Recording - November 2009 - 29

the Loudspeaker Outputs, and a DI Output with rotary level control. This amp allows for two options for HGRM: (A) Loudspeaker Outputs into a Fig: 6a Fig: 6b great through the voiced Line Output, which is “cabinet voiced” to prevent excessive bass or highs going to the mixer. Despite the cabinet-voiced feature (which basically helps with the eq), the tone really sounded great when I applied the HGRM and sent the signal to a few different aux tracks with cabinet emulators to blend the sounds. You’ll find the Voiced Line Out jack on the back panel [Fig. 5b], where you’ll also find a switch to select between the use of 4 tubes for 100 Watt operation, or 2 tubes (50 Watts). The latter allows for early power-amp clipping, and the actual volume reduction is only 3 dB, which I find preferable in home recording and with HGRM. power attenuator like the Hot Plate [Fig. 3b] that connects to your audio interface, with the amp’s full tonal benefits, or (B) DI Output to your audio interface [Fig. 3c], simpler (just a 1/4" cable) but without the amp’s tonal benefits. This amp, like others, has an Output Select panel with three impedance options: 4, 8, and 16 ohms. Pick the correct output to match your power attenuator. I was able to get classic tones with this amp and various cabinet emulators. I busted out the old Les Paul and got great classic rock to hard rock sounds. ~ Sound City 50 Plus: This discontinued predecessor to HiWatt represents the vintage category [see Fig 4a]. Like most older designs, the Sound City 50 Plus has no DI, Line or Rec Out options, just the good ‘ol’ speaker cab outs. This particular head has a sensitivity switch, a ground switch, and it also includes an output impedance selector. I set it to 8 ohms for my Hot Plate. This is a particularly great-sounding clean amp, with plenty of bite—terrific when used with good analog saturation like the Keeley Electronics [www.robertkeeley.com] modified Ibanez Tube Screamers and with a virtual two-cabinet combination. I also tend to use a compressor pedal, like the popular BOSS CS-3 [www.bossus.com], or—my favorite—the Keeley Compressor (the 2knob version) before the distortion pedals (or in the FX Send/Return, but that’s not an option in this case). The Sound City is extremely sensitive to tone changes when you adjust the volume knobs from both the Normal and Brilliant channels, which you can join by using a jumper cable from one to another, much like Hendrix did with the old Plexi heads. ~ Carvin Legacy VL212: The Steve Vai signature series amp [see Fig. 5a], known for its ‘singing’ sustain and sweet tones, is paired with Celestion Vintage 30 speakers, both in the stack and combo versions. I got really good results when pairing it with emulations of those same speakers. But in general, this amp sounded particularly RECORDING NOVEMBER 2009
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Recording - November 2009

Table of Contents for the Digital Edition of Recording - November 2009

Recording - November 2009
Fade In
Contents
Talkback
Fast Forward
Les Paul Speaks
Cakewalk SONAR V-Studio 700
The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Radial JDX and Phazer
Shure SM27 and SM137 Microphones
Eventide PitchFactor
Recording’s Guitar Column
Lexicon I•ONIX U42S RecordingInterface
Recording’s Showcase of Sounds
Readers’ Tapes
Vibesware GR-1 Guitar Resonator
BOSS ME-70 Guitar Multiple Effects
Line 6 BackTrack and BackTrack + Mic
Advertiser Index
Fade Out
Recording - November 2009 - Recording - November 2009
Recording - November 2009 - Cover2
Recording - November 2009 - 1
Recording - November 2009 - Fade In
Recording - November 2009 - 3
Recording - November 2009 - Contents
Recording - November 2009 - 5
Recording - November 2009 - Talkback
Recording - November 2009 - 7
Recording - November 2009 - Fast Forward
Recording - November 2009 - 9
Recording - November 2009 - 10
Recording - November 2009 - 11
Recording - November 2009 - Les Paul Speaks
Recording - November 2009 - 13
Recording - November 2009 - 14
Recording - November 2009 - 15
Recording - November 2009 - Cakewalk SONAR V-Studio 700
Recording - November 2009 - 17
Recording - November 2009 - 18
Recording - November 2009 - 19
Recording - November 2009 - 20
Recording - November 2009 - 21
Recording - November 2009 - 22
Recording - November 2009 - 23
Recording - November 2009 - The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Recording - November 2009 - 25
Recording - November 2009 - 26
Recording - November 2009 - 27
Recording - November 2009 - 28
Recording - November 2009 - 29
Recording - November 2009 - 30
Recording - November 2009 - 31
Recording - November 2009 - Radial JDX and Phazer
Recording - November 2009 - 33
Recording - November 2009 - Shure SM27 and SM137 Microphones
Recording - November 2009 - 35
Recording - November 2009 - Eventide PitchFactor
Recording - November 2009 - 37
Recording - November 2009 - Recording’s Guitar Column
Recording - November 2009 - 39
Recording - November 2009 - Lexicon I•ONIX U42S RecordingInterface
Recording - November 2009 - 41
Recording - November 2009 - Recording’s Showcase of Sounds
Recording - November 2009 - 43
Recording - November 2009 - 44
Recording - November 2009 - 45
Recording - November 2009 - 46
Recording - November 2009 - 47
Recording - November 2009 - 48
Recording - November 2009 - 49
Recording - November 2009 - Readers’ Tapes
Recording - November 2009 - 51
Recording - November 2009 - Vibesware GR-1 Guitar Resonator
Recording - November 2009 - 53
Recording - November 2009 - BOSS ME-70 Guitar Multiple Effects
Recording - November 2009 - 55
Recording - November 2009 - Line 6 BackTrack and BackTrack + Mic
Recording - November 2009 - Advertiser Index
Recording - November 2009 - 58
Recording - November 2009 - 59
Recording - November 2009 - 60
Recording - November 2009 - 61
Recording - November 2009 - 62
Recording - November 2009 - 63
Recording - November 2009 - Fade Out
Recording - November 2009 - Cover3
Recording - November 2009 - Cover4
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