Anyone else preferring “produced” sounds?

[Lele]

They have not made a pedal that goes into a clean amp that sounds like my gainy amps yet.

Generally I’d agree with you, but the large Bogner Blue pedal shocked me through my Deluxe Reverb. IMO it could fool many people into thinking there’s a high gain channel on that amp. I have t found another pedal that does it better.

I think it depends—especially on how many gain stages the pedal has. If we expect a single gain stage (as many simpler overdrive pedals use) to reproduce the rich, harmonious, full-on gain sound of an amp with three to six gain stages, we’re likely to be disappointed.

On the other hand, overdrive pedals with multiple well-calibrated gain stages—like the Bogner Blue, for example—can get much closer to that amp-like sound, though they tend to be more expensive.
Alternatively, stacking overdrives can also work well. The key is to keep the gain low on each pedal and avoid excessively boosting the input of the next pedal in the chain. This helps achieve a smooth, dynamic overdrive without harshness or flubby, “farty” tones.

 

[PLX]

.. Steven Albini ..

 

[the swede]

 

[the swede]

but on the other hand I find something like the York Audio packs, for example, unpleasantly raw.

Whaaat, well ok then. Her i am thinking even YA feels somewhat polished
Maybe they aint. Idk.

 

[TheTrueZoltan!]

Whaaat, well ok then. Her i am thinking even YA feels somewhat polished
Maybe they aint. Idk.

I know a lot of people like them. I always thought they sounded kind of tinny. But I only mentioned them as an example of raw, unprocessed sounds.

 

[Mikael Dez]

I prefer the middle way. I don't like IRs that are over the top “mix-ready” and extremely scooped, but on the other hand I find something like the York Audio packs, for example, unpleasantly raw. I like when there's already some slight processing or smoothing involved to make a guitar sound more pleasant.

What IRs do you use? I’ve been running York for a couple years, and before that Ownhammer. Other than that I have some Metallica album IRs lol

 

[sashimi]

This is an interesting topic because there are a few different opinions about what ‘processed’ means and there are so many different shades of guitar tone with and without effects. I definitely go for more raw tones as I don’t like the sound of heavily EQed guitar. But another thing that is a huge part of a guitar sounding processed is (over)use of delay and/or reverb. Usually the dead giveaway that someone is playing a modeler is that EQed and slathered in delay sound, especially with no shorter room reverb, so it kind of sounds like the guitar isn’t existing in any space. Its like the uncanny valley effect of having a roaring loud distorted amp that would shake the walls in reality, drenched in effects, that somehow doesn’t have any audible environment it lives in. I use a short room reverb on everything in modelers. And delays and reverb just have to be kept shorter and used tastefully.

 

[Lele]

I use a short room reverb on everything in modelers

But do you refer to live sound presets? Bedroom and/or headphones? Recording?

 

[sashimi]

But do you refer to live sound presets? Bedroom and/or headphones? Recording?

Oh yeah sorry I’m strictly talking recording and playing at home on studio monitors. I haven’t played live in years and when I did it was with amps. Maybe irrelevant to this thread if you guys are talking live sound.

 

[the swede]

This is an interesting topic because there are a few different opinions about what ‘processed’ means and there are so many different shades of guitar tone with and without effects. I definitely go for more raw tones as I don’t like the sound of heavily EQed guitar. But another thing that is a huge part of a guitar sounding processed is (over)use of delay and/or reverb. Usually the dead giveaway that someone is playing a modeler is that EQed and slathered in delay sound, especially with no shorter room reverb, so it kind of sounds like the guitar isn’t existing in any space. It’s like the uncanny valley effect of having a roaring loud distorted amp that would shake the walls in reality, drenched in effects, that somehow doesn’t have any audible environment it lives in. I use a short room reverb on everything in modelers. And delays and reverb just have to be kept shorter and used tastefully.

I’m definitely over using delay and reverb when I’m in the creative writing mindset. But I don’t see it a processed sound. And maybe that’s why I run everything straight in front of amp style. Because it still sound very raw and reminiscent of the “good old ways” and how many still do it to get that result.

I never got the digital modeler ways of placing blocks in a studio like approach post amp/cab. I understand the reasons and why some might want to do such things. It just wasn’t for me. Always placed the amp and cab block last when I used a modeler. But I guess that’s the beauty of modelers also… to be able to achieve different results.

 

[Lysander]

Every so often I take a trip down memory lane listening to a bunch of stuff that I loved as a teenager in the 90s just starting to learn guitar. Nirvana, Hum, Smashing Pumpkins, Bush, Weezer, Soundgarden. I’ve accepted that all that stuff has imprinted upon me all kinds of ideas about how guitars should be presented in a recording.

That's a really good baseline too, because most of the big albums from that era were incredibly well recorded. We didn't knew how good we had it back then.

 

[DrewJD82]

This is what I was thinking when I read "processed"-



I wouldn't refer to this as processed-

 

[EOengineer]

That's a really good baseline too, because most of the big albums from that era were incredibly well recorded. We didn't knew how good we had it back then.

The early and mid 90s are a masterclass in well recorded rock albums. I feel incredibly grateful to have been tuned into music young and being present during those insane few months in 91 when the fucking floodgates opened with all the Seattle bands debut albums, the black album, etc. Absolutely bonkers period for music.

 

[Lele]

Oh yeah sorry I’m strictly talking recording and playing at home on studio monitors. I haven’t played live in years and when I did it was with amps. Maybe irrelevant to this thread if you guys are talking live sound.

I think this post touches on a bit of everything, which might ultimately make it useful to… nobody.

In my opinion, the sound requirements vary so much depending on the context—whether you’re playing live on stage, recording in a studio, jamming in your bedroom with headphones or monitors, playing solo, or performing with backing tracks or a full band—that it’s difficult, if not impossible, to make generic statements or recommendations.

At one extreme, in a live band setting with a dense mix, we often need a focused and monophonic sound with a very narrow frequency spectrum that can cut through clearly. At the opposite end, during solo noodling in our bedrooms, we might prefer lush stereo effects, lot of reverb and a wide, full-spectrum tone that fills every bit of sonic space, leaving no room for other instruments or voices.

 

[Karl Houseknecht]

I rarely hear an accurate guitar sound on any commercial recording.

What makes a guitar sound “accurate”?

 

[2dor]

What IRs do you use? I’ve been running York for a couple years, and before that Ownhammer. Other than that I have some Metallica album IRs lol

You should try some of the @MirrorProfiles IRs. They're great too; fit very well in a mix - keep the guitar in the right spot.

 

[jay mitchell]

In my opinion, the sound requirements vary so much depending on the context—whether you’re playing live on stage, recording in a studio, jamming in your bedroom with headphones or monitors, playing solo, or performing with backing tracks or a full band—that it’s difficult, if not impossible, to make generic statements or recommendations.

This. General recommendations about "tone" ignore context, and context is essential.

At one extreme, in a live band setting with a dense mix, we often need a focused and monophonic sound with a very narrow frequency spectrum that can cut through clearly.

And we need to do even more than get a "good tone." We must also choose the parts we play and the register in which we play them appropriately for the context. If you're the only chord instrument, you have one set of constraints. In the presence of keys and/or additional guitars, there's a completely different set of constraints. And, of course, the musical style adds more constraints and requirements.

At the opposite end, during solo noodling in our bedrooms, we might prefer lush stereo effects, lot of reverb and a wide, full-spectrum tone that fills every bit of sonic space, leaving no room for other instruments or voices.

There's an in-between as well. I've heard small combos relying on stage volume alone sound incredibly slick and well-produced in night clubs. Noel Johnston and Andy Timmons are both masters of this context; both make generous but incredibly tasteful use of delay, reverb, compression, etc. in live performances.

 

[riffy]

What makes a guitar sound “accurate”?

Maybe I should rephrase that a bit. I rarely, and I mean, rarely have ever heard a raw guitar and amp sound on a well produced recorded album. When I say accurate, I mean accurate to what was actually coming out of the amp and speakers with no board work on it. No EQ, no compression, no expansion.

 

[Lele]

Andy Timmons are both masters of this context; both make generous but incredibly tasteful use of delay, reverb, compression, etc. in live performances.

Wow, you mentioned one of my all-time favorite guitar players, especially because of his incredible taste and signature sound.

That said, I once dared to suggest that his tone works so well in his context precisely because he plays as a “solo” artist, with very sparse (but beautifully arranged) accompaniments—just a few instruments here and there, if any. In a different setting, like a full band with a dense mix and multiple instruments competing for space, I think his usual tone might not fit as effectively. But I have no doubt that he’s so skilled and experienced that he’d find his sound and place within seconds—just with an adapted tone suited for the situation.

Andy Timmons and (I’ll add) Marcus Deml both have such fantastic technique and taste—both in their playing and their tone—that all I can do is listen and (hopefully) learn!

 

[banned]

All I do is plug a modeler into a guitar cab (with cab models disabled) and I have perfect 'raw' sounds for live playing. I then send another signal with IR (processed) to FOH.

Best of both worlds. It's not complicated.