![]() I personally would probably do the whole thing in one track, but I'm kinda crazy that way. If that really gives you too much overlap, then maybe try the 5 band and leave bands 2 and 4 routed to nowhere so there's more of a gap between them. Lead guitars: 100-watt 1971 Marshall Super Lead/Matchless EC 30 edition (not sure what cabs)Ĭabs on mids/low tracks were miced with SM57's, the Rockman direct injection and I still haven't found which mics Jerden used on the Super Lead or Matchlessīy this you mean to avoid much in the way of overlap? I don't think it's really that big of a deal. Highs: Rockman into a Marshall 12 Lead/Bogner Fish Poweramp into a Marshall PV Cabinet (G12M's + 30 watters)/Soldano Preamp (sometimes) Mids: Bogner Ecstasty into a Bogner Ecstasy 4x12 (G12M's)/Dual Rectifiers (sometimes) Lows: Dual Rectifier into Marshall 1968 Straight Cabinet (Celestion G12M's) and aīogner Fish Preamp into a Hafler Power Amp that went into a Marshall PV Cabinet (G12M's) ![]() Also, I know I'm not going to get the same exact tone given I'm not Jerry, I don't have the same gear, and I don't know what his exact settings were for each amp, but I figure I'd at least give it a shot since I'm a huge fan and look up to him as a player myself.īy the way if anyone is interested about the exact amps, cabs and mics they on "Dirt" from what I've gathered: I apologize for the abundance of questions, I'm still a newbie when it comes to mixing in general. As far as panning goes, would it be better to just record the three different amps as separate tracks, blend them in mono, double them and then pan accordingly, or should I blend/double them after I pan them? For tracking should I use a parent track with the three tracks as child tracks, and if so, would the JS be used on the parent?Ĥ. Which version should I use, the 3 or 5 band?ģ. How would I go about utilizing this so that I can avoid crossover frequencies?Ģ. I've recently discovered the JS Band Splitter. So basically there were 3 tracks on the left, 3 in the center and then 3 on the right.įor my own setup I'm using amp sims from Kazrog and LePou, to which I've found pretty decent tones for each of the amps I'm trying to replicate, but I can't quite figure out the best way to go about recording them. The three amps were then mixed into one track, which was doubled and then all three tracks were panned using the LCR method (Left Right Center). Each amp was designated to correlate with a certain frequency range, which when combined produced a huge tone. In a condensed explanation, the way he achieved this was by recording into three different amps at once, using a Lucas Splitter to combine them into a single track. Pedals also get a look in, with a Crybaby, Dunlop Rotovibe, Boss TU-2 Tuner, Big Muff and a Pro Co Rat being among the tools of choice.I'm essentially trying to setup a guitar recording process similar to that of Jerry Cantrell from Alice In Chains, who used a very complex method to get such a massive sound. His Bogner Shiva is well set up for using a pro-level rack, and he uses an Alesis MidiVerb, Eventide HD3000, a pair of Rocktron RPS Intelliverbs and a BBE 462 Sonic Maximizer in his rack. ![]() However, his main amp these days is the Bogner Shiva, an item that goes not to 10, nor even 11, but to 12! Cantrell uses an obscene amount of differing amp rigs and, according to our sources, other models include various Boogie Rectifiers, Soldanos, Marshalls and Fenders.įor effects, Cantrell is similarly demanding. His main tones come from the enigmatic Fish preamp made by US amp gurus Bogner and fed into a Mesa/Boogie Simul Class 2:90 power amp and ultimately out through Marshall 4X12 cabinets loaded with Celestion Greenback speakers. When an acoustic is called for, Cantrell evidently borrows a custom-made Giffin made for Mike Inez.Īmpwise, proceedings are a little more involved. Original Cantrell guitars usually featured Duncan pickups, Kahler locking trems and a nicely battered finish. G&L have apparently reissued the model but, with a mere 70 in the pipeline, they are going to be scarce. These guitars do occasionally turn up on eBay and similar sites, but expect to pay a pretty penny or three. Responsible for a major part of the unique sound was Jerry Cantrell, who is now a solo artist in his own right, and his gear, complex though it may be, proves that, first and foremost, tone comes from the fingers.Īlthough he leans more towards Seymour Duncan-loaded Gibson Les Pauls, it was with the long-deleted G & L Rampage that he made his original mark. Since the death of vocalist Layne Staley in April 2002, Alice In Chains, one of the most innovative bands of the 90's, was lost forever. THE TONE ZONE (Guitar Techniques, June 2004)
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