Guitar Tone - Who would have ever imagined?

[mojobone]

Hey, look ... it works!

Is anybody else reminded of Billy Gibbons?

[mojobone]

Your objection is noted, Will; I feel the same way about people who buy four or five different analog synth emulations and never bother turning the knobs. Presets can be a wonderful aid/substitute for memory, but they're no substitute for learning to program your axe. While the possibilities of your average modeling amp can't really be described as limitless, there's an awesome amount of sonic territory one can cover with a complex system like the X3 Live; you'd be hard pressed to come up with as many sounds for guitar, bass, keys, synths or samples from anything else that cost $499 and doesn't require a computer. (and the presets in just about everything are crap, compared to what a skilled musician can obtain)

[cardell]

I like to use my amp when I'm trying to do something that I can't get through modeling, like feedback, and I like to play my amp!

Have you seen this?
http://www.softube.com/acoustic_feedback.php

Stuart

[mojobone]

Yeah, and it's also possible to get feedback from a studio monitor, if you have a zero-latency option and enough juice in your monitor system. Still, it's usually easier with an amp. Ebow is fun, too.

[wta]

I like to use my amp when I'm trying to do something that I can't get through modeling, like feedback, and I like to play my amp!

Have you seen this?
http://www.softube.com/acoustic_feedback.php

Stuart

Funny!!! Ah, you can get samples in every key of feedback now from Les Pauls, Strats, Teles, PRS, you name it, ordered straight to your hard drive or free from any file stealing p2p near you!
Here is a question that I think few guys who are new to the industry miss... "What is a music supervisor going to think of me when they ask me about the tools I use to produce music?" The same question is relevent when colabing or building a business team and if you think industry pros aren't going to care what gear your using I suggest a deeper look at the mindset of an industry lifer. After 30 years in for me 9 out of 10 chats will defalt to talking gear! For years I was really "just" a vocalist and played part time rhythm guitar so my need for pro gear was nigh nil but over the years as I've expanded what I do so also my gear had to expand. Easiest way to figure out what gear was going to be exceptable was to research what the pros use, I also have teched for many national acts so checking out their rigs, pedal boards and wireless systems was VERY educational. Producing music, same deal by looking at studios and other music producers gear lists. Industry pros "sell themselves" based on their experience and they're gear even to the point where they'll list their gear along with their resumes on websites and printouts so their potential clients will know what they're buying. That's why I list my gear, especially for the purpose of recruiting for my band and gigs that I do, you can check out my paltry gear list here... www.williamthomasanderson.com/studio.htm its NOT the top of pile gear but non the less its in the pro pile (for the most part). Gear on its own won't cut it either but all I'm really trying to say is that HOW we make our music can be just as relevent to the equation as what our music sounds like.

[mazz]

In my experience, the people who I am trying to sell my music to don't care at all what gear I use as long as the music sounds great and works musically for what they need at the time. When they do care about the gear is when they've heard the same stylus loop or omnisphere patch over and over again or if the production isn't up to par. But even then, if they ask for changes they might say "fix the strings, they sound synthy" without caring what you use or how you do it.

Some folks might be impressed by gear but if the composer can't write and produce great music with it, it's really just taking up space.

[rld]

I totally agree with Mazz...The library owners and music supervisors I've dealt with are not gear snobs.
I've never been asked what gear I use and all my tracks with guitar parts I have signed have been done with sims.
Does it sounds good? That's all that matters.
I believe a talented player can get good sounds with either.
Personally I love standing in front of a screaming amp...nothing like it,
but its not necessary to get great tracks, IMO.

[wta]

If a music super sniffs you're using crap gear are they real going to hire you for regular work? Come on guys! I'm talking to people who think they're going to work in this industry beyond getting a forward through taxi... I also know you both use pro gear so no offence lads but you don't count in this equation... Do you really want to argue that you need pro gear to work professionally?

[mazz]

I'm not sure where this is going but isn't it the music that really matters in the end? If I use a cassette deck and a radio shack mic and the music sounds great and generates royalties, the music supervisor won't care when the checks come in.

But yes, if I want to get custom composing work and if once I get the gig I have to work fast and meet deadlines, then by all means, ultra-reliable great sounding gear is required for 100% reliability and uptime. But again, the client isn't going to care if I use ProTools and an Neumann mic or a Marshall amp or a Line 6 Pod as long as I deliver the music on time, under budget and exactly the sound and style they are looking for.

I just met a fair number of music library people, and not once did we talk about gear, we talked about music and business and issues in the industry. I guess if I wanted to put them to sleep I could have started rattling on about this synth or those strings or blah blah blah. But if you're putting yourself out there as a pro, then it's understood that your music sounds pro, no matter how you get there.

If I'm going to have my kitchen remodeled, I'm certainly not going to pick my contractor by first going over the list of saws and hammers he uses! I'm going to want to meet him in person and see if we can work together. I expect that if I am hiring him and his company, he will get the job done with whatever tools he deems necessary to make it happen. It's the end result I care about as the client.

I love gear as much as the next gear head, but bottom line is the gear is a tool. If someone in the industry is more interested in the tools I use than the music I create, then maybe I don't want to work with that person because they're not listening with their ears, they're paying attention to the wrong things, IMO.

Some people love to use plastic picks, some nylon, some half dollars and some choose to use their fingers only. Who cares ultimately except the player and their cronies who sit around and analyze this stuff. And that's fine, but if the music isn't good, then what's the point?

Mazz

[wta]

IF a contractor shows up with a dinky hammer and hand saw to work on your kitchen are you really going to use him mazz... Every contact you've worked with wouldn't hire that contractor either. This is a no brainer.
Is this about picks or amp sims? No, what I'm saying in the last part here is about professionalism and the reality that you've got to have both great chops AND gear. I'm also including other aspects of the industry beyond sitting in your home making music for taxi listings, I'm including being a session player, live performer and professional music producer.
I'm confused at where the confusion is? Would you be working for you know who with radio shack gear mazz? Right?