Silvertown Blues - efekt gitary

[koobaa]

Cała filozofia money for nothing to kaczka ustawiona w jednej pozycji. Radzę samemu spróbować, bo jeszcze ktoś znów zacznie się pluć jak przy poprzedniej mojej wypowiedzi a propos Silvertown Blues.

Z tą "całą filozofią" to dość duże uproszczenie. Kaczka, jeśli była użyta to zapewne na koncertach i to głównie trasy On Every Street (tam ją słychać dość wyraźnie). Wersja studyjna to kombinacja ustawień wzmacniaczy, mikrofonów i gitary. No i oczywiście technika o której wspomniał Schnitzell. Oto jak wspomina te sesje Neil Dorfsman:

I remember Mark's Les Paul Junior going through a Laney amp, and that was the sound of 'Money For Nothing'," says Dorfsman. "We were actually going for a sort of ZZ Top sound, but what we ended up getting was kind of an accident. Mark would be in the control room and we'd run a lead out to the main area, and I remember getting a channel set up to monitor, heading out to the room to move the mics around, and Mark's guitar tech Ron Eve getting on the talkback and telling me not to touch anything because it sounded amazing as it was. "One mic was pointing down at the floor, another was not quite on the speaker, another was somewhere else, and it wasn't how I would want to set things up — it was probably just left from the night before, when I'd been preparing things for the next day and had not really finished the setup. Nevertheless, whether it was the phase of the mics or the out-of-phaseness, what we heard was exactly what ended up on the record. There was no additional processing on that tune during the mix.
"Later on, we tried to recreate that guitar sound at the Power Station with the same amp, same setup and same models of microphone, but we could never get it. I'd drawn extensive pictures and had a little map of how everything was set up, but there must have been something weird going on to make the guitar sound that way in Montserrat, because in New York it sounded like a cleaner, karaoke version of the same thing. I messed around with it for a good couple of hours, but Mark was just getting bored and wanted to move on. The whole thing was very confusing.
"Later on, a lot of people asked me how I got the sound on the record, but it was just one of those happy accidents that have not happened to me very often. I don't know if something was broken, but we could not recreate that sound again. All I know is, it was the sound of Mark playing, using his fingers instead of a pick, together with the Laney amp. It felt and sounded so good that I just had him do five or six passes and later comped something together and wound up using a couple of the passes in the final mix, putting a double in at certain points even though that wasn't something he normally did.


Schnitzell, pokrętło od tonów skręcone na maxa to jak najbardziej dobry trop. Też tak zawsze to grałem, ale na straocasterze udawało mi się zbliżyć tylko do brzmienia z trasy OES. Podobny trick działał przy Brothers.