Cover Band Tones

Purplestrats

Inspired
One of my projects is a cover band that plays a lot of old school rock and metal. We have a discussion going about guitar tones and if they should be as close to the record as possible. It is of course possible to get picture perfect album tones out of my Axe 3, but I usually choose to use more modern tones even for the classic tunes. (Like Dio, Iron Maiden etc). My attitude is that I love the songs, but I've never been too enamored with heavy metal guitar tones from decades past. I would rather play with a modern "idealized" version of the same type of sound, and go easy on the effects such as detune and plate reverb. I'm curious to hear what you guys think about it.
 
I tend to make song specific presets for covers not for a certain tone but for certain effects. We do Cheap Sunglasses and I really want that delay for the instrumental section. Similarly I have a preset for Burning For You for the flanged harmonies
 
In the past, I came close to coping the tone for each song. Overtime, I've ended up using my main preset for many of the songs. There are some songs that just sound better with "that" tone, so I dial those in. If I had to guess, I'd say that I'm 60% main preset and the others close to original tone.
IF you tell the band that you've made different presets for the songs, will they notice in the heat of the moment?
 
I shoot for "ballpark" tones. Our band does a lot of covers of songs that were originally done with different instruments than we have, so getting the exact tone that was on the record isn't that important to us. But still, I wouldn't try to do a Tom Petty song with a high gain metal model, nor would I use a clean tube combo for a Deep Purple song.
 
Unless you're doing a tribute act of one particular band and era, I wouldn't bother with trying to copy the tones. Makes no sense unless everyone in the band goes for it too.

Just go for a tone that fits the band and music, and that you like.
I don't even bother when doing that. Close enough is good enough for me. And I doubt that your audience will pay that much attention. I mean, if you play Master of Puppets you obviously need a thrash metal tone, but if it ain't exactly the Metallicrunch the world won't end either. As for the OP aim to get a good clean, crunch and lead tone that sit well in the mix. And stick with that for the entire show. Normal cover bands that use real amps do the same thing and nobody complains about that. In the words of Glenn Fricker, playing 20+ different amp sims during a gig doesn't make you look smart, it makes you look like an ass.

At least to the sound guy, because having a different guitar tone for every song so he will have to adjust his mix is just the thing that he loves to do.
 
Having a great tone far out-weighs having a record-matching tone. A lot of times what you think is the tone from the recording doesn't work in a live context anyway.

I cover a wide variety of tones/effects in my band's shows but I try to have as few presets as possible - it just makes life easier and you end up better off overall. I have a base of clean, crunch, and heavy tones and try to make those work with the majority of the songs. If I need something specific - usually for certain effects or switching functionality, I'll build a per-song preset.

No one in the crowd will notice you tailoring each tone to the recorded song and you'll only open up lots of areas for trouble. As an example, rather than trying to create 30 killer presets that you use for a couple minutes at a time, you're better off intimately knowing 1-5 presets you live in throughout the night. Each situation is different of course and YMMV, but I think that's a good standard practice.

If you do have to use a number of presets, keep them structured alike so they behave similarly and keep the footswitching to a common design pattern for all of the presets.
 
IMO. Get close, then put your own spin on it.

You won't be happy if you spend hours nailing a tone, and you sneer every time you dial it up in a gig. The crowd won't care...but you might have to pitch it to your bandmates.
 
The main problem with nailing the tone of each song is can your bandmates? Meaning your trying to match a mastered recording. I guess if your drummer uses an electronic kit and the bass player uses a modeler as well it could be done but if not it's kind of pointless. Not say don't try and get close but it has to work with the rest of the band. If you all practice together often with the gear you use live it should give you a chance to make final adjustments.

For me we never get together so its always a crap shoot.
 
High Gain, Mid Gain, Clean. Each set of patches with Verb, Delay, Flange, Phase and OD/Dist add Chorus to clean and that covers about everything. I have boost, solo etc.... scenes to round it all out.
 
For me it depended on the song. A driven Marshall tone is pretty generic and can be used over a broad setlist. Throw in a song that is unique and you have to kind of go the extra mile to get closer to that vibe.
 
Not even remotely my experience.
Rock on - you're probably operating in a different scenario than the one I'm referring to. If your gig is about matching up tones and that makes your performance better because of it, then that's where you should be. (It'd be cool if people came up to me after a show and said they enjoyed how I matched up tones to the recording but I'm not currently playing for that type of audience.)

Regardless, it's about finding a balance that works for you and your gig. I've seen people stray too far into surgical tone shaping just because we have all of these great tools and the end result can fall apart for someone without the experience to manage that kind of setup. In the end it should be about you and your performance - do whatever serves that master.
 
Rock on - you're probably operating in a different scenario than the one I'm referring to. If your gig is about matching up tones and that makes your performance better because of it, then that's where you should be. (It'd be cool if people came up to me after a show and said they enjoyed how I matched up tones to the recording but I'm not currently playing for that type of audience.)
I wouldn't even want that kind of audience. You'd be playing to guitar players and they are the worst audience EVER. Unless you're Satch, Vai or Yngwie they'll just stand there, not having a good time, checking you out and thinking I should be there, I can do better.

Regardless, it's about finding a balance that works for you and your gig. I've seen people stray too far into surgical tone shaping just because we have all of these great tools and the end result can fall apart for someone without the experience to manage that kind of setup. In the end it should be about you and your performance - do whatever serves that master.
By far the most important part of any cover or tribute band is nailing the performance of the original, the energy of the original and the vocals of the original. Your vocalist will be scrutinized a million times more then your guitar tone. Nail those three and you're set. Weird guitar noises that band is famous for comes after that, and finally guitar tone. It's really the least important part. Good enough will get you easily. The rest is just pouring more and more resources for diminishing returns.

The main problem with nailing the tone of each song is can your bandmates? Meaning your trying to match a mastered recording. I guess if your drummer uses an electronic kit and the bass player uses a modeler as well it could be done but if not it's kind of pointless. Not say don't try and get close but it has to work with the rest of the band. If you all practice together often with the gear you use live it should give you a chance to make final adjustments.

For me we never get together so its always a crap shoot.
That's a very good point. Any cover or tribute band is only as good as its weakest link.
 
Oh aye .... the 'get it sounding like the track' conversations ..... every cover band has them at some stage .... and every audience doesn't give a fiddlers.
 
Oh aye .... the 'get it sounding like the track' conversations ..... every cover band has them at some stage .... and every audience doesn't give a fiddlers.
I tend to agree! I like to put my own spin on both the guitars and vocals of the covers we do. I mean if it's an absolutely iconic riff or tone, I won't mess too much with it, but everything else is fair game.
 
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