STP Sex Type Thing Cover

Scott Peterson

Scott Peterson

Global Moderator
Moderator
Vendor
mtmartin did a clip post on TGP that inspired me to cut the same song; I had to relearn it again real quick to cut it (it has been a while!). One of my favorite STP songs.

I'll get to sharing the presets; but they are using some beta Own Hammer IR's that I like (special mixes) and I'm hoping he puts out the commercial version before I'll get into it much. Greenback and Blackback Celestions. Vintage and more current version of the speakers.

Here are the clips (you can download the full FLAC at Soundcloud).
FULL version:


Guitars ONLY version:


Guitar is my PRS Custom 22.

Panned hard left is my Plexi 100; panned hard right is my Friedman HBE.

One take each track; recorded 100% direct.
 
Still dig these tunes... they had some of the best guitar tone of their era. Well done Scott- I used to play this one and I don't think I ever got it down right, now that I think about. You got me curious on the Ownhammer stuff... I've been waiting for them to release something I really want. I like the sound of those celestions you mentioned.
 
Awesome, Scott! Such a great "clang" on the stuff in between the chords on the verses. Anyone who says that tone sounds sterile, cold, digital, etc....well let's just say that the cheese has slid off of their cracker! :p Great job!
 
Very nicely done Scott :encouragement:

Scott Peterson said:
I'll get to sharing the presets
Click to expand...

Please do. I instantly heard some brightness (without fizz) that my rockier tones are currently missing a little of


However, this could be a major consideration:

Scott Peterson said:
they are using some beta Own Hammer IR's that I like (special mixes) and I'm hoping he puts out the commercial version before I'll get into it much. Greenback and Blackback Celestions. Vintage and more current version of the speakers.
Click to expand...

IRs play such a big part in sounds that I've kinda given up on auditioning other people's presets because so many other things also need to fall in line :?
 
I've noticed that recorded tones are less bassy that their live counterparts. Is this so everything sits better in the mix? If so, why doesn't this apply in a live setting?
 
Fabio KTG said:
I've noticed that recorded tones are less bassy that their live counterparts. Is this so everything sits better in the mix? If so, why doesn't this apply in a live setting?
Click to expand...

Maybe because there are fewer tracks live (unless you have a backing track)? Recordings have so much going on in them, everything needs its own little sonic pocket to sit in.
 
Fabio KTG said:
I've noticed that recorded tones are less bassy that their live counterparts. Is this so everything sits better in the mix? If so, why doesn't this apply in a live setting?
Click to expand...


I have noticed the same thing when looking at guys' tone settings and I see bass settings in 2.5-4 range. Whereas, when I make a tone, I would start out at 5, and try to boost it from there. I guess it's the difference between "bedroom tone" and "band tone".

A full sound is great when you are playing all by your lonesome, but it gets too muddy in a band mix. I noticed this back in the POD days, when I would download Lincoln Brewster's patches. They all had what I considered low bass tone settings.

I noticed the house sound guys using a hi-pass filter on electric guitars where they chopped everything off below 100hz. And I have had the opportunity to sit in the house with my gear, and the guitar turned up to performance volume, and found that if I activated an overdrive like a TS808 in the Axe II for a gainy sound, I could get away with shelving everything below 250hz and it took all the flub out of my lead tone in the house mix. If I play it at home, it sounds too thin. But when I'm at church and we actually do perform at 102-103 db, it sounds great through a full range system.

Whatever low or fullness (flub and flab) that I've removed in my sound, will be more than made up for in our loops, keys, and bass, so the whole band sounds full, AND clear, with no flab.
 
Great work, Scott! You've gotten a lot closer to this tone than I ever have! Looking forward to the presets when you can share 'em!
 
Fabio KTG said:
I've noticed that recorded tones are less bassy that their live counterparts. Is this so everything sits better in the mix? If so, why doesn't this apply in a live setting?
Click to expand...

iaresee's point about there being fewer tracks is a consideration, but to be honest, the same theory should apply live too - maybe even more so because again, you can't have everything 'competing' for the same space in the frequency range. Leaving room for the bass guitar really helps to contain the 'volume wars' and they'll 'compliment' each other better

To a degree though, the significance is increased or lessened within the application. If you have a raging stack in a big arena that only you can really hear, the FOH guys will likely low cut the mic'd cab to leave that space out front, but onstage, you're chopping away 'til your heart's content

In smaller venues or if you adopt the 'no backline / all DI'd approach', then yes, thinning out those tones will likely make for a more pleasing overall sound :)
 
You must log in or register to reply here.
Back
Top Bottom