Greg Ferguson
Legend!
“Describing sound” is useful. Especially the 1/3 octave ISO equalizer band information at the bottom.I wonder if some people are just more fluent in the language of frequencies
and knowing how to boost/cut accordingly.
“Describing sound” is useful. Especially the 1/3 octave ISO equalizer band information at the bottom.I wonder if some people are just more fluent in the language of frequencies
and knowing how to boost/cut accordingly.
A lot of vintage gear! The album very much reminds me of early Mayall and the Bluesbreakers, especially the one with Eric Clapton, the “Beano” album.I’m a big Warren Haynes and Gov’t Mule fan. They did a blues album after the lockdowns. Heavy Load Blues. It’s interesting the way it was recorded. Everyone in a small space with no isolation and a lot of vintage gear. No digital all analog. Plenty of space and dynamics with that band and great guitar tones. I have learned a lot about fitting in with songs from Warren Haynes. There’s a vid on the tube. Snatch it Back and Hold it. That album is saturated with many of the tones we are all chasing.
A lot of vintage gear! The album very much reminds me of early Mayall and the Bluesbreakers, especially the one with Eric Clapton, the “Beano” album.
A lot of vintage gear! The album very much reminds me of early Mayall and the Bluesbreakers, especially the one with Eric Clapton, the “Beano” album.
I’m a big Warren Haynes and Gov’t Mule fan. They did a blues album after the lockdowns. Heavy Load Blues. It’s interesting the way it was recorded. Everyone in a small space with no isolation and a lot of vintage gear. No digital all analog. Plenty of space and dynamics with that band and great guitar tones. I have learned a lot about fitting in with songs from Warren Haynes. There’s a vid on the tube. Snatch it Back and Hold it. That album is saturated with many of the tones we are all chasing.
The thing people always overlook, and honestly has become almost a meme because it's so often brought up, is the difference is the guitarist.
"TOAN IS IN THE HANDZ" but it's fking true. You HAVE TO CRAFT THE PATCH TO THE PLAYER. Everything about how you play (strings, pick material, pick attack, how hard you pick, the angle, etc), not to mention the guitar setup - action, pickup height, active/passive, tone pots, etc - dictates so much about how things sound, that you have to craft the signal chain and settings around that, or else it sounds wrong.
A guitarist's tone chain, whether it's analog with tube amps and pedals or all-digital with something like the AxeFX, is intensely personal. It's like picking up another guitarist's guitar and going "wow I can't play this for shit" because it's not set up how you like it. The entire rest of the signal chain is the same way.
Build your own. Use presets as a starting point, but realize that it's never going to sound exactly right for you. Luckily, Fractal gives us every switch, button, and knob we could want to craft our perfect sound. Take the time to learn, you won't regret it.
I think that's me!I know some who can make virtually any chain of gear sound the same. They tweak until
they get to THAT sound they personally hear as ideal. To them.
I think that's me!
And yet I love tones from:I think that's all of us. But only if we are honest and self-aware enough to admit it.
And yet I love tones from:
Stevie Ray Vaughan to Eddie Van Halen to John Petrucci to...
Neil Schon
Alex Lifeson
David Gilmour
Jimmy Page
Davey Johnstone
Roger Fisher
Brain May
Richie Blackmore
Tom Morello
Angus Young
Ty Tabor
Randy Rhoads
Neil Young
George Harrison &
Nuno Bettencourt
Can the Axe Fx do all these? (J/K)
Wow! Thanks! Totally checking that out.
Edit: purchased.
The Adventures of Mixerman was freaking GREAT !One more recommendation: Mastering Audio by Bob Katz. I read Milner's and Katz's books back to back years ago, but I had not thought about the Katz book for a long time. Whereas Perfecting Sound Forever is a really fascinating history of recorded music that talks about how the loudness wars began, Bob Katz's book is really a textbook of dynamics. He goes into great detail about his views on the concept how to apply them. I read this long before I knew about shows like Pensado's Place, or the fact that you can now find interviews and/or tutorials with your favorite audio engineers all over YouTube. so I'd just try to find the few books I could on any kind of audio engineering (this reminds I need to search any kind of interview with Michael Barbiero). To me it was always like this dark magic, in the awesomest way, just this way to coax hidden power out of music, an attempt to make audio as compelling as music itself. I still feel like audio is a very tough thing to master, despite the current plethora of tutorials on the web. I think it can be an art in itself, where people really try to say things, where their mastery of sound can just transport you the way cinematography can, or photography can; these people are not creating the subject matter, but they are making art from it, and sculpting their own shape out of their subjects. I remember also reading stuff like The Adventures of Mixerman around that time, which was witty, hilarious, and a total joy, but Katz's book really goes to the heart of this particular matter, in great detail.
Absolutely! I think in some ways, it's like being drawn into a movie, by the lighting, the way the camera moves, and the music behind the action.One more recommendation: Mastering Audio by Bob Katz. I read Milner's and Katz's books back to back years ago, but I had not thought about the Katz book for a long time. Whereas Perfecting Sound Forever is a really fascinating history of recorded music that talks about how the loudness wars began, Bob Katz's book is really a textbook of dynamics. He goes into great detail about his views on the concept how to apply them. I read this long before I knew about shows like Pensado's Place, or the fact that you can now find interviews and/or tutorials with your favorite audio engineers all over YouTube. so I'd just try to find the few books I could on any kind of audio engineering (this reminds I need to search any kind of interview with Michael Barbiero). To me it was always like this dark magic, in the awesomest way, just this way to coax hidden power out of music, an attempt to make audio as compelling as music itself. I still feel like audio is a very tough thing to master, despite the current plethora of tutorials on the web. I think it can be an art in itself, where people really try to say things, where their mastery of sound can just transport you the way cinematography can, or photography can; these people are not creating the subject matter, but they are making art from it, and sculpting their own shape out of their subjects. I remember also reading stuff like The Adventures of Mixerman around that time, which was witty, hilarious, and a total joy, but Katz's book really goes to the heart of this particular matter, in great detail.
The Adventures of Mixerman was freaking GREAT !
I will say, I recently did a show and went direct with the JP preset in the fractal new presets and the sound guy only had to turn me up. I didn't do any cuts or anything just loaded and went, he said best tone he had all year in 2021
There's SO much to learn about leaving holes in the sound to let it breathe, about letting the amps sit just at the edge of breaking up and controlling them from the guitar's knobs.Yes it has a very stripped down sound. Essentially a live band sound. I really love this record, but I'm an old fart haha!