I recently had the pleasure of sitting down and speaking with Favored Nations’ guitarist Andy Timmons to discuss the recording techniques of his latest Andy Timmons Band release, Resolution. For
I recently had the pleasure of sitting down and speaking with Favored Nations’ guitarist Andy Timmons to discuss the recording techniques of his latest Andy Timmons Band release, Resolution. For those of you unfamiliar with Andy, he’s a former member of the ‘80s pop-metal band Danger Danger. His other projects have included stints as Olivia Newton-John’s music director and guitarist for the past seven years, as well as sharing the stage with Joe Satriani, Ted Nugent and the Beach Boys – how’s that for diversity? Andy spoke with us about his striking tonal control and masterful use of effects on his latest offering.
BT: Could you describe the creative process involved in making Resolution?
AT: It was quite the process of experimentation and discovery. It was the first record we ever approached strictly as a trio, and about halfway through we decided it would be nice to strip it down to just one guitar performance. Some of the basic tracks actually go back to 2001-02 – on my previous Favored Nations album, That Was Then This is Now we had recorded four new tracks. When we turned it over to [Favored Nations label owner] Steve Vai, he loved it. Steve liked hearing the fingers on the frets and the dynamics of everything, because it wasn’t muddled up with all of this other stuff going on. After he said that to me, I decided to do a whole record like that. From there I got really excited and I knew it was going to be a challenge and it really proved to be a very interesting one.
What guitars and amps did you use for the recording?
A ‘68 Marshall Plexi Super Lead panned on one side of the stereo field and a ‘79 Marshall JMP panned on the other side. Believe it or not, this was the first time I had ever played through a Marshall amp. I played both of them simultaneously through a Framptone Amp switcher with my signature Ibanez AT300 and AT100 guitars, which enabled me to play both amps with one guitar loud and clean using a tape echo and tube driver in front. For the album’s title track, I re-amped the Marshall through a Leslie 122 cabinet to get that swirling, Hendrix-y sound.
Mike Danne’s role on this recording went beyond typical bass duties. Can you tell us more about his input on Resolution?
Mike was a major component on this record. We’ve played together for years and he has a great ear for music – we’re able to feel the push and pull from each other. He actually co-produced the album, going for a very natural feel by recording all the guitar tracks in his studio without using any EQ.
What are your favorite cabinets to use?
The Mesa Boogie 212 Rectifier cabinets; I find them to be very focused, fat and warm sounding. My ears are so tuned to those cabinets and the Celestion Vintage 30 speakers.
Could you tell us more about the mics and format you used to record the album?
Most of the takes were one pass through on the same rig. I used all SM57s for recording the guitar. We recorded all the basic tracks onto 2” analog tape in an old Neve room just south of Dallas, and then we bounced to Pro Tools, then to Logic to record the guitar tracks, bouncing everything back to Pro Tools for the final mix. We wanted something unaffected.
I found Andy’s approach very interesting because it demonstrates an old school way of thinking in which you do not rely on EQ from the mixer or outboard gear. Instead, you reposition mics or adjust the tone of the initial source to get the desired recording. Also, a good point is that you don’t necessarily need expensive mics to capture great tone. The Shure SM57 microphone is one of the most affordable mics on the market, but very effective for capturing electric guitar tones.
Another great aspect of Andy’s recording is the use of the Framptone Amp Switcher, available from robertkeeley.com. I have one myself and it really enables you to get a stereo-like guitar image and texture using two different amps. You can simultaneously record extreme amps like a Fender Super Reverb and a Marshall JCM800 and use different effects on each amp. For instance, I used a Tube Screamer for the Fender Super Reverb and a Uni-Vibe through the JCM800 and hard panned each amp left and right. It’s important to note that you can accomplish this by doing several recording passes using different guitars and amps, much like the classic Alice in Chains album, Dirt, produced by Dave Jerden. Layering various guitars and amps will give you a fatter and richer tone for rhythm tracks. However, when doing melodies and solos the amp switcher is a more accurate way to record two amps at once.
Andy is one guy who understands tone and the gear he uses. As for making albums, he concluded, “I love the process and energy of it. Till the gold records pour in!” Check out Andy’s CD at andytimmons.com.
Brian Tarquin
Emmy Award Winning Guitarist Brian Tarquin scored a Top 20 hit in the 90’s with “The Best of Acid Jazz, vol. 2” on Instinct Records and enjoyed several top 10 hits on the R&R charts. Founder of the rock/electronica band, Asphalt Jungle and has scored TV music for such shows as, CSI, Smallville, MTV, Alias, 24, All My Children and many others.
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Mooer's Ocean Machine II is designed to bring superior delay and reverb algorithms, nine distinct delay types, nine hi-fidelity reverb types, tap tempo functionality, a new and improved looper, customizable effect chains, MIDI connectivity, expression pedal support, and durable construction.
Similarly to the original, the Ocean Machine II offers two independent delay modules, each with nine different delay types of up to two seconds, including household names such as digital, tape, and echo delays, as well as more abstract options, such as galaxy, crystal, and rainbow. A high-fidelity reverb module complements these delays with nine reverb types, as well as a shimmer effect. Each delay and reverb effect can also be ‘frozen,’ creating static ambient drones, an effect that sounds particularly impressive considering the pedal’s DSP upgrades.
While the original Ocean Machine’s looping capabilities provided just 44 seconds of loop storage, the new addition features an impressive 120 seconds. To experiment with this feature, along with OceanMachine II’s other sonic capabilities, users can use an intuitive LCD screen along with 12 knobs (four for each delay and reverb module) to easily adjust parameters within the device’s ‘Play Mode.’ Three footswitches are also provided to facilitate independent effect toggling, tap tempo control, looper interfacing, and a preset selector.
Once the guitarist has crafted an interesting effect chain, they can save their work as a preset and enter ‘Patch Mode,’ in which they can toggle between saved settings with each of the three footswitches. In total, the Ocean Machine II provides eight preset storage banks, each of which supports up to threepresets, resulting in a total of 24 save slots.
The pedal’s versatility is further enhanced by its programmable parallel and serial effect chain hybrid, a signature element of Devin Townsend’s tone creation. This feature allows users to customize the order of effects, providing endless creative possibilities. Further programming options can be accessed through the LED screen, which impressively includes synchronizable MIDI connectivity, a feature that was absent in the original Ocean Machine.
In addition to MIDI, the pedal supports various external control systems, including expression pedal input through a TRS cable. Furthermore, the pedal is compatible with MOOER's F4 wireless footswitch, allowing for extended capabilities for mapping presets and other features. A USB-C port is also available for firmware updates, ensuring that the pedal remains up-to-date with the latest features and improvements.
Considering the experimental nature of Devin Townsend’s performances, MOOER has also gone above and beyond to facilitate the seamless integration of Ocean Machine II into any audio setup. The device features full stereo inputs and outputs, as well as adjustable global EQ settings, letting users tailor their sound to suit different environments. Guitarists can also customize their effect chains to be used with true bypass or DSP (buffered) bypass, depending on their preferences and specific use cases.
Overall, Ocean Machine II brings higher-quality delay and reverb algorithms, augmented looping support, and various updated connections to Devin Townsend’s original device. As per MOOER’s typical standard, the pedal is engineered to withstand the rigors of touring and frequent use, allowing guitars to bring their special creations and atmospheric drones to the stage.
Key Features
- Improved DSP algorithms for superior delay and reverb quality
- Nine distinct delay types that support up to 2 seconds of delay time: digital, analog, tape, echo,liquid, rainbow, crystal, low-bit, and fuzzy delays
- Nine hi-fidelity reverb types: room, hall, plate, distorted reverb, flanger reverb, filter reverb,reverse, spring, and modulated reverb
- Freeze feedback feature, supported for both delay and reverb effects
- Tap tempo footswitch functionality
- New and improved looper supporting up to 120 seconds of recording time, along withoverdubbing capabilities, half-speed, and reverse effects.
- Customizable order of effects in parallel or series chains
- Flexible bypass options supporting both true bypass and DSP bypass
- Large LCD screen, controllable through twelve easy-to-use physical knobs for real-time parameter adjustments.
- Adjustable Global EQ Settings
- Full stereo inputs and outputs
- Synchronizable and mappable MIDI In and Thru support
- USB-C port for firmware updates
- External expression pedal support via TRS cable
- Support for the MOOER F4 wireless footswitch (sold separately)
- Designed for durability and reliability in both studio and live environments.
The Ocean Machine will be available from official MOOER dealers and distributors worldwide on September 10, 2024.
For more information, please visit mooeraudio.com.
MOOER Ocean Machine II Official Demo Video - YouTube
Some of us love drum machines and synths and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.