This is THE most important video about “tone” on the internet. TH-camrs and their “sponsors” are a part of a multi-billion dollar industry dedicated to selling a pedal to make you sound like a popular artist, a guitar to make you sound like your hero, custom exotic string gauges that didn’t exist 50 years ago, exotic amps that aren’t made tha5 same way or at all anymore, signature pickups to nail that one track on that one album that was recorded 40 years ago on equipment that isn’t made or used anymore and on multilayered tracks that were panned all over the place, doubled tracked and EQ’d to perfection to sit in the mix. I’ve been down this rabbit hole for some time now, listening to isolated track stems and building insane digital signal chains from pedals, to pre$EQ and compression, to splitters, to amps, to cabs, to mics, to room mics, to room IRs, to post processing, to panning and bouncing, to post-EQ and compression, to final mixing equipment, gain staging all along the chain, and tape emulation. All this to discover two major things: First is that the signal chain from guitar to final recorded sound you are trying to copy is waaaaay longer than you think and absolutely not something any single piece of gear can solve. Period! Second is that godly guitar sound and tone in your head that your brain thinks it is hearing when listening to your heroes on an album is absolutely rarely anything like the actual isolated tone and sound on the mix track on said album. It’s also very often not actually very nice on its own either. It’s the audio equivalent of an optical illusion. You can’t sound exactly like your hero on that one track on that one album just sitting in front of your amp, because you aren’t doing everything the same with all of the same recording equipment and you also aren’t playing all the other instruments and part at the same time.
Hi, thanks for the comment! I fully agree with your conclusion. That being said I love getting inspired by a new pedal that does the AC/DC, Eddie, Pink Floyd, SRV thing. Or at least brings you close to it. That's why I do the gear demos on my channel, those are stuff I really enjoy and can definitely recommend. I think the issue is when someone looses itself in the tone matching - tone hunting rabbit hole. The key is to take our favorite recorded guitar sounds as guidelines and stop comparing yourself to them fairly early in the process. That's hard, I know. Been there, done that. 😅
@ Hahaha! Not knocking the players, just the game ;-) We’re all guilty when it comes to our obsession with gear. I have to confess that I’m just a big fat hypocrite, because I’m love with the MXR Dookie Drive for those sweet Green Day tones. Of course, that’s for its plug ‘n’ play ‘80% there’ convenience and using a full signal chain solution like Amplitube Max and a laptop is not the most elegant solution outside of home studio or bedroom jam along use. Otherwise, I love your work and honesty. Keep those recommendations coming. What else am I gonna spend my money on? Sex and drugs? Nah! It’s all rock ‘n’ roll for me!
Bedroom player here. I don't sound nearly as good as 90% of the dudes on these videos. Don't care... Those guys don't pay my bills. I play guitar cause it's fun.
5:01 this reminds me of that one interview with Rick Beato where Nuno Bettencourt recalls a time that Eddie let him play through his rig, and he was awfully disappointed when he still did not sound like Eddie. Personally, I think it's good that we don't sound like our hero's, that way we have so many unique tones. If Nuno Bettencourt, Dimebag, Kurt Cobain, Paul Gilbert, and so many others managed to sound exactly like their guitar hero, we would just know them as a bunch of Van Halen copycats, as opposed to knowing them for their own unique flavor that they bring to the table, and that we've grown to love! So I agree, that instead of striving to copy something that already exists and that someone has already mastered, we should try to find our own voice, do something unique that who knows, might even inspire the next generation of players. Great video!!
Been down the rabit hole for a long long time about nailing tones. I learned a lot but I could have gotten so much more content out there. Now I try to get pretty close, 90% sounds great 👍
I had some fun creating Tonex captures for Randy Rhoads - Blizzard of Ozz and Kill'Em All tones, using boosted tube amps, speaker/mic sim (Captor X) and then some EQ matching based on the isolated guitar track, then backed all that in the Tonex capture. Sounds really close to the isolated tracks, but not so great by itself because it's a different sound than your typical "amp in a room" when it actually has mix EQ applied.
Good points dude 👍 totally agree. It’s not even worth it to try to get so close. Take something from your heroes and then make it your own. You sound like you and that’s fantastic!
Great advice, many players definitely overlook this. (Additionally, worth mentioning I think you're possibly the most underrated guitar TH-camr) Another thing to consider while on this topic is how you might creatively utilize different equipment to the same end. Going with your example, Slash uses an SM57 and a MD421. You can totally get a similar sound with two 57s (or even 58s, as I prefer) in a Fredman setup. Totally different philosophy to micing the rig, but remarkably close in the end result provided the amp is set up the same. Bottom line, being creative with what's available but still aiming for your vision is a great way to inadvertently be creative.
Totally agree, it's a rabbit hole without end. In the end we don't have the brain, nerves, muscles and skeletal structure of those people either. Better to be an inspired by ... player and enjoy what you can do with the gear you have IMHO.
Very interesting concept and recognizable for many i believe as well but taste in sound and music is also changing during the music journey and that would keep you chasing sounds instead collecting musical abillity. I'm close enough at the 'Where the light is' tone - Gravity but also to RHCP Under the bridge because my rig sounds really good and therefor I'm finaly practicing what I should instead pedal hunting online.... Great demo and topic!! 🙂🤟
Lambchopper678 does a great approximation of this, by putting different equalizers before the guitar preamp and in the fx loop, to simulate variances brought about from the recording process.
Depends on the speaker, if you use something like greenbacks or even V30s then yeah for sure pushing them hard is gonna sound more like what you're after. If you use 65s or 75s, it really doesn't matter as you're never really pushing them anyway, all the sound is in the amp. Things like this are of course relevant in a modern world of attenuation on big tube heads.
That's how much I love the Ironball SE, very versatile amp. Sounds good for about any guitar genre... One amp does all kind of thing. I also made good EVH tone on NDSP Petrucci... Sounds really cool.
BUT!!! You can have one hell of a time with some of the same gear your heroes used. Once a SM57 comes to life, bringing you 4x speaker cab resonance and it ends up in a nice 1073, or clone, and you get it hot enough, that mic preamp takes on a full life of its own. The day you first hear a nice mic preamp is almost as good as your first Marshall experience. You won’t forget it. And that’s just a bunch of mids and bottom end that likes to get out of control. Towards the end, once you try to blend the rest of the instruments, yeah it’s a huge juggling act. If you’re good at hearing everything, good at finding what’s ‘not’ loud enough… there’s the challenge. And it went through a second set of hands just to make the whole album come together. So you end up hearing a lot less of your guitar, it’s under everything. No wonder 1/2 of Edward was on one side, at least you could separate them mentally. As much as we blend and bury, you really just want a few things to stand out and create a moment. A memory. So it’s not about sounding like Rush, or getting Randy’s tone, it’s about having fun, learning. All these years later, to learn something about recording is a good day. Multiband compressors, talk about sucking the joy out of your dynamics. But it sounds good in the end, and that’s what has to be done to get you broadcast over the airwaves. Always tip my hat to every industry professional that does this, or used to. It’s invisible art, or is it science? Either way…
Different sounds live and recorded is one of the reasons I sold amps. It was so annoying to find a right mic and its placement where both live and recorded sounds are what I was looking for. Another reason is that I don't have place to play amps very loud, otherwise I would keep some just to have fun.
thats also part of the reason what people get wrong about profilers and real amps. The real amp in your room is only half of the signal chain. The modellers are taking the mix into account as well. and this is why you cant get a modeller to sound like your amp in your room or the studio. Chuck a mic infront of an amp and listen to both over monitors you loose that difference in my opinion..
The classic tones are much harder to get right, because they were often recorded using a mix of close and room mics, whereas the newer stuff is often close-mic'd, so it's not hard to replicate, but it is also much thinner and fizzier due to the nature of close mic'ing.
Those are all valid, but very small parts of the equation. If you have the same rig and can play reasonably well, you will have the sound of your favorite player. True, also the recording rig is important, but it depends. If you want to sound like Boston or Def Leppard, all you pretty much need is a Rockman straight into your interface or mixer. And although the recording rig is a huge part of the equation to get the same recorded tone, the base character of the sound will get across even with a different recording rig, as long as you get the signal chain between the guitar and amp right.
The crazy thing about this misunderstanding is, that in todays world you can model the final signal chain using NAM if you have the seperated stem and you match it to your gear/inputlevels. But it would still not sound great if the rest of the band isn't using the same exact setups like on the original. It worked because it was meant to sit in a specific range in the mix. Doesn't mean it sounds great on it's own.
I play Sascha Paeth's Avantasia rig on every soundcheck(see profile pic taken at Wacken Faster stage), his guitar, his fx, pick, strings on the same spot on the same stage, same sound engineer, wireless ..EVERYTHING..... and I sound NOTHING like him and he sounds NOTHING like me. And whats used in the studio is different again. Just be the best you that you can be. Nice video Kris
I tried to get as close to Adam Jones' sound as possible. After having an AJ Les Paul, the pickups and an actual Diezel VH4 at home, here's my concusion: The 80/20 rule applies. Meaning there is a threshold where 20% better will cost you an effort of 80% more (money, resources, whatever). Before I got the VH4, I got myself a VH2 first, because it is cheaper and said to have the same sound (Peter Diezel quote). Still wasn't 100% satisfied. So I got the VH4. STILL not 100% there. And here's the thing: Apart from the straight comparison to AJ's sound, the VH2 sounds better than the VH4 LMAO. I don't wanna say I gave up, but I started to accept what I have and appreciate it. I created QC captures of the Diezel amps for myself and that's what I use and love.
Totally agree...people want to sound like Randy Rhoads via tribute. You'll never get it. Even Randy Rhoads did not sound like what is on the Tribute album. Listen to the Cleveland Ohio show from 1981...THAT is largely tribute without the edits and EQ stuff. Secondly, the original show was stereo..Rhoads used a Chorus pedal hooked up in Stereo for the entire show and it was always on. On the Tribute album, the chorus is virtually missing. This is because the guitar you hear on the album is only one of the two channels in mono. It was also EQ'd after the fact to be way more treble-esque than he actually was. He was well known to push mids...not treble. Lastly, the speakers he used are technically no longer made. You'd have to find a good pair of original Altec Lansing 417-8H speakers. Instead of EL34 tubes, Rhoads' personal amps used 6ca7's...while 6ca7's are drop in replacements for EL34's(EL34 is british designation, 6ca7 is American equivalent) they are made differently and do effect the tone to a small degree. An MXR distortion Plus specifically from 1979 to 1982 or the newer RR model...which is great btw. 10 band EQ set to his specs...very mid boosted. MXR stereo Chorus and Flanger. A 1974 Gibson Les Paul of which the pickups had Alnico III magnets, not Alnico V like every other model. Alnico III's are far weaker compared to the V's. Marshall 1959 100 watt amps with earlier mentioned 6ca7 output tubes. After thousands upon thousands of dollars spent...you'd get close but not quite there. You also need to dig up his hands and replace yours with his and hope that they still work because this also is part of the tone. Then there's the EQ'ing of the live stuff or album stuff. In other words, it's impossible. You can get close but not quite there.
One can never get the original sound. You can get pretty close, but one ingredient will never be matched: the player him/herself. Everyone of us has a unique way to play, hold the pick, ..... So, as one already said: get your own tone/sound. You can get close to your hero but add your own flavour. 👍
I had a friend in Miss. Who was a country singer and he always tried to sound like Faron Young , one day hes dad said " theres already a Faron Young why not sound like yourself " take from that what you will.
I understood the "message" of your video as: Stop chase the tone from someone else and make your own tone. Live the life playing with the tone that you like and don't try to reach a tone that was created in a specific environment.
*_You_* are my guitar hero. If you can't get me to sound like you, you should resign. *You have one job!* Really, though, i don't agree. My personal heroes are EVH and Jimi when it comes to tone. There are plenty of guitarists here on youtube who have nailed the Van Halen tones. I bought a Kemper specifically to get the TopJimi Van Halen profiles after short histories with other modelers, after i determined those Kemper profiles would get me 90+% of the way. Previously, i had always been unsatisfied with that tone when i played those songs. For me, there is always going to be that one tone i have to have nailed (EVH), and everything else can be, as you said, 60+% satisfactory. I got an SG earlier in 2024 and started playing a lot of AC/DC songs, but i don't concern myself with matching Angus' signal chain or even comparing my playing to the records. In fact, i don't think i've actually heard an AC/DC recording in decades-i'm basically going off of memory and the tutorial player's tone! I kinda think that if you don't 'obsess' over a particular tone, you might not be all that sensitive to tone in general. [running for cover]
Kris, you are basically describing the UA amp / speaker modeling. That’s why I like the UA stuff so much. They make easy to get the sounds that I heard on the recordings. Great video and thanks.
Do you remember/ever cam across: "Kalif Harun al Pussah & Großwesir Isnogud" So one is a Großwesir Isnogood on guitar and wants to become Kalif Hendrix instead of the real Hendrix ... me is Mr. Verybad 🥵and me rather try's to become Mr. Evenwörst 🌭... but still be me Story by Rene Goscinny ... You are good ... so don't bother just keep citing stuff ... you do nail most of it
Pointless and over pedantic obsessing about sounding exactly like a commercially recorded tone.. Forget my heroes. I will never even sound like myself if recorded in a top pro studio and mastered by experienced expert audio engineers..
Like this information, just don't really understand obsession about exact tones, it's like you here someone's voice and try to talk exactly like that person😅, it's like being a copy of someone else. I write it for myself also, because sometimes chasing tones too😂 But what a great world it could be if we just be ourselves and creat more original art.
Some of us want to play along to recordings and you have to at least be in the ballpark or you’re going to sound like ass. Doesn’t need to be exact. So while you’re being dismissive, maybe accept people have other needs and desires than you are and there’s plenty of room for all of us!
It's all in the hands. So simple. Find YOUR original sound, rather than a copy of your hero's sound/tone. I SAW Stevie Ray Vaughn. You will never sound like him. 10 million copycats, nobody comes close. Be original. 😋
thats the reason i always went for my "own "sound and also the fact that i don't want to be a copycat
This is THE most important video about “tone” on the internet.
TH-camrs and their “sponsors” are a part of a multi-billion dollar industry dedicated to selling a pedal to make you sound like a popular artist, a guitar to make you sound like your hero, custom exotic string gauges that didn’t exist 50 years ago, exotic amps that aren’t made tha5 same way or at all anymore, signature pickups to nail that one track on that one album that was recorded 40 years ago on equipment that isn’t made or used anymore and on multilayered tracks that were panned all over the place, doubled tracked and EQ’d to perfection to sit in the mix.
I’ve been down this rabbit hole for some time now, listening to isolated track stems and building insane digital signal chains from pedals, to pre$EQ and compression, to splitters, to amps, to cabs, to mics, to room mics, to room IRs, to post processing, to panning and bouncing, to post-EQ and compression, to final mixing equipment, gain staging all along the chain, and tape emulation.
All this to discover two major things:
First is that the signal chain from guitar to final recorded sound you are trying to copy is waaaaay longer than you think and absolutely not something any single piece of gear can solve. Period!
Second is that godly guitar sound and tone in your head that your brain thinks it is hearing when listening to your heroes on an album is absolutely rarely anything like the actual isolated tone and sound on the mix track on said album. It’s also very often not actually very nice on its own either. It’s the audio equivalent of an optical illusion.
You can’t sound exactly like your hero on that one track on that one album just sitting in front of your amp, because you aren’t doing everything the same with all of the same recording equipment and you also aren’t playing all the other instruments and part at the same time.
Hi, thanks for the comment! I fully agree with your conclusion. That being said I love getting inspired by a new pedal that does the AC/DC, Eddie, Pink Floyd, SRV thing. Or at least brings you close to it. That's why I do the gear demos on my channel, those are stuff I really enjoy and can definitely recommend.
I think the issue is when someone looses itself in the tone matching - tone hunting rabbit hole. The key is to take our favorite recorded guitar sounds as guidelines and stop comparing yourself to them fairly early in the process. That's hard, I know. Been there, done that. 😅
@ Hahaha! Not knocking the players, just the game ;-) We’re all guilty when it comes to our obsession with gear. I have to confess that I’m just a big fat hypocrite, because I’m love with the MXR Dookie Drive for those sweet Green Day tones. Of course, that’s for its plug ‘n’ play ‘80% there’ convenience and using a full signal chain solution like Amplitube Max and a laptop is not the most elegant solution outside of home studio or bedroom jam along use.
Otherwise, I love your work and honesty. Keep those recommendations coming. What else am I gonna spend my money on? Sex and drugs? Nah! It’s all rock ‘n’ roll for me!
Bedroom player here. I don't sound nearly as good as 90% of the dudes on these videos. Don't care... Those guys don't pay my bills. I play guitar cause it's fun.
Same! My playing is for my own fun, a nice vent for creativity and expression.
5:01 this reminds me of that one interview with Rick Beato where Nuno Bettencourt recalls a time that Eddie let him play through his rig, and he was awfully disappointed when he still did not sound like Eddie.
Personally, I think it's good that we don't sound like our hero's, that way we have so many unique tones. If Nuno Bettencourt, Dimebag, Kurt Cobain, Paul Gilbert, and so many others managed to sound exactly like their guitar hero, we would just know them as a bunch of Van Halen copycats, as opposed to knowing them for their own unique flavor that they bring to the table, and that we've grown to love!
So I agree, that instead of striving to copy something that already exists and that someone has already mastered, we should try to find our own voice, do something unique that who knows, might even inspire the next generation of players. Great video!!
Been down the rabit hole for a long long time about nailing tones. I learned a lot but I could have gotten so much more content out there. Now I try to get pretty close, 90% sounds great 👍
I had some fun creating Tonex captures for Randy Rhoads - Blizzard of Ozz and Kill'Em All tones, using boosted tube amps, speaker/mic sim (Captor X) and then some EQ matching based on the isolated guitar track, then backed all that in the Tonex capture. Sounds really close to the isolated tracks, but not so great by itself because it's a different sound than your typical "amp in a room" when it actually has mix EQ applied.
Good points dude 👍 totally agree. It’s not even worth it to try to get so close. Take something from your heroes and then make it your own. You sound like you and that’s fantastic!
Ha! Big Shadows fan here! A sound so simple, yet so unachieavable :)
agree 💯 ....this is a point which only few musicians consider 😎
Great advice, many players definitely overlook this. (Additionally, worth mentioning I think you're possibly the most underrated guitar TH-camr)
Another thing to consider while on this topic is how you might creatively utilize different equipment to the same end.
Going with your example, Slash uses an SM57 and a MD421. You can totally get a similar sound with two 57s (or even 58s, as I prefer) in a Fredman setup. Totally different philosophy to micing the rig, but remarkably close in the end result provided the amp is set up the same.
Bottom line, being creative with what's available but still aiming for your vision is a great way to inadvertently be creative.
Totally agree, it's a rabbit hole without end. In the end we don't have the brain, nerves, muscles and skeletal structure of those people either. Better to be an inspired by ... player and enjoy what you can do with the gear you have IMHO.
On point! Nice Neve or SSL console would be helpfull too!
Very interesting concept and recognizable for many i believe as well but taste in sound and music is also changing during the music journey and that would keep you chasing sounds instead collecting musical abillity. I'm close enough at the 'Where the light is' tone - Gravity but also to RHCP Under the bridge because my rig sounds really good and therefor I'm finaly practicing what I should instead pedal hunting online.... Great demo and topic!! 🙂🤟
I’ve been aware of this for years after I read a boss/roland catalog lol,,yep you’re right the goal is close as possible
kris is a legend 👊
100% meine Worte seit Jahren...endlich nicht mehr alleine😅 Danke!
Lambchopper678 does a great approximation of this, by putting different equalizers before the guitar preamp and in the fx loop, to simulate variances brought about from the recording process.
Recorded tone vs live tone is very important…so many recorded-tone matches that I see have crazy EQ curves on top of the “real” guitar sound…
yeh 100%. another thing that's really difficult to emulate is the source volume and moving air
Depends on the speaker, if you use something like greenbacks or even V30s then yeah for sure pushing them hard is gonna sound more like what you're after. If you use 65s or 75s, it really doesn't matter as you're never really pushing them anyway, all the sound is in the amp.
Things like this are of course relevant in a modern world of attenuation on big tube heads.
agree go our own way
That's how much I love the Ironball SE, very versatile amp. Sounds good for about any guitar genre... One amp does all kind of thing. I also made good EVH tone on NDSP Petrucci... Sounds really cool.
BUT!!! You can have one hell of a time with some of the same gear your heroes used. Once a SM57 comes to life, bringing you 4x speaker cab resonance and it ends up in a nice 1073, or clone, and you get it hot enough, that mic preamp takes on a full life of its own. The day you first hear a nice mic preamp is almost as good as your first Marshall experience. You won’t forget it.
And that’s just a bunch of mids and bottom end that likes to get out of control.
Towards the end, once you try to blend the rest of the instruments, yeah it’s a huge juggling act. If you’re good at hearing everything, good at finding what’s ‘not’ loud enough… there’s the challenge.
And it went through a second set of hands just to make the whole album come together.
So you end up hearing a lot less of your guitar, it’s under everything. No wonder 1/2 of Edward was on one side, at least you could separate them mentally. As much as we blend and bury, you really just want a few things to stand out and create a moment. A memory.
So it’s not about sounding like Rush, or getting Randy’s tone, it’s about having fun, learning. All these years later, to learn something about recording is a good day.
Multiband compressors, talk about sucking the joy out of your dynamics. But it sounds good in the end, and that’s what has to be done to get you broadcast over the airwaves. Always tip my hat to every industry professional that does this, or used to. It’s invisible art, or is it science? Either way…
Different sounds live and recorded is one of the reasons I sold amps. It was so annoying to find a right mic and its placement where both live and recorded sounds are what I was looking for. Another reason is that I don't have place to play amps very loud, otherwise I would keep some just to have fun.
thats also part of the reason what people get wrong about profilers and real amps. The real amp in your room is only half of the signal chain. The modellers are taking the mix into account as well. and this is why you cant get a modeller to sound like your amp in your room or the studio. Chuck a mic infront of an amp and listen to both over monitors you loose that difference in my opinion..
The classic tones are much harder to get right, because they were often recorded using a mix of close and room mics, whereas the newer stuff is often close-mic'd, so it's not hard to replicate, but it is also much thinner and fizzier due to the nature of close mic'ing.
Those are all valid, but very small parts of the equation. If you have the same rig and can play reasonably well, you will have the sound of your favorite player. True, also the recording rig is important, but it depends. If you want to sound like Boston or Def Leppard, all you pretty much need is a Rockman straight into your interface or mixer. And although the recording rig is a huge part of the equation to get the same recorded tone, the base character of the sound will get across even with a different recording rig, as long as you get the signal chain between the guitar and amp right.
The crazy thing about this misunderstanding is, that in todays world you can model the final signal chain using NAM if you have the seperated stem and you match it to your gear/inputlevels. But it would still not sound great if the rest of the band isn't using the same exact setups like on the original. It worked because it was meant to sit in a specific range in the mix. Doesn't mean it sounds great on it's own.
I play Sascha Paeth's Avantasia rig on every soundcheck(see profile pic taken at Wacken Faster stage), his guitar, his fx, pick, strings on the same spot on the same stage, same sound engineer, wireless ..EVERYTHING..... and I sound NOTHING like him and he sounds NOTHING like me. And whats used in the studio is different again. Just be the best you that you can be. Nice video Kris
that was a really good eddie tone tho :D
@@sch2412 haha, thanks dude.
Post production!!! So will i need in addition to style skill the original recording engineer?!?
@Kris Barocsi. What about the live tune? like Gilmour
I tried to get as close to Adam Jones' sound as possible. After having an AJ Les Paul, the pickups and an actual Diezel VH4 at home, here's my concusion:
The 80/20 rule applies. Meaning there is a threshold where 20% better will cost you an effort of 80% more (money, resources, whatever).
Before I got the VH4, I got myself a VH2 first, because it is cheaper and said to have the same sound (Peter Diezel quote).
Still wasn't 100% satisfied. So I got the VH4. STILL not 100% there.
And here's the thing: Apart from the straight comparison to AJ's sound, the VH2 sounds better than the VH4 LMAO.
I don't wanna say I gave up, but I started to accept what I have and appreciate it.
I created QC captures of the Diezel amps for myself and that's what I use and love.
That's also why the same artists do not sound like themselves... live.
Totally agree...people want to sound like Randy Rhoads via tribute. You'll never get it. Even Randy Rhoads did not sound like what is on the Tribute album. Listen to the Cleveland Ohio show from 1981...THAT is largely tribute without the edits and EQ stuff. Secondly, the original show was stereo..Rhoads used a Chorus pedal hooked up in Stereo for the entire show and it was always on. On the Tribute album, the chorus is virtually missing. This is because the guitar you hear on the album is only one of the two channels in mono. It was also EQ'd after the fact to be way more treble-esque than he actually was. He was well known to push mids...not treble.
Lastly, the speakers he used are technically no longer made. You'd have to find a good pair of original Altec Lansing 417-8H speakers. Instead of EL34 tubes, Rhoads' personal amps used 6ca7's...while 6ca7's are drop in replacements for EL34's(EL34 is british designation, 6ca7 is American equivalent) they are made differently and do effect the tone to a small degree. An MXR distortion Plus specifically from 1979 to 1982 or the newer RR model...which is great btw. 10 band EQ set to his specs...very mid boosted. MXR stereo Chorus and Flanger. A 1974 Gibson Les Paul of which the pickups had Alnico III magnets, not Alnico V like every other model. Alnico III's are far weaker compared to the V's. Marshall 1959 100 watt amps with earlier mentioned 6ca7 output tubes.
After thousands upon thousands of dollars spent...you'd get close but not quite there. You also need to dig up his hands and replace yours with his and hope that they still work because this also is part of the tone. Then there's the EQ'ing of the live stuff or album stuff.
In other words, it's impossible. You can get close but not quite there.
Very nice analysis of Randy Rhoads, whom I’ve always adored and studied. Just nice to know I’m not alone in this.
One can never get the original sound. You can get pretty close, but one ingredient will never be matched: the player him/herself. Everyone of us has a unique way to play, hold the pick, ..... So, as one already said: get your own tone/sound. You can get close to your hero but add your own flavour. 👍
I had a friend in Miss. Who was a country singer and he always tried to sound like Faron Young , one day hes dad said " theres already a Faron Young why not sound like yourself " take from that what you will.
I understood the "message" of your video as: Stop chase the tone from someone else and make your own tone. Live the life playing with the tone that you like and don't try to reach a tone that was created in a specific environment.
*_You_* are my guitar hero. If you can't get me to sound like you, you should resign. *You have one job!*
Really, though, i don't agree. My personal heroes are EVH and Jimi when it comes to tone. There are plenty of guitarists here on youtube who have nailed the Van Halen tones. I bought a Kemper specifically to get the TopJimi Van Halen profiles after short histories with other modelers, after i determined those Kemper profiles would get me 90+% of the way. Previously, i had always been unsatisfied with that tone when i played those songs. For me, there is always going to be that one tone i have to have nailed (EVH), and everything else can be, as you said, 60+% satisfactory. I got an SG earlier in 2024 and started playing a lot of AC/DC songs, but i don't concern myself with matching Angus' signal chain or even comparing my playing to the records. In fact, i don't think i've actually heard an AC/DC recording in decades-i'm basically going off of memory and the tutorial player's tone! I kinda think that if you don't 'obsess' over a particular tone, you might not be all that sensitive to tone in general. [running for cover]
Kris, you are basically describing the UA amp / speaker modeling. That’s why I like the UA stuff so much. They make easy to get the sounds that I heard on the recordings. Great video and thanks.
Thanks a lot man! Yeah that's pretty much what they are going for and they nail it for sure.
Yes, tone can be very similar and, all you need would be mastering a EVH song, what'd most matter...
Yea iv been downthat rabbit hole ..spend more time tweeking than playin
Do you remember/ever cam across: "Kalif Harun al Pussah & Großwesir Isnogud"
So one is a Großwesir Isnogood on guitar and wants to become Kalif Hendrix instead of the real Hendrix ... me is Mr. Verybad 🥵and me rather try's to become Mr. Evenwörst 🌭... but still be me
Story by Rene Goscinny ...
You are good ... so don't bother just keep citing stuff ... you do nail most of it
Guitarists tend to forget that 50% all the time. I tried to replicate evh's 1984 tone on my channel, check it if you will 🤙
Maybe guitar sales wouldn't be what they are if everybody talked about this
A paul into a jubilee and weeeeee.
Therefore it's better to go after live sounds right?
Pointless and over pedantic obsessing about sounding exactly like a commercially recorded tone.. Forget my heroes. I will never even sound like myself if recorded in a top pro studio and mastered by experienced expert audio engineers..
Like this information, just don't really understand obsession about exact tones, it's like you here someone's voice and try to talk exactly like that person😅, it's like being a copy of someone else. I write it for myself also, because sometimes chasing tones too😂 But what a great world it could be if we just be ourselves and creat more original art.
Some of us want to play along to recordings and you have to at least be in the ballpark or you’re going to sound like ass. Doesn’t need to be exact. So while you’re being dismissive, maybe accept people have other needs and desires than you are and there’s plenty of room for all of us!
@@StupidGuitarthat's not what he said. "Obsession with exact tones", not ballpark enough to play along at home.
It's all in the hands. So simple. Find YOUR original sound, rather than a copy of your hero's sound/tone.
I SAW Stevie Ray Vaughn. You will never sound like him. 10 million copycats, nobody comes close. Be original. 😋
People should be more concerned with trying to find their own sound. Ffs