Friday, May 27, 2005
MORE MUSIC TO MY EARS
Dan from Aquiesce came by to do his bits yesterday, and I got a chance to live out a lifelong dream. We used the same amps as we did with Brett, but Dan has a Gibson SG (Angus) and a Gibson Flying V (Michael Schenker). In one day I got the AC/DC sound, and the Schenker sound. Angus simply plugs his SG into a Marshall 100W and follows the directions I detailed in my previous blog. So we did that. Michael Schenker add's a twist, he Plugs his V into a Cry Baby wah at half mast, and then into a Marshall 50 Watt plexi. So we did that too. Almost. Thanks to my Slash Series Marshall 100/50 watt combo head, I was basically able to emulate both classic sounds with one amp. Thanks Slash. By the way, I think you're great. Slash knows the tones I want, and Dan wants, and Brett wants, and Andy Rock wants, because they are the tones he wants, which in turn are the tones Angus and Michael want. Of course if you want the Angus sound, you need Angus, if you want the Schenker sound, be prepared to call Germany, and if you want the Bonham sound, buy a shovel.
Dan from Aquiesce came by to do his bits yesterday, and I got a chance to live out a lifelong dream. We used the same amps as we did with Brett, but Dan has a Gibson SG (Angus) and a Gibson Flying V (Michael Schenker). In one day I got the AC/DC sound, and the Schenker sound. Angus simply plugs his SG into a Marshall 100W and follows the directions I detailed in my previous blog. So we did that. Michael Schenker add's a twist, he Plugs his V into a Cry Baby wah at half mast, and then into a Marshall 50 Watt plexi. So we did that too. Almost. Thanks to my Slash Series Marshall 100/50 watt combo head, I was basically able to emulate both classic sounds with one amp. Thanks Slash. By the way, I think you're great. Slash knows the tones I want, and Dan wants, and Brett wants, and Andy Rock wants, because they are the tones he wants, which in turn are the tones Angus and Michael want. Of course if you want the Angus sound, you need Angus, if you want the Schenker sound, be prepared to call Germany, and if you want the Bonham sound, buy a shovel.
Comments:
another great blog - I have a 1987 100 Marshall JCM 800, and the ONLY setting I know is everything on 10. when you think you can feel your guts moving around inside of your body, you nailed it.
NOTE THIS TECHNIQUE DOES NOT WORK WITH AN ACUOUSTIC GUITAR W/PICKUP. ALTHOUGH IT DOES SOUND QUITE INTERESTING.
NOTE THIS TECHNIQUE DOES NOT WORK WITH AN ACUOUSTIC GUITAR W/PICKUP. ALTHOUGH IT DOES SOUND QUITE INTERESTING.
Amplifying an acoustic has always been a challange. I have always been convinced that there was no really good acoustic pick up until I saw James McMurtry in Austin a few weeks ago. To my shame I couldn't get a good look at what he was doing gear- wise, to my credit I was feelin' real good, which is probably accountable for my appreciation of Mr. McMurtry's live acoustic sound. I do know he was using some sort of electric acoustic, and not a mic. You don't often see guys using the old acoustic stand like Al Lifeson usta could, but I always liked that idea best, of course Melissa Ethridge would have a hard time being planted in front of a mic, but her sound - that Ovation thing - has got to go, it makes me fucking sick. Some of those country dudes got it figured out as well, the guys I saw at Gilley's in Dallas (I have no idea who they were) seemed to be getting' it too as I recall - same state of mind as the McMurtry gig....geez this is a long comment, almost a blog - shit , alchohol and blogging, a don't?
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