[RevDrucifer]

What the fuck...(in response to Jack White's copper plated shit).

Why the fuck would one bother with that?

"I'm going out on tour....hmmm.....I've boughten all the flashy 60's pants I could find....and all the shirts with the gay little tassles on the pockets....what's next? Oh, that's right, I need to have all my pedals re-made with copper housing. Yeah...almost forgot that one..."

[thebhef]

well, it IS the obvious next step..

[-K4G-]

That is so cool...

[Variant]

Originally Posted by RevDrucifer

What the fuck...(in response to Jack White's copper plated shit).

Why the fuck would one bother with that?

"I'm going out on tour....hmmm.....I've boughten all the flashy 60's pants I could find....and all the shirts with the gay little tassles on the pockets....what's next? Oh, that's right, I need to have all my pedals re-made with copper housing. Yeah...almost forgot that one..."

I dunno, I think it's kinda cool... like picking the color you want on your guitar, or the covering for your amps.

















Anywho, time to get some country boys here on this thread... Here are a couple of Midwestern stalwarts from the great state of Iowa:




James Root (4)
circa 2008 (current)


Video

^
A decent tour of Jim's rig, plus some bonus bits about Mick's standard tuned, ash bodied Ibby FR and cool Ovation Acoustic Sig.


Guitars

- Fender James Root Signature Telecasters (w/ EMG 81 in the bridge, and EMG 60 in the neck)

Rack

- Furman PL-Plus Power Conditioner
- Audio-Technica AEW-R5200 Receiver (wireless units, for live application)
- Whirlwind Switcher (to select wireless units)
- Dunlop Crybaby Custom Shop DCR-2SR Rackmounted Wah
- Voodoo Lab GCX Switcher (for pedal lops & head channel changing)
- Voodoo Lab Ground Control Pro w/ expression pedal
- Voodoo Lab pedal power supplier

Pedals
(looped in a pedal drawer, not sure on the signal chain order)

- Digitech Synth Wah
- MXR Super Comp Compressor
- MXR / Custom Audio Electronics Boost/Overdrive
- Maxon AF-9 Auto Filter
- MXR Carbon Copy Delay
- Electro-Harmonix Small Stone Phase Shifter
- Boss AC-3 Acoustic Simulator
- Boss NS-2 Noise Suppressor

Amplifiers & Cabinets

- Orange Rockerverb 100 Heads
- Orange 4x12 Cabinets (2 for monitoring, 1 iso cabinet for micing)
- Orange Rockerverb 50 combo (for cleans)







and...
Mick Thompson (seven)
circa 2008 (current)


Video

^
An awesome guided rig tour by Mick's knowledgeable guitar tech, Drew Foppe


Video

^
Rivera interview covering the specifics of the KR-7 head and cabs, with some good recording insight on the part of an unmasked Mick... so listen up, kiddies!


Guitars

- Ibanez MTM1 Signature Model (w/ Semyour Duncan Blackout pickups)
- Ibanez FR Custom (w/ Semyour Duncan JB in the bridge, and a Seymour Duncan Classic Stack in the neck)

Rack

- Furman PL-Plus Power Conditioner
- Audio-Technica AEW-R5200 Receiver (wireless, for live application)
- Whirlwind Switcher (to select wireless units)
- Dunlop Crybaby Custom Shop DCR-2SR Rackmounted Wah
- Voodoo Labs GCX Switcher (for pedal lops & head channel changing)
- Voodoo Lab Ground Control Pro
- Voodoo Labs pedal power supplier
- Boss GT-Pro Effects Processor

Pedals
(looped in a pedal drawer, not sure on the signal chain order)

- Boss NS-2 Noise Suppressor
- Boss TU-2 Chromatic Tuner
- Custom Drew Foppe Compstar Overdrive
- Electro-Harmonix Baseballs Envelope Filter
- MXR JH-3S Jimi Hendrix Octave Fuzz

Amplifiers & Cabinets

- Rivera KR-7 Heads
- Rivera KR-7 Cabinets (Celestion 100-watt loaded)







Fun fact: Despite being undeniably huge, Jim is actually three inches taller than Mick. Until next time...

[petereanima]

James Root also uses the Diezel Herbert + a frontloaded Diezel Cab in addition - for Slipknot, and a VH4 for Stone Sour.

[Thrashmanzac]

why copper plate pedal cases???
just for looks?
i dont know if im more angry than i am confused...

[Randy]

The rig bible:

Le matériel des guitaristes pro(s) - (Sommaire en page 1)

[Variant]

Originally Posted by Randy

The rig bible:

Le matériel des guitaristes pro(s) - (Sommaire en page 1)

This is indeed a cool page... in concept, however information is spotty, hard to navigate, and well... in French. As complete as it looks there are some better pedalboard/rig theads out there.

Originally Posted by Thrashmanzac

why copper plate pedal cases???
just for looks?
i dont know if im more angry than i am confused...

Mesa Boogie Custom Design Gallery
^
I reiterate, customizing your shit is not stupid. If you think so, I'll be glad to spray your guitar down with some flat black Krylon.

[winterlover]

Originally Posted by Variant

This is indeed a cool page... in concept, however information is spotty, hard to navigate, and well... in French. As complete as it looks there are some better pedalboard/rig theads out there.




Mesa Boogie Custom Design Gallery
^
I reiterate, customizing your shit is not stupid. If you think so, I'll be glad to spray your guitar down with some flat black Krylon.

i paint my rifles with Krylon

and duracoat

[Variant]

Just a couple of links to YouTube vids for the gents in Metallica, from their current 'Deathmagnetic' tour (I may embellish more later):





Kirk Hammett
10/2008 (current)



*Variant holds back from making any wah jokes.




James Hetfield
10/2008 (current)

[HAUCH]

This thread is awesome.

[Variant]

bumpity bump bump!







Mikael Åkerfeldt
(circa 12/08, current)

Here's a surprisingly simple setup, especially considering the tasty tones emitted by said guitarist/songwriter virtuoso. Mikael is a self-admitted fan of simplicity (and begrudgingly embraces modern computer recording technology), and yet, as time has gone on, Opeth has migrated more towards self recording and production, they sound increasingly stellar ('Watershed', IMHO, was probably the best produced album of 2008). Proof that good tone in in the ear as much as the gear (or the fingers).

Basically Custom 24 and off-the-shelf PRS's into a Sennheiser wireless, into a Boss GT-8, into a Laney GH-100L head, into two Laney 4x12 cabs. I'll add that IMHO, Laney amps are some of the most underrated ones on the market.




Here's a link to a short, but sweet, tour by Opeth guit-tech Coty Allinson:
Guitar Messenger Gear Tour: Opeth - Mikael Åkerfeldt




That's it:




Here, cop his amp settings. Note the drive and gain is on zero, as the lions share of the overdrive is happening in the GT-8, though archetypical Brit amps do get a bit dirty when cranked up:


















...aaaaaaaaaannnnd... snagged from Nick's Greg Howe tread post:



Greg Howe
(current?)

A nice look-see and fusion master Greg Howe's extensive rig. His current guitar choice is custom Lagunas:



Full Rig Shots:






Rack:




Pedalboard:



If anyone wants to go into more detail on particulars, feel free!

[Shaman]

Originally Posted by Variant

Here's a surprisingly simple setup, especially considering the tasty tones emitted by said guitarist/songwriter virtuoso. Mikael is a self-admitted fan of simplicity (and begrudgingly embraces modern computer recording technology), and yet, as time has gone on, Opeth has migrated more towards self recording and production, they sound increasingly stellar ('Watershed', IMHO, was probably the best produced album of 2008). Proof that good tone in in the ear as much as the gear (or the fingers).

This is actually what they used to track the albums, coming straight from Jens Bogren:

"On Watershed i used the Marshall JVM together with the Mesa cab for the main rhythms. The secondary pair is Mesa Dual Rectifier through the MF400. SM57 and Royer on the main pair, 2x SM57 and one SM58 on the secondary pair (if my memory serves me)."

"On Ghost Reveries i used the MF400 for the main rythms. To be honest i can't remember what amps we used, i know it was one Mesa double Rectifier, but i must get back and... Oh no!!! Never ment to give this away, but the secondary pair was actually a POD XT with the (at the time new) Metal Pack! I see a shit storm coming this way. I remember now that i did regret it in the mix, and it's mostly the Mesa you will hear. I can see that some people are not impressed by the drum sound on that album, and to be honest i don't like it either. It was a compromise (my will against what the band thought they wanted), and on top of that pretty poor mastering."

The live rig hasn't been used for tracking guitars on their albums.

[Variant]

Originally Posted by Shaman

This is actually what they used to track the albums, coming straight from Jens Bogren:

"On Watershed i used the Marshall JVM together with the Mesa cab for the main rhythms. The secondary pair is Mesa Dual Rectifier through the MF400. SM57 and Royer on the main pair, 2x SM57 and one SM58 on the secondary pair (if my memory serves me)."

"On Ghost Reveries i used the MF400 for the main rythms. To be honest i can't remember what amps we used, i know it was one Mesa double Rectifier, but i must get back and... Oh no!!! Never ment to give this away, but the secondary pair was actually a POD XT with the (at the time new) Metal Pack! I see a shit storm coming this way. I remember now that i did regret it in the mix, and it's mostly the Mesa you will hear. I can see that some people are not impressed by the drum sound on that album, and to be honest i don't like it either. It was a compromise (my will against what the band thought they wanted), and on top of that pretty poor mastering."

The live rig hasn't been used for tracking guitars on their albums.

Good info! Any word on what they used for leads/cleans/overdubs?

Also, I find it interesting that Jens criticized the mix on 'Ghost Reveries', I thought it was quite good... not what 'Watershed' was, but plenty decent. It's amazing (especially in the world of metal) what constitutes sub par production nowadays. I'd give my left nut to sound half as good as stuff released in the early '90s that doesn't hold a candle something like 'Reveries.

[Demoniac]

Trent Reznor: Pedal MASTER...

A pic of Trent Reznor's guitar pedals as of his Ghosts release...


Some more random gear:


Moar pics of NIN gear goodness:



The studio everyone wishes they had:


Couldnt find any pics of his rig alone

His pedal collection is insane

[transperformanc]

tell me what you think of these

also tell me if you can identify any of them

[Variant]

The first is Petrucci.

The second is Petrucci.

Edit: Wait, are they all Petrucci?

[TomAwesome]

The second one says "JOHN PETRUCCI" on it, so I'm assuming it's his.

[charles22880]

i used a Laney GH100L several years back while doing some recording for a band i was in and i totally dugg it infact i want one.

Trents pedal collection looks like a gold mine

[Demoniac]

^ Yeah man, i would kill for his studio and pedal collection hello synth heaven!!!

[Vince]

thread stickied

[Harry]

^Awesome.
There is a wealth of information in this thread, good that it's stickied now

[Demoniac]

Yay! STICKIMIFIED!

Its pure interestingness at its best as well

[DDDorian]

Neat thread!

I might be able to help out with the Slipknot guy's signal chain (James, I think) as I have a rig schematic in an old guitar mag. It's from a couple of years back, but I imagine many of the pedals are the same.

Also, here's something I've whipped out more than a couple of times here - a rundown of what was used on Carcass' Heartwork from one of the engineers:

Okay... the album was recorded at Parr Street Studios in Liverpool. Take a look at the link. At the time I was chief engineer there, after Peter Coghlan and I had teched the place from the ground up. The 4-studio 'Amazon Studios" complex had relocated there to the city centre after starting out in Kirkby, north of the city. Parr Street - 0151 707 1050

The recording was started in studio 2, on the Neve VR. There are some layout pics on the Parr Street site, studio 2 has excellent visibility from teh control room into the main area (25-feet ceiling height, 2000 square feet inthe main room, plus various acouostic iso rooms) and each of the iso rooms (Stone, Wood and Dead) are 'fanned out' in such a manner that there is direct visibility with the main room.

Drums were cut with the drummer's back to the main control room window, with the usual mic complement, plus the doors to the wood and stone rooms (which he faced) opened to lengthen and 'shape the tone of' the ambience. Parr Street has permanently-mounted stereo PZMs on the walls of all the various acoustic iso areas, so there's easy access to blending the room sound... the mics normal to high-numbered mic inputs on the Neve (49-60)

The session was recorded to 2" (Studer A827) with no NR, at 30ips.

the drummer wore lead velcro'ed-on leg weights to help with some of the faster double-kick parts, and had an assortment of different weights, chosen and switched-out as and when each section required. There was a fair amount of punching in, and the fashion at the time was for 'clicky' kicks (the dreaded "typewriter" kick drum sound!) cutting through the mush of thickly-distorted detuned guitars.

I don't remember much about the Bass guitar, and sadly my assistant -Dave Buchanan- was killed in a car accident a couple of years ago, so there's only myself and perhaps Colin Richardson who might remember and for the time being I don't remember much at all.

The band had demoed some stuff in studio 3 at Parr Street -not many tunes, but a couple- and were happy with the sound inthe small demo room. It had an Allen & Heath 'Saber' console. When it came to the guitar sounds, things ground to a halt. the drums had been cut with 'guide' guitars, just to steer the tune, but when we got to print them for real, we knew there was some work to do.

Bill Steer (guitar) was bothered all the way through the backing tracks that the guide guitar (through his beloved marshall) had been too scratchy sounding. We tried moving the pickup height. We tried different amps (Soldano, 5150, various Marshalls, Dual rectifier, many, many amps!) then we tried different cabs... Nothing sounded as good as the demo sound. We had started with the same combo as the demo, but that was the "scratchy" sound that was annoying Bill... then I had an idea.

This was like making a resonant kick drum by putting two kicks back-to back with no heads in between. I took two Marshall 4x12 cabs. We took the backs of both of them. We took the speakers out of the second one, and we blocked off the holes with plywood and corrugated cardboard, as the closest thing we could find to a 'seal'. This was definately getting boomy, and quite interesting, but Bill still didn't like the top end. It was sandpapery and irritating to him.

As a last resort (after 4 days of trying things out, double-tracking things, seeing if things got better or worse after layering... then erasing everything right away!) we went up to the demo room (studio 3) and took our "Frankencabinet" up with us. We miced up the cab and brought it up on the Allen & Heath. There was our sound. Was it the room? -probably at least partly, but we'd tried 5 or 6 completely different areas in studio 2... ord knows there's no shortage of acoustic spaces there... or was it the Allen & Heath Mic preamps? -Who Knows? Who Cares? -I'm wheeling the Studer upstairs, and we're booking some time in studio 3!!!

The cab was miked as was my custom at the time: Two SM57's, right against the speaker cloth, but one on the center of a cone, one at the edge of a different cone. The two were combined and maybe shifted slightly for maximum summing, or smoothest top end, but that's usually a good starting point. Don't ask me why it works, I've tried to riddle it out, but it works.

Colin Richardson is a twiddler. He likes to fiddle with EQs every now and then. This was a great case in point. We ended up taking a Massenberg Eq and EQing the combined 2-mic signal. The band had initially wanted Bill Steer and Mike Amott to just do one track each, to get away from the "Wall of Thick, mushy guitar", but we ended up doing 2 tracks of each player. olin wanted there to be a differentiation betwen the two players, other than just slight playing style or inflections, so he put the Massenberg EQ -both channels cascaded in series- across teh buss insert, and he set up two variations that made him happy, which we labelled "Mike and Bill" and we switched one in and the other out as we alternated players. Then we basically went into "factory" mode and printed guitar tracks, 2 of each player per tune.

That was the big part of the album. The rest was just vocals (Trying not to sound too much like the cookie monster!) and mixing in studio 1, which has a 64-input SSL 4000, with my own 'AAD' (Amazon Audio Developments) Equalisers replacing the original SSL 82E02 cards.

I love the band. There was a conscious effort on 'Heartwork' to make the sound more 'expensive' without making "selling-out". Reference stuff was Pantera, Alice in Chains and a few other artists who have names which always have -and always will- make me laugh... like "Fudge Tunnel"...

EDIT: caught the typo in the thread title too

[screamindaemon]

The copper shielding could also have a practical side to it, though I saw no evidence of it. You could ground all the casings together, and this would remove any stray capacitance caused by multiple boards close together.

My first impression of Trent Reznor's pedal board (pedal deck is more like it) was a bed of nails that some fakir would lay upon in a side street... that shit is crazy. How the hell does he pedal dance with any sense of accuracy?

Oh yes. Here is the translated google link for the guitar guide, I felt it deserved it's own post: (EDIT: Post merging sucks )
Le matériel des guitaristes pro(s) - (Sommaire en page 1)

EDIT: crap, it didn't work
http://209.85.173.101/translate_c?hl=en&sl=fr&u=http://www.guitariste.com/forums/pedales-effets-homestudio,le-materiel-des-guitaristes-pros,76579.html&prev=/search%3Fq%3Dhttp://www.guitariste.com/forums/pedales-effets-homestudio,le-materiel-des-guitaristes-pros,76579.html%26hl%3Den%26client%3Dfirefox-a%26rls%3Dorg.mozilla:en-US:official%26hs%3Ds2S%26pwst%3D1&usg=ALkJrhihGMZR 67nc7nycQmDRCok7lUc5Xg

It won't copy into the forums through the hyperlink tool, so you'll have to do it the old fashioned way.