#1
So, I searched the word 'pro' in GG&A, and all there were no threads describing specific pro gear and such.

Now, there is a CROTM in the EG forum, but 1. That only comes out once a month (if that) and 2. the amount of artists it covers is very small (pertaining to the number of pro rigs described).

Now, I was thinking, how about a thread where UGer's can ask and answer questions about certain pro gear and such?

If this is a bad idea, so be it, and I'll delete.


Cheers.
#2
i love the idea
I don't know just where I've been, who I am or what I've seen, I just know somethings happened to me, cause I've lost touch with my memory
#3
a pros gear is nice, but any questions we would like to ask would be pertaining to single pieces of equipment.

i dont think anyone here wants an exact replica of a certain artists entire rig.

but i may be wrong, thats just me.
My Gear:
Gibson Faded Flying V
"Dante's Inferno" Iceman
Fender Hot Rod Deluxe 112
etc.




Quote by freedoms_stain
I can't imagine anything worse than shagging to Mark Knopfler.

Maybe shagging Mark Knopfler, but that's about it.
#4
Quote by TK1
a pros gear is nice, but any questions we would like to ask would be pertaining to single pieces of equipment.

i dont think anyone here wants an exact replica of a certain artists entire rig.

but i may be wrong, thats just me.

Well, that is definitely an option. And some folks who are in cover bands might want an exact replica of a Pro's rig, so you never know.
#5
great idea gooley
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#6
Quote by Bostonrocks
great idea gooley

Why thanks.

#7
why not but whole sections commited to one guys gear so like reserve like 15 or 20 posts and list all there gear and pics if you can get some
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#8
Quote by Bostonrocks
why not but whole sections commited to one guys gear so like reserve like 15 or 20 posts and list all there gear and pics if you can get some

Hm...

That would work, definitely.

I actually like that a bit more than the initial idea that I had.
#9
well I can do Boston!
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#10
Quote by Bostonrocks
well I can do Boston!

Have at it!!

I'll do The Black Keys!

#11
there's the artist gear thread, but i may have the wrong idea.
not bashing your idea or anything though
Gibson SG Standard + 18volt EMG-81 & 85
Mesa/Boogie Mark IV + Recto 2x12
Keeley Modded BD-2
Vox V847a
Quote by one vision
Bureaucrats gonna crat.

Recognised by the Official EG/GG&A Who To Listen To List 2008
#12
Quote by UnsignedRecords
there's the artist gear thread, but i may have the wrong idea.
not bashing your idea or anything though

linky?
#13
Quote by UnsignedRecords
there's the artist gear thread, but i may have the wrong idea.
not bashing your idea or anything though



yah I know that but I'm thinking about going all out pictures Info the works
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#14
^doit
#15
Quote by imgooley
^doit



ok
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#17
Boston:

Tom Scholz of Boston is well known for tinkering with his gear and making his own gear to meet his needs.

I'm gonna go but dates here on what he used so here we go........


1976-80:

He usually used Marshall plexi's with a half cocked wah (either a Vox 846 or Dunlop crybaby) or a MXR 6 band EQ (the blue one without the footswitch). This is how he recorded the first and second albums. He has also said he used a prototype of his Rockman power soak (an attinuator) for recording.

ok now we go in depth....

Tom used a Modded Echoplex (or Hyperspace pedal as he calls it) to get his "thundering" picslides. It's an Echoplex that had the regen knob hooked to a gutted wah pedal so he can control the repeats with his feet. the he has a different piece of metal that is welded under the wah that moves from side to side. that is hooked to the delay pot. So he controls the parameters with his feet and that is how he gets that picslides he does. It is possible to do this with any analog delay as long as you feel like gutting a wah and possible wrecking your delay.


His guitar back then was a 68 Goldtotp he bought for $300 off a guy that had to sell it. It was only made for about 6 months in 1968 so have fun finding one. Tom has said that he really liked the P90s that were in it but needed something that didn't have as much hum and a but more Umph so he put a DiMarzio Super distortion DP100 in the bridge of this guitar.

this guitar also has a second fret BEHIND the third fret side by side Tom says this makes it a prefect pitch for a open D chord. This Is that guitar. he also modded it with a floyd rose in the later 80s as you can see. on the head stock he also has a automatic tuning system he never marketed.

His amps. The Marshall Superlead 100w Plexi was pretty much stock other than the tubes. The one thing he said that was important was that he mic'd it with a SM57 from about 3 feet away so he caught the sound coming off the floor and not straight from the cabinets.

1980-94

In 1982 Scholz introduced the Rockman X100 headphone amp. It was a revolutionary design in that you didn't need an amp and it could be used in Stereo. He recorded most of Third stage with the X100 and some other Rockman products.

from the 70s to the 80s his guitars haven't changed much other than he bought another 68 Goldtop.

Tom got fed up with the Marshalls and how they broke down so often and he could never quite get the perfect sound from them so he invented what he wanted....The Rockman.

It started with the X100 as I said but it moved to The sustainer,EQs,echos,chorus all that stuff. He has said the the MOST important part of his tone here is the EQ's he play's the sustainer on the edge setting with both pre and post distortion EQing. to get a good tone out of rockman gear DON"T put it through your amp put it through a FULL RANGE speaker system you won't believe your ears. It's amazing.

he slightly Choruses his sound to make it a bit fatter and the echos are used in some songs.

1994-present.

During "Walk On" in 94 Tom said he had found what he wanted from day one. that is having his sound and never having to deal with them breaking down or anything. he said he finaly got the Rockman gear so close to the marshall sound that he used marshalls in a couple places on walk on and you can't tell the difference!.

For this album he used his goldtop as normal but also used a Jackson in some places.

from then one he hasn't changed much in the sounds and gear he uses. he still uses Rockman gear straight to the PA and still uses is hyperspace pedal and all of that. He had said the the 08 tour is the BEST sounding tour he has ever done.

his sound had changed in some respects as in its a lot more Bassy and not quite as Honkey. but thats all thats really changed.


here is a list of gear that he has used.............

Boston Equipment List:
3M M-79
Tom uses two of these 24-track recorders--one for the lead tracks, the other for the rhythm tracks; he dupes the masters so he can wear out the copy.
• Scotch 226 tape
Analog master tape for recording the tracks. Tom stocked up on this before it was discontinued.
• Scotch 996 tape
Analog mixdown master.
• Studer
A couple of these recorders.
• Scully 12-track
I believe he recorded the first album on this one.
• Scully 280-B mixdown
This is equipped with a useful gadget--I'm guessing a real time frequency analyzer or an oscilliscope that takes Fast Fourier Transforms (FFT's)--so Tom can set the high frequency bias tone very precisely in order to take advantage of a notch in the signal-to-noise (S/N) characteristics of Scotch 226 tape; this allows him to acheive exceptionally low-noise and vast amounts of headroom for the master mixes.
• SMPTE synchronizer
Tom tried this expensive piece of equipment to sync his big decks together, but found it had too much wow; later he resigned to syncing up by putting each deck on a side of his headphones and slowing the reels down with his hands so the sound centered in his head.
• EMT Gold Plate Reverb
• Lexicon PCM 41s and 300 Reverb
• Some ancient digital delay
• Eventide 910 Harmonizer
• Wah Wah pedal (probably a Dunlop Cry Baby)
Apparently, Tom set the wah pedal in the middle position for a narrow band-pass filter to help acheive a desirable guitar tone on the first album. Later, he designed some filters to do it more elegantly--which, I believe, were incorporated into the Rockman designs.
• Some flanger
• Kepex noise gates
• Vox Tone Bender w/ a blown 3906 PNP Bipolar Transistor (BJT)
Used for the "spaceship" launch on Third Stage.
• dbx 263X de-essers and 160 compressor/limiters
• Urei LA4 and 1176 limiters
Parametric equalizers by White, Ashley, Synergistic, and SA
• Scholz Hyperspace Pedal (modified Meastro Echoplex)
• Ultimatum
• Audiotronix board
This is the main board, with a Fadex automated mixing system added.
• Soundcraft Series 200B mixer
This is for the drum triggers that went to the Oberheim DMX (which Tom called the "Dummy X"; he sold it).
• Cizaks house monitors
• unknown monitor amps
• Electro-Voice PL20 and RE-20
Believe it or not, these are the house mikes Tom uses to record vocals.
AKG 414s w/ custom sustaining system
Mikes for the cymbals.
• EV RE-20's and Shure SM57's for the Leslie cabinet
• Gibson Les Pauls (3)
Standard with DiMarzio Super Humbuckers, one custom made for him by Gibson, and his precious 1968 Goldtop. I believe he also played a Jackson on Walk On.
• Guild G212NT acoustic guitar
• Yamaha APX9-12 acoustic guitar
• Hammond M Series organ
Used on the first three albums. I'm not sure what Leslie model he used with this.
• Hammond B-3 w/ Leslie 147 cabinet
Used on Walk On.
Yamaha CP-70 electric piano
• Yamaha CP-80 electric piano
Tom used this electric grand on the recent live version of "A Man I'll Never Be." Rather than using stock legs, Tom had a custom stand built to fit his 6'5" frame.
• Roland D-50 synth
Used on "Livin for You" and other tracks on Walk On.
• MXR stomp boxes and eq's
• Ovation electric 12-string
• An old Echoplex
• Simpson multimeter
The classic analog kind.
• An old Tektronix oscilloscope... YES!
Has screen shot capability so waveforms can be recorded for future setups of equipment ensuring the same electrical features have been achieved.
• Gibson bass w/ Fender Jazz Pickup
• Steinway grand piano
Used on "Can'tcha Say." (Actually, this is in Blue Jay Recording Studios, Carlisle, MA)
• Conn theatre organ
Used on "The Launch."
Ludwig double bass kit (w/ triggers) and Sabian cymbals
• Other various nondescript boxes, oscillators, etc ?

there you have it


here is one more

http://www.eetimes.com/news/98/1004news/scholz.html
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
Last edited by Bostonrocks at Jun 30, 2008,
#18
Probably the most obvious departure in the Boston sound from your run-of-the-mill heavy metal sludge is Scholz' thick, yet clear lead guitar lines, partially accomplished with the aid of a device called a doubler, designed by Scholz and a friend. "That's what we call it," explains Tom, "though doubler is kind of a misnomer. It does more than, say, an Echoplex or a tape delay that just gives you a repeat. We designed it to approximate the same sound as when you dub over a guitar part twice: it adds a pitch change to the time delay. You can build the same type of unit with commercially available devices, but I think that unless you were filthy rich, it wouldn't justify the cost. You would need a regular delay unit, a harmonizer, and an oscillator-nothing very complicated. Since we were broke at the time, and since the technology wasn't very complicated, we built our own. Because the doubler gives Scholz such a rich, heavy sound, Tom is the only one of Boston's three guitarists [the other two are Barry Goudreau on lead and rhythm and singer Bradley Delp on rhythm] to use the device onstage. "Anything more than that would get too messy," Tom explains.


To simulate the sound onstage that he gets on record, Scholz runs the guitar signal and the signal from the doubler in stereo, which duplicates, he says, "the old recording trick of using two rhythm guitars panned to the outside." The device, however, can be used in mono, and Tom describes that result as "sounding sort of flanged."


Aside from the doubler, which Tom states is used judiciously throughout the album, his other techniques are less exotic, though just as effective. "A plain old wah-wah pedal is very effective on certain things," observes the musician. "To some extent you can follow notes on the fretboard. To do it, you find two or three notes next to each other on the fretboard, and then find the position of the pedal that sustains those notes. As you play up the board, press the pedal toward the treble side to sustain the higher notes, or if you're playing bass notes, push back on the pedal to sustain them. It's a great effect, but a little difficult to control."


Tom credits the biggest part of his sound to a Marshall 100-watt Super Lead tube amp cranked full up, though he notes that the tone settings on the amp (which he changes often are critical. "A little adjustment on the head will give you different distortions," he remarks. "Even the same tone settings on two different Marshalls will give you slightly different sounds." Tom uses a preamp that he salvaged from an old hi-fi system to boost his sustain in the studio, though he thinks that most commercial preamps will achieve the same effect.


Onstage, Scholz controls his effects from a pedal board, which, along with individual on/off switches for each effect, also features the "kitchen sink"-a switch that turns everything on ("for those times when they start picking up bottles"). The guitar is first fed into a homemade preamp which has an active high-end boost, to allow Tom to get away with using all his other inline effects without overpowering noise. "Most of those devices are designed to take much larger input signals than even the most powerful guitars put out," Scholz explains. "If you kick up the signal in front by 3 or 4dB, and start boosting the highend at around 2kHz around 6dB per octave, you can get the signal-to-noise ratio down to a usable level.


"After the preamp," he continues, "I have a 6-band MXR Graphic Equalizer that runs on batteries-which in itself is noisier than hell, but sounds all right after it's preamped. I have a wah-wah pedal, but I often use the MXR to simulate the wah-wah sound. After that is a volume pedal, and then a Maestro Echoplex which I modified the hell out of to make it semi-usable."


Modifications to the Echoplex include a foot pedal to control sustain, volume, and head location (the latter by means of a homemade mechanical hookup). Though Tom modified the delay unit over five years ago, it took up until about a year ago to get the unit working to his specifications. "Part of the reason is that the raw materials are of really poor quality," says Scholz. "The electronics, the heads, hell-everything you can name on the thing is really cheesy. Even after having modified it, I still have to tune It up every other week. When I have some time, maybe before we do the next album, I'm going to throw the whole thing out and build a decent one from scratch. I don't think that will be too hard."


Another studio trick that Tom transferred to the stage allows him to get the tone he wants from his Marshalls without blowing himself or the rest of the band off the stage. "With two stacks of Marshalls full out, I don't think there's a guitar made that wouldn't go crazy." Tom believes. He has devised a resistive network that he positions between the head and the speaker bottoms to cut volume without affecting tone. "They're variable: we can tap off however much of the signal as we want," is about as much detail as the Guitarist offers.


The only other piece of modified equipment that Boston uses onstage is a fuzz box run between singer Bradley Delp's Gibson L6-S electric guitar and Ampeg V-4 bass amp head. "I think the thing is called a 'Fresh Fuzz'," says Tom. "It's a cheap little box that I traded for a six-pack a while ago. I put in a few resistors and capacitors to boost the high end and give it a shelf. You get more raunch than fuzz out of it now, which isn't bad at all!"


Scholz feels that both live and in the studio, the manner in which the group's Marshall cabinets are miked greatly alters their sound. "Marshall cabinets in particular are very directional," he notes. "You get a completely different sound quality as you move the mike around. Personally, I put the mike a few feet away from the cabinet so it picks up the reflected signal from the floor, as well as the direct signal from the speakers."

btw this is just an article it's not mine the other post is though.
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
Last edited by Bostonrocks at Jun 30, 2008,
#19
I think I'll bump this, I like this idea I wanna see if it can get started
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#20
I am kinda weary to do one with you're comprehensive detailed evaluation of Boston.
#21
Quote by imgooley
I am kinda weary to do one with you're comprehensive detailed evaluation of Boston.



is it to much?
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#22
A bit of on overkill.

But hey, is there really such thing as overkill
#23
Quote by imgooley
A bit of on overkill.

But hey, is there really such thing as overkill



overkill? do people just not want to know that much about Boston (other than me)
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#24
I've got more than a feeling that they don't.
#25
Quote by imgooley
I've got more than a feeling that they don't.



lol everyone uses that joke

but you know what I know lots of people who do + I'm sure there are other bands also
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#26
I'm too lazy to do one right now.

But later.
#27
Quote by imgooley
I'm too lazy to do one right now.

But later.



ok Night goolz I'm going to bed
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#28
Quote by Bostonrocks
lol everyone uses that joke

but you know what I know lots of people who do + I'm sure there are other bands also

Yeah, it gets a bit annoying sometimes. I mean, all I want is to have some peace of mind.
#29
Quote by Iceman 420
Yeah, it gets a bit annoying sometimes. I mean, all I want is to have some peace of mind.



well Hollyann though it up while hitching a ride on the launch, and she said to herself don't look back to Amanda and that was more than a feeling and in that she had her peace of mind because she wasn't afriad of love anymore and it had been a long time since she had been smokin in a rock 'n' roll band but it was ok now cause it was a party.


I can't believe I just did that


EDIT: I commend you, most people say piece of mind you spelled it right +1 my friend. you rock
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#30
Quote by Bostonrocks

EDIT: I commend you, most people say piece of mind you spelled it right +1 my friend. you rock

Thankee. I actually spelt "piece," but I caught myself 'casue I rock apparently.
#31
Quote by Iceman 420
Thankee. I actually spelt "piece," but I caught myself 'casue I rock apparently.



yup you're just that cool
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#32
Quote by Bostonrocks
yup you're just that cool

Quite.

And must I say, quite a nice piece of work with the Boston rig. I now know more about Boston then I ever planned to.
#33
Quote by Iceman 420
Quite.

And must I say, quite a nice piece of work with the Boston rig. I now know more about Boston then I ever planned to.



haha now go tell all your friends they'll either be amazed or be like whats wrong with him and who is Boston
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era
#34
Quote by Bostonrocks
haha now go tell all your friends they'll either be amazed or be like whats wrong with him and who is Boston

Yeah. People today just don't listen to enough Boston. It's a shame.
#35
it is a shame
Quote by gregs1020
Brett has been saving for a splawn for 4 years
countries have been toppled in the time it's taking, revolutions won got a black pres

yawn


Quote by bubb_tubbs
When he finally gets one it'll probably be televised like the Berlin Wall coming down.
The end of an era