Salvation Salvado vs. JF SL-OD100

[Mike P]

I think their best tone is on their 1999 self titled album.

I don't think I've heard that record. I'll check it out on Spotify tomorrow.

I still really like the guitar tones and playing on Out of the Cellar and it's still my favorite Ratt album. The three subsequent albums were really hit and miss for me and I didn't care for the guitars on Dancing Undercover.

It would have been cool to see how their 1999 record would have been received had John Kalodner not forced Stephen Pearcy back in the band as a condition of their record deal with Portrait/Sony. He loved the tracks with Robert Mason but wouldn't sign them because DeMartini and Blotzer wanted to continue with the Ratt name.

Had they agreed to change the name, that record would have never been released.

 

[Kapo_Polenton]

For me "Reach for the Sky" and "Detonator" are the best tones and those are Soldano.

Invasion of your Privacy and Out of the Cellar sound good but they are also stiff sounding and cut through (like Marshalls should) and I feel Warren's style fits better with the SLO's. Still love his entire body of work though.

Don't forget that Out Of The Cellar was recorded at Sound City in Southern California which has very mild humidity and is near sea level in altitude where audio travels at approximately 1130 feet per second. If you live in an area at a higher altitude or with much higher humidity levels, these tones are simply out of reach to you. You'd have to recalculate the speed of sound for your altitude and adjust the microphone distance to the speaker to account for the phase difference. You'd also need to put your speaker cabinet in a hermetically sealed chamber with a dehumidifier for at least 24 hours before your speaker cones are dry enough to reproduce this kind of tone. Rolling Eyes

I laughed at this.. sounds like Marty getting a lesson from Doc in Back to the Future..

Out of the Cellar also featured a shitty fender on the leads through a 4 x 12 according to Warren so to Mike's other point on studio magic, sometimes it just works in a room or the mics just sit right against the grill and it's magic. The odds of us replicating this in our living rooms is significantly lower. Also consider acoustics. The day i acoustically treated my space, is the day i was able to roll back the treble and presence. Most people play these amps in boomy rooms with low ceilings and without bass trapping. Makes a huge diff in how you perceive tone.

 

[Kapo_Polenton]

As for the Marshall meets Soldano tone, the scary i just picked up in the classifieds gets me close enough and it is stock! (thanks rblyn)This one is special though.. has the mojo because it sounds better than the previous one i had. I'm going to do some clips in the next few weeks. You tell me if it gets "Ratt" or "Dokken" enough.

the moral of the story is, I bet a good player can get any of these to sound close enough (obviously not bang on for all the reasons already mentioned and signal/recording chain) to the real deal based on how they dial them in and their chops.

 

[audiomidijace]

Don't forget that Out Of The Cellar was recorded at Sound City in Southern California which has very mild humidity and is near sea level in altitude where audio travels at approximately 1130 feet per second. If you live in an area at a higher altitude or with much higher humidity levels, these tones are simply out of reach to you. You'd have to recalculate the speed of sound for your altitude and adjust the microphone distance to the speaker to account for the phase difference. You'd also need to put your speaker cabinet in a hermetically sealed chamber with a dehumidifier for at least 24 hours before your speaker cones are dry enough to reproduce this kind of tone. :roll:

LOL

The point is that if someone is trying to nail a very specific tone, it's best to use the same exact gear. Otherwise, it's an exercise in futility.

Mike that's just a load of crap. While I appreciate your experience and your wisdom sometimes you just ride a little too high on that horse of yours. You and I both know that there are a million other variables beyond the basic guitar rig involved in the final product (Vinyl, cassette, CD, MP3, AAC, etc) that the public hears. Not to mention that the format of the media they listen to will change the sound as well. The speakers or headphones that they listen to the product with have a HUGE impact on how they perceive the tone of the guitar. Everyone's ears also have a different frequency response. Back to the studio; what mic pre was used, what settings, what other processing was done on the recording and the mix? What was done in the mastering process? How old were the strings? What tubes were used? How old were they? How long had the amp been on? What kind of cables were used? How long were they?
I could put Warren through the exact same rig and have him re-record his parts and they would sound different than the originals. Putting ANYONE else through Warren's rig will not make them sound like Warren. Finger tone, technical ability and style doesn't come from gear.
So while I'm all about chasing tone, trying to replicate a players exact recorded tone by using their exact guitar rig will just leave you chasing your own tail.
:idea:

 

[Mike P]

Mike that's just a load of crap. While I appreciate your experience and your wisdom sometimes you just ride a little too high on that horse of yours. You and I both know that there are a million other variables beyond the basic guitar rig involved in the final product (Vinyl, cassette, CD, MP3, AAC, etc) that the public hears. Not to mention that the format of the media they listen to will change the sound as well. The speakers or headphones that they listen to the product with have a HUGE impact on how they perceive the tone of the guitar. Everyone's ears also have a different frequency response. Back to the studio; what mic pre was used, what settings, what other processing was done on the recording and the mix? What was done in the mastering process? How old were the strings? What tubes were used? How old were they? How long had the amp been on? What kind of cables were used? How long were they?
I could put Warren through the exact same rig and have him re-record his parts and they would sound different than the originals. Putting ANYONE else through Warren's rig will not make them sound like Warren. Finger tone, technical ability and style doesn't come from gear.
So while I'm all about chasing tone, trying to replicate a players exact recorded tone by using their exact guitar rig will just leave you chasing your own tail.
:idea:

I am not going to argue with you, Jace. But I vehemently disagree with everything in this post.

Agree to disagree. Strongly.

 

[Mike P]

One more thing, Jace: Ross seems to be in search in search of a very specific guitar sound. What I suggested is that not only will he need to the same model of amp, speakers and cabinet but that he'll also need a replica of the guitar used in those recordings, which is why I gave specifics.

My post had absolutely nothing to do with Warren DeMartini and everything to do with replicating his tone as closely as possible.

 

[audiomidijace]

Mike that's just a load of crap. While I appreciate your experience and your wisdom sometimes you just ride a little too high on that horse of yours. You and I both know that there are a million other variables beyond the basic guitar rig involved in the final product (Vinyl, cassette, CD, MP3, AAC, etc) that the public hears. Not to mention that the format of the media they listen to will change the sound as well. The speakers or headphones that they listen to the product with have a HUGE impact on how they perceive the tone of the guitar. Everyone's ears also have a different frequency response. Back to the studio; what mic pre was used, what settings, what other processing was done on the recording and the mix? What was done in the mastering process? How old were the strings? What tubes were used? How old were they? How long had the amp been on? What kind of cables were used? How long were they?
I could put Warren through the exact same rig and have him re-record his parts and they would sound different than the originals. Putting ANYONE else through Warren's rig will not make them sound like Warren. Finger tone, technical ability and style doesn't come from gear.
So while I'm all about chasing tone, trying to replicate a players exact recorded tone by using their exact guitar rig will just leave you chasing your own tail.
:idea:

I am not going to argue with you, Jace. But I vehemently disagree with everything in this post.

Agree to disagree. Strongly.

Facts don't require your agreement to be facts.

 

[Mike P]

Facts don't require your agreement to be facts.

Enjoy arguing with yourself, Jace.

 

[JD]

My tone sounds nothing like Warren's on the Morning After, but I bet if I could take a Delorean ride back to their studio in 1983 or whenever I would sound a lot closer to it and have a lot of fun doing it!

http://www.youtube.com/watch?v=wo43rd_tnOE

 

[audiomidijace]

Facts don't require your agreement to be facts.

Enjoy arguing with yourself, Jace.

Turns out I was in complete agreement with myself. No argument required.

 

[Jaymzrock]

Reowr!!!! Man that Soldano sumb!tch has a way of bringing out the nozzle in folks around here!
See that? Because the Douchy mod thing...no? Anyone?














I'll be here all week

 

[Mike P]

I think their best tone is on their 1999 self titled album.

I'm finally listening right now on Spotify and this doesn't even sound like Ratt to me. The guitars are completely different than the first two full length records, as is the songwriting.

That said, it totally sounds like a Soldano to my ears. Dark and chewy. The overall production is dark and the drums are very low in the mix.

That said, I'm kind of surprised you couldn't get this tone with the JF SLO (again, I've never used the Salvado, although Anthony's work is excellent, in my experience). This is totally in its wheelhouse, at least with my gear and guitars.

The second song is a "Back For More" ripoff. LOL.

 

[The Rossness]

I think their best tone is on their 1999 self titled album.

I'm finally listening right now on Spotify and this doesn't even sound like Ratt to me. The guitars are completely different than the first two full length records, as is the songwriting.

That said, it totally sounds like a Soldano to my ears. Dark and chewy. The overall production is dark and the drums are very low in the mix.

That said, I'm kind of surprised you couldn't get this tone with the JF SLO (again, I've never used the Salvado, although Anthony's work is excellent, in my experience). This is totally in its wheelhouse, at least with my gear and guitars.

The second song is a "Back For More" ripoff. LOL.

Breakout was always my favorite song on the album. It was just an album track, but I dug it. The ******** can get that tone. I've got it listed in the classifieds to help fund a kemper, but I'm pretty tempted to keep it. Its a fun module to play. The salvado was never able to get the tone.

 

[rblyn]

As for the Marshall meets Soldano tone, the scary i just picked up in the classifieds gets me close enough and it is stock! (thanks rblyn)This one is special though.. has the mojo because it sounds better than the previous one i had. I'm going to do some clips in the next few weeks. You tell me if it gets "Ratt" or "Dokken" enough.

the moral of the story is, I bet a good player can get any of these to sound close enough (obviously not bang on for all the reasons already mentioned and signal/recording chain) to the real deal based on how they dial them in and their chops.

Im glad you are liking that Scary! Im telling you its the best stock Scary ever...Has something different and a lot better than the others Ive had. I agree you can get close to these kinds of tones with it.