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Thanks for sharing! It's always cool hearing stories like this.
Well, I think those videos sound good for what they are.Severed, I agree completely. I have been doing the same for more than a year now and I am very impressed by the audience captured videos of the FOH sound from Big Mick. The engineer that does the board recordings for the band's videos is clearly skilled and capable but I agree that the mix isn't very flattering and doesn't capture the band's vibe correctly. A number of comments in the videos also seem to show that video viewers think that the board recordings represent the FOH sound. It could be argued that those official videos are doing the band's reputation a disservice.
Yeah, a few of the necks were sanded down.Hey Jon, does James have the raw necks on his guitars? pretty sure ive seen one of his guitars with the paint sanded off the neck. Oh and when are you going to make some new presets based on what you witnessed? Cheers for all the info bro, I'd love to have been able to crank a few riffs through James's rig and playing one of his guitars too, lucky devil you
Well, like I said in the OP he uses those 2 together for his rhyhm tones.any spoiler about the settings .....? he blends VH4 with the boogie for one tone ?
We use 4X12's on the large video screen 180 degree stage setup and anywhere else we can. There is no room onstage in the round at the moment. The Meyer MJF-12's are THE best sounding stage monitors I've ever heard. When we first started with the Axe-Fx, we plugged into a pair of these powered wedges. I also dialed the TSO stuff for Wachen on these. The advantage is that they handle LOUD with ease and still sound good while doing it. We would listen to our beginning presets at normal levels but if you crank them up for a different perspective, they will show you right away where your sound needs help. One dB of 5k really makes a difference at very loud levels. Keeping your mid-range consistent (and not howling) with the lows and highs creates an even sound that you can enjoy at your inner ear for 2.5 hours. When you turn them up above a normal listening level and the low end doesn't fall apart is when guitar players start to smile.James and Kirk used to have some 4x12 cabs on stage for feedback and stuff but now instead of that they had a couple of 2x12 wedges on the stage for the band to get that speaker 'feel' for feedback when needed.
Yes, we're actually on the latest and greatest.If I recall correctly, they are currently running one of the Quantum firmwares.
Well, they might look basic as far as routing and things are concerned. We don't have any 'VooDoo' blocks that no one else can get but we didn't arrive at our current sounds by accident. : ) Over-complicating things doesn't get us any closer to the sound we need. I am very careful about gain structure and EQ. I like to treat my presets as if they were analog. I choose the same amp tubes we have in our real amps, for example. I was explaining to Jon that the EQ capabilities really allow me to dial in final sounds with a scalpel rather than a large sword type thing. Minor adjustments in the amp block parameters seem to work better in the overall picture. Cliff has gone to great lengths to make these authentic. I'm not trying to twist shit up to 10 just to feel special.The presets looked surprisingly basic.