How to destroy a amp

67plexi said:
Some will never get it what a great tube amp sounds like one of my customers just ordered a pair of
engraved base Western Electric 300B thing is once you hear this amp it's a game changer
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Kinda funny that the "amp" you hear on just about every recording done in Los Angeles is Blue Cat Destructor or Avid Eleven Mk II....
 
Since I'm a card carrying senior citizen, I can break out the senior citizen cranky card on occasion. With the vast amount of pedals nowadays that can give you every tone imaginable, I still can't understand why people mod their Marshalls. At the very least they are voiding any warranty. At worst they can destroy a perfectly good amp. To me, once they mod it to get a particular tone, they are now stuck with it. I mean no disrespect to anyone here who does this. I just don't get it.
 
SIx String Chef said:
That would be contemporary recordings, yes?
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That would be just about everything at Capitol and even many lesser studios. If you want a cheaper studio with vintage amps, try ES Studios in Glendale, California.

Very, very few people using a real amp down here in a legitimate, pro studio for hire.

Imagine, setting up an amp and cab and spending 45/60/90 minutes getting microphone placement, ambient mic placement, amp settings???

For example, here at Capitol Studio 'A,' the rate is $3,040.00 for a 10 hour "lock out" and that includes an engineer.

They don't play games in L.A.

It's about producing a professional product as quickly as possible...
 
SIx String Chef said:
That would definitely explain the lack of... that something, that "soul" in many contemporary recordings and music, that any song from even not too long ago had... This would also mean that record labels as we knew them are long gone by now, yes?
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Not really...not in every case.

I've been in the studio where a client brought in a rented (vintage) JCM800 2204 and matching cabinets, and we spent hours setting it up...but everyone agreed that Blue Cat Destructor sounded more organic.
 
SIx String Chef said:
That would definitely explain the lack of... that something, that "soul" in many contemporary recordings and music, that any song from even not too long ago had... This would also mean that record labels as we knew them are long gone by now, yes?
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Labels are still very much alive and well.
 
Robert Herndon said:
Not really...not in every case.

I've been in the studio where a client brought in a rented (vintage) JCM800 2204 and matching cabinets, and we spent hours setting it up...but everyone agreed that Blue Cat Destructor sounded more organic.
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I agree... But wouldn't that mean that you can only get so many iterations of tone out of the same amp that at some point everybody sounds more or less the same? Yes, I know... That's pretty much every hair metal band and their JCM800s...

It's just that so much of contemporary music (especially pop) sounds so... impersonal and "mass-produced" to me (if that makes sense) that I sometimes do not feel even remotely inclined to give it the benefit of an evaluatory listen, TBH. Sometimes just cant get past my cynical ears...
 
67plexi said:
Is this guy for real ?? or are people tone deaf ?? just asking
Example of my work no it's not a kit build. I'm not selling anything eater.


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Just watching the video and the first thought that popped into my mind: "has ANYBODY told this guy about the existence of lavalier mics and what their beneficial effect to video recordings is???". :unsure: DAMN!! Sorry for the quick derail, had to get it out of my system... back on topic!
 
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Robert Herndon said:
That would be just about everything at Capitol and even many lesser studios. If you want a cheaper studio with vintage amps, try ES Studios in Glendale, California.

Very, very few people using a real amp down here in a legitimate, pro studio for hire.

Imagine, setting up an amp and cab and spending 45/60/90 minutes getting microphone placement, ambient mic placement, amp settings???

For example, here at Capitol Studio 'A,' the rate is $3,040.00 for a 10 hour "lock out" and that includes an engineer.

They don't play games in L.A.

It's about producing a professional product as quickly as possible...
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I know people are using these methods but the big boys still record like this:

The secrets behind Adam Jones' tone on Tool's Fear Innoculum: producer Joe Barresi reveals all | Guitar World

I have friends doing major label releases that won't even record digital let alone use a fake amp.
 
I can understand that for economy of resources (from equipment, to labour, to setup/takedown times, to payroll and so on...) and overall convenience while touring, many bands have incrementally jumped into the Kemper / AxeFX / Neural DSP and similar bandwagon to replace their analog amps, cabs and pedalboards from a few years back. Prime example: my hometown boys, Rush... even before the R40 tour...

However, for studio recording I feel it's a whole different approach... personally, I wouldn't think of using digital modelers, -as insanely good as they are or can get-, as the motor that drives and defines my sound on record... I'd go with a good old Amp, a couple of SM57s and a couple of other condenser mikes and just let 'er rip... call me old fashioned.
 
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