rcarmichael9999
Member
Following
.
From what I recall, we left the sound pretty full frequency and let the FOH engineer have control over the filters so he could tweak from venue to venue.
Is this the IR 4x12 1960A G12M (RW) — "Slant Marshall 1960 loaded with four 25-watt Celestion G12Ms, otherwise known as "Greenbacks""We tried a lot of different IR's but what seemed to work best in the live scenario was the 1960 Greenback (RW). It was pretty enlightening to hear how the various IR's sounded coming through a giant PA in an arena. Pretty much a completely different ballgame than studio. I'm not sure how other bands are simply taking their "studio" tones to the live show, it really didn't work in our case. Basically had to start from scratch. To be honest, the live preset is pretty underwhelming when used in the studio or with headphones, but it has all the necessary frequencies to interact with the concrete, echo of an arena
I'll have to go and look to see specifically, but I think so. I also have very rarely had success in the "real world" with Greenbacks especially for higher gain stuff, but again... with zero regard to what the actual IR was from, it was what worked best within the context of the band/PA system/ Arena, etc. I'll have to check out the one from Brad Whitford's GOT.
Next GoT??? come onnnnnn! ok, after reading the entire thread, it would be pretty funny to do a GoT and just have an amp/cab block. would blow the minds of us life long tone tweakers.Went to see them tonite, they were doing a short 3 run tour and noticed axe edit running. Was cool to see them running the III, sounded great as I figured they would
You'd be surprised how many pro presets are much closer to this than they are to the 84% CPU kitchen sink...
Work smart, not hard.
Especially live! Most techs (and players) would prefer to streamline everywhere possible in order to limit things from going wrong and also limit the stuff to sift through when things DO go wrong (and they always will at some point). I subscribe to this theory when in dire situations like a live performance or when there's a very tight time limit for a session, etc. In the studio on the other hand, I like have presets that are more along the lines of "kitchen sink" or virtual pedal board, so that it's easy and quick to turn on anything that might be wanted. The 4 channels on each block give me 4 different starting points for every effect and more than likely, one of them will do the trick.
Just to clarify, that is NOT the "San Quentin" preset. It is their "live" dirty sound that gets used during the shows for anything with a distorted sound.
Spill the beans!!!!! In a non-specific way of course.
I was just referring to this one and the patch name.
that's what I like of this forum... you always learn something new! and with a high quality contents!
Chris, lol sorry I was barely awake and up.
hahahah. I've been called way worse, hahahah!
