Which 2 Axes Would You Bring...?

[garrett]

If I were Pdiddy, I'd bring an LP and whichever PRS goes with it the best. That way you have trem and no trem options with minimal tweaking.

Me, it depends.

For cover gigs, I usually just bring one unless it's a big gig. The CU22 is my favorite for that. The master controls and my split wiring make it easy to use and crazy versatile.

For the blues band, it's the Strat. It sits just right in the mix and has all the clarity and power I want for that music. I think I'll bring my modded SE One for the more amped up tunes and as a backup.

 

[markd21]

I was a page and a half in and still thinking, "not one person yet has asked what kind of gig this is." Seems to me, especially as many guitars as some of you have, that what kind of gig it is would be a big part of deciding. I know it would for me.

Interestingly enough, I never considered it regarding the original question. I figured that the OP knows "what works" and was asking based more on cosmetics rather than which tool is best for the job.

As far as my own choices, the funny thing for me is that I tend to always be in hard rock/classic metal/prog-lite bands. The only guitar I have that would be "difficult" in that application would be my Esquire. I COULD make it work, but it would be pointless since I have others that would do it easier (PRS or Ibanez).

When it comes to doing the recording gigs I do, yeah...I ask the producer or artist a TON of questions.

 

[Pdiddy]

I was a page and a half in and still thinking, "not one person yet has asked what kind of gig this is." Seems to me, especially as many guitars as some of you have, that what kind of gig it is would be a big part of deciding. I know it would for me.

When I said "gigs" I meant it only as "somewhere other than your house and in front of others"....and however someone would like to apply it towards themselves...

 

[JimmyDee]

I was originally going to say: The black Les Paul and the Santana.
The Gibson has such a unique sound... but the Tremonti is SO much nicer to play.

I'd have to echo what many others have said: for a gig, I would bring your Tremonti and your Santana.
Simply because you can cover a wide range of sound with those two (very different sounding) guitars.

Here's the two I gig with. Totally different sound from each guitar, and covers all range of music style.

 

[László]

When it comes to doing the recording gigs I do, yeah...I ask the producer or artist a TON of questions.

You’re a good guy to do that!

When I bring in session players for an ad project, I’ll send a demo with the type of thing I’m generally looking for before the session (I can stumble through that well enough). Then I turn ‘em loose; guitar/amps/pedals are up to them (but no modelers - too hard to get ‘em to sound right in a mix.

I’m ok with the gear players want to use 99% of the time.

 

[László]

We could use you.

Everything depends on your craft service rider.

And whether we get a nice tour bus.

 

[Deleted member 5962]

I meant more, the kind of gig music, not the corporate banquet vs. chicken wire thing. Sometimes, I mix it up because I want too. But usually, I take the guitar that best suits the kind of music I'll be playing.

 

[markd21]

You’re a good guy to do that!

When I bring in session players for an ad project, I’ll send a demo with the type of thing I’m generally looking for before the session (I can stumble through that well enough). Then I turn ‘em loose; guitar/amps/pedals are up to them (but no modelers - too hard to get ‘em to sound right in a mix.

I’m ok with the gear players want to use 99% of the time.

Thanks! Yeah, I learned over the years that many of the people I work with - demo level singer/song-writers in project studios - really have no idea what they want. I ask TONS of questions to narrow done the overall vibe. Usually it comes down to getting them to give me an example from a song, lol. Once I have that I can research the gear, if I don't already have an idea.

In truth, I find it almost ALWAYS comes down to one of the following types of tone - 1) a tele sound, 2) a strat sound, 3) a humbucker sound. As guitar players we can split hairs about whether it's a LP or a 335 or Super-strat. To an acoustic player looking to fill their arrangement, it's just a "thicker" sound than the Fender guitars offer.

I do bring a Line 6 Helix rack to sessions. Sadly, most of the "producers" I work with don't have the space to mic an amp at a decent volume, or the skills/mics to "do it right". As a player, I feel my job is to give the artist/producer the best/cleanest signal they can have to work with later. It has been a LONG time since I have worked in a situation where it was preferred that I bring an amp!!

 

[László]

It has been a LONG time since I have worked in a situation where it was preferred that I bring an amp!!

Dude, you need to hang out with a better class of producer!

 

[Rusty Chops]

Last time I took my tweed Bassman to a session (at their request), it didn’t work very well in the room.
I wound up going direct into the studio rack gear and they set it for what they wanted.

In the end I was mixed so far back they could’ve saved their money and let me stay at home.

 

[Johnny Rigs]

There is a distinct lack of DGT in the OP's photos. Much more difficult to decide...

 

[Pdiddy]

There is a distinct lack of DGT in the OP's photos. Much more difficult to decide...

LOL.....another guitarist friend of mine has a DGT that I play sometimes.....it is fabulous for sure.....I promise I will try to consider a DGT for the next purchase....

 

[markd21]

Dude, you need to hang out with a better class of producer!

Yeah. The Tampa area is weird. There are only a couple "pro" facilities and they are they don't really do much except bands or hip-hop....and they are EXPENSIVE. I don't blame the singer-songwriters for never using those places. It's a different approach, but I do pretty well (both $$ and dates). While it would be fun to roll in with my old Tremolux or a Rivera and have access to an engineer that knows mics and placement techniques to get the best tone possible. the "artist" budgets and studios just aren't big enough. In the end, I am ok with doing what I need to do to be involved in the creative processes of others. That's what I enjoy most.

However, I did just finish a session "type" that I don't think I'll do again. I was mailed tracks (.wav) and was asked to provide my tracks as DI tracks with no processing. I recorded via a Radial Pro 48 DI box and used Helix Native to hear my tones. In the end, I sent the DI'd .wavs and the "producer" was happy because he could pick the sounds. I will admit, I am not into that. While I do use a Helix, I use it like an amp. I have rigs programmed in there. I plug my guitar into it and adjust EQ on the "amp" as needed to fit the tracks. In fact, most of my rigs are set-up with the gain rather clean, and EQs at noon - just like I do with my real amps. I don't know, it's splitting hairs (I guess) but I am not into the idea of using a DI signal and then using a plug-in. I know, I know....the Helix is the same thing but in hardware form. Like I said, it's splitting hairs....but this last session left a bad taste in my mouth.

 

[markd21]

LOL.....another guitarist friend of mine has a DGT that I play sometimes.....it is fabulous for sure.....I promise I will try to consider a DGT for the next purchase....

DO. I have been spending a lot of time with mine, learning the "secrets" of getting the best out of it. It's a beast!!

 

[11top]

Everything depends on your craft service rider.

And whether we get a nice tour bus.

Have no idea what a “CSR” is, but I do know what you and I are taking to the gig. The other guys can drive the bus.



You in?

 

[László]

Have no idea what a “CSR” is, but I do know what you and I are taking to the gig. The other guys can drive the bus.



You in?

I’m totally in.

Craft services are venue food/beverage companies that come in before a show and set up snacks, meals, etc.; the riders are the contract provisions where you specify what you want in the way of food and beverages.

Because your...er, OUR band always gets a written contract, right?

Don’t worry, I’m fully trained to write one. Let’s see...Dom Perignon for us, beer for everyone else, we get Chateaubriand, they get hot dogs...anything else you want?

 

[11top]

I’m totally in.

Craft services are venue food/beverage companies that come in before a show and set up snacks, meals, etc.; the riders are the contract provisions where you specify what you want in the way of food and beverages.

Because your...er, OUR band always gets a written contract, right?

Don’t worry, I’m fully trained to write one. Let’s see...Dom Perignon for us, beer for everyone else, we get Chateaubriand, they get hot dogs...anything else you want?

Ah! M&Ms, but they don’t have to be all the same color. We’re gonna have fun, Les! Bonnie and Clyde. Thelma and Louise. Les and Steve.

 

[Tonart]

Really difficult to identify two that I’d keep. But I’d usually bring my trusty epiphone standard LP to a gig! It’s fitted with Gibson CS historic pickups so even though the Epi is less woody and resonant, all of what’s there is captured and not missed. Sounds great if you ask me!

And strangely the Epi seems to be getting more resonant played over the years. Perhaps it’s just me..

 

[Tonart]

But if I were to be forced to choose two, these ‘employee’ guitars would be among those that I would be paralysed over. Well.....perhaps the right term is ultra long service employeeeeeeeeeer...

 

[WA Paul]

But if I were to be forced to choose two, these ‘employee’ guitars would be among those that I would be paralysed over. Well.....perhaps the right term is ultra long service employeeeeeeeeeer...

What, no trem?!?