|
Post by pcalu on Feb 24, 2024 21:30:54 GMT -5
Great topic ... being a huge Jimmy Page fan.
To me... his best guitar tones are recorded are on Led Zeppelin #1 and "In through the out Door"
A lot of people fail to know just how much Page used the Telecaster in the studio.
From Zep II on , Most rhythm parts he would would use les Paul's due to the thicker tones... Solo's he would pull out the Tele... he believed it cut and stood out in the mix better. Houses of the Holy... while on tour and unknown by him, a friend painted the 59 telecaster and ruined it. The neck gets salvage and put on a 1953 Telecaster body that had a B-Bender ... plays and records with that guitar for most of "In through the Out Door" The Firm era and The Rolling Stone sessions during "Dirty Work" You really can hear him soloing in "One hit to the Body "
|
|
chucksmi
Wholenote
Posts: 174
Formerly Known As: Offshore Angler elsewhere
Age: I saw Jerry Live
|
Post by chucksmi on Feb 25, 2024 7:13:29 GMT -5
It's the engineer's job to get the sound the artist is looking for. If the sound doesn't work for them then they are selecting the wrong microphones or the placement is wrong. Sometimes they might suggest using a different guitar or amp but probably 95% of the time, or more, they can tell me what they're looking for and I'll hear for myself when something needs changing. I might suggest that the engineer use a different mic, but if the engineer is any good they'll realize it and do it automatically without any suggestions. Pretty interesting. I guess I'm not int the "artist" category, I just show up and do what they ask me to do, and it's always someone else's vision. Back in the days of recording studios and bars wanting demo tapes I played on a lot of demos for bands I wasn't in, lol. Often they were all very too loud and I had to get some serious cut going. These days pro studios are rapidly becoming extinct and most recording is in someone's personal studio which these days are usually better equipped than what we played in back in the day. Chuck
|
|
|
Post by K4 on Feb 26, 2024 9:30:31 GMT -5
Mississippi Queen came out in 1970 and Leslie West sounded huuuuuge!
But the drums and bass were down in the mix.
|
|
|
Post by Leftee on Feb 26, 2024 9:33:46 GMT -5
Anyone play a ‘59 Tele through an old Supro Coronado?
|
|
|
Post by Auf Kiltre on Feb 26, 2024 10:06:43 GMT -5
In my experience in the studio, a good engineer often knew how to deal with the misdeeds of my amp settings. I recall one session where I was playing through my Marshall 4502 combo, and what I heard in the cans and later in the booth made me a little miffed. Clearly had some front-end eq and compression. Since it wasn't my $ession I bit my tongue. But when it got down to the mix, it made better sense.
Honestly, I haven't found much need for amps in my home recording endeavors. I've found that when I mic an amp (usually with a Sennheiser e906), what sounds good soloed struggles for position in the mix. What sounds "lacking" through the Eleven Rack finds its place better in the mix, and the dry alternate track is always there as backup.
It's an interesting thought, wondering how these classic rock albums would sound if modern tech was available back in the day. I don't think that "better" would always be the conclusion, but then again, decades of ear conditioning would compromise an A/B comparison
|
|
pdf64
Wholenote
Posts: 557
|
Post by pdf64 on Feb 26, 2024 11:10:25 GMT -5
I think Page's contribtion to the sound of LZ couldn't realistically be bettered. Physical Graffiti is one of humanity's crowning glories, up with the Sistine Chapel ceiling IMO. Yes sometimes his guitar tone could have been bigger / fatter whatever, but very probably it would have been to the detriment of the song.
|
|
|
Post by Leftee on Feb 26, 2024 11:59:20 GMT -5
I agree, Peter.
|
|
|
Post by reverendrob on Feb 27, 2024 10:44:01 GMT -5
In my experience in the studio, a good engineer often knew how to deal with the misdeeds of my amp settings. I recall one session where I was playing through my Marshall 4502 combo, and what I heard in the cans and later in the booth made me a little miffed. Clearly had some front-end eq and compression. Since it wasn't my $ession I bit my tongue. But when it got down to the mix, it made better sense. Honestly, I haven't found much need for amps in my home recording endeavors. I've found that when I mic an amp (usually with a Sennheiser e906), what sounds good soloed struggles for position in the mix. What sounds "lacking" through the Eleven Rack finds its place better in the mix, and the dry alternate track is always there as backup. It's an interesting thought, wondering how these classic rock albums would sound if modern tech was available back in the day. I don't think that "better" would always be the conclusion, but then again, decades of ear conditioning would compromise an A/B comparison 906 (I use one) benefits GREATLY from the right pre - a Pultec tube EQP clone does WONDERS. I usually run a mix of that with the Eleven Rack myself for recorded stuff these days.
|
|
|
Post by LeftyMeister on Feb 27, 2024 18:21:47 GMT -5
I was of the impression Page conducted a preponderance of his own studio engineering. I've always heard he was gifted in the studio. If true, he would've been in control of his own amp tones in the mix.
|
|
|
Post by markfromhawaii on Feb 27, 2024 22:33:37 GMT -5
I was of the impression Page conducted a preponderance of his own studio engineering. I've always heard he was gifted in the studio. If true, he would've been in control of his own amp tones in the mix. He was a master at layering guitar parts and using mic distance to create depth. Since I picked up a Bluetooth turntable and speakers I’ve been listening to a lot of my old LPs. Over the Hills and Far Away in particular is, well, masterful. Live, Pagey, Bonzo and Jones just out and out rock those seemingly impromptu jams. Yeah, I’m a fanboy.
|
|
chucksmi
Wholenote
Posts: 174
Formerly Known As: Offshore Angler elsewhere
Age: I saw Jerry Live
|
Post by chucksmi on Mar 2, 2024 15:57:26 GMT -5
I think Page's contribtion to the sound of LZ couldn't realistically be bettered. Physical Graffiti is one of humanity's crowning glories, up with the Sistine Chapel ceiling IMO. Yes sometimes his guitar tone could have been bigger / fatter whatever, but very probably it would have been to the detriment of the song. Because Page is a consummate musician and put the song above his own ego. I've had to play with so many local wannabees that never will make that leap. When they start talking "Tone" I just start thinking about bass fishing until the noise stops. As I have been quoted, "It takes years of practice, determination, sacrifice, rejection and yes, some natural ability, to become a journeyman player, but anybody with a keyboard and an internet connection can brag to the entire world about their tone." Chucky
|
|
|
Post by K4 on Mar 3, 2024 21:41:00 GMT -5
Every rig I've played, I always sound like me.
I watched an interview with Keef and the host asked how he got that sound. Keith just smiled and said "I don't know" When pressed he said something like, I really don't know, it just sounds that way.
I get it.
|
|
|
Post by slacker 🐨 on Mar 4, 2024 11:39:20 GMT -5
Every rig I've played, I always sound like me. I watched an interview with Keef and the host asked how he got that sound. Keith just smiled and said "I don't know" When pressed he said something like, I really don't know, it just sounds that way. I get it. This is the same old "tone is in the fingers" debate. I could plug you into two different rigs and they would sound wildly different. A fan of yours would recognize it's you playing...by the style, phrasing, etc, but not by the tone. Not sure why, but everyone wants to confuse tone with style and phrasing.
|
|