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All Other Guitars (including Prestige) Discussion about other Ibanez Guitars not covered in the above topics. Includes J-Custom, USA-Custom, Prestige subforum.

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post #16 of 31 (permalink) Old 08-06-2003, 03:44 PM
 
Join Date: Nov 2001
Location: Somerville, MA
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Wordwolf, just screwing with you, man. I knew exactly what you meant, and i agree with you- informed debate is what makes places like jemsite as valuable as they are, and anyone who disagrees should be summarily taken outside and shot.

sam669- "fizzy?" sure that's not the cymbols you're thinking of? grab a decent set of headphones and listen again (128kbs version). the two tracks of guitar are panned a bit further out than the cymbols are, so it should be easy enough to pull the guitar sound out in your head from the context of the mix... overly tubby, rumbly low end, that i could see, but fizzy...? Hmm. I mean, the strat on the left channel gives it a bit more upper-register cut than the TZ-equipped 2027... Oh, did I remember to mention that? the riffs aplayed on the 7 were done with the TZ still in the bridge.

Anyway, i agree on the lead tone- given an actual Mark-IV instead of it's less-flexable little brother, the Rocket-44, I'd have cut the lower mids a bit more a la g3-era petrucci to tighten up the tone a bit, but as thigns stand this is a pretty good example of the sort of lead tones the Evo will give you, and for that last chord, well, that's a rough idea of what it'll give through a Mesa Mark-style amp, single-tracked; I double track all rhythm parts because it sounds SO much fuller, but you can get a little bit of an idea...

Compositionally, yeah, the drummer played this peice QUITE a bit faster than i originally demo'd it at, so i was having a hell of a time laying back on the melody sections.

And the difference between JP's occasional wrong note live and mine, is, well, he's petrucci. i'm not.

-D
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post #17 of 31 (permalink) Old 08-06-2003, 06:02 PM Thread Starter
 
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nothing to do with the cymbols/cymbales whatever. I dont know, it gives me the impression of fizziness. and moreover, maybe too much of a rock sound to me
tubby I agree, but "rumbly low end"? damn, its not low end sounding enough for me...
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post #18 of 31 (permalink) Old 08-07-2003, 05:02 PM
 
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listening back, yeah, maybe you're right. A better bass guitar tone could fix that, i think, but the guitar sound itself is definately more of a bass/lower mid sound than is traditional...

That extra crunchiness you're talking about is definately the strat. I could pick it up a bit, listening back to it and A/B'ing the two sides... I kind of like the interplay between the two, it gives it a little more attack and presence, while still capturing some of the depth the humbuckers add.

Anyway, the acoustic environment i was recording in is still pretty lame... a bunch of sliding glass doors on the other side of the room dcefinately doesn't help things. Someday, i gotta get myself a proper home studio...

-D
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post #19 of 31 (permalink) Old 08-07-2003, 05:50 PM Thread Starter
 
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please check the clips i posted in the multimedia section
there were no replies, so they must suck donkey balls, but plz tell me about the guitar tone
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post #20 of 31 (permalink) Old 08-08-2003, 02:31 PM
 
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I'll take a listen when I get off work- no speakers here, and the echos in this courtyard would just be obscene.

I haven't browsed that forum in months- that's probably why I missed them.

-D
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post #21 of 31 (permalink) Old 08-08-2003, 06:51 PM Thread Starter
 
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i also wanted to make a thread about the edr on the "other ibz guitars", but i dont have pics of it alone. either there's me, either there's my 2027, and some people could find that obscene lol!

let me know when you've listened to the clips
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post #22 of 31 (permalink) Old 08-11-2003, 11:28 PM
 
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That wasn't a bad tone at all, sam. It isn't quite how I'd choose to dial one in (i'd go for a little less lower-mids and a little mor eupper mids, ideally), but it's a good sounding guitar, and a pretty decent amp tone, too- what amp is that through? The highs were a touch harsh for my tastes, but that's extremely subjective... cool stuff.

-D
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post #23 of 31 (permalink) Old 08-12-2003, 06:57 AM Thread Starter
 
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aah, glad you checked and liked them at least a little
those recordings were made without the yamaha DG. Just the EDR470, RP100 (using the "High Gain" amp model based on a Johnson), Hughes & Kettner. Then a computer desktop mic to capture the sound, and some little EQ tweaking under Cubase (enhancing rather than modifying actually).

The highs are smoother in my current tone: I use the Mark IIc model instead of the Johnson (I dunno but for me, the DG just doesnt do it for lead tones). It sounds spongy in the lows, thin and almost singing in the highs.
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post #24 of 31 (permalink) Old 08-12-2003, 10:50 AM
 
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Yeah, i could hear a little bit of an acoustic snap in the background there, I was wondering if that was how you were recording. I used to do that myself... Good stuff, and the DG does seem to sound a bit more organic than Line6... cool.

By the way, cool phrasing on the first clip there, nice and out.

-D
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post #25 of 31 (permalink) Old 08-13-2003, 08:28 AM Thread Starter
 
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do you think using a sm57 would really improve the sound quality?


Quote:
Good stuff, and the DG does seem to sound a bit more organic than Line6... cool.
maybe i didn't get what you said, if it was related to the clips, or in general, but if you were talking about the clips, well, the rp100 and the hughes & kettner are responsible for the sound, not the DG buddy.



and what do you mean by out??? sloppy?
wehehe, [/quote]
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post #26 of 31 (permalink) Old 08-15-2003, 02:48 PM
 
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Let's run through this in order... sorry, i tried to respond yesterday, but we hasd a brief powerfailure at work...

1.) SM-57. If you're comparing a SM-57 to a good computer mic (yours sounded suprisingly decent), then yes, the results will be much better. It'll have a better frequency response, more detail across the response, and as it can handle higher sound pressure levels, you can push the amp a little harder, for better tone. Also, it's more of a focused, directed pickup, so you won't get as much of the "acoustic" sound from the electric guitar getting picked up. However, I've personally never cared for the sound of a SM-57, for close-mic'ing, anyway- it's got this overly bright, slightly "gritty" quality to it, to my ears... It'd probably be a little better for room mic'ing, but as the room I keep my TSL in has four sliding glass doors on the far wall, that's not really an option... So, it might be the answer, but try a few more, too. See if you can get a shop to let you take a couple similarly-priced mic's home for the afternoon, to see what sounds best with your room and your gear.

2.) Yeah, a H&K will probably smoke most digital amps, no matter WHAT you put in front of it...

3.) No, I meant "out" as in "unpredictable," not "Sloppy." The way you keep sliding into unconventional notes was cool- reminds me abit of George Lynch, maybe. I like that kind of stuff. I mean, i think you';re just joking around here, but better safe than sorry.
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post #27 of 31 (permalink) Old 08-16-2003, 09:15 AM Thread Starter
 
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do you have any other mics you'd recommend? The thing is that I'm looking for something which will cprecisely apture the sponginess of my low end (which my desktop mic strangely, cant do lol!).

about the phrasing thing, i didnt exactly get what you meant by "out", but I was still joking I'm going to check Lynch more seriously cos the only song I have from the man is "Tierra del Fuego" with Derryl Gabel.
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post #28 of 31 (permalink) Old 08-17-2003, 01:15 PM
 
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I'm only vaguely familiar with Lynch myself, but check out his leads on Tony Macalpine's "Tears of Sahara," off Maximum Security. Incredible disc, but his two solos (1st and 3rd) on that tune may be the best guitar playing on the whole album, and I LOVE Macalpine's work on that disc.

The best way to get that "Spongy low end" on disc might not be a particular mic, but rather different micing strategies, room micing, in particular. The problem with capturing bass frequencies isn't one of simply having a mic that gets good pickup in the low end, but rather simply one of wavelength; the lowest frequencies coming out of a guitar amp (say, 120 Hz and below) have a wavelength that may actually be longer than the distance between the speaker cone and the mic, if it's close-mic'd against the grille. To really capture the low-end sound of an amp, you need to mic from farther back.

The traditional studio trick is to walk around the amp for a while while playing until you hear the exact tone you want on tape... Then, get a mic stand and place a good mic exactly at ear level. The idea is to treat the mic exactly like an ear- if the sound you're hearing with your head right next to the grille is the one you want, then that's where you want to mic, but most of he time you're auditioning tones, it's from about ten feet back and around seex feet up, which is a VERY different sound.

Thing is, your computer mic used in this manner should give you quite a bit better bass response, too. You lose a bit of focus when you mic this way, which is why a lot of people use both a close mic and an ambient mic when recording, but it might help you a bit.

-D
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post #29 of 31 (permalink) Old 08-17-2003, 02:03 PM Thread Starter
 
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i have that song, knew lynch was playing in it, but I never really loved his parts... like'em though!

is there anything that i could use to be able to record with 2 mics? my soundcard hasnt got enough inputs...
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post #30 of 31 (permalink) Old 08-17-2003, 03:11 PM
 
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Yeah, you could sub-mix with a small-four channel mixer before running into the soundcard... I know Behringer (sp?) and a few others offer small four-channel inputs in the $70-100 range...

-D
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