Tracking Clean Guitars at Abbey Road - "Saturnine and Iron Jaw"
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- čas přidán 5. 09. 2024
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Inside look on tracking the bridge and ending clean guitars for "Saturnine & Iron Jaw" in the beautiful Studio 2 at Abbey Road.
Gear used:
Knaggs Honga
Fender Princeton Reverb w/ Hiwatt 2x12 Fane cab
Boss Blues Driver
Boss RE-20 Space Echo (for some slap-back)
Recognize any of the sounds? - Hudba
honestly the best part of 2020 is this album
Yes!!!! I couldnt agree more 🤘
Yay. Nice to see you again, Ben. Love your work and your humbleness. Cheers.
Ps: Everest is my favourite track from the new album. Would be nice to have some tabs on it, but don't feel preasured at all.
Pps: Fuck it, tabs for all songs would be awesome haha.
Sounds like the guitar tone in the room is very true to the mic'd sound on the record. Very nice.
Well start with the DAAAAA DA
😅
Nice!! Can’t wait for more of these in the studio vids
Hey Ben, I love your guitar work and sound on NATI! Just on top of the game and unique. Especially Everest is wonderful. I also miss Allan on the keys but I have the feeling that it gave you a lot of space too on this album, which is also lovely since you are one of my favourite guitarists these days. Still sad that you cancelled your little side gig in north germany in november 2019 when you were on tour with Ghost. I know why I always hated Ghost ;)
Incredible tone, incredible playing
so grateful to be present for this process. thank you forever, ben!
I love this man skills, so underrated, defo at the top of my list of sick guitarists
Pure class.
Much appreciated. Best album I've heard.
Thank you for this! My favorite song of the new album!!!
Am I the only one geeking out because it is Abbey Road?
Awesome, what a selection of beauties in the back! Look at those gorgeous HiWatts, it almost excuses not even plugging the AC30 in. Love the socks Ben!
the guy who's film seens like Josh Klinghoffer's guitar tech
Socks are epic
Thanks for sharing this!
I’ve been playing a deluxe for about ten years now....thinking about getting into the hiwatt game. A lead 30 if I can find one locally because I can’t play too loud where I live.
dope
Magic
Are you using the Reverb pedals instead the mixer reverbs? I really love your work on guitars!
How much of the drive was from the Blues Driver vs the Princeton? Sounds fantastic!
The filmaker is Daniel Lutheran?
Drop C?
Yep thats their favorite tuning
Not C standard?
Which chords is he playing ! aah
Is it C standard tuning?
So, the tuning is Drop C aka D standard with the low D dropped to C.
It seems to me that the chords he is playing around 1:45 is a C power chord shape: x3x013 (in standard tuning)
In the actual tuning here, starting on D# at the 8th fret: x8x068, then C at the 5th fret, Bb at the 3rd fret and F at the 10th fret
sliding up and down and keeping the F string open.
@@johnjohnjak5160 wow thanks for that dude! i'm gonna try it out when I get home :D
@@johnjohnjak5160 that's it!! thank you very much haha. :D
@@matsverschueren7976 No worries, it should be easier now to figure out the rest of the clean parts, they're built around these ;)
This is also how the Harvest Feast jam starts, in D standard, that C5 power chord shape root on fret 3 (so Bb5 in reality)
@@johnjohnjak5160 yes a lot easier. thanks alot John
RAD.
Drop c blacksabbath c sharp underwater paddleboat so7nd into 5hre void
Very nice! Did you take much gear over with you to record with? Or source it locally so you didn't have to ship it there?
AFAIK Hiwatt hooked both Ben and Parks up with some amps and cabs once they got to UK. So they probably only brought their guitars and pedalboards and got the rest from the studio.
I did see the Hiwatt video that Ben did for them in regards to the amps he used in the studio. But I was more referring to pedals and guitars :)
High end studios have candy stores of equipment to chose from. My band recorded a demo with Nick Rhodes of Foghat fame and I was amazed at the equipment that he had to chose from. From the baby grand in his living room down to the wall of Marshalls, fenders, Vox, Hiwatts, strats, pauls, teles......
He had a Ludwig Suprasonic snare from the 70's and the list of songs he recorded with that very snare was mind blowing. That snare alone could have a room full of gold and platinum records. I miss those days.
Come to Germany duude
They come next year! :)
This is kind of a bit of posing. Why would he track in the live room by himself? Usually, when you're tracking one track at a time you track from the control room. This way you don't have to wear headphones. You have zero latency through the analogue desk and you get the context of the whole track through the big mains. And of course you can hear your amps and guitars in their full glory.. Again through the mains. Tracking through headphones like this in a live room by yourself just seems, well, for the movie. Or whatever they're making. You wouldn't do this typically.
Guitars sound different when listening through headphones and listening from the amp.
Many musicians wear in ear monitors when performing live.
This is no different
@@CouchEconomyTX You've never tracked guitar in a studio? There are no headphones involved. You can sit in the control room and just listen to your amp through the mains which are far more glorious sounding than whatever amp you've got. We have large Geithain monitors here (901k) and studio A has even bigger mains (Exigy with 18" bass cones). Both are in wall mounted. There is an all analogue signal path from the amp room to the console and mains so no latency monitoring. Mic up your amp with an sm57, some kind of ribbon and a U67 and just play. Amp is isolated completely. It's a no compromise way to do guitar tracking. And if you keep all of your monitoring in the analogue domain you don't have to worry about latency throughout the entire studio so if you need everyone to track together they can be in separate spaces and still track together with no latency. Also, if you're tracking guitars you should only be concerned with how those guitars will sound in the mix. No one is going to be listening to you playing your guitar in your room. It doesn't matter what your amp sounds like. Nobody cares and nobody will even ever get a chance to care really. The only thing you need to be worried about is how your guitar sounds in the context of the overall record. That's it. And the only way to do that is to listen through the studio signal chain on the mains with the rest of the track for context.
@@Screaming-TreesNo one cares what you think bro, your just another blown out opinion.
It's a lot easier to intentionally generate feedback if you're in the same room as the amps/speakers. Plus some people just prefer to play in the same room as the speakers and feel the air getting shoved into them and making their guitar resonate.
@@Smurfman256 The feedback thing is understandable. If you need that then you have to play next to the speaker. But feeling the air? You ever hear really big mains? It's pretty massive playing through something like Exigy or Geithain with 18" woofers and several thousand watts per speaker. It is way more than any amp can deliver. Not every studio has this but it is pretty common here in London.