Well, by the time you amplify an instrument and have it mic'ed through the PA your '59 strat is not going to sound much different from an electric ham sandwich anyway.
True.
An interesting observation based on our last couple of webcasts.
- Thread starter Mark Wein
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Well, by the time you amplify an instrument and have it mic'ed through the PA your '59 strat is not going to sound much different from an electric ham sandwich anyway.
True.
Help!I'maRock!
Mediocringly Derivative
i was more thinking about the differences in intonation "spot-on-ness" between say a Suhr and a Classic Vibe.
"Close enough" and "right on" are two different things....you can get away with some stuff live that'll never fly in the studio.
Help!I'maRock!
Mediocringly Derivative
if both are being recorded, how can you make that distinction though?
Johnny N.
Kick Henry Jackassowski
I cant imagine that in a live mix, during a live performance that any intonation issues would ever be noticed whether it be a Suhr or a Classic Vibe. Plus you are only getting one shot at it so it is possible that there will be some clunkers in there anyway. I dont think it would be noticed in many recordings actually other than instances where the guitar is being played pretty clean and maybe isolated or featured in the mix during a song or part of it.
I just think it is great that lower priced instruments are being made well enough for professional players to consider owning them and possibly using them in certain situations. Like I said before, it means hacks like me can own an instrument that will perform well enough to not discourage us and make us quit without having to spend a fortune on something we dont know if we will stick with.
I will say that an electric ham sandwich is very difficult to intonate.
somethings that sound fine in a live context can be disastrous in the studio. I've had to record a song with my Tokai before and punch in all of the open C chords.
Chad
Slender Hobbit
Thats exactly what I was gonna say.
Help!I'maRock!
Mediocringly Derivative
have you listened to recordings of your Tokai in live settings and felt the need to do the same?
warren0728
Kick Henry Jackassowski
sigged....
Lerxst
spaghetti and blankets
I've never recorded in a professional environment but I've had several friends, who've been in signed bands, record for commercial release. In each case, they played whatever instruments they played day in and day out at home and on stage...and that's everything from MIM standard strats w/ mods, stock MIM teles, stock LP studios, MIA off the shelf fender guitars on up to vintage & high end gear. 9 times outta 10, it's not the guitars that get swapped out for recording but the amps. The studio will have a killer plexi, Mesa or AC30 that the producer or engineer thinks would sound tits on a certain track or he loves to record. As long as the guitar stays in tune and the player is comfortable with it, it's good to go in most cases.
No, but you're missing the point. Some styles of music intonation is important to a point but if you are playing blues or jazz for instance and everyone is tuning to the piano in the room there is going to be some "intonation funkyness" and thats fine for the style. No one bitches about the intonation in a Wes Montgomery recording. Now go do a recording session in a studio where you are layering guitar upon guitar on a track that was built from the ground up using samples and synth sounds and see how that works. One impetus for me investing in a Suhr was a few recording sessions I did for a local singer/songwriter where every instrument I brought to the session had "SOMETHING" that wasn't lining up pitchwise with her tunes full of loops and synth sounds. It sounded bad, was embarrassing and I haven't been called back by that artist since.
Has Tom Harkenrider had this issue with the hundreds of recordings he played on with his vintage gear? Probably not. He plays styles of music where things need to be more raw and greasy. Am I running into this right now? No, since I haven't done a recording session for someone other than El Borrachito in years. If I was actively doing session work I'd be more concerned about that sort of thing and if I was touring with a pop artist with a similar aesthetic it would be the same. If you are doing album work and the pace is more relaxed you might get away with it if you are going for a specific tone. If I was doing a supermarket commercial or an orchestra date with 130 people on the clock it needs to be in tune and in time the first time around. Different settings have different thresholds.
John Watt
Banned
I'm still trying to imagine Keith Richards and Mick Jagger, with the rest of The Stones, happy onstage, happy in their limos, happy in their studios,
with fake, pre-beat guitars. Let whatever legend you want to grow grow. But you don't do what they do to be big, just to get fake.
I thought Keith Richards' "fobbing you off", off-hand wave, that Johnny Depp imitated as "Captain Jack Swallow", is proof of that attitude.
I never used an imitation guitar. And that's not just being left-handed.
with fake, pre-beat guitars. Let whatever legend you want to grow grow. But you don't do what they do to be big, just to get fake.
I thought Keith Richards' "fobbing you off", off-hand wave, that Johnny Depp imitated as "Captain Jack Swallow", is proof of that attitude.
I never used an imitation guitar. And that's not just being left-handed.
Help!I'maRock!
Mediocringly Derivative
we're also talking about two totally different contexts of "live". you're referencing a recording from 40 years ago. i'm thinking about "how does my guitar intonate with my keyboard player's digital piano". if we're not spot on then the doubling we're doing on eachother's parts goes out the window. and i'm of the mind that if it's not ok for the studio, then it's not ok for the stage. but i think it's just a different mindset.
Aahzz
Habanero Evangelist
Member title request
Help!I'maRock!
Mediocringly Derivative
that's not what i said at all. but ok.
paulskirocks
Blue Zone Compliant
It doesn't matter what you said, what you meant, what you meant to say, or what you meant to mean... You have entered the Watt Zone...
reverend1
Kick Henry Jackassowski
Quick someone organize a rescue party.
Chad
Slender Hobbit
I highly doubt you can tell the difference in a $10000 Gibson LP and a $400 Epiphone when captured on an iPhone or a zoom hand held at a packed club. Even sound board recordings aren't that great, they are usually mixed for the room, meaning the drums are low in the mix because they are louder on the stage and the vocal are really hot.