James Santiago is a goddamned national treasure! I've never heard a single interview with him that he didn't say at least a dozen things that blew my mind.
Thank you for not having just a clickbait title and a few throwaway remarks (about playing style or something) but actually delivering with some new information.
As an acoustic guitar player, I usually don't bother to watch videos about guitar pedals. I really appreciate how you presented this pedal and all of the background on how and why it was created. Thank you, Rhett and Universal Audio! Now, if I could only play enough electric guitar to make it worth buying one of those pedals...
The pedal just arrived and it's better than I was even expecting! great as a sustaining compression, great as a kind of boost, and it can even do a kind of fuzz sound when combined with other pedals!
Jimmy Page will always be a mystery. It's actually what makes him cool. On Stairway he was using that little Supro Coronado amp with a Tele just cranked to the max. I've got the Jimmy Page Mirror Tele that he was using on that and man that thing is absolutely awesome. Then there are songs like No Quarter and Whole Lotta Love where he just gets absolutely mind blowing tones that we'll never be able to replicate. Jimmy Page is so cool.
I’ve actually gotten very close to the WLL tone myself. The trick is to have your les paul in the middle position and have treble volume at max and rhythm volume at about 6. The rest are just amp settings that are easy to mess around with but gain should be at 4.
@@digiorno1142I also gotten a very close WLL tone , Page Used the Vox UL7120 with a built in distortion activated, I have a the Lumpy Overdrive 7 that is based on that fuzzy overdrive that those amps had , and I'm using it into a Vox amp , with a Les Paul with the pickup in middle position.
Cool and well-executed idea for a pedal, and this video was really well-done overview of how to get creative with studio compressors by showing in detail how to stack and dial in the 1176s for legendary sounds. Pedal sounds stellar too. Bravo Rhett and James!
Exactly what I was thinking 😂 I can envision Page saying: “you know what, let me just plug into the console and crank it once.” Then he plays and plant says “sounds shite, to be honest”. And then Bonham says “right, but the groove is tight, let’s leave it and jam on that.” And THATS how Black Dog was born.
I think what's crucial to understanding how Page's tone on Black Dog wasn't as farty and brittle as what we hear here is because they EQ'd the crap out of it. It's the same drive happening, but they tamed it considerably for the final mix.
@@voronOsphere Like what? Where's that coming from? I'm hearing an effect in that Black Dog mix, maybe an octave box or fast leslie. Sounds double tracked as well. (who knows)
Nearly 60 years ago and we are still digging into the sounds of Led Zeppelin. Were they geniuses or did they find some felicity in messing around with the equipment? I mean, how do you get stoned, find a certain pitch, amplification, setting and not forget it, but patent it and build on it. What really impressed me with their muscianship was "Carouselambra" from "In through the out door". A seminal work with great nuance, change patterns and strange ambience emitting from the lower strings of Page's playing.
they just used the tools that were available to them at the time. if Zep had formed in 2018 and not 1968… they would have used plugins in a DAW for flavour.
Everyone talks about Eddie's swing and he had it in spades. But Page had that, and so much feel, Touch, mood, pocket, etc... Even being a legend Page is under rated.
Very cool guys. I've been using two compressors in series for many years as a foundation for both clean and OD sounds. I'm gonna try this OD trick. Thank you.
@@annode Maybe. When I have use stacked compressors they were always in series. Compressors in parallel create a different, more aggressive and very nice sound as well. I stack compressors in series to increase the amount of compression, maintain sharp attack, and prevent the usual compressor anomalies. Its all good, and whatever makes the best sound for you, that's what is right.
@@martinaddison4880 I watched those meters intently for a while over and over, considering what's going on, series doesn't make any sense to me. Parallel hardly makes sense either but at least it's more probable in that configuration. No matter.
Great video. I remember reading about this technique being used on Black Dog a bunch of years ago. When tracked with multiple guitars and used in a subtle way its a great effect but by itself not so much.The Beatles used this technique as well. Keep these great videos coming.
I have a couple Warm Audio 1176’s. Will have to try this. I used to play through an old tube amp record player console when I was a kid, probably in 1976. About that time I got my first real guitar amp a PV Backstage. I smoked that amp and a guy Mike Metz a now famous technician out of Wichita Kansas built that Backstage into a really great amp. It was a solid state amp that smoked some of my friends tube amplifiers at the time. As far as recording, I have no clue. I had an RCA record cutter and I used a EV microphone into a Fostex 4 track and straight into the RCA.
Jimmy and all the greats back then managed to make the best sound out of what they had. We now have infinitely more specific gear and stil try to copy their old set ups. We guitarists are hard to please!
I know it’s Madness gone Mad , All the Gear and endless possibilities, AI and god knows whatever other Nonsense and yet The Best was still Done with them Great Bands from The 60s and 70s with stuff that hasn’t been bettered really when you think about it,it’s just a bit more convenient now.. 👍🏻⭐️
Limitations force creativity. Today, we have infinite possibilities, so nobody has to struggle and reach to achieve something. Unless you're a uniquely self-driven individual, that makes it hard to be truly innovative.
Love the historic take on where Page got that icon is sound. Taking a sound that isn’t necessarily pleasing and working into the mix. Great content Rhett!
I used to record with a guy that literally makes almost every band he produces play a generic rhythm track on every song and sometimes even an acoustic on every song. Regardless of genre or how heavy the music is supposed to be. The only thing I personally don't like as much about that is I always wanted to be able to recreate the sounds live. If you listen to Zeppelin live there were just things they couldn't recreate live but their records are seriously insanely awesome sounding.
@@SimpleManGuitars1973 I can see where he’s going with that method. Must Nice to have flavors to mix in when the need be. Interesting point! What do you have if it can’t be performed live? I kind of all went for that gut feeling of “ is this in the soul of rock n’ roll” when writing. Have i gone to far out that I can’t get back in? I’m just a guy trying to play a song. Getting to what ever the song needs.
OMG, for years I've been saying that a lot of Page's sound in studio never sounded like an amp I ever heard and thought maybe it was direct input like bass players do and tweaked out in the mix! Finally, clarification about all that! The sound quality of the double 1176's sounds similar to an out-of-phase switch (OOP) so prior to all this my thought was he used his pickups switched OOP through a pedal and direct into the board and pre-amped by the channel gain. Anyways, this has all been very enlightening. Thank you so much! 🤘🤘
Great post. I still don’t understand that 1176 compressor…maybe make 3 short videos about how to use it…some of us have U/A software gear, so we have all those knobs!
Now I have to try this with my Strat running in and out and back in both channels of my ART VLA II stereo compressor. It won't be the same, but it might be amazing in it's own way! You never know until you try.
I believe Jimmy used this trick all over the first album and people mistake the effect for his tone bender. The solo in You Shook Me, the fuzzy upper octave in Dazed and Confuzed and the main riff on How Many More Times. I believe it is used on Bring It on Home, the solo in Tangerine, the fuzzy slide parts in When the Levee Breaks, and the main riff in No Quarter. It is my feeling it was his secret ace up his sleeve when he wanted a guitar part to ooze sleaze.
Led Zeppelin I is the crunch of supro, and some songs tonebender mk2, led zeppelin II is the distortion built- in of the vox UL7120, this trick is on black dog , no quarter, and some other songs.
I agree with the upper octave in Dazed. Not sure about You Shook Me. Page did say he drove a Leslie speaker cab with the desk, but I think the Tone Bender was also in there. Page has also stated that he drove the Leslie cab with the desk for How Many More Times. Zep II was a Vox UL, but I think there is some desk distortion on top of the amp’s natural distortion. Some of the drum tracks sound like the dual 1176 driving things into distortion.
I'm guessing the Heartbreaker solo uses a really high level of compression, and a noise gate, which creates that chaotic sound. You might want to look into that as well.
Its an underwound PAF but a unique one. I was lucky to know Jimmy guitar tech..I build both the Pre April 72 and Post April 72s sets . The Madison Square Garden set is on my channel last vid.
I have had the pleasure of recording this way on occasion. Something that wasn't touched on was that your guitar and pup choice become very important. Tele gonna Tele and a master gonna jazz.
Yeah! I remember hearing this story from Mason at Vertex when their Nyle Comp/Mic Pre came out. One of the settings of the Nyle gets you in this territory.
Great video. I had heard about the distortion coming from several compressors, but never seen it demonstrated. I think the key, as articulated in the video - in the context of a mix. By itself, it doesn’t sound great. But, in a mix, it works so well. Nice.
I personally don't care for that distortion sound. If I heard that coming out of my gear, I'd be convinced something had blown. I'd grab my handy Tube Screamer!!!!!
DI guitar sounds are underrated. Of course you can't get them to sound like a traditional amp, but that's the point. Sometimes, you just need an heavily compressed, heavily EQed direct signal to get your sound to stand out in the mix.
If someone is looking for a cool compressor pedal, try the Carl Martin Andy Timmons signature.... It's my holy grail after I tried so many of them... Too many... Boss, MXR, Source Audio, EH, Walrus, Earthquaker, Keeley, Pigtronix... You name it... So I hope it spares someone some time. Carl Martin from 10 years ago beats them ALL by a LONG SHOT... It feels like studio quality. Anyways, I love compression. Great video. Cheers everyone 👍
So I just finished watching this video and thanks cause it was super interesting. Always great to see how historical sounds were made, for us guitar nerds. My next thought was hey, if you can achieve this with two standalone compressors, can you then stack two digital compressors, in a HX stomp, (Helix) environment and get either the clean sustain or even the Jimmy page distortion out of it? Could be additional content…I know I’d watch!
I thought the same thing, so I tried it out. The Helix/HX doesn't have a model of an 1176 that I know of, so I just used two Deluxe Comps (which according to their manual is a Line 6 original.) From my limited testing I can't get the distortion with just compressors, as maxing out the level control on the first comp into the second comp just makes it louder but with no distortion. You can use the mic pre amp block to add some gain and I think it sounds somewhat similar. But the clean dual compressor sound is really cool and I've been loving it
One of the greatest distortions I've ever heard is the Paperback Writer tone and I've heard that George Harrison was literally just plugged into to the board with it cranked. You think he was using this same trick to get that sound?
at the time a HARD working studio musician , who just said " Listen to this " Let me lay this on ya .! And man we all were having the same vibe , this was a whole new sound of rock and roll . . he took the dirt path of music and paved the way for generations of musicians . . Brilliant is an understatement imho
Very interesting video. It kind of drives home the functionality of compression. Who knew you could stack compressors!?! I guess Jimmy Page and probably a lot of others, but I didn't. Thanks!
some of the inexpensive guitar practice amps and even bass amps we used and played in the late 70's to late 80's had that type of sound as if one of the Humbuckers or single coils was tøø low away from the strings the midrange treble would seem to be absent for the middle 4th 3rd strings, yet sustain was still available for the bass tones 6th and 5th strings often during jamming or noodling - yet when learning or rehearsing, practicing - the notes come before the drop off sensation effect of the amp and pickups in most songs so the higher treble strings 2nd and 1st would have clear sound and tone before the decay instead of fading away.. almost similar to blown speakers in a car or pickup truck.. so it was necessary to be proficient and have a precise attack on the notes that need to be heard from each of the strings and as chords. especially with live drum set where the percussion from the guitar players needs to be proficient otherwise probably won't hear anything from the guitar (s) except the bass and midrange many times options for adjusting the amp were just more volume and midrange so scooping the sound would not really work in those situations - until better pickups and pedals and better amp was available somewhere along the journey and then it' was possible to get more in sync sound wise to what was being produced released that one would hear on the radio peavey and crate practice amps really were the go - to for hard rock and metal and having tabs in back on the speaker was a bonus to connect to more stand alone speaker(s) we would aLways' ALLwAYyszzz trying to sneak the parents the adults home stereo system speakers everyone had during those times 😉 of course a big fender twin reverb or Princeton would be nice a real Strat would be nice and easily a half or full stack ¿marshmallow? Marshall but oftentimes nobody had a gibson les paul or fender strat we got whatever we could afford in the instruments and amplifier world while saving up for a vehicle at 16 . yes the lawsuit era . amazing period of time that decade before grunge and alternate and CD players it was aLL rAd .. heLLa rAd 🔥⚡😎⚡🔥⚡🤘 6:30 - 6:50
Got an 18 volt dod performer compressor from the 80s, sounds killer and can boost a signal like nobody's business, if one crosses your path don't turn your nose up at it
Once asked in 1975 who his favorite American band was Page said Little Feat. RIP Lowell George Fortunately, Lowell passed the torch to Bonnie Raitt before he passed.
The real secret is Jimmy's nuanced ability to find the unique sweet spot between the gain, other settings, picking and playing hardness between each amp situation.
Wasn't to sure of Rhett at first w beato. Now I've come to like his content. He's not pretentious , as I assumed , it's just him being him. I respect that, he's a an average guy just like all of us climbing the ladder of life & music.
I never knew the exact gear he used but it sounded like an overdriven FET stage in a compressor.. I had assumed he just used the console built in compressor stage when the Solid State boards starting coming out (late 60s) .. it just has that sound (double tracked ) . Cool to see it was this gear..and it was ubuitous stuff at the time to see this gear. So he used the console and outboard gear - yes it adds a flavor for sure it speaks volumes about the quality of these mixing consoles as well.
A note about How Many More Times. The direct compressed track is played in tandem with a standard overdriven amp track. If you isolate the correct side you will hear a WALL of fuzz.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Thanks Rhett! Was great hanging with you & your crew at HQ 🙌
UA Team - love this pedal, really impactful!! Improved my tone!
I love this video. Please make more videos about Zeppelin tones
This Please!!!!!!
Heck yeah!
You’ll have to wait for another pedal company to promote something that has a Zeppelin play to it. This isn’t a Zeppelin tutorial. It’s an ad.
@@jeffdixon847 It's the kind of ad I love!
@@jeffdixon847 BTW, not all Rhett Skull uploads are ads. He can do more videos about Jimmy Page's tone without it being an ad.
James Santiago is a goddamned national treasure! I've never heard a single interview with him that he didn't say at least a dozen things that blew my mind.
One of the most fun and interesting “commercials” I have watched in a long time 👍
James is a MONSTER player. Watched him and Dweezil just shred the last time I saw the ZPZ band. Absolute legend.
Thank you for not having just a clickbait title and a few throwaway remarks (about playing style or something) but actually delivering with some new information.
As an acoustic guitar player, I usually don't bother to watch videos about guitar pedals. I really appreciate how you presented this pedal and all of the background on how and why it was created. Thank you, Rhett and Universal Audio! Now, if I could only play enough electric guitar to make it worth buying one of those pedals...
As you pointed out, James seems like he has some real depth of knowledge on this stuff. I'd like to hear more!
Rock on kids!🤘
The pedal just arrived and it's better than I was even expecting! great as a sustaining compression, great as a kind of boost, and it can even do a kind of fuzz sound when combined with other pedals!
Jimmy Page will always be a mystery. It's actually what makes him cool. On Stairway he was using that little Supro Coronado amp with a Tele just cranked to the max. I've got the Jimmy Page Mirror Tele that he was using on that and man that thing is absolutely awesome. Then there are songs like No Quarter and Whole Lotta Love where he just gets absolutely mind blowing tones that we'll never be able to replicate. Jimmy Page is so cool.
Precisely said!
Yes, the Studio tones are basically impossible. On my last video is my new MSG pickups which do the 73 tour sounds.
I’ve actually gotten very close to the WLL tone myself. The trick is to have your les paul in the middle position and have treble volume at max and rhythm volume at about 6. The rest are just amp settings that are easy to mess around with but gain should be at 4.
@@digiorno1142I also gotten a very close WLL tone , Page Used the Vox UL7120 with a built in distortion activated, I have a the Lumpy Overdrive 7 that is based on that fuzzy overdrive that those amps had , and I'm using it into a Vox amp , with a Les Paul with the pickup in middle position.
@@timetraveler8777watch It Might Get Loud WLL section…he shows the fuzz pedal he used.
Cool and well-executed idea for a pedal, and this video was really well-done overview of how to get creative with studio compressors by showing in detail how to stack and dial in the 1176s for legendary sounds. Pedal sounds stellar too. Bravo Rhett and James!
Amazing how much effort goes into recreating an ad hoc sound of the 70s.
Exactly what I was thinking 😂 I can envision Page saying: “you know what, let me just plug into the console and crank it once.” Then he plays and plant says “sounds shite, to be honest”. And then Bonham says “right, but the groove is tight, let’s leave it and jam on that.” And THATS how Black Dog was born.
Two things
Thank you Rhett for doing this video
Please don't have the background music competing with your dialog .
Thanks for remembering Lowell George and Little Feat!
Nice to see a Publison Infernal Machine in the rack at UAs. Everything else they emulated already. So now we know what will come next year.
I think what's crucial to understanding how Page's tone on Black Dog wasn't as farty and brittle as what we hear here is because they EQ'd the crap out of it. It's the same drive happening, but they tamed it considerably for the final mix.
Plus blending it with more traditional electric guitar sounds.
@@voronOsphereBINGO
@@voronOsphere Like what? Where's that coming from? I'm hearing an effect in that Black Dog mix, maybe an octave box or fast leslie. Sounds double tracked as well. (who knows)
@@annode it's triple tracked and the solo is played through a leslie
Hes also playing an overdriven tele double tracked over the fuzz part during some parts
Nearly 60 years ago and we are still digging into the sounds of Led Zeppelin. Were they geniuses or did they find some felicity in messing around with the equipment? I mean, how do you get stoned, find a certain pitch, amplification, setting and not forget it, but patent it and build on it. What really impressed me with their muscianship was "Carouselambra" from "In through the out door". A seminal work with great nuance, change patterns and strange ambience emitting from the lower strings of Page's playing.
Nicely put!
Page is a genius and an innovator actually they all were in my opinion
they just used the tools that were available to them at the time. if Zep had formed in 2018 and not 1968… they would have used plugins in a DAW for flavour.
The recording engineers did a lot of the innovation.
I read that Page was using Gibson Lab series solid state amps for Carouselambra
Gotta say this tone is so cool to me. I would never have considered for someone to get the idea to do that at the time.
Jimmy's real secret trick is ... He is really good, he played great compositions.
It's the feeling he puts in his playing, the contrast between light and dark and that comes with playing all the time, putting in the graft isn't it?
Everyone talks about Eddie's swing and he had it in spades. But Page had that, and so much feel, Touch, mood, pocket, etc... Even being a legend Page is under rated.
Tone is all about the jacket
Yes and also he was a great producer/ audio technician
Yup. The real trick is actually showing up to practice, but we all know guitarist don't wanna hear that. It has to be the magical diodes.
Very cool guys. I've been using two compressors in series for many years as a foundation for both clean and OD sounds. I'm gonna try this OD trick. Thank you.
I think these comps are in parallel.
@@annode Maybe. When I have use stacked compressors they were always in series. Compressors in parallel create a different, more aggressive and very nice sound as well.
I stack compressors in series to increase the amount of compression, maintain sharp attack, and prevent the usual compressor anomalies.
Its all good, and whatever makes the best sound for you, that's what is right.
definitely in series@@annode
@@martinaddison4880 I watched those meters intently for a while over and over, considering what's going on, series doesn't make any sense to me. Parallel hardly makes sense either but at least it's more probable in that configuration. No matter.
i've learned so much here! studio compression usage starts to make a lotta sense - thanks to you all
Great video.
I remember reading about this technique being used on Black Dog a bunch of years ago. When tracked with multiple guitars and used in a subtle way its a great effect but by itself not so much.The Beatles used this technique as well. Keep these great videos coming.
Yes, Lennon's guitar is straight to board for 'Revolution'. Maybe same as 'Black Dog'?
It’s cool that you only get the fuzz on the transients. That clean sustain is a unique character.
I like the Isbell slide lick. I remember learning about the Lowell George thing because of the Slide Rig pedal that Jason used.
I have the Slide Rig and it is a very cool pedal.
I have a couple Warm Audio 1176’s. Will have to try this. I used to play through an old tube amp record player console when I was a kid, probably in 1976. About that time I got my first real guitar amp a PV Backstage. I smoked that amp and a guy Mike Metz a now famous technician out of Wichita Kansas built that Backstage into a really great amp. It was a solid state amp that smoked some of my friends tube amplifiers at the time.
As far as recording, I have no clue. I had an RCA record cutter and I used a EV microphone into a Fostex 4 track and straight into the RCA.
Jimmy and all the greats back then managed to make the best sound out of what they had. We now have infinitely more specific gear and stil try to copy their old set ups.
We guitarists are hard to please!
I know it’s Madness gone Mad , All the Gear and endless possibilities, AI and god knows whatever other Nonsense and yet The Best was still Done with them Great Bands from The 60s and 70s with stuff that hasn’t been bettered really when you think about it,it’s just a bit more convenient now.. 👍🏻⭐️
I'm pleased.
Limitations force creativity. Today, we have infinite possibilities, so nobody has to struggle and reach to achieve something. Unless you're a uniquely self-driven individual, that makes it hard to be truly innovative.
SOUNDS SO SO GOOD!!! MAGICAL
Love the historic take on where Page got that icon is sound. Taking a sound that isn’t necessarily pleasing and working into the mix. Great content Rhett!
I used to record with a guy that literally makes almost every band he produces play a generic rhythm track on every song and sometimes even an acoustic on every song. Regardless of genre or how heavy the music is supposed to be. The only thing I personally don't like as much about that is I always wanted to be able to recreate the sounds live. If you listen to Zeppelin live there were just things they couldn't recreate live but their records are seriously insanely awesome sounding.
@@SimpleManGuitars1973 I can see where he’s going with that method. Must Nice to have flavors to mix in when the need be. Interesting point! What do you have if it can’t be performed live? I kind of all went for that gut feeling of “ is this in the soul of rock n’ roll” when writing. Have i gone to far out that I can’t get back in? I’m just a guy trying to play a song. Getting to what ever the song needs.
I'm more of a metal guy but it never hurts to see what people do for a cool tone tks Rhett
@8:00 running your rig through an ancient tube tape recorder you can get some of these similar vibes. The tubes act as the compressor.
That Strat is beautiful. And your playing is sounding pretty great.
some great playing on this
Superb video Rhett. This is the first decent explaination of what UA have put in their 1176 pedal. More importantly it explains why. Cheers.
This actually sounds so cool, never would have thought to do this!
OMG, for years I've been saying that a lot of Page's sound in studio never sounded like an amp I ever heard and thought maybe it was direct input like bass players do and tweaked out in the mix! Finally, clarification about all that! The sound quality of the double 1176's sounds similar to an out-of-phase switch (OOP) so prior to all this my thought was he used his pickups switched OOP through a pedal and direct into the board and pre-amped by the channel gain. Anyways, this has all been very enlightening. Thank you so much! 🤘🤘
Don’t forget his Germanium Fuzz pedal was used for Whole Lotta Love and others
Great post. I still don’t understand that 1176 compressor…maybe make 3 short videos about how to use it…some of us have U/A software gear, so we have all those knobs!
Now I have to try this with my Strat running in and out and back in both channels of my ART VLA II stereo compressor. It won't be the same, but it might be amazing in it's own way! You never know until you try.
I believe Jimmy used this trick all over the first album and people mistake the effect for his tone bender. The solo in You Shook Me, the fuzzy upper octave in Dazed and Confuzed and the main riff on How Many More Times. I believe it is used on Bring It on Home, the solo in Tangerine, the fuzzy slide parts in When the Levee Breaks, and the main riff in No Quarter. It is my feeling it was his secret ace up his sleeve when he wanted a guitar part to ooze sleaze.
Led Zeppelin I is the crunch of supro, and some songs tonebender mk2, led zeppelin II is the distortion built- in of the vox UL7120, this trick is on black dog , no quarter, and some other songs.
I agree with the upper octave in Dazed. Not sure about You Shook Me. Page did say he drove a Leslie speaker cab with the desk, but I think the Tone Bender was also in there.
Page has also stated that he drove the Leslie cab with the desk for How Many More Times.
Zep II was a Vox UL, but I think there is some desk distortion on top of the amp’s natural distortion. Some of the drum tracks sound like the dual 1176 driving things into distortion.
Interesting use of compression. I dig clean sounds and that had some lush clean tone without sounding muted or boxy
super tips folks, awesome stuff.
I never understood why my stereo compressor has a button to dump one channel into the other. now I do.
thanks!
Very informative. Compression in general has always been a mystery to me..
Super educational - thanks heaps Rhett and UA
Not only the gear does brilliant stuff, your slide playing blew me away.
I'm guessing the Heartbreaker solo uses a really high level of compression, and a noise gate, which creates that chaotic sound. You might want to look into that as well.
Its an underwound PAF but a unique one. I was lucky to know Jimmy guitar tech..I build both the Pre April 72 and Post April 72s sets . The Madison Square Garden set is on my channel last vid.
@@bryanwilliams3665and you build them so very well!!!❤
I think it’s a cranked Plexi
I have had the pleasure of recording this way on occasion. Something that wasn't touched on was that your guitar and pup choice become very important. Tele gonna Tele and a master gonna jazz.
And that’s why I have an Origin Effects Slide rig on my board. 2 x 1176
Great video Rhett!!! Very educational and inspiring on how to get more out of compression . Also there is some really gear in the background…
Bro Dr. Berners is ripped, amazing video btw
Yeah! I remember hearing this story from Mason at Vertex when their Nyle Comp/Mic Pre came out. One of the settings of the Nyle gets you in this territory.
Huge Zip fan, IV was one of thre first lp's I purchased in 1977. Thanks for this video!
Great video. I had heard about the distortion coming from several compressors, but never seen it demonstrated. I think the key, as articulated in the video - in the context of a mix. By itself, it doesn’t sound great. But, in a mix, it works so well. Nice.
I personally don't care for that distortion sound. If I heard that coming out of my gear, I'd be convinced something had blown. I'd grab my handy Tube Screamer!!!!!
Nice
Thanks for showcasing UA
Great stuff
-Matt-
Hudson Valley, NY
DI guitar sounds are underrated. Of course you can't get them to sound like a traditional amp, but that's the point. Sometimes, you just need an heavily compressed, heavily EQed direct signal to get your sound to stand out in the mix.
What a great clean sound! It pops just right. And that is Black Dog 100%
I love this method with the EHX Black Finger.
Thats cool!
I thought it was the EchoRec that did that😂
Great video!
James is a Wizard! 🧙♂️
If someone is looking for a cool compressor pedal, try the Carl Martin Andy Timmons signature.... It's my holy grail after I tried so many of them... Too many... Boss, MXR, Source Audio, EH, Walrus, Earthquaker, Keeley, Pigtronix... You name it...
So I hope it spares someone some time. Carl Martin from 10 years ago beats them ALL by a LONG SHOT... It feels like studio quality.
Anyways, I love compression. Great video. Cheers everyone 👍
but have you tried the origin effects cali 76 stacked edition. That is the true holy grail for guitar compression pedals.
So I just finished watching this video and thanks cause it was super interesting. Always great to see how historical sounds were made, for us guitar nerds. My next thought was hey, if you can achieve this with two standalone compressors, can you then stack two digital compressors, in a HX stomp, (Helix) environment and get either the clean sustain or even the Jimmy page distortion out of it? Could be additional content…I know I’d watch!
I thought the same thing, so I tried it out. The Helix/HX doesn't have a model of an 1176 that I know of, so I just used two Deluxe Comps (which according to their manual is a Line 6 original.) From my limited testing I can't get the distortion with just compressors, as maxing out the level control on the first comp into the second comp just makes it louder but with no distortion. You can use the mic pre amp block to add some gain and I think it sounds somewhat similar. But the clean dual compressor sound is really cool and I've been loving it
There are free 1176 compressor plugins and I just downloaded some of them. Thank you once again for the esoteric musical knowledge.
One of the greatest distortions I've ever heard is the Paperback Writer tone and I've heard that George Harrison was literally just plugged into to the board with it cranked. You think he was using this same trick to get that sound?
I have two Cali76 pedals (big box and compact) - I'm going to try this!
Jimmy Page a true pioneer of rock n roll
SWEET! Now I want another pedal. This is a great video & sharing of information to help us be better players.
Very Interesting. Complex to me. Would love to have that set.
Nothing screams rock and roll more than affiliate links
Wow., this was such a dope vid Dude. Kudos.
Im sold.
Great review,Nice trick,
at the time a HARD working studio musician , who just said " Listen to this " Let me lay this on ya .! And man we all were having the same vibe , this was a whole new sound of rock and roll . . he took the dirt path of music and paved the way for generations of musicians . . Brilliant is an understatement imho
Great explanation and demo of a phenomenal compression system.
Such great sounds in here! This would be great for Under the Bridge.
Very interesting video. It kind of drives home the functionality of compression. Who knew you could stack compressors!?! I guess Jimmy Page and probably a lot of others, but I didn't.
Thanks!
This was a really kick ass video, yo.
Shout out to UA.
some of the inexpensive guitar practice amps
and even bass amps
we used and played in the late 70's to late 80's
had that type of sound
as if one of the Humbuckers
or single coils was tøø low away from the strings
the midrange treble would seem to be absent for the middle 4th 3rd strings, yet sustain was still available for the bass tones 6th and 5th strings
often during jamming or noodling -
yet when learning or rehearsing, practicing -
the notes come before the drop off sensation effect of the amp and pickups in most songs
so the higher treble strings
2nd and 1st would have clear sound and tone before the decay instead of fading away..
almost similar to blown speakers in a car or pickup truck..
so it was necessary to
be proficient and have a precise attack on the notes that need to be heard from each of the strings and as chords.
especially with live drum set
where the percussion from the guitar players needs to be proficient
otherwise probably won't hear anything from the guitar (s) except the bass and midrange
many times options for adjusting the amp were just more volume and midrange
so
scooping the sound
would not really work
in those situations -
until better pickups and
pedals and better amp was available somewhere along the journey
and
then it' was possible to
get more in sync sound wise to what was being produced released
that one would hear on the radio
peavey and crate practice amps really
were the go - to
for hard rock and metal
and having tabs in back on the speaker was a bonus to
connect to more stand alone speaker(s)
we would aLways' ALLwAYyszzz trying to sneak
the parents the adults
home stereo system speakers everyone had during those times
😉
of course a big fender twin reverb or Princeton
would be nice
a real Strat would be nice
and easily a half or full stack
¿marshmallow?
Marshall
but oftentimes nobody had a
gibson les paul
or fender strat
we got whatever we could afford in the instruments and amplifier world while saving up for a vehicle at 16 .
yes the lawsuit era .
amazing period of time that decade before grunge and alternate and CD players
it was aLL rAd ..
heLLa rAd 🔥⚡😎⚡🔥⚡🤘
6:30 - 6:50
Hey Rhett, where can I hear the entire little wing you did there? Sounds fantastic!
Got an 18 volt dod performer compressor from the 80s, sounds killer and can boost a signal like nobody's business, if one crosses your path don't turn your nose up at it
Once asked in 1975 who his favorite American band was Page said Little Feat. RIP Lowell George Fortunately, Lowell passed the torch to Bonnie Raitt before he passed.
That what is a compressor should be doing! Thanks for the awesome content Rhett.
The real secret is Jimmy's nuanced ability to find the unique sweet spot between the gain, other settings, picking and playing hardness between each amp situation.
I dont know about the distortion sound, but that clean compression is the business. No wonder the 1176 is beloved.
Great video, looove that slide sound 🤤
Wasn't to sure of Rhett at first w beato. Now I've come to like his content. He's not pretentious , as I assumed , it's just him being him. I respect that, he's a an average guy just like all of us climbing the ladder of life & music.
That’s why engineers & producers make the big bucks got you sounding Lowell George.
Loved this!!!
That is amazing that you can get that sound in a pedal.
And you got to go to Santa Cruz too...not a bad trade off
I love geeking over Jimmy Page and Zeppelin ✨
Lovely slide tones
This was the best commercial I've seen yet.
Awesome Rhett - learned a lot in this video
I want that 1176 pedal!!!
7:32 Honestly, my ‘65 Sound Projects R 203 sounds just like this. ❤. But I get what he’s saying.
I never knew the exact gear he used but it sounded like an overdriven FET stage in a compressor.. I had assumed he just used the console built in compressor stage when the Solid State boards starting coming out (late 60s) .. it just has that sound (double tracked ) . Cool to see it was this gear..and it was ubuitous stuff at the time to see this gear. So he used the console and outboard gear - yes it adds a flavor for sure it speaks volumes about the quality of these mixing consoles as well.
Led Zeppelin é sempre surpreendente!
That sounded awesome… pure ‘accidental’ genius
Great content. Thanks Rhett!
Which Two Rock Model is that in the background? Cool moss green suede.
the way i read about the black dog tone from the engineer, he said they compressed it twice and then again on the final mix
Great video! Thanks, guys!
A note about How Many More Times. The direct compressed track is played in tandem with a standard overdriven amp track. If you isolate the correct side you will hear a WALL of fuzz.