Petrucci's Suspended Animation tone

5t3f said:
What do you exactly mean by "cap edge/cone"? Does he put one mic on the cap edge and the other on the cone of the speaker?
Click to expand...

I mean that an inch in mic positioning makes a HUGE difference. I'm sure you'll get closer to his tone with the "cap edge" IR. And I think he's using the same mic position with both mics... the mics just have a different tone and he mixes them together.

Here's a part from the interview:

Interview said:
MPc: How do you mic your cabs and get your tone in the studio?

John: Well, I think I’ve found the secret, at least for me. I recently played a solo on Marty Freidman’s new record and I played a solo on Derek Sherinian’s new record just yesterday. In both instances I walked into the studio and told them I needed my cabinet and my head [Editor’s note: John used a Mesa/Boogie Road King head and Traditional Rectifier 4 x 12 cabinet] and two microphones, and got a guitar sound in five minutes. This is what I do. First of all, the cabinets are usually closed back, so there’s no need to mic the back. They have Celestion Vintage 30’s in them, and they’re the smaller Traditional Rectifier cabinets, not the big ones. I think the cabinet should be in a fairly big room. Anytime I’ve ever tried to put a cabinet in a closet or a small room, it just doesn’t sound right. There are too many weird reflections happening in that case. The speaker cabinet needs to have some sort of throw, like when it’s in a big room. You can put a baffle in front of it if you need to, like maybe ten feet out front, but otherwise I think it needs to breath, for whatever reason. I use a [Shure SM] 57 like this [Editor’s note: John showed mic position to be on axis, about an inch and a half radially outward from edge of dust cap in center of cone, close mic’d, almost touching grill cloth]. You never want to put the microphone in the center of the speaker; it’s just way too bright. Then you can fool around with how much off center you go. Obviously, the further away from the center you go, the duller the sound gets. Also, I use a Sennheiser MD421. That’s the second mic, and I position it the same way. You can either place it on the same speaker or on a different speaker. Then, you just blend the two of those. Usually, if you have two faders, the 421 is sitting below the 57. So the 57 is the basic sound, and the 421 is a little darker and it’s very fat.

MPc: So, you use the MD421 to fill out the sound of the SM57.

John: Yeah. It adds a lot of girth to the sound.
Click to expand...
 
:shock:
Thanks.
I'll try to record something for the weekend with all this wonderfull new informations in mind. I'll post the results.
 
Great tips on this thread Clark.

I've also found the Tokyo setup and that interview to be very helpful in getting JP's tone. Lately, I've been blending the stock "Cali"cab with no mic sim in cab1 and Redwires Mesa sm57 capedge .5" in cab2. You could also do a mixed Redwire IR of a SM57 & MD421 with the 421 backed off @-6 to -8db in cab2. With a PEQ after the cabs to cut the lows and highs, usually 60hz-12khz as a starting point, you might adjust to your liking. You can blend the cabs volume to taste, sometimes I'll back off the "Cali" cab -6db to -12db. The stock cabs mix very well with the Redwires. I think of it as mixing the cab in the room sound(stock cab) with the sound of the mic'ed cab(Redwire mic of choice) and it seems to work well with my patches.
 
Axisman: I'll have to check that out. I need to borrow a midi interface so I can test it but that sounds like a really good idea! Do you guys know a good IR that has plenty of mids/high-mids?
 
Clark Kent said:
Axisman: I'll have to check that out. I need to borrow a midi interface so I can test it but that sounds like a really good idea! Do you guys know a good IR that has plenty of mids/high-mids?
Click to expand...

You can try the Recabinet demo. There are some Mesa Recto 4x12 impulses in there and they also come in syx format so it's easy to use them with the Axe.

This one is also pretty good and it's also a little bit brighter: http://bittwiddlers.org/ftp/jim/impulse ... 0dB_dc.wav
 
Hi people,

Anyone care to share some sys files for these patches? For those of us who are too busy (read TOO LAZY!) to dial this in.

Thanks a lot,

VidarAus
 
After research with all those above mentioned IRs I'm still using the CALI cab with SM57 modeling for all my tones. It's just perfect... it doesn't need to be mixed. :)
 
Hi Guys!

That's actually MY interview that I did with JP... Glad to see that it is still helping folks out!

Cheers,
-Matt

Clark Kent said:
5t3f said:
What do you exactly mean by "cap edge/cone"? Does he put one mic on the cap edge and the other on the cone of the speaker?
Click to expand...

I mean that an inch in mic positioning makes a HUGE difference. I'm sure you'll get closer to his tone with the "cap edge" IR. And I think he's using the same mic position with both mics... the mics just have a different tone and he mixes them together.

Here's a part from the interview:

Interview said:
MPc: How do you mic your cabs and get your tone in the studio?

John: Well, I think I’ve found the secret, at least for me. I recently played a solo on Marty Freidman’s new record and I played a solo on Derek Sherinian’s new record just yesterday. In both instances I walked into the studio and told them I needed my cabinet and my head [Editor’s note: John used a Mesa/Boogie Road King head and Traditional Rectifier 4 x 12 cabinet] and two microphones, and got a guitar sound in five minutes. This is what I do. First of all, the cabinets are usually closed back, so there’s no need to mic the back. They have Celestion Vintage 30’s in them, and they’re the smaller Traditional Rectifier cabinets, not the big ones. I think the cabinet should be in a fairly big room. Anytime I’ve ever tried to put a cabinet in a closet or a small room, it just doesn’t sound right. There are too many weird reflections happening in that case. The speaker cabinet needs to have some sort of throw, like when it’s in a big room. You can put a baffle in front of it if you need to, like maybe ten feet out front, but otherwise I think it needs to breath, for whatever reason. I use a [Shure SM] 57 like this [Editor’s note: John showed mic position to be on axis, about an inch and a half radially outward from edge of dust cap in center of cone, close mic’d, almost touching grill cloth]. You never want to put the microphone in the center of the speaker; it’s just way too bright. Then you can fool around with how much off center you go. Obviously, the further away from the center you go, the duller the sound gets. Also, I use a Sennheiser MD421. That’s the second mic, and I position it the same way. You can either place it on the same speaker or on a different speaker. Then, you just blend the two of those. Usually, if you have two faders, the 421 is sitting below the 57. So the 57 is the basic sound, and the 421 is a little darker and it’s very fat.

MPc: So, you use the MD421 to fill out the sound of the SM57.

John: Yeah. It adds a lot of girth to the sound.
Click to expand...
Click to expand...
 
Thought I might give this thread a *bump* with regard to patches.

Does anyone have any sysex patches they would like to share on their progress with this tone? I have read a lot of posts saying people are almost dead-on with this tone.

Can someone please post their patches? Would be very much appreciated.

Cheers,

VidarAus
 
Just got the Axe Standard and prefer people posting setting instead of patches. Totally bringing this back from the dead... but its a great thread. Is this just for the rhythm tone or his lead tone as well? I usually use US Lead 1 for his sort of tone
 
You must log in or register to reply here.
Back
Top Bottom