Accept "Balls to the Wall" = Tubescreamer into Marshall?

You wanna know the really weird part? The setup he is describing isn't too far off from how I used to play when I first started out except I had a Ross Distortion instead of a Distortion+ (and I was playing through a Peavey 2x12 tube combo not six Marshal stacks!). But the idea was the same: amp set loud, distortion knob on the pedal turned up most of the way, use the volume knob on the Ross to set overall rig volume, from whisper-quiet nighttime noodling to rehearsal to stage. I abandoned that setup within the first year because I was told by some "experienced" guru (who had probably been playing 6 months longer than me) that real guitar players didn't use distortion pedals!
 
That was a good read posted by Masta. I've never even tried an H30 speaker before. (the shame!)

That same grindsaw in the upper midrange is in the HM-2's "highs" knob when it gets up around 3:00 and over.
It drags the treble with it so it's good if your amp has a presence control to roll-off the thinness.
 
A little late, but here is my swing at the wall, with my balls

https://soundcloud.com/acemansdug/b2tw

So - I have absolutely ZERO mastering skills on Garage band. I'm actually seat-of-my-pants getting the input...but here is is

1979 LP w/ Duncan Distortion >
Marshall VS100R OD channel
- BMT 2/9/7 Contour at 6 >
Boost DLA in loop set for a low mix ~2/3 repeats
Reverb on 1 >
Zoom G3n
-Marshall 4x12 Cab

And a little futzing with the global EQ in garage band. Maybe a touch more global verb for the room.
 
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Wow - just listened to the album. Needs more verb! I am pleased with the overall tone though, more so than Round & Round.
 
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80's_Thrash_Metal said:
I think LLL needs to do a how to video on how to get Wolf's tone in this album!
Can someone with some pull make that happen? Ha ha. I'm lowly and glossless.
Click to expand...

I'm subbed to a channel called Circle Of Tone. The dude's name is Owen and he tracks down as many interviews from old magazines or archived sites, as much definitive information as he can and even reaches out and asks the guitarists themselves (he got corrected by Tony Iommi on Twitter once and it blew it, but he took it like a champ), producers and engineers what they used and recreates the tones using all the same gear and techniques. He's done a lot of rock and metal classics, old and more recent. I'd be down to see LLL do something like that on the regular and his take on it can be showing how to recreate the tone without necessary needing exactly what they used, but with similar gear you can get today.

Btw, I'm pretty sure Ace was giving you a compliment. It didn't come off like he was being rude at all. If I submitted a track to my distro label and they didn't accept it because it wasn't up to scratch, I'd do it again rather than be upset. I'm not saying you can't handle criticism but it seems like you inferred it as overly hostile just because Ace said it. Can't we all just get along? :( Did you remove your SoundCloud clip from the other thread? I wanted to hear it and it won't let me.

Aceman said:
A little late, but here is my swing at the wall, with my balls

https://soundcloud.com/acemansdug/b2tw

So - I have absolutely ZERO mastering skills on Garage band. I'm actually seat-of-my-pants getting the input...but here is is

1979 LP w/ Duncan Distortion >
Marshall VS100R OD channel
- BMT 2/9/7 Contour at 6 >
Boost DLA in loop set for a low mix ~2/3 repeats
Reverb on 1 >
Zoom G3n
-Marshall 4x12 Cab

And a little futzing with the global EQ in garage band. Maybe a touch more global verb for the room.
Click to expand...


Knowing what a pain Garageband is to work, that's pretty darn close! Through my stereo it just needs more low end and softer treble (not necessary less treble, just smoother if that makes sense) and it will be pretty much exact! My partner has mastered using GarageBand it and makes incredible demos for her songs on there with all this stuff that just goes way over my head (I learned on 16-tracks, ProTools, Cubase etc. and it's nothing like it) and I haven't had the patience to get to grips with how to use it properly to even come close to the sounds she can make,t so I can't stand it!
 
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Correct Beers - it WAS a compliment.

And thank you. I spend literally 95% of the time doing those trying to get from amp to computer. The dialing in was like reflex almost. I could have use different delay or Studio (?) reverb to get the album sound.

As I have always said - and while not always true - I'm sticking with 90% of a sound is knowing how to set the gain/BMT for your guitar. So few people play the amp! I think I could get that Accept sound like 5 or 6 very different ways.
 
Aceman said:
As I have always said - and while not always true - I'm sticking with 90% of a sound is knowing how to set the gain/BMT for your guitar. So few people play the amp! I think I could get that Accept sound like 5 or 6 very different ways.
Click to expand...

This is the truth. I like to buy stuff as much as the next guy, but learn to dial in what you have WELL, and being a guitarist suddenly becomes a lot cheaper.
 
I did adjust the bright down a touch. That too bright might be my ears being too deaf!
I could adjust the Marshall Cab sim. I'm not gonna.
I did mess w/ the mid range on the global EQ a touch for a few seconds - but again, wasn't referencing the original side-by-side.
 
I've already posted where the chordal movement of this song is so frigin badass (going to the root later in the song) (their doing the same thing Ratt did often)

but I wonder -since English was Accept's second language -did they know that the "Balls" in the saying Balls to the Wall had nothing to do with Nuts or People -and if they didn't know -did they choose to have the headbangers against the wall thinking it was their balls, or rather they knew this and thought it would be funny to do for the video.
 
Ace is getting closer. Recording to 2” tape would have played some part in softening the treble in a way Garageband just isn’t able to. Maybe lo-pass starting at 12khz and slowly sweep it down until it tames that digital brittleness might be the simplest workaround. It doesn’t have to be exact, it can’t really with GarageBand but it’s impressively close now.
 
Well, I have pushed my recording chops to the max. I really need to up my game in this area. This little effort has helped significantly.
 
Aceman said:
Well, I have pushed my recording chops to the max. I really need to up my game in this area. This little effort has helped significantly.
Click to expand...

It's fun though, isn't it?

That last clip is very close and as an aside, removed from the context of getting very close to that Accept tone, you got a cool 80s metal tone with that trademark "chewy" motorbike engine sound that the Super D and DD are known for out of the experiment.
 
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Sirion said:
This is the truth. I like to buy stuff as much as the next guy, but learn to dial in what you have WELL, and being a guitarist suddenly becomes a lot cheaper.
Click to expand...

After 20 years of playing I think/hope I've finally learned this lesson. Cheaper AND easier to dial in what you have and embrace what it does. Also easier to be musical when you aren't constantly trying out and comparing gear.

Apply this to the recording conversation, you can chase tone by buying preamps and microphone and soundproofing your room, or you can simply play with different microphone positions. There's an amazing amount of sounds available by moving the microphone around to different places on the speaker, different distances from the speaker. If you record something and re-amp it into your cabinet, you can move the mic all around and see what you like best, maybe mix a couple together, pan them around, put a slight delay on one, etc.
 
And we are back with V3. This time I did some real A/B with the original track.

Did a slight adjustment to the mid placement and level on the global
Did a significant high end treble change on the global

So I'm done with this for now. Great exercise.

https://soundcloud.com/acemansdug/b2tw3
 
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