|1. Foreword||2.About music||3. About rock||4. About sound||5. About mixing||6. About guitarists||7. About tubes||8. About pedals|
|9. About digital||10. Ab. compression||11. About saturation||12. About filters||13. About delays||14. About chorus||15. About switching||16. Synthesis|
Let’s take a classic rock band: bass, drums, keyboards, guitar and lead vocal, playing live in a club. If these people lack experience, the result is usually the following:
All in all, the audience gets a muddy and messy mixture of kick drum, screaming guitar and striking snare drum. A few people know there’s a bass playing, cause they have seen a big guitar with four strings on the stage. And if the singer is good looking, they will remember the gig, especially if the singer is a cute girl.
Yet, the sound of a record is different. You will say: a record is made in a studio, with expensive gear and a complete team around the musicians. Well, it’s hopefully perfectly possible to get a correct sound on stage, but it’s more complex cause it must be done in real time.
A friend of mine used to gig a lot in the eighties, in a local band. He’s a professional player, who has owned tenths of amps and guitars, and has played in many different contexts. In this local band, the drummer had an e-drums kit. The bassist had a Rockman Bass, my friend played with a Rockman X100, and the other guitarist had a Rockman Soloist. Nothing expensive, nothing impressive. But the result was “people always told us: you sound just like a record!”.
Sound is not a matter of gear, and is not a matter of cost. Sound is a matter of know-how. What you get when you buy a Rockman is a tiny bit of the know-how that was developed for Boston. And this know-how works both on stage and in a studio: you may want another approach of sound, but this know-how was made available to everyone, while the other bands and sound engineers usually keep their secrets for them…
Copyright Rockman.fr 2007