Well… it certainly isn’t because of unfamiliarity with the material 
It’s great having all these recording facilities made available but it’s a bit like being given my own starship Enterprise – at last! – but there’s no Scotty or Sulu or Chekov to tell me how to work it! So really what’s taking the time is finding a way of working. I’m struggling to get a decent rhythm guitar sound, one that has the cojones I need but also the sweetness. I know Trower gets this by having two stacks, Marshall for the bollocks and Fender for the tone. I’m trying to get this effect with two tracks instead, one with an early Marshall 70’s type crunch and another one with a light brown sound, think early Eddie. Something I’ve discovered is that there’s a very good Sunshine of Your Love lead preset, this is with the Line 6 Toneport, I may well use that for some lead parts. There’s a barse-ackwards Jimi in there too, I might use that as well. But for now for the rhythm sound I’m experimenting with the various presets, mixing two or maybe more of them together. Very time-consuming as I can only do a little at a time, then I have to walk away from it for a time to be able to hear the results with something like fresh ears. I find that everything I listen to becomes affected by what I’ve listened to just before it and just before that and before that too, so I have to stop as I lose track of what it all actually comes over as being. Here’s where you need your experienced sound engineer to hand, someone to simply dial in the sound and give you the thumbs up. When you listen to a record, you get these guys performing their part as well as the recognised recording artists. We solo bedroom chappies have to do without any of these sage advices, so any suggestion that the mere provision of cheap recording facilities presents us with a level playing field is ignorant, pure and simple.
Thank Gawd I’m a bleedin’ rocker and can cope with all this shit!
BB
You must log in to post a comment.