Re: YES 40th anniversary tour
Posted: Tue Mar 18, 2008 11:26 am
Paul you said it...The Marshall has definitely got the grunt!
To get similar results I really overdrive the pre-amp on my SVT3 and I play pretty hard too to make the speakers earn their keep by pushing things into break up.
I had a 69 Marshall Supabass head a while ago and its instant filth as soon as you twang a note,problem with the SB is they arent master volume amps so it was difficult in smaller venues and I traded it to a blues guitarist who told me that apart from a small capacitor or something its identical to the lead amp which is what Gary Moore was using at the time.The Rick is more or less flat out volume wise on both pick ups and if I want a more raw early 70s tone I flick to the HS. It works well on YIND when I flick back to the toaster for the quiet walking bass part.Its handy also to see what positions Chris plays in for tone. Sometimes (RH) he will play a few bars up at the neck and then swap to the bridge. Riffs always make more sense when you watch where someone like Chris positions the left hand because even though he likes to be flamboyant he doesnt deliberately make hard work of it. What a blessing youtube is for those clips of Parallels!...I wish I hadnt sold my 73 Jazz now. On the look out for a nice Geddy Lee to replace it.
Jim Hows things?
I told you we would keep you busy!
You are thinking the same thing as me about the recording side of Yes.I would love the guys to spend as long as it takes to make a true NEW Yes album
Al Green recently went back into the studio and used as much of the old techniques and equipment as he could to replicate the sound of those classic Soul sessions.
We have all become lazy with digital and I think some of the processing needs to be taken out (like organic food with no added flavourings in the supermarket) to let the music breathe.
I dont know about you but when I go to arena gigs these days its like the sound is compressed to death and most of the time the bass is a vague rumble mushed up with a gut wrenching bass drum that splatters hell out of the vocals.
Listen to any live recordings of bands from the early 70s by comparison.
Switch off the racks and get back to the sound coming from the amps and instruments.
For Yes I would go right back to the early sessions and look at the masters for where to go to reach that Yes sound.
The recent BBC programme featuring Sgt Pepper tracks re-recorded by bands such as Travis highlighted the value of checking out why those Abbey Road sessions sounded the way they did.
Magnification was a move in the right direction like a new Time and a Word and I think Yes now need to make The YES Album 2 where the individual talents shine within the context of a great prog rock song.
To get similar results I really overdrive the pre-amp on my SVT3 and I play pretty hard too to make the speakers earn their keep by pushing things into break up.
I had a 69 Marshall Supabass head a while ago and its instant filth as soon as you twang a note,problem with the SB is they arent master volume amps so it was difficult in smaller venues and I traded it to a blues guitarist who told me that apart from a small capacitor or something its identical to the lead amp which is what Gary Moore was using at the time.The Rick is more or less flat out volume wise on both pick ups and if I want a more raw early 70s tone I flick to the HS. It works well on YIND when I flick back to the toaster for the quiet walking bass part.Its handy also to see what positions Chris plays in for tone. Sometimes (RH) he will play a few bars up at the neck and then swap to the bridge. Riffs always make more sense when you watch where someone like Chris positions the left hand because even though he likes to be flamboyant he doesnt deliberately make hard work of it. What a blessing youtube is for those clips of Parallels!...I wish I hadnt sold my 73 Jazz now. On the look out for a nice Geddy Lee to replace it.
Jim Hows things?
I told you we would keep you busy!
You are thinking the same thing as me about the recording side of Yes.I would love the guys to spend as long as it takes to make a true NEW Yes album
Al Green recently went back into the studio and used as much of the old techniques and equipment as he could to replicate the sound of those classic Soul sessions.
We have all become lazy with digital and I think some of the processing needs to be taken out (like organic food with no added flavourings in the supermarket) to let the music breathe.
I dont know about you but when I go to arena gigs these days its like the sound is compressed to death and most of the time the bass is a vague rumble mushed up with a gut wrenching bass drum that splatters hell out of the vocals.
Listen to any live recordings of bands from the early 70s by comparison.
Switch off the racks and get back to the sound coming from the amps and instruments.
For Yes I would go right back to the early sessions and look at the masters for where to go to reach that Yes sound.
The recent BBC programme featuring Sgt Pepper tracks re-recorded by bands such as Travis highlighted the value of checking out why those Abbey Road sessions sounded the way they did.
Magnification was a move in the right direction like a new Time and a Word and I think Yes now need to make The YES Album 2 where the individual talents shine within the context of a great prog rock song.
