Yes I remember reading that too, I think I read this in Guitarplayer sometime in the 80´s ( YES I am a dinosaur )

I guess fantasy has been the mother of many inventions - Leslie-speaker, chorus, flanger, phaser etc.

Another funny one : one of the first recorded distorted guitars is on "Honey Hush" by Johnny Burnette & the R´n`R trio, Paul(?) Burlison dropped his Fender DeLuxe when they entered the studio, resulting in one of the output-tubes having bad contact with the rest of the circuit "& the rest is history"....

The rectifier-tube would make more sense in my meaning, but that´s how I remember reading the interview.

Hey CJ and all others interested, I did do a recording the other night of a "concept" I am exploring. I always thought that While My Guitar Gently Weeps isn't very sad actually, so I decided to do a "While My Guitar Screams in Agony" version just to see how it would turn out. Here is a piece of the first attempt I did in order to capture a more agonizing sound.

http://www.kencampbell.it/agony.mp3

Keep in mind this is not mixed, mastered (although I did have to pass it through Elephant to bring up the volume) and is a "Proof of Concept" piece. If it get's a green light from me and others, I may look for online collaborators to do the bass and drum tracks.

Related to the thread, this was done with a V-AMP Pro, using a Mesa amp sim with some delay/chorus and reverb and recorded direct using SPDIF. The rthym guitar and lead guitar used the same patch and were not processed further in Sonar.

OOOO OOOO I'll do the bass and drums. Its cool, and you got a great lead sound.
I'm serious about the bass and drums.

CJ

DigDis, I have a cool song that coul use your riffs on some parts
send me a pm ar click my signaure and they have my contact info there, im foolling asleep and i dont wanna be arrested for typing under the influence,,,The Song is called MentaL INstrumentaL.. 3rd on down on my page... maybee your guitar and voice, check it out and leave me a message..im sleepy and need to leave,, my brd is only 3 feet away,,,nity nityty
CJ

ORIGINAL: mottull

Anyone can give any tip on how to get a more proffessional sound from my guitar on my mixes?

I'm recording direct using a multieffect pedal and I have Guitar Rig 2

I'm assuming that since you have pedals, rigs and such that you have an electric. You guys might find this site interesting

http://guitar.about.com/od/guitaristsgear/Guitarist_Tones_Settings.htm

I thought that this was gonna be a thread about those awful piezo acoustic pickups (like Tim Reynolds live stuff)...sounds like a kazoo. A great guitar sound (acoustic) is on Buddy Guy's "Blues Singer"...what he uses...I'd like to know.

Here's another piece that was sitting on my server from a post awhile back here from someone who wanted to know how the V-AMP sounded for distorted sounds when recorded. This is just one track and was touched by a little BBE Sonic Maximizer to add a little sizzle.

http://www.kencampbell.it/killersound.mp3

In all my travels I have never found an amp that can give that much gain and still retain some clarity. The closest thing I have ever heard comes from a boutique amp builder in Italy called Masotti. The lead channel on his amps have an edge and rawness that just rips through you. Other than that, the best distorted tones I ever got still come out of my $150 V-AMP.

Anyway, that is the kind of sounds one can expect from a V-AMP via SPDIF. No mic, no excessive volume, no tinkering to find the sweet spot, just plug and play.

this post vanished for 2 days...?

anyhow, Mot- what type of guitars are you using, and what type of amps?

is this live or in the world of electronica(no sarcasm intended...)

-JD

ORIGINAL: contact@jondunn.org

this post vanished for 2 days...?

anyhow, Mot- what type of guitars are you using, and what type of amps?

is this live or in the world of electronica(no sarcasm intended...)

-JD

I get the feeling mot isn't coming back.

My point is, why do we have to accept that defacto standard? Is the tube mindset actually a limitation? Why don't vocalists amplify their voices with tube based rigs (TBR)? Why do most bassists seem to prefer solid state rigs to TBRs? Why aren't PA systems tube based? Keyboardists don't rely on tubes.

Some of the answers are very practical. PAs would be tremendously heavy, hot and expensive if they were powered by tubes.

Bass players that like solid state rigs like the fast response, light weight and high power and low maintenance. I heard a guy using a 1200W Trace Elliot amp the other night. The head wighed maybe 30 lbs. A 300W tube SVT weighs what, 85 lbs or so?

Keyboard players want clean, low maintenance, relatively low cost hi-fi power and solid state is the ticket there.

Are guitar players stuck in the past? Some things are just great and don't necessarily need to change. If they are "stuck", where does that leave orchestral string players?

Personally, I don't feel stuck. Quite the opposite. There's a home and a market for practically any noise I can wring out of my guitar. I use everything I have at my disposal (how about controlling a Korg KARMA synth with a midi guitar??) and I'm having a TON of fun.

I'm digging everyone from Jimi to Jimmy to Jack White. Things have never been better for guitar players. More tools, more markets, and more means of expressing ourselves.

Tube, SS, modelers, let 'er rip. There's room and a demand for all of them.

My point is, why do we have to accept that defacto standard? Is the tube mindset actually a limitation? Why don't vocalists amplify their voices with tube based rigs (TBR)? Why do most bassists seem to prefer solid state rigs to TBRs? Why aren't PA systems tube based? Keyboardists don't rely on tubes.

If everything was made out of tubes then we would have lot's of distortion introduced to our music. Thats the reason solid state came about. The problem with solid state was that it sounded too clean for our ears, hence unnatural and lifeless. The same happened when going from analog to digital recording. Of course this is not so much the case today. To me both have their place and you would be limiting yourself if you just went one way or the other.

Interesting BC76, but I am actually MORE inspired by plugging in to GR2 than going through my rig.

And the best part to recording this way is, I split my signal so I have a clean signal and the effected signal, so I can keep the original performance - and yet have one to tinker with. As soon as I lay down the track, I do apply the effected track to save CPU, knowing I can go back if I don't like it with the clean track.

DigiDis, I do some quick, arpegiated runs and I never experienced a noticable latency when laying down a track - that may have something to do with your setup. If some piece of hardware is sharing an IRQ, or you didn't tweak your machine, then I could see having a problem - but otherwise there is no way you should. I have a older machine - an Athlon XP+ 2600 with 1GB of ram and I can do a lot and stay in sync and not use a lot of cpu.

pgw, I have to scientifically oppose your theory I usually record my parts late at night, with ambient lighting and a few beers - if you can hear the stress in that, you need to donate yourself to science! Like I said earlier, even when I recorded in a real studio, I still was in the control room when I did my parts, for me, it isn't any different.

I still stand by my earlier comments that only the most trained audiophiles MAY be able to detect a higher-end amp sim, but 99% of people could not correctly identify when an amp sim is being used on a song that is fully mixed. That is my theory!