Guitars, amps, mics and three different studios: how Ace recorded tracks for his latest.
The JCM900 SL-X and 5150 II in the control room.
I kept thorough notes on what mics, amps and preamps were used on each song (as well as taking pics), so that if we came back to a song a month or more later, we could remember the setups. For most of the electric tracks, I used a Royer 122V tube ribbon mic or a Royer 121, along with either a Sennheiser MD 421 II or the classic Shure SM57. At first, we also used room mics, but they were rarely used in the mix, so we eventually just settled on close mics. Ace liked the mics to be right up on the speakers, which does provide some proximity bass and a very up-front sound.
Royer 122V and Shure SM57 up close on a Marshall cabinet.
When cutting acoustic parts, I’d use a variety of mics, from AKG 414s and Earthworks QTCs to a single AKG C 12 VR “The Tube” with a modified capsule. That was the primary vocal mic used on the record as well. We also used the DI output on any acoustics that had one, just to have the extra sonic options later.
Ace’s selection of ‘bursts.
Alex also recorded two tracks of drums with Anton in Ace’s live room. He used an AKG D 112 on the kick, a pair of the ADKs as overheads, an AKG 414 on bottom of snare, an SM57 on top, as well as Sennheiser MD 409s on the toms. He also tracked vocals with the AKG “The Tube” and a 414, using mostly the Focusrite ISA 428.
The AC15 used on “Genghis Kahn.”
I also asked Marty how the record was mixed, and how they did the guitars on “Fox on the Run,” and this is what he told me: “We mixed it all in Pro Tools, with things like the URS and SSL channel strip plug-ins. You know, we used all the good stuff that’s available out there! The whole approach was that he wanted to keep it as old school as possible. The fact of the matter is we ended up tightening a few little things, but it was pretty much all there. We didn’t put everything on the grid, but like most records, if something just needed a nudge here and there, we did it.
We used drum samples with the real drums, just to give it a big sound. That also helped tie up a long recording process of his and make it sound like one record.
“For ‘Fox on the Run,’ we went DI, using Digidesign’s Eleven. I played a little on that track as well, some rhythm and some bass, and Brian Tichy played drums. We really knocked that one out and did it in about a day. Overall, it’s a heavy, riff-based record with some great songs. He got to lay down some killer parts on all his songs without anyone telling him what to do. We kind of cleaned it up a bit, killed a couple of guitars if there was too much going on, but it’s all Ace. He’s a guitar hero, and I just felt we could help him tie it all together to make a cohesive- sounding record. It came out great.”
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Looking for a compact, “noiseless” way to plug in and play guitar? Check out the brand-new Gibson Digital Amp, available only in the Gibson App.
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The Gibson App uses a unique two-way, interactive platform to teach guitar students how to do everything from playing their first note to shredding loads of songs. The Gibson App features interactive lessons with thousands of lessons and songs. Learn the songs step-by-step with video tutorials from superstar artists and pro guitarists in the “Gibson App Guide.” The Gibson App also includes the new Digital Amp, a built-in tuner, a metronome, Gibson TV, and new songs are added every week. New Gibson App Guides are added regularly and include Tommy “Spaceman” Thayer’s favorite iconic KISS guitar solos, Richie Faulkner’s (Judas Priest) “Guide to Metal,” Jared James Nichols’ “Guide to Blues,” CELISSE’s “Guide to Songwriting,” and more.
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Learn Guitar With The Gibson App
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This pickup captures the clear, bell-like single-coil chime of a classic P-90 when played clean and retains the tight mids and articulate low-end vintage growl and smooth sustain saturation when pushed into overdrive.
Belltone Guitars, as part of their Custom-Select System curated offering of pickups, has partnered McNelly pickups to create a one-of-a-kind retro-vibe P-90 pickup in the standard Filtertron size format. This pickup captures the clear, bell-like single-coil chime of a classic P-90 when played clean and retains the tight mids and articulate low-end vintage growl, and smooth sustain saturation when pushed into overdrive.
The McNelly P-90 Foil-Coil comes housed in a ‘raw’ nickel outer casing with a dull nickel foil face with metal mount screw gromets to complete the ‘new-vintage’ aesthetic, making it a perfect choice for your signature Belltone custom build. Available exclusively through Belltone Guitars.
Check out the Custom-Select System belltoneguitars.com to preview the McNelly P-90 Foil-Trons and all our standard and selectable components available to create your own signature Belltone. Then visit the Dream Lab on our website and select either model B-Classic ONE with its top binding or B-Classic TWO with its arm and body contours select your body color from our wide range of offerings, select your neck profile of either standard ‘C’ or thicker ’59 Round Back and either Maple or Rosewood fingerboard followed by your tuners, pickguard, and strings. Finally, review our curated custom-designed, and unique pickup selection to locate the McNelly P-90 Foil-Trons to complete your signature build.
Builds start at just over $2,300.00 with a custom case and shipping included.
For more information, please visit belltoneguitars.com.
McNelly P 90 Foil Tron video Sep27
DiMarzio, Inc. announces the Relentless P (DP299), the Relentless J Bridge (DP301), Relentless J Neck (DP300), and the Relentless J Pair (DP302) for 4 string basses.
DiMarzio, Inc. announces the release of the Relentless P (DP299), the Relentless J Bridge (DP301), Relentless J Neck (DP300), and the Relentless J Pair (DP302) for 4 string basses. The new Relentless P and Relentless J series pickups feature the Relentless cover designed in collaboration with Billy Sheehan.
As with the Relentless pickups, we removed all the hard edges from the standard P Bass and standard J Basspickups, and added an arch to the top of the pickups to bring the sensing coils and pole pieces closer to the strings. These improvements increase the dynamic range and make active circuitry unnecessary.
The Relentless P and Relentless J pickups incorporate Neodymium magnets and produce 70 percent more output than traditional passive pickups, and they’re dead quiet due to the incorporation of metal covers and foil-shielded cables. To dial in (or fine-tune) the individual string output, the Relentless P and Relentless J include eight adjustable pole pieces. These pickups also have a broad magnetic field so you can even bend notes without volume dropout.
DiMarzio’s extra shielding makes the Relentless P and Relentless J better for both recording and stage performances. We’ve mounted them onto robust .09375” thick circuit board base plates to eliminate the annoying protruding mounting screws — ultimately creating a more comfortable and consistent foundation to rest your fingers on.
The new Relentless P steps beyond the traditional P-Bass sound and can only be described as massive. It has more of everything: more volume, beefier lows, a growling midrange, and crispy highs with better individual string definition.
The Relentless J incorporates a new invention, (patent pending) parallelogram-shaped coils, offering an expanded mid-range punch, snappy highs, precise lows, and a new dimension to the sound of the Relentless series pickups.
Relentless P and Relentless J pickups will breathe new life into any bass, increase playability, and work well for any style of music from Motown to metal.
DiMarzio’s Relentless P, Relentless J Bridge, Relentless J Neck, and Relentless J pair are made in the U.S.A. and may now be ordered for immediate delivery.
Suggested List Price for the Relentless P is $169.00 (MAP $119.99).
Suggested List Price for the Relentless J Bridge and Relentless J neck is $155.00 (MAP $109.99).
Suggested List Price for the Relentless J Pair is $296.00 (MAP 209.99).
For more information, please visit our website at dimarzio.com.