George Lynch tone test

[harddriver]

For the record I have never denied the effects of the studio EQ and mastering techniques applied to recordings. That's why I tend to gravitate to live performance tone for the core tones. I've heard plenty of people getting killer live tones amateur and pro through fairly simple rigs that would only get better when all the studio tricks get applied like the Templeman 10K @ 2DB and others.

If you watched the Ossie Ahsen chasing the tone videos 1-4 he covers the effects the EQ had on the final tone of VH1. Even with the effects of the studio EQ's Ed got a great tone live in the beginning of the tour before the use of the GE10 and at that point I doubt he was using a studio EQ live at that point. Later on I agree with you who knows through the years.


i just wanted to hear the original core tone that you had with the BEOD before you ran that EQ matching software to hear the difference, it had to sound better with the BEOD than when you were using the RAT. I'm just trying to have a discussion with you about it not an argument.

[PLX]

I'm just trying to have a discussion with you about it not an argument.

Fine.

Maybe Rocky will come in here and argue with me.

[PLX]

For the record I have never denied the effects of the studio EQ and mastering techniques applied to recordings. That's why I tend to gravitate to live performance tone for the core tones. I've heard plenty of people getting killer live tones amateur and pro through fairly simple rigs that would only get better when all the studio tricks get applied like the Templeman 10K @ 2DB and others.

Here's an example of something I was working on last night..

I took an isolated guitar track off Extreme II : Pornograffitti and analyzed it with Fab Filter Pro-Q 3.

I had the software generate a 24-point curve plot of the difference between my incoming guitar signal and the ISO track.

My reference tone is a RAT pedal going into the front of a stock JCM-800 and then into cab+mic sims of a Celestion G12H-55hz speaker mic'ed with a Shure SM-57.

Then I took 14 of the 24 the EQ plot points and manually input them into ReaEQ (native to Reaper DAW) which is an unlimited band IIR based equalizer.



What this allows me to do is dispense with Fab Filter, and just use ReaEQ and get very close to Nuno's Pornograffitti tone with the gear I have (wrong pickup, wrong amp, no Furman PQ-3, No Michael Wagener, etc, etc..)

[lll]

When you start trying to mimic the recorded tone, you're dealing with not only the EQ they used live (which becomes such an integrated part of their tone they refuse to dispense with it - even in the studio) but the array of vintage, sophisticated EQ gear being wielded by a guy who is a fucking 33rd degree wizard at compression, gain staging and EQ.

Yep it's a pain many times over. But the good news is the more you fiddle, turn knobs and listen, the better you get and the more "disciplined" your ears get. This skill can take decades if you're doing it yourself and don't have a real studio.

And these fucking wizards would sometimes use weird gear and/or uncommon techniques to get certain tones.

One thing that can help immensely right away is trying to nail a 60's or 70's guitar tone... they had far less toys to play with both guitar-wise and in the studio (versus the 80's) and the mixes were more simple. Shouldn't be too hard to get, say, Montrose 1st album tone for example.

But the number one key to nailing these tones (any tones), is having as close as possible the same gear they had (studio included).

[PLX]

One thing that can help immensely right away is trying to nail a 60's or 70's guitar tone... they had far less toys to play with both guitar-wise and in the studio (versus the 80's) and the mixes were more simple.

True. Rock guitar tones were wildly different from the surgically EQ sculpted tones of the 80's & 90's.

Much more raw. Did not stand on their own, but did sit well in the mix with bass & drums.