Tone

[ViperDoc]

Here's a fantastic solo with great tone from one of the best guitarists on the planet who, incidentally, is playing an NF3 live: Jimmy Herring. Solo starts a bit after 2:00 in.

Here's another from the same album:

 

[DISTORT6]

I try to have a blend of some of these plus some others. TRY.

 

[Bogner]

Oh, we’d get along just fine! And if we don’t, we shut up and take turns flipping the albums.

Of Course We Would! I Am Sure Of That.

 

[nac]

Here's a fantastic solo with great tone from one of the best guitarists on the planet who, incidentally, is playing an NF3 live: Jimmy Herring. Solo starts a bit after 2:00 in.

Here's another from the same album:

Those are great!

 

[ViperDoc]

Those are great!

Jimmy Herring is a legend. That album was recorded in 1993, so it's not as HD as some other examples, but for the time, the tone was great and the playing was phenomenal. Glad you liked it. He's worth a Google anytime.

 

[nac]

I try to have a blend of some of these plus some others. TRY.

You hit some really great ones and one of my favorites in Warren Haynes. He toured years ago and played I'll be the one and his tone, and playing were incredible. Here's a bad version but you get the idea (solo at the 4 min mark):

 

[nac]

Jimmy Herring is a legend. That album was recorded in 1993, so it's not as HD as some other examples, but for the time, the tone was great and the playing was phenomenal. Glad you liked it. He's worth a Google anytime.

I knew the name but need to dig in deeper. Thanks for the tip, I'm going to dig in this weekend.

 

[ViperDoc]

Here's one of my favorite songs off of the Krantz Carlock Lefebvre album, "Rugged Individual". In terms of guitar tone, it showcases Wayne Krantz's incredible, sparkly approach to Marshall cleans. This entire album in my opinion is a masterpiece on several different levels. Keith Carlock's drumming is superb, also noteworthy for its owns tones and textures. The middle of this song sets up layers of increasing cymbal and snare-head-tap phrasing and complexity under a really nice wah solo, then a set up back to the chordal weaves of the verses. Some all around fantastic playing and tone. Not the shredder style, but this I think you might agree is on top of its game. Hope you like it.

 

[DISTORT6]

You hit some really great ones and one of my favorites in Warren Haynes. He toured years ago and played I'll be the one and his tone, and playing were incredible. Here's a bad version but you get the idea (solo at the 4 min mark):

He’s the main reason I got a Soldano SLO-100. I was on the rail for the entire Mule show and was hooked on THAT tone.
On that album, he used an original PRS HG-70 4x12 with the SLO. Had to get one of those, too.

 

[nac]

Here's one of my favorite songs off of the Krantz Carlock Lefebvre album, "Rugged Individual". In terms of guitar tone, it showcases Wayne Krantz's incredible, sparkly approach to Marshall cleans. This entire album in my opinion is a masterpiece on several different levels. Keith Carlock's drumming is superb, also noteworthy for its owns tones and textures. The middle of this song sets up layers of increasing cymbal and snare-head-tap phrasing and complexity under a really nice wah solo, then a set up back to the chordal weaves of the verses. Some all around fantastic playing and tone. Not the shredder style, but this I think you might agree is on top of its game. Hope you like it.

Ok Viper you're taking me out of my normal realm here and I like it. I just listened to it once through but I need to go back and listen to that a couple more times. Like you said, many levels to that and I enjoyed it more than I thought I would!

 

[nac]

He’s the main reason I got a Soldano SLO-100. I was on the rail for the entire Mule show and was hooked on THAT tone.
On that album, he used an original PRS HG-70 4x12 with the SLO. Had to get one of those, too.

That version of that song is one of my all time favorites. I was lucky to see it live. The way he builds it and then keeps is so musical. WH is amazing IMO.

 

[ViperDoc]

Ok Viper you're taking me out of my normal realm here and I like it. I just listened to it once through but I need to go back and listen to that a couple more times. Like you said, many levels to that and I enjoyed it more than I thought I would!

That whole album is fantastic, some tracks are pure meditation. Krantz is a very unique player, on this album he was still in his James Tyler super-Strat lane, always running through a Marshall head for cleans and dirt with lots of flavor added, including a really cool use of the Freeze pedal.

This is a great one. Some really nice exploration of space, no pun intended. This album crushes the GCDA recipe just on principle.

 

[dmatthews]

Here's a fantastic solo with great tone from one of the best guitarists on the planet who, incidentally, is playing an NF3 live: Jimmy Herring. Solo starts a bit after 2:00 in.

Here's another from the same album:

Can't see those vids cuz I'm a north of 49er, but I've seen others and they are spectacular!

 

[RossF]

I've subconsciously tried to copy this tone since I heard this album. To me, it's a perfect blend of saturation, note separation and tone

EDIT: playing is out of this world, too. Blues, jazz, and rock zipped all together. It's easy somewhere in the top 10 of my favourite albums.

Funny enough, I'm not familiar with Joe's other work

This is my favourite Satch album. You might like it too:

 

[ViperDoc]

This is my favourite Satch album. You might like it too:

Nice post. This album was recorded at Skywalker Sound. I love the reverb on the drum kit, I think it's natural room mic'd verb from the large soundstage room they set up in.

I had the miraculous opportunity to record bass on some of Steve Miller's blues album demo tapes when he was scratch recording for song selection. That album was also eventually recorded at Skywalker Sound also in the same room, and Joe Satriani played on several of its tracks. Some combinations just work, man.

 

[Simon Says]

This is my favourite Satch album. You might like it too:

I will give it a good listen.

Nice post. This album was recorded at Skywalker Sound. I love the reverb on the drum kit, I think it's natural room mic'd verb from the large soundstage room they set up in.

As far as drum tones go, the Kravitz Circus and Nirvana In Utero have always been my favourites. Oh, and anything Bonham! I really like roomy, dark drums with up-front floor toms and bass drum. No spring on snare for me, thank you very much.

 

[RossF]

Nice post. This album was recorded at Skywalker Sound. I love the reverb on the drum kit, I think it's natural room mic'd verb from the large soundstage room they set up in.

I had the miraculous opportunity to record bass on some of Steve Miller's blues album demo tapes when he was scratch recording for song selection. That album was also eventually recorded at Skywalker Sound also in the same room, and Joe Satriani played on several of its tracks. Some combinations just work, man.

Nice avatar.

 

[ViperDoc]

As far as drum tones go, the Kravitz Circus and Nirvana In Utero have always been my favourites. Oh, and anything Bonham! I really like roomy, dark drums with up-front floor toms and bass drum. No spring on snare for me, thank you very much.

I haven't heard that Kravitz tune in ages. I can hear a heavy influence of the Stone Temple Pilots era of the mid 90s. Great tune.

Bonham was one of the best drummers ever, but he owes his big room sound to Andy Johns. Coincidentally, when that blues album was mixed back at Steve's studio, it was engineered by Kent Hertz out of L.A. and the mix was overseen by Andy Johns himself in Steve's studio. I got to meet him at Steve's mix desk room to listen to the first mixes. It was an insane experience.

 

[Simon Says]

I haven't heard that Kravitz tune in ages. I can hear a heavy influence of the Stone Temple Pilots era of the mid 90s. Great tune.

Bonham was one of the best drummers ever, but he owes his big room sound to Andy Johns. Coincidentally, when that blues album was mixed back at Steve's studio, it was engineered by Kent Hertz out of L.A. and the mix was overseen by Andy Johns himself in Steve's studio. I got to meet him at Steve's mix desk room to listen to the first mixes. It was an insane experience.

I used to adore Kravitz on Circus and hated everything he did after. I'm a big fan of the STP; Weiland was one of the best voices of the 90's. Second to Layne Staley, in my non-matter opinion. I can't say I see the comparison, though, except maybe what STP did on Tinny Music.

Bonham was an animal. Have you seen him playing with bare hands? He used to be a bricklayer; he could slap these drums like a *****. Monster drummer!

 

[ViperDoc]

I used to adore Kravitz on Circus and hated everything he did after. I'm a big fan of the STP; Weiland was one of the best voices of the 90's. Second to Layne Staley, in my non-matter opinion. I can't say I see the comparison, though, except maybe what STP did on Tinny Music.

Bonham was an animal. Have you seen him playing with bare hands? He used to be a bricklayer; he could slap these drums like a *****. Monster drummer!

No worries. I hear it in the guitar tone (De Leo's tone was higher gain), mixed with the tempo of the song, the downward chromatic chord progression and the inverted chord in the end of the chorus's phrase--it made me think of the STP song, "Plush".

I've seen clips of Bonham slapping the skins, sure. He was a beast. His swing was legendary, and I don't think anyone's backbeat carried more authority than his. Kashmir, anyone?