Cedric Roux wrote:
Thanks for listening and I'm glad you liked the solo. The solo is the
same all the way from when it comes in until the end.
It's a Gibson Les Paul Studio, rhythm pick-up, tone backed all the way off.
It went through first a Behringer CS100 Compressor/Sustainer (Boss CS3
clone), with attack halfway and sustain up to the maximum. Then through
a Behringer CL9 Compressor/Limiter (TC Electronic Compressor copy),
attack towards minimum and sustain towards maximum.
I was going to track it through a phaser, but it didn't sound great and
there wasn't really enough time to try either phaser in different parts
of the signal chain so it did sound right. Given the amount of comping
it's perhaps as well that it wasn't printed with phaser anyway.
The harmony lead guitar (Les Paul, treble pick-up) was tracked with a
small amount of phaser (Behringer SP400 Super Phase Shifter; Boss PH3
clone), although I'm beginning to regret that now.
The amp is a Marshall JCM2000 TSL601 on the lead channel (gain 6, volume
3, master volume 4 -- I often track louder than this if I can). Treble
max, mid and bass at about 4.
It was mic'd with an sE Electronics sE1a small diaphragm condensor and
an sE2200a LDC at different points on the cone and mixed to taste.
It was mixed with a small amount of Invada Stereo Phaser (about 25%
depth) panned fairly narrowly, a bit of mild EQ using EQ10Q and bussed
in parallel through Invada Delay Munge (tempo sync'd) and fairly drastic
LPF and HPF. I could go into details, but I think it's really a question
of tuning the parameters so that it sounds right in the mix.
For the playing style and overall sound, think Slash without any fast
widdly stuff -- smooth and melodic high-gain sound with lots of bends
(oh yes, nearly forgot, it's drop tuned a semitone to assist with
bending). The harmony part is tonally more in the style of Dogs by Pink
It's no bother and I hope this helps.
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