Building a Guitar Tone with John Winters
This point I want to invite my buddy john up john is awesome engineer and also gets harp player in the band I declare war on an awesome band based out of here in seattle so he's going to get set up and we're going to jump right in and start to learn how to create some of these tones yeah welcome john how you doing today? I'm doing right here sweet thanks so much for joining us maps johnson mr rhyme with amplitude for a couple weeks now I hooked him up with copy and sort of been learning how weaken sort of build some of the stuff we're basically just gonna walk through, create kind of a cool tone and then just mess around and work a little bit on layering some of these tracks and learning how to use amplitude sounds pretty good you want to play for sexy getsem play back in the house here from a quick one thing also you want to start off with if you have ever used the eyes before recording with the d I it's it's the same thing you always want to make sure that you're not clipping your si...
gnal on the way and that's going toe sometimes with distortion you can't always hear what your clipping but that creates serious problems down the road it's all in how you capture this so the first thing I'm going to do is pull up the settings and have john play for a little bit looking just real quick this right here and if we get a shot of this is the eirik pro it's also there like a multimedia products hiring a pro was basically just a one channel interface supercool it's not mike pre and just a line level corner in ship you can use your guitar straight in presented as an interface with your phone or with your ipad it doesn't begin control on yellow led lights up single backing off just keep right around you know see in the concert it's pretty simple pretty simple set up let's go ahead and start to mr you want to just play like a little reefer something way way to get a little more volume in here too because we could hear that that much way to switch from for twenty one years in the state fifty seven wait and switching the orange and we're gonna go teo twin river this's gonna clean tone that you could get we're using obviously a little more the room mike a little bit farther in front of the speaker were more on that it's great for like open ended parts like this where we've got something for once in space it's kind of a standard let's go and I'm going to do something a little bit heavier so first forward anything I'm going tio switch to the cab mode we're just going to go ahead just focus just on the fifty seven so I can start hearing just what the am sounds like and I'm not hearing the mikes just yet but that just a little bit off center okay, we're gonna kill the tremolo and the river we're going to do something a little bit heavier here let's add some crunch to it let's try I'll cut a little bit of kids out of here and see if we can maybe switch to a better cab no way we're gonna remember these I'm going to save some of these preset because we might come back to him so this one let's go ahead and just add this is a pre set we're going to go ahead and say user presets at a new one and this one we're going to call um um she's got johns johns chug awesome so we've got john's chug while we've saved that we're gonna go and create another tone so let's go back let's try something a little more kind of classic overdrive sound you said you were messing with the angle and before we're saying to is john was bringing up a pedal before sort of an overdrive petal that actual and noise in there that noise gates said we're cool with just a little bit but it's fine it's nice and tight though just good yeah for sure we always back up just a ton touch awesome. That sounds great. So, it's going now, mr with the cabin a little bit. We've got kind of the tone we're looking for. We're going to switch over to the cab right now. We're using just the fifty seven just a little bit off axis on the angle cab. Did you want to try to free cab? You said you're using an orange before, right? Yeah, the winds came through pretty good. I mean, the angle sounds good. Tio condenser mike. Well, I think the best thing with this teo there's all kinds of rules on how you should move mike in front of a cabinet. What sort of side of the speaker you're listening to there's? A lot of physics to know about where the sound is coming out. If you think in the center of a speaker that's not actually where any sound is moving, the air is coming out of the center that's what's keeping the carnage in place. So you want to go the distance between the center conan the edges where most of the tone is going to come from. So you want to kind of focus on that. But there really is there's no rules the whole the whole point is you want to just look for the sound or going for and play around and which is what I love about this, because without having a big studio running back and forth in the other rooms, you can stay here and move around to the mikes and see what they were. It's, unlike in different set up. So you really get the opportunity to explore different sounds and try different things. Quiet your head in front of a raging cab. Yeah, especially if you live in an apartment or something, and you've got, you know, your hand cranked up your hold on. I just got a get this tone perfect. Let me run downstairs. Cool. So we got pretty close that's going to save that tone to we're going to use your presets and say this what you want to call this one, john, uh, orange check it's, all about the charge, it's, all about the child dances. John's, orange, chug cool.