Absolutely EXHAUSTED

Bob Womack · #1 09-18-2023, 06:17 PM

I spent the day recording a song for another TV score. This time it was a post-grunge ballad, in the style of Alanis Morrissette. Talk about out of my wheelhouse. The sounds and the playing style are quite different from what I am used to. The clean sounds... aren't (not a problem) and the grind sounds are, well, a jagged little pill.

For some reason I was up against the clock more than usual - probably because the composer's computer melted down and I didn't get the guide tracks until well into the session. Once again I used the Line 6 Helix for all my amps. With update 3.5 they rebuilt all the cabs with IRs and I am really loving them. My amp selection this time was a Fender Deluxe Reverb and a Fender Twin cab with ceramic speakers to cut the mids a bit from the standard Deluxe cab. Funny thing: I left the U-47 mic model on the patch, mostly because it was the selection built into my preset and I didn't have time to go that deeply and rat things up with something sharper. Maybe next time.

Basically, I did the clean sounds with the Carvin TL60T with the bridge pickup split to single coil. Having a maple neck-through-body and alder body wings, it is a fairly bright instrument. When you compress it and gain it up just a little it gives that chimey cleanish sound that was popular with the movement.

For the grind I went with the Gibson SG Standard '61 Reissue. Post-gunge liked it splattered but not hi-fi, so the limited low-end bandwidth of the SG was great. Despite the '57 Classic Plus in the bridge position I haired it up pretty good with the Price of Tone model set to high gain and distortion to get the grunge sound.

I played mostly rhythm parts but the, um, rhythm of the song was a bit eccentric. Between having just been exposed to the song and being under deadline, getting clean takes was a chore. In the end, all-in-all I was pleased with my results. The session was remote, as in the composer wasn't there, so we'll see how the parts go down with him.

But darn I'm flagged, probably due to the pressure.

Bob

jim1960 · #2 09-18-2023, 07:18 PM

SGs always creep me out because the body reminds me of earwigs and those creep me out even more. Why do guitars need pincers?

Cecil6243 · #3 09-18-2023, 07:23 PM

Quote:

Originally Posted by jim1960

SGs always creep me out because the body reminds me of earwigs and those creep me out even more. Why do guitars need pincers?

Bob Womack · #4 09-19-2023, 03:34 AM

Quote:

Originally Posted by jim1960

SGs always creep me out because the body reminds me of earwigs and those creep me out even more. Why do guitars need pincers?

Now, now. They are offset.

Bob

dnf777 · #5 09-26-2023, 08:24 AM

Quote:

Originally Posted by Bob Womack

Now, now. They are offset.

Bob

Well I"ll be darned...they ARE!

(but I still have to side with Jim on this one...)

Bob Womack · #6 09-26-2023, 09:26 AM

You know, they do indeed creep some people out but they've got a unique place in the guitar ecosystem. The flat, wide fingerboard is very comfortable for chording and their unique sound fits into a mix completely differently from that of a Les Paul.

Tom Bukovac has said he will probably never go out on the road again without one of his SG Specials for those very reasons. The SG Special has P-90 pickups and sounds a little thinner, and growlier. It is a fantastic rock rhythm guitar.

All SGs have a weird little deal where the neck is shoved out to the left a little. For instance, you'll see Derek Trucks, who uses SGs as his home base, standing with the lower bout sticking out to the right to bring the neck closer in.

Bob