What did you think Mike and Stone sounded like in 2003?

57Goldtop

That was a weird way to phrase it. I'm talking about 2003 Riot Act album and tour. Here is my take.

Riot Act Album:
Stone's tones sounded way cool. Very thick and crunchy. You can really hear it on the rhythm parts on Get Right, Half Full, Bushleaguer.

Mike's tones were very close to the same. Save You intro riff was one of the coolest tones PJ has ever gotten.

I know they played Trentino's, what did you think the tones sounded like? Marshall? Something higher gain?

2003 Live:

Mike sounded like he always does. I couldn't tell if he was playing the trentino or old Marshall.

Stone was quite different than he ever sounded before live and way different than Riot ACT.

Do you think Stone's live tone was Marshally, hot rodded Voxy?

That's what I'm getting at.

HailHailVitalogy

57Goldtop wrote:

That was a weird way to phrase it. I'm talking about 2003 Riot Act album and tour. Here is my take.

Riot Act Album:
Stone's tones sounded way cool. Very thick and crunchy. You can really hear it on the rhythm parts on Get Right, Half Full, Bushleaguer.

Mike's tones were very close to the same. Save You intro riff was one of the coolest tones PJ has ever gotten.

I know they played Trentino's, what did you think the tones sounded like? Marshall? Something higher gain?

2003 Live:

Mike sounded like he always does. I couldn't tell if he was playing the trentino or old Marshall.

Stone was quite different than he ever sounded before live and way different than Riot ACT.

Do you think Stone's live tone was Marshally, hot rodded Voxy?

That's what I'm getting at.

mike used the trentino as well as a matchless head but used his old marshall cabs...he last used his marshall plexi in 2000

stone changed to mostly using his Fender American Strat although he used his les paul and a few other guitars...he used a savage head through a marshall cab, and another amp i forget, maybe it was the trentino as well

also realize both use their dirty tone through the OD of the amp they were using with their certain settings for the EQ.. they would use their TS9 as an extra "boost" i guess you would say

next tour i think mike is going to go back to his fender amps

DaytimeDilemma

I wanna see Stone turn his amp's gain to 11.

mccreadyisgod

HailHailVitalogy wrote:

also realize both use their dirty tone through the OD of the amp they were using with their certain settings for the EQ.. they would use their TS9 as an extra "boost" i guess you would say

Stone didn't use a tubescreamer or any form of OD/dist. on the last tour. He used amp gain combined with boost/compression to get his drive.

I don't believe that Mike's Trentino was actually fed into the PA or bootlegs, I believe his stage sound was the Matchless and his rack thru a VHT power amp. Stone was using his Trentino for his stage sound on a Marshall cab.

http://www.giventowail.com has it all, folks...

Dirty_Frank

The guitar sound was very British sounding if you ask me. Not like high gain marshall, but hotrod vox sort of thing.

the unseen

i dont know all about the gear used on tours,but in my opinion,their best sounds were on the tour done in 95.

i havent really been too impressed with the guitar sounds on the last few tours i've seen or heard on boots as compared to the stuff i have from the anti ticketmaster tour.

Pacomc79

the unseen wrote:

i dont know all about the gear used on tours,but in my opinion,their best sounds were on the tour done in 95.

i havent really been too impressed with the guitar sounds on the last few tours i've seen or heard on boots as compared to the stuff i have from the anti ticketmaster tour.

My favorite recorded tone was the Vitalogy Era.

I like stone now, I kind of wish mike was a little less bright.

I'd like to see him dump the L6 stuff and maybe find some kind of tube echo or more full sounding delay.

I love the savage blitz 50

mccreadyisgod

Pacomc79 wrote:

My favorite recorded tone was the Vitalogy Era.

I like stone now, I kind of wish mike was a little less bright.

I'd like to see him dump the L6 stuff and maybe find some kind of tube echo or more full sounding delay.

I love the savage blitz 50

My fav. record is Yield, by far... tones, songs, grooves, drums, the engineering, mixing, producing... Jack Irons and Brendan O'Brien are sorely missed (at least by me).

I've loved Ed's tone the last two tours, it's hard to argue with basics. Mike sounds like Mike, what else can you say? Sure, the L6 stuff isn't built for great tone, but it's practical and user-friendly. I feel like Stone's tone got a bit thin last tour... the lack of the Tubescreamer/Sonic Distortion is probably part of that change. But I just feel like his tone used to be more saturated, and now it lacks a little fullness.

They're definitely in British tonal territory lately... the Savage and Matchless are Vox-y, and the Hiwatt is a Hiwatt. The curve-ball is the Trentino... without knowing what power tubes are in that, and when it's being heard in lieu of the other amps, it's hard to say what territory that's in.

Pacomc79

mccreadyisgod wrote:

My fav. record is Yield, by far... tones, songs, grooves, drums, the engineering, mixing, producing... Jack Irons and Brendan O'Brien are sorely missed (at least by me).

I've loved Ed's tone the last two tours, it's hard to argue with basics. Mike sounds like Mike, what else can you say? Sure, the L6 stuff isn't built for great tone, but it's practical and user-friendly. I feel like Stone's tone got a bit thin last tour... the lack of the Tubescreamer/Sonic Distortion is probably part of that change. But I just feel like his tone used to be more saturated, and now it lacks a little fullness.

They're definitely in British tonal territory lately... the Savage and Matchless are Vox-y, and the Hiwatt is a Hiwatt. The curve-ball is the Trentino... without knowing what power tubes are in that, and when it's being heard in lieu of the other amps, it's hard to say what territory that's in.

yeah, actually you're right the yield era was unbelievable too. In Hiding is definately one of my favorite ever PJ songs. The poverty of the L6 stuff is that the whole thing sounds damn good all the models, but the parts they choose drop the volume and make it thin. It's like taking Handel and making him work in the dark. We all know George Tripps could make them reliable tone monsters for about oh 1000 a piece but marketing can't sell those to us either.

So here's what I think. Mike should dump the pedals and go with the MM4 and DL4 rack units and use a midi switcher.

the unseen

>Jack Irons and Brendan O'Brien are sorely missed


i used to really dig brendons work untill i heard the RATM release,renegades.


when compared side by side to rick rubin,i think his work is a bit muddy.

thats who i'd like to see the jam boys hook up with is rubin,i think he is the best at what he does no matter what style of music he is working with.

Pacomc79

the unseen wrote:

>Jack Irons and Brendan O'Brien are sorely missed


i used to really dig brendons work untill i heard the RATM release,renegades.


when compared side by side to rick rubin,i think his work is a bit muddy.

thats who i'd like to see the jam boys hook up with is rubin,i think he is the best at what he does no matter what style of music he is working with.

I detest the mix on renegades it's mainly tim bob's tone that dosen't mesh right it's too loose and muddy

Rick Rubin seems to mix everything loud as balls.

the unseen

renegades was all rick excpet for the song ghost of tom joad,thats brendons song......to me it sounds like mush compared to the rest of the stuff on that one.

rick makes me feel like i'm in the room with the bands he records.......

Pearl Jam and toast

the thing is they keep getting better and better at shaping their sound which with all the good things about it takes away the flaws that make album's (like vitalogy) unique.

i'll take the good over the bad though

57Goldtop

.I've never read anywhere that Mike used the Matchless last tour

In Hiding, All Those Yesterdays, Spin the Black Circle are all some of my favorite PJ recorded tones of all time.

But, I think my favorite is Hail, Hail. That was Stone's Matchless period, but I'm not sure what they used on that recording. It sounds great.

The Edge uses Line 6 distortion modeler specially made for him and it is great. That's what "Vertigo" was recorded with and plays it live with it. In fact, I think a lot of their new album used that effect. You'd never know, but it is the Edge

Pearl Jam and toast

Mike's tone on Off He Goes from live on 2 legs..

PERFECT amount of ambience and everything. Why doesn't he do that anymore?!

We're all forgetting though.. Jeff has possibly the best tones of any bass player in history.

Beav

I'd describe their live sound as muddy and muddier. I liked their tone in the nineties better like the unseen said. And I hate Ed's "always clean" tone. For some of the songs he really needs some overdrive. Sorry for the negativity...

Pearl Jam and toast

Beav wrote:

I'd describe their live sound as muddy and muddier. I liked their tone in the nineties better like the unseen said. And I hate Ed's "always clean" tone. For some of the songs he really needs some overdrive. Sorry for the negativity...

oh i'd say most of us agree.

that crunch on immortality was great...

it really doesn't sound like he's playing clean the whole time though, even these days.

mccreadyisgod

I like the stuff Rubin has worked on, but I really feel like O'Brien has a much more natural sound to the stuff he mixes, and it's more appropriate to some bands. For instance, I don't think Rubin OR O'Brien would be well-suited for Pearl Jam with Matt behind the kit. But O'Brien could really meld things when Jack was setting the beat... very loose, maybe a tad muddy, but warm and alive-sounding. Rubin has leaned too far towards poppy-clean mixes lately. There's a time and place for it, but it gets old.

To tell you the truth, I was amazingly happy with the engineering/production of Riot Act. Adam did well, and I was glad to hear they were staying with him for the new record. But after Binaural, even I could've done a good job.

DaytimeDilemma

Adam Kasper is the man. I love the production on QOTSA's Songs for the Deaf.

Pearl Jam and toast

mccreadyisgod wrote:

I like the stuff Rubin has worked on, but I really feel like O'Brien has a much more natural sound to the stuff he mixes, and it's more appropriate to some bands. For instance, I don't think Rubin OR O'Brien would be well-suited for Pearl Jam with Matt behind the kit. But O'Brien could really meld things when Jack was setting the beat... very loose, maybe a tad muddy, but warm and alive-sounding. Rubin has leaned too far towards poppy-clean mixes lately. There's a time and place for it, but it gets old.

To tell you the truth, I was amazingly happy with the engineering/production of Riot Act. Adam did well, and I was glad to hear they were staying with him for the new record. But after Binaural, even I could've done a good job.

i agree about o'brien.

actually i think binaural's production fit the album very well... almost like an extremely oddly shapped puzzle piece.. anything else and it wouldn't have worked.

Glad Kasper is back too. I saw an interview thing (might still be up on http://www.jeffgarden.com down the page a bit) where they talk about Kasper. Matt Cameron especially seems blown away by him.. they love him

El_Kabong

I thoguht Mike sounded a little muddier than he did in 2000. like on nothing as it seems and insignificance for examples...you can't hear his guitar as loudly as from the binaural tour.

also i think he got rid of his rotosphere and uses the line 6 dl-4 now instead...could be wrong

Pacomc79

El_Kabong wrote:

I thoguht Mike sounded a little muddier than he did in 2000. like on nothing as it seems and insignificance for examples...you can't hear his guitar as loudly as from the binaural tour.

also i think he got rid of his rotosphere and uses the line 6 dl-4 now instead...could be wrong

it would be the MM4. and could account for the muddiness. The pedalboard is still at giventowail.

whatsthefreezer

I think the tones are great nowadays. The best they've had. I just wish they would play a few more rockers and less ballady type songs.