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Did you overdub some licks on this? I hear ya playing in the upper registers but I see your hands in the 2nd position down the fretboard. Don't worry, I won't tell anybo... Doh!
Very impressed with the sound of these clips. Definitely sounds like a professional mix. Can you tell us a little bit about what you do to capture the (presumably) multi-track audio, room ambiance, and then how you mix, sweeten, etc. You do a great job.
Very impressed with the sound of these clips. Definitely sounds like a professional mix. Can you tell us a little bit about what you do to capture the (presumably) multi-track audio, room ambiance, and then how you mix, sweeten, etc. You do a great job.
Sure. When we record, we usually capture 16 channels, in bigger rooms on bigger systems sometimes we will submix drum overheads and tom mics into two stereo pairs. We either use my StudioLive desk to mix and record the show on, or we will plug the StudioLive or sometimes an X32 into the outputs of a larger house desk just for recording purposes.
When I remix it later, I will typically pan it just like you would hear it looking at the stage -- drums in stereo across the spread, rhythm guitar left, lead guitar center, keyboards right, and a slight stereo spread on the vocals. I find it easier to use subgroups for drums, instruments and vocals so I can adjust those things as a group. I use very little EQ, compression or other plugins, sometimes a very slight delay on the vocals, and a little plate reverb on the drums and vocal subgroups. I might do something like send the kick drums to an extra channel and high pass them and then turn them up so you can hear them better without messing with the low end too much, or put a little extra lead guitar on another channel to bring up here and there without messing with the overall instrument levels. The band pretty much gets it dialed in onstage by the second or third tune and then no one really messes too much with their volumes, although I will ride the faders doing a final mix for things like keyboard solos, turning down backing vocals on certain tracks, etc. ... but for the most part I let it run like it happened.
I also like to get an audience recording and sync it up for just a little room ambience and "space" ... but not always.
Here's the whole take on Estimated Prophet. Not the best version we've ever done, by a long shot, but they never are when you film and record.
Everybody complains ... I can't hear myself ... the lead guitar's too loud ... the vocals are too low ... I gave up trying to solicit and accommodate that feedback and these days I just get it to where I think it sounds good and everyone just has to live with it
Really nice job in dialling in that Mutron sound on your FX II Vic. Might not be your best Estimated to you but it sounded great to me. Really nice subtle textures going on by all your band members! Great clean tone too. Really crisp.
How much different is your tone between your Scott Walker and your Irwin tribute? Must be a hard choice on which to play. I always make that decision on the fly as a "shit I got to pack the car in the next 10 minutes to catch the ferry to the gig" kinda thing (I live on an Island).
James-T wrote:Really nice job in dialling in that Mutron sound on your FX II Vic. Might not be your best Estimated to you but it sounded great to me. Really nice subtle textures going on by all your band members! Great clean tone too. Really crisp.
How much different is your tone between your Scott Walker and your Irwin tribute? Must be a hard choice on which to play. I always make that decision on the fly as a "shit I got to pack the car in the next 10 minutes to catch the ferry to the gig" kinda thing (I live on an Island).
Peace,
James
Thanks man ... yes, I'm digging the envelope on the AxeFX II, it's fat and sassy and opens well all over the fingerboard, which is something I always had a hard time with using both the MuTron and the Q-Tron. The AxeFX II also has a Colorsound wah emulation which I am looking forward to trying out during the next PITB or Greatest Story that we play.
I carry both the Walker and the Tiger to all the gigs, and it's a good thing, too, as the Tiger has had a few problems over the past few months. I greatly prefer the playability (and weight and balance) of the Walker to the Tiger, but the Walker is chambered and much lighter, so it lacks a little bit of the fatness that the Tiger has tonally. Now that there's a DualSound in the Tiger, they are even more different but I am sure I will alternate as the spirit moves me.
James-T wrote:Really nice job in dialling in that Mutron sound on your FX II Vic. Might not be your best Estimated to you but it sounded great to me. Really nice subtle textures going on by all your band members! Great clean tone too. Really crisp.
How much different is your tone between your Scott Walker and your Irwin tribute? Must be a hard choice on which to play. I always make that decision on the fly as a "shit I got to pack the car in the next 10 minutes to catch the ferry to the gig" kinda thing (I live on an Island).
Peace,
James
Thanks man ... yes, I'm digging the envelope on the AxeFX II, it's fat and sassy and opens well all over the fingerboard, which is something I always had a hard time with using both the MuTron and the Q-Tron.
Vic,
I second that emotion on your tone and playing---really tasteful. You are probably the best "Jerry player" I've ever heard---even better than JK, IMHO. I also like how "zen" you are on stage. I am curious how the OBEL/Buffer combination work in the context of your auto wah, since, as I understand it, that effect is coming via your Fractal. I understand the value of the OBEL was to be able to hit your pedals at a consistent volume & tone so that their behavior doesn't deviate with guitar volume/tone adjustments. But if, as I understand it, you're using a "modeled" effect from your Fractal, are you able to patch it in a way that still allows you to do this? Can you enlighten the uninitiated, oh Zen master?
