Don Guillermo a écrit :
Sinon +1 avec notre maitre a tous lemg , meme si les ADA MP1 étaient plutot pour Kirk ( boostés a la TS ) selon moi
Hetfield avait pas mal d'ADA à l'époque, mais pas nécessairement les préamplis, même si MP-1 devait bien traîner.
Il avait surtout un égaliseur et le delay Digitizer ou je ne sais plus trop quoi.
Hammett servait des ADA MP-1 pour ses rythmiques durant la tournée du black, il me semble.
Par contre en studio, ce cher Kirk avait de la tête Marshall boosté à la TS, c'est vrai.
Sinon, les fondamentaux :
http://www.montyjay.com/montyj(...).html
"We tried a bunch of amps, but I ended up using the same Mesa Boogie Simul-Class Mark II that I've used on the last three albums. In Los Angeles, there are a million amps you can try out, but none of them were up to snuff. Bob also brought in a bunch of crappy looking vintage amps. We gave everything a shot and ended up with the same old shit. I must admit though, it was a lot of fun trying out all those little Sixties and Seventies amps-they really sounded unique. A lot of metal players have forgotten that they can be useful. We used a couple of vintage amps for texture. But I wasn't about to play a rhythm part through a fuckin Fender Supro amp, you know? We sure as hell weren't making 'Led Zeppelin I.' " Guitar World, October 1991
...You can recognize Marshall distortion in an instant; that's why I shied away from that [although he does combine marshalls, uses them in the entire mix. He meant not just Marshalls by themselves-MJF] and went with Mesa Boogies. I basically use the Boogie's distortion with a non-programmable studio-quality Aphex Parametric EQ to fine-tune certain frequencies, dipping out some of the midrange [note, dipping out, NOT SCOOPING-MJF]. All my speakers are Celestion Vintage 30s." Guitar Player, October 1992
"I use a lot of mics...up to 8. I use them to phase cancel each other, to control the sound like with an EQ but instead of an EQ. I'm using Mesa Boogie amps, with an ADA MP1 preamp, but Boogie Simul-Class II is the main part of the sound. Cabs: Boogie for clean, cutting stuff, Marshalls with 30 watt Celestion Vintage 30s for warmth." Guitar Player, September 1991.
[Interview with Bob Rock]
"We synched two 24-track machines, one analog and one digital. We recorded the drums and fat rhythm guitars analog, but the vocals, solos, and clean rhythms were digitral. I've used that arrangement on my last few albums. I can't really explain why, though I like the clarity of digital for lead, and analog adds a pleasing quality for fat rhythm parts."
"The 'James' sound has a lot to do with the right resonance in a slightly enclosed space, as opposed to a wide open room [Kirk's sound-MJF]. I don't want to overstep my bounds, because James is very protective of what he does, but let's just say that a certain frequency is really dominant in his sound. It's almost a matter of building a 'room' specifically to bring that frequency out of the amp."
"....And so much of James' sound is that muted, bottom-end thunk. In fact, for James' harmonized lines on 'My Friend of Misery' it's just an MXR Distortion Plus straight into the board." Guitar Player, September 1991
[Asking about the new alubm being a reaction against AND JUSTICE FOR ALL]
Kirk: Definitely. Last time we went for a particular dry, up front sound, and we weren't 100% successful in achieving it. When we put that record on now, we go, 'Huh?'"
James: It's dry as a bone! Our second album, RIDE THE LIGHTNING, always sounded thicker than all the others-it had reverb, which we became afraid of using later on. We wanted the attack of the GARAGE DAYS EP, which was recorded live, but with the thickness of LIGHTNING. And when I listen to JUSTICE, I think, '-this is really long and drawn out.' We knew when we started this record that we wanted to concentrate the same energy and mood swings in shorter songs. A short song for Metallica used to be six minutes. Now everything is under five.
"My same old Mesa Boogie amps still work the best. We use a combination of things, like an ADA MP-1 preamp, but the Boogie Simul-Class II is the main part of the sound. It goes through a combination of cabinets: Boogies, which are good for clean, cutting stuff, and Marshalls with 30 watt vintage speakers for warmth. I got really good clean sounds playing Kirk's Tom Anderson strat through a Roland JC120 amp and plugging straight into the desk through an old MXR Dynacomp compressor [Think of the tone on "Nothing Else Matters"-MJF]." Guitar Player, September 1991
lemgement lemg
