Danger Mouse wrote:
I was at that MoR, after growing up in Nelson, where a "metal gig" was 20 drunk bogans moshing to a thrash metal covers band playing in Richmond Town Hall, it was a shock to the system...
It was an awesome day, even if the weather was a bit cold if I remember right.
I dragged my Mrs. along and she hated most of the day, with the exception of Skid Row and Thunder, she particularly liked the fact that Thunder came on to that song at the start (it was actually AC/DC Thunderstruck)
Yeah the cold rings a bell with me too, my first of a few Donningtons and the beginning of seeing The Almighty in support at every bloody big rock and metal concert in the UK for a few years. I can't begin to remember how many times I saw them during the 90's.
Edit: wrong bloody band
Last edited by Danger Mouse on Thu Jan 31, 2013 6:49 pm, edited 1 time in total.
Give a man a fish and you feed him for a day. Teach a man to fish and he'll spend thousands on fishing equipment he'll use for a bit, then get bored and move onto something else.
It's been interesting digging through looking for good tones, and some big surprises which reminded me of these clips.
I've always liked the Scorpions and their live sound usually seems pretty good, both on dvd and on the times I saw them in the flesh back in the UK. However I listened to this lesson by Rudolf and Matthias and was amazed at how trebbly the sound is, I wrote it off a bit as possibly due to how they set the session up so they could talk etc. But the second clip below shows Matthias's tech doing a gear demo and you can hear the various amp sounds being used and they're really quite extreme and not what I'm used to hearing. So I guess there's a lot of choices made to get the right sound through the mix and probably a lot of work done in front of house.
sty wrote:
I've always liked the Scorpions and their live sound usually seems pretty good, both on dvd and on the times I saw them in the flesh back in the UK. However I listened to this lesson by Rudolf and Matthias and was amazed at how trebbly the sound is, I wrote it off a bit as possibly due to how they set the session up so they could talk etc. But the second clip below shows Matthias's tech doing a gear demo and you can hear the various amp sounds being used and they're really quite extreme and not what I'm used to hearing. So I guess there's a lot of choices made to get the right sound through the mix and probably a lot of work done in front of house.
That's very common. Players with a good amount of studio experience will often track with sounds that would frighten the crap out of home players. Same goes for sounds going to FOH, and definitely for post work on live releases, which can encompass everything from reamping to complete studio re-dos.
IME there are two things that are vital to avoid in the studio: a guitar with old strings and a tone that is too dull going to mic. Both of those create situations that are very difficult to 'studio magic' your way out of. Learned the hard way.
jeremyb wrote: Is it true about the bum sex before marriage thing being ok?
sty wrote:
I've always liked the Scorpions and their live sound usually seems pretty good, both on dvd and on the times I saw them in the flesh back in the UK. However I listened to this lesson by Rudolf and Matthias and was amazed at how trebbly the sound is, I wrote it off a bit as possibly due to how they set the session up so they could talk etc. But the second clip below shows Matthias's tech doing a gear demo and you can hear the various amp sounds being used and they're really quite extreme and not what I'm used to hearing. So I guess there's a lot of choices made to get the right sound through the mix and probably a lot of work done in front of house.
That's very common. Players with a good amount of studio experience will often track with sounds that would frighten the crap out of home players. Same goes for sounds going to FOH, and definitely for post work on live releases, which can encompass everything from reamping to complete studio re-dos.
IME there are two things that are vital to avoid in the studio: a guitar with old strings and a tone that is too dull going to mic. Both of those create situations that are very difficult to 'studio magic' your way out of. Learned the hard way.
Yeah as I mentioned in the H&K thread, amp at home and amp in a live situation tones are often very different, for good reason. When I did the demo recording of the Greenstone of Doom with Zorran, I plugged in and played some riffs, he said it was a nice sounding amp. He then promptly dropped all the gain away and then eq'd it until it sounded horrible... until he did a rough mix with drums and a basic bass track and it sounded awesome again.
Also to avoid, dying batteries in an EMG'd guitar, also learned the hard way. Hard to add sparkle to something flatter than a pancake.
Give a man a fish and you feed him for a day. Teach a man to fish and he'll spend thousands on fishing equipment he'll use for a bit, then get bored and move onto something else.
Danger Mouse wrote:
Also to avoid, dying batteries in an EMG'd guitar, also learned the hard way. Hard to add sparkle to something flatter than a pancake.
I am so many million miles away from being a gigging guitarist but I learnt this one a while back...
kind'a fell out of love with my main guitar whenever I pluged it in for no real reason I could work out, it just wasn't as much fun any more...
turns out the batteries were slowly going flat on the EMGs and obviously over time I wash't really noticing, kinda like the old boiling a frog gag.
So 100% check the batteries in the EMGs etc.
And of course that's right back to an old post years ago from Rocky I think about a plug in voltage detector... , maybe I should see if it's possible
OK, well, I've got a lot of "all time" fav tones, and most of them are from this guy - Larry Carlton with his 335 - and this amp - a cranked MESA/Boogie Mark I. Larry is just the consummate player who just ticks all the guitar boxes for me.
So, the first 30 seconds has some decent lead tones, and then again at 5:20 when it's all Larry over a killer Bb7 groove with some amazing phrasing mixing mostly the maj and minor pentatonics. Dynamics, tension and release - it's all there. Enjoy.
