching EQ