The myth of guitar speaker distortion
Posted: 21 Jun 2018
needs work... sorry
(original post edited)
(original post edited)
So...this is the myth I got it
thanks! will read.zabukowski wrote: ↑23 Jun 2018This might be OT, but i would strongly recommend to read tech notes (page 12-13) from this manual. This is the manual of Egnater Rebel tube amps - absolutely the best tube amp i've ever owned in all aspects. Bruce Egnater is a real genius and these tech notes are a must read for any guitarist (convinced that his sound is the best on the world) - especially part about sound dispersion. Having that in mind, Egnater cabinets are actually the only ones you can turn directly to your head and still kind of enjoy the sound, haha.
http://www.egnateramps.com/manuals/Rebel30Combos.pdf
Not heard of these, and I thought I’d seen EVERY amp known to man working in Nashville for over 30 years!zabukowski wrote:This might be OT, but i would strongly recommend to read tech notes (page 12-13) from this manual. This is the manual of Egnater Rebel tube amps - absolutely the best tube amp i've ever owned in all aspects. Bruce Egnater is a real genius and these tech notes are a must read for any guitarist (convinced that his sound is the best on the world) - especially part about sound dispersion. Having that in mind, Egnater cabinets are actually the only ones you can turn directly to your head and still kind of enjoy the sound, haha.
http://www.egnateramps.com/manuals/Rebel30Combos.pdf
Totally this. You can even point the mic away from the cone and for most proper mics the change isn't as big as when you're moving the mic out of the main axis center.
Couldn’t agree more. Especially with electric guitars, the primary job of the engineer is to capture the tone you’re given, not fix it or change it. I don’t mind a guitarist spending time exploring tone options (most are quick about it), but engineers should know how to capture what they’re given without spending hours moving mics by inches etc. (IMO, as always).normen wrote:Totally this. You can even point the mic away from the cone and for most proper mics the change isn't as big as when you're moving the mic out of the main axis center.
I kind of always admired engineers who apparently would really "click" at some point when their guy moves the mic around in front of the amp and decide "thats the shit" and it actually works out until the end of a mix, maybe only with a bit of compression and reverb. Then again I've seen a lot who make a fuss about the amp and cab and later turn the sound into something completely different with limiters, maximizers, exciters and whatnot that I failed to see the point of the initial work
Yeah, to me thats always been the main thing. For me as a live engineer the art happens on stage and I am supposed to understand what they want to do and translate it best to the audience.
Of course theres exceptions, bass players for example. Always tell the bass player what to do.selig wrote: ↑23 Jun 2018Normen, I was on a session once where the engineer told the drummer what bass drum head to bring/use (and it wasn’t the head he normally uses).
I asked the drummer what he does in these cases, and he basically (and humbly) said “I’m here to serve”.
Besides, I guess you can then blame the engineer if the sound isn’t working.
The drummer was Matt Chamberlain, a drummer I would NEVER ask to do ANYTHING differently. The engineer shall go unnamed…
Sent from some crappy device using Tapatalk
Ha - literal LOL moment (good thing I wasn’t taking a drink)!normen wrote:Of course theres exceptions, bassist for example. Always tell the bassist what to do.selig wrote: ↑23 Jun 2018Normen, I was on a session once where the engineer told the drummer what bass drum head to bring/use (and it wasn’t the head he normally uses).
I asked the drummer what he does in these cases, and he basically (and humbly) said “I’m here to serve”.
Besides, I guess you can then blame the engineer if the sound isn’t working.
The drummer was Matt Chamberlain, a drummer I would NEVER ask to do ANYTHING differently. The engineer shall go unnamed…
Sent from some crappy device using Tapatalk
You gained another real life LOL from me. I could only imagine the stories engineers have about bands. On the other side of the desk, I've played with a fair share of bands where the bassist was almost always the source of the stories. A bassist obsessed with reverb has been my most puzzling nightmare. If I had photoshop, I'd leave a photo of a bandaid package re-labeled as Reverb right below this.
Well that was a rl lol from me now. Reverb... classic.strangers wrote: ↑23 Jun 2018You gained another real life LOL from me. I could only imagine the stories engineers have about bands. On the other side of the desk, I've played with a fair share of bands where the bassist was almost always the source of the stories. A bassist obsessed with reverb has been my most puzzling nightmare. If I had photoshop, I'd leave a photo of a bandaid package re-labeled as Reverb right below this.
A, A, A, A, F, F, F, F, G, G, G, G, G, G, G, G, G...Always tell the bass player what to do.
"Change the tonality" - thats the thing. Because they have the fundamental root note with the most energy in their hands all other notes "pull" towards that tonal center. Meaning if everything is in tune but the bass is out of tune then everything else will sound strange, not the bass. Same with singers, they most of the time automatically go with the note that the whole stage is shaking at, not what the guitar or synth is throwing at them through the monitor.Marco Raaphorst wrote: ↑24 Jun 2018I love bass players. They can totally change the tonality and groove of music.
I love it when the bass note is not the root!normen wrote: ↑24 Jun 2018"Change the tonality" - thats the thing. Because they have the fundamental root note with the most energy in their hands all other notes "pull" towards that tonal center. Meaning if everything is in tune but the bass is out of tune then everything else will sound strange, not the bass. Same with singers, they most of the time automatically go with the note that the whole stage is shaking at, not what the guitar or synth is throwing at them through the monitor.Marco Raaphorst wrote: ↑24 Jun 2018I love bass players. They can totally change the tonality and groove of music.
This results in a typical rock band issue: The bassist pulls the stings very hard, the note goes up, the singer follows and suddenly sounds off compared to the harmony instruments.
Well it doesn't matter if it's the actual root note (which is also just a thing of definition ) it's more about the frequency range and the resulting energy.