Guitar Test!?

[ScotClayton]

The other evening my son, Scotty (he's 14 years old) was messing around on the guitar in my studio, so, I thought it might be a good time to do some tests. Remember that he's ONLY 14, and I only taught him to read TAB a few months ago.
What I did, was let him play around for a minute or so, then hand him another of my guitars, play that one for a minute or so...then hand him another, etc.
Want to see if you can tell which guitar is which?
I didn't change any of the settings between guitars, so the ONLY difference is the guitars.

The Guitar List:

(1) Gibson Les Paul Custom (Black Beauty) with Gibson Tony Iommi Signature pups
(2) Gibson Les Paul Custom with stock pups
(3) BC Rich Warlock with set-neck, and stock pups
(4) BC Rich Warlock, cheapie with bolt on neck
(5) Line Wildfire Xtreme set-neck with stock pups
(6) ESP clone F-Body, with two stock hummies, and one single coil

See if you can match the guitar with the mp3 file:

http://smcproductions.org/Music/TrackNo01.mp3

http://smcproductions.org/Music/TrackNo02.mp3

http://smcproductions.org/Music/TrackNo03.mp3

http://smcproductions.org/Music/TrackNo04.mp3

http://smcproductions.org/Music/TrackNo05.mp3

http://smcproductions.org/Music/TrackNo06.mp3


Remember he's ONLY 14, and just started playing...so No smartassed comments on his playing ability, he's doing quite well, I think, for the amount of time, he's been playing..

Have fun!

[ScotClayton]

BTW,
Most of the guitars, and amps used can be seen here:

http://www.smcproductions.org/GuitarWallLaneyEra.jpg

[brandondrury]

Awesome post! Too bad I'm stumped!!!

Damn, this is hard! I thought I would be much better at this. I'm sure it would be easier to tell if we heard the same riff on each guitar, because I'm having trouble!!! I thought I would surely be able to pick out the bolt ons verse the set necks.

Not to tell you how to raise your kid or anything, but you need to be really careful when exposing your son to the perills of direct guitar recording at such an early age. It may be the path to destruction! When you feel he is old enough, I'd sit down have a heart to heart talk. Explain to him what an SM57 is how is supposed to use it. Then, when he's ready to hit record on his own, he'll be armed with knowledge to make the right choice!

Brandon

[ScotClayton]

Originally Posted by brandondrury

Awesome post! Too bad I'm stumped!!!

Damn, this is hard! I thought I would be much better at this. I'm sure it would be easier to tell if we heard the same riff on each guitar, because I'm having trouble!!! I thought I would surely be able to pick out the bolt ons verse the set necks.

Most folks eventually got the Gibsons first, then 'weeding' them down from that. It would probably have been 'easier' to tell, without distortion, etc. but as I stated, I didn't change anything...just handed him different guitars, and he was already messing around, etc.

Not to tell you how to raise your kid or anything, but you need to be really careful when exposing your son to the perills of direct guitar recording at such an early age. It may be the path to destruction! When you feel he is old enough, I'd sit down have a heart to heart talk. Explain to him what an SM57 is how is supposed to use it. Then, when he's ready to hit record on his own, he'll be armed with knowledge to make the right choice!

ha...funny...you are talking up the 'wrong tree' about the 57, I have several of course, but don't really care for them...works for alot of things, best at nothing! ;-)

The 'guitar signal chain' is something like this:

Guitar into Damage Controls' Demonizer PreAmp, into Rocktron Hush, VAmp Pro (mostly in bypass with a bit of compression), Laney Tony Iommi Signature Head, DI from head, also DI from Demonizer, also (2) Senny e609 on cab, PLUS stereo outs on the VAmp pro, all mixed together Oh...forgot a bit of Room Mic to taste!

[brandondrury]

you are talking up the 'wrong tree' about the 57

Fair enough. I don't use my 57s much for guitar anymore, either. I've grown to really love my Royer R121.

How hot are the Tony Iommi pickups? I've heard they have very high output. I'm used to hearing the stock 490T or whatever the hell it is.

Guitar into Damage Controls' Demonizer PreAmp, into Rocktron Hush, VAmp Pro (mostly in bypass with a bit of compression), Laney Tony Iommi Signature Head, DI from head, also DI from Demonizer, also (2) Senny e609 on cab, PLUS stereo outs on the VAmp pro, all mixed together Oh...forgot a bit of Room Mic to taste!

How did it turn out? You should post something in "Bash This Mix" or "Bash This Song". This complicated rig is either the Holy Grail or the recipe for Disaster.

It sounds like your recording method isn't too different than what Michael Wagener used. I was down at his Workshop last January for 9 days. You can read all about it here:

http://www.recordingreview.com/artic...-Workshop.html

Brandon

[ScotClayton]

Originally Posted by brandondrury

Fair enough. I don't use my 57s much for guitar anymore, either. I've grown to really love my Royer R121.

I think ribbons are the *secret weapon* of alot of things. With all the 'cheap' ribbons out there now, make's us SO lucky to be able to try things out. Wasn't too many years ago, that a Ribbon mic was a luxury that most of us couldn't afford!

How hot are the Tony Iommi pickups? I've heard they have very high output. I'm used to hearing the stock 490T or whatever the hell it is.

They are *hot sounding*, but really not all that HOT in output, as in level. They have a VERY unique tone, just like Tony. I bought a pair to try out in my 'Black Beauty' LP Custom, but have decided to install them in several of my other guitars too. Probably just put one in some of the others, instead of the pair, for a bit of tone differences. They have a awesome tone, won't feedback, unless you want them to...as you bring them up, they just get more 'mean' sounding without EVER getting muddy. You can always hear definition in them. They are amazing, I think! You can crank them down, and get a almost clean tone...WELL worth the money!

How did it turn out? You should post something in "Bash This Mix" or "Bash This Song". This complicated rig is either the Holy Grail or the recipe for Disaster.

This is my 'normal' guitar recording chain...

It sounds like your recording method isn't too different than what Michael Wagener used. I was down at his Workshop last January for 9 days. You can read all about it here:

Cool! ..bet you know a few friends of mine too, then...Jeff and Julie Westlake, and Jeff Boggs! ;-)

I was at their Nashville show the other day, and of course Michael was there. He's been one of my *Recording Heros* for years, producing, mixing, etc. some of my favorite all time albums, and I NEVER thought I'd get to shake his hand.

I've known Jeff Westlake for years. Awesome dude! Worked with Hydrogyn some on their first album, etc.

[brandondrury]

Jeff and Julie Westlake, and Jeff Boggs!

Well it's a small world. Yeah, we all went out to eat several times and, of course, we were locked in a small studio together for 5 days straight. They are extremely talented musicians and nice people. I hope the very best for them. Their dog is most unbelievably trained dog in the universe.

I was at their Nashville show the other day, and of course Michael was there. He's been one of my *Recording Heros* for years, producing, mixing, etc. some of my favorite all time albums, and I NEVER thought I'd get to shake his hand.

Wagener's just some wannabe shitbag. He didn't really produce all those records. ;D

If you've got 9 days and $2500 to blow I couldn't recommend a better way to spend your money than the recording workshop. Wagener is very good about hanging out after the sessions. I figured we'd attend the workshop 10 hours per day and then go our seperate ways, but he was great about hanging out, telling stories, etc.

In all seriousness, he's one of the coolest guys I've ever met even if you take away all of his recording stuff.

I think ribbons are the *secret weapon* of alot of things. With all the 'cheap' ribbons out there now, make's us SO lucky to be able to try things out. Wasn't too many years ago, that a Ribbon mic was a luxury that most of us couldn't afford!

I've haven't heard of any ribbon mic even being bad. People same to be liking the cheap ones just as much as the very expensive ones. I went out on a limb to buy the R121 and it has been a tremendous purchase once I adapted to it.

I bought a pair to try out in my 'Black Beauty' LP Custom, but have decided to install them in several of my other guitars too

Man, you seam big on these pickups. I'd love try them out! How much do they run these days?

This is my 'normal' guitar recording chain...

Man, I've tried so many different "crazy" methods that I've sort of settled into using just one mic and one cabinet and layering with the different amps I need. This is for more modern type of guitars.
How long does it take you to get the phase right on those mics. Are you using anything to compensate for the DI being ahead just a little bit? Do you have an isolated room for this sort of thing? (Feel free to create new threads to answer these questions).

It's just exciting to me to find a guy who understands recording AND guitars.

Brandon

[ScotClayton]

Originally Posted by brandondrury

If you've got 9 days and $2500 to blow I couldn't recommend a better way to spend your money than the recording workshop. Wagener is very good about hanging out after the sessions. I figured we'd attend the workshop 10 hours per day and then go our seperate ways, but he was great about hanging out, telling stories, etc.

In all seriousness, he's one of the coolest guys I've ever met even if you take away all of his recording stuff.

I've considered taking his 'classes', but can't spare the time, right now, or the money. Hell, I wouldn't mind just being 'a fly on the wall' and soaking up some of the vibe in there! :-)

I've haven't heard of any ribbon mic even being bad. People same to be liking the cheap ones just as much as the very expensive ones. I went out on a limb to buy the R121 and it has been a tremendous purchase once I adapted to it.

I think they work great on just about anything...I LOVE their 'tone'! I'm still a bit too paranoid to use them on LOUD sources like my guitar cabs, and snares, etc. but lots of other folks do, and LOVE them! My cabs can get REALLY loud sometimes, and kids falling over stuff, kicking, etc. don't want them to get trashed, I guess...

Man, you seam big on these pickups. I'd love try them out! How much do they run these days?

Oh...around $120 or so...

Man, I've tried so many different "crazy" methods that I've sort of settled into using just one mic and one cabinet and layering with the different amps I need. This is for more modern type of guitars.
How long does it take you to get the phase right on those mics. Are you using anything to compensate for the DI being ahead just a little bit? Do you have an isolated room for this sort of thing? (Feel free to create new threads to answer these questions).

It's just exciting to me to find a guy who understands recording AND guitars.

Brandon

Well, I'm NOT sure I how much I understand them...but I like some of the sounds I get. I don't really think it's a crazy chain, but I guess it's a bit much for some folks. I track to a Alesis HD24, so if down the road, I feel that I don't like or need some of those tracks, I just don't use them. Lots of times, though, I do. The e609's do get the lions share of the tone/sound, but the DI'd stuff, sometimes adds a unique quality,etc. I don't see any reason NOT to use them. After everything is all set up, it doesn't take any more work/time, etc. I have yet to have major phase issues, and the time diffs, most of the time, make it sound 'live'!

[brandondrury]

I've considered taking his 'classes', but can't spare the time, right now, or the money. Hell, I wouldn't mind just being 'a fly on the wall' and soaking up some of the vibe in there!

Well, if you win the lottery, I HIGHLY recommend it!

I'm still a bit too paranoid to use them on LOUD sources like my guitar cabs, and snares

I remember being very afraid of using volume on my R121. I still wouldn't use it on snare drum (for tonal reasons) but one day something snapped in me. I built a "fort" that does an amazing job of knocking down levels and I started recording my amp heads on 10. That's where I start now! Anyway, I went through a phase where I was trying to blow up my cabinet. Not really because I wanted it to actually blow, but because I wanted to try. I recorded many times this way but could never blow the cabinet.

So then I decided I was going to blow up my Royer R121. Why not? So I crammed the Royer R121 about 1/4" off the grill in pretty much the center of the cone (not a good idea with a 57, but pretty awesome with a R121). Anyway, I've been doing this for about 6 months. I've not been able to blow up anything. I guess I suck at that.

So anyway, if a Royer R121 can stand to be 1/4" from the grill of a Marshall 4x12 cabinet with a Rivera Knucklehead or 1971 Superlead on "10", then I'd think that it can handle about anything. I can't speak for other ribbon mics.

Well, I'm NOT sure I how much I understand them...but I like some of the sounds I get. I don't really think it's a crazy chain, but I guess it's a bit much for some folks.

I find that it takes me so long to get everything in phase where the tones actually compliment each other that I'm better off with one mic, one cabinet and multple amps on different layers.

You are right though, it's not like you have 9 mics out there. Even Ross Hogarth's method is pretty wild. http://www.royerlabs.com/session_pho...vildriver.html

The e609's do get the lions share of the tone/sound,

http://www.recordingreview.com/forum...p?topic=1112.0

Brandon