Hello Fractal Community,
I wrote this piece on an outside perspective regarding the Metallica live guitar tone intending this for Chad (Hetfield guitar tech, username Zaemo). However due to space constraints, I will just have to post it here, and maybe there will be some interesting comments that spur from this.
Of note, I am in no way affiliated with Digitech and am only mentioning one of their products in hopes that Fractal may create something similar in their software.
Hello Chad,
From following Metallica's studio/live sound for many years, I would like to say a few things about it, having strived to achieve it. My comments are focused more around the tonal characteristics of their sound to my ear, how that has changed over the years, and some points that maybe you would feel so inclined to comment on.
Two main points here below: James' live heavy tone, and James' acoustic sounds for ballads.
First off, I really enjoyed the Rig Rundowns (both the TC guy and the new ones with the Fractals). I hope you guys understand how much of a following there is specifically for James Hetfield's tone. Every characteristic of the amplifiers used are sought after and speculation regularly runs wild across message boards, blogs, and other social media. From the outside looking in, it would appear that there are a lot of "trade" secrets in the mix that are tightly held, which I would not ask for details of, but it is kind of fun for people to debate, because it contributes to the "legend" of how their albums were made.
Okay, so some thoughts on the main heavy tone. To my ears, the heaviest sounding live guitar tone ever heard was on the 1992 San Diego show DVD. After reading some of your past comments on the relationship between live guitars and the rest of the mix, I completely understand that it must be a delicate balance between say 80hz and 5-6khz, and should not drown out anything else. That being said, listening to how the guitars sound in that show sound (specifically James' guitar), I heard something magical.
The guitars were simply REALLY LOUD in comparison to the rest of the mix, yet everything else was able to cut through and find its place. And, not so simply, James' guitar sounded so thunderously low that it filled out the sound on its own. Now, there's no telling to what the guitars sounded like in the mix vs. what the mix turned out to be for the DVD, but still, oh my goodness was that heavy. Two key spots here that stand out for reference from that 1992 show: Creeping Death, right when James starts the main riff at the beginning of the song, and in the Four Horsemen. In this song, the part where this sticks out is during the gallop riff right at about 2:00 when the guitars are on their own. Again, thunderous lows are what I'm talking about here.
Second, the acoustic sound for Fade to Black. I am of the opinion that no one has successfully recreated the tonal characteristics of the main acoustic melody of Fade to Black, ever. Not on YouTube (most people don't even play it correctly), and not on any cover or tribute. That being said, in the rig rundown I see that you're getting a 12 string sound from that acoustic, which is cool. It does sound good, and highly engineered. However, I thought it would be worth your time for me to mention how I have recreated (what I assume is the requested tone) of that melody. Before I describe this it's worth noting that this tone isn't with an acoustic guitar, it's electric. And, it does not sound remotely close to the album. But oh my goodness is it heavenly. Most importantly, when I play it, I think to myself, "THIS is what James is looking for when he plays that song". The key is in the fairly new pedal by Digitech called the Mosaic, their 12 string emulator.
Here's the tone.
Any clean amp tone (probably the JC tone or something that's so bone clean that it chimes like a bell or piano)
The Mosaic, which I was completely blown away by, especially when playing that song. The great thing about the pedal besides how convincing it sounds is the ability to mix the amount of wet you want in with the dry. So it can be as subtle or in your face as you want it.
The final key element: Modulated delay (closed to a vibrato sound in the repeats).
The results are so stunning to me it compelled to write this entire post. The Mosaic and that song (IMHO) were meant for each other when played live.
Chad, thanks for looking at this and enjoy having an extremely coveted position! : )
Kindest Personal Regards,
Mike
I wrote this piece on an outside perspective regarding the Metallica live guitar tone intending this for Chad (Hetfield guitar tech, username Zaemo). However due to space constraints, I will just have to post it here, and maybe there will be some interesting comments that spur from this.
Of note, I am in no way affiliated with Digitech and am only mentioning one of their products in hopes that Fractal may create something similar in their software.
Hello Chad,
From following Metallica's studio/live sound for many years, I would like to say a few things about it, having strived to achieve it. My comments are focused more around the tonal characteristics of their sound to my ear, how that has changed over the years, and some points that maybe you would feel so inclined to comment on.
Two main points here below: James' live heavy tone, and James' acoustic sounds for ballads.
First off, I really enjoyed the Rig Rundowns (both the TC guy and the new ones with the Fractals). I hope you guys understand how much of a following there is specifically for James Hetfield's tone. Every characteristic of the amplifiers used are sought after and speculation regularly runs wild across message boards, blogs, and other social media. From the outside looking in, it would appear that there are a lot of "trade" secrets in the mix that are tightly held, which I would not ask for details of, but it is kind of fun for people to debate, because it contributes to the "legend" of how their albums were made.
Okay, so some thoughts on the main heavy tone. To my ears, the heaviest sounding live guitar tone ever heard was on the 1992 San Diego show DVD. After reading some of your past comments on the relationship between live guitars and the rest of the mix, I completely understand that it must be a delicate balance between say 80hz and 5-6khz, and should not drown out anything else. That being said, listening to how the guitars sound in that show sound (specifically James' guitar), I heard something magical.
The guitars were simply REALLY LOUD in comparison to the rest of the mix, yet everything else was able to cut through and find its place. And, not so simply, James' guitar sounded so thunderously low that it filled out the sound on its own. Now, there's no telling to what the guitars sounded like in the mix vs. what the mix turned out to be for the DVD, but still, oh my goodness was that heavy. Two key spots here that stand out for reference from that 1992 show: Creeping Death, right when James starts the main riff at the beginning of the song, and in the Four Horsemen. In this song, the part where this sticks out is during the gallop riff right at about 2:00 when the guitars are on their own. Again, thunderous lows are what I'm talking about here.
Second, the acoustic sound for Fade to Black. I am of the opinion that no one has successfully recreated the tonal characteristics of the main acoustic melody of Fade to Black, ever. Not on YouTube (most people don't even play it correctly), and not on any cover or tribute. That being said, in the rig rundown I see that you're getting a 12 string sound from that acoustic, which is cool. It does sound good, and highly engineered. However, I thought it would be worth your time for me to mention how I have recreated (what I assume is the requested tone) of that melody. Before I describe this it's worth noting that this tone isn't with an acoustic guitar, it's electric. And, it does not sound remotely close to the album. But oh my goodness is it heavenly. Most importantly, when I play it, I think to myself, "THIS is what James is looking for when he plays that song". The key is in the fairly new pedal by Digitech called the Mosaic, their 12 string emulator.
Here's the tone.
Any clean amp tone (probably the JC tone or something that's so bone clean that it chimes like a bell or piano)
The Mosaic, which I was completely blown away by, especially when playing that song. The great thing about the pedal besides how convincing it sounds is the ability to mix the amount of wet you want in with the dry. So it can be as subtle or in your face as you want it.
The final key element: Modulated delay (closed to a vibrato sound in the repeats).
The results are so stunning to me it compelled to write this entire post. The Mosaic and that song (IMHO) were meant for each other when played live.
Chad, thanks for looking at this and enjoy having an extremely coveted position! : )
Kindest Personal Regards,
Mike