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Velvet Revolver - How They Did It....
Guitar tech Adam Day reveals the gear behind the band's sound.
The professional reputation of Adam Day is unquestionable. He's been Slash's guitar guru for over 16 years, having previously worked with Dokken and Lynch Mob axeman, George Lynch. He knows better than anyone what the Velvet Revolver boys are picking, stomping on, and playing their guitars through, so we caught up with the guy.
For the new record, Adam cut all the instrumental pre-production demos on a Midas recording console at Lavish, singer Scott Weiland's rehearsal facility. The tracks were then transferred to a ProTools system so that Weiland could get his lyrics together and run through his parts in the studio's control room.
Slash's main rhythm sound was achieved with a combination of three Marshall heads: his Slash Signature Series model, a regular JCM800, and a 1973 model 1987 four-input non-master volume head. This mix was then run into a Marshall 100Watt cabinet loaded with 25Watt Celestion Greenback speakers. A classic Vox AC-30 valve combo was added for some sonic variation.
Adam: "In the past we've used three or four Marshalls and blended them together to create one voice. However, this time we tried the AC-30 in the mix."
Clean rhythm sounds on the album were created with a 1956 Gibson Les Paul plugged into the Vox, which is also fitted with Celestion Greenbacks.
In the past, Slash's amps used to be screaming in the studio. But during the recording of Guns N' Roses' 'Use Your Illusion' albums, he switched to an old JCM 800 with 65/50 output, setting the preamp on 2, the master volume on 8, and ran it through a Marshall 100Watt 4x12 cab. The result was essentially all output distortion and output gain - a very different sound for the guitarist. This setup led to the development of a Marshall Slash Signature head, based
on the JCM800 model. He first used this amp with his Slash's Snakepit project.
All guitar overdubs on the Velvet Revolver record were cut directly to ProTools at Pulse, Josh Abraham's studio. The band co-produced the tracks alongside Abraham, but he took charge and worked on timing problems.
Slash was initially uneasy with the working environment at Pulse, but ultimately, the studio was set up to his liking. All cabinets were recorded with Shure SM57 mics.
Live, all the rigs are bigger and louder than ever. Slash's sound is a mix of an incredible six Marshall heads: two Slash Signature 25/55 tops provide his distortion sound feeding two Marshall 4x12 cabs on the back line. An additional pair of signature Marshalls modified with KT 88 output valves handle his clean tones. A further head is used to power his Heil HT-1 talkbox. The cautious rocker also carries yet another Marshall Slash head as a spare.
All his cabinets are straight Marshall 1960-styled units fitted with Celestion Vintage 30 speakers. While the guitarist has experimented with different cabs and speakers, he ultimately returns to this familiar setup.
While Slash always takes to the stage with a variety of guitars, his main instrument for Revolver will be his new Gibson Signature Series Les Paul - a replica of a classic 1959 model (still considered the very best) with an aged tobacco sunburst finish.
The guitar is fitted with a Fishman Power Bridge piezo for an acoustic guitar tone - it has an onboard switch to select the piezo pickup, humbuckers or both. He will also travel with a pair of custom-made BC Rich guitars - a 10-string Bich, set up for six-strings, and his famous Guns N' Roses-era Mockingbird. He will play his Guild Crossroads double neck guitar on stage too - a unique combination of an acoustic and an electric guitar that he helped
design. Slash will perform all of his acoustic parts live on this amazing guitar.
Slash's pedals are run through the effects loop of his dirty amp and include an MXR 10-band graphic EQ and a Boss DD-5 digital delay. The latter is kicked in for soloing - the EQ provides a midrange boost to enhance feedback and to boost leads.
The only effect that Slash will operate himself onstage is a custom-made rack-mounted Dunlop Crybaby wah system. This also enables him to run up to four pedals at various locations on the stage. Adam typically handles all effect and amp switching offstage, including a Heil HT-1 voice box.
Dave Kushner plays the new Fernandes Ravelle guitar through an array of effects pedals (see Dave's Set-Up). All his pedals are run straight into the front of his amps - only a Hughes and Kettner Rotosphere (Leslie rotating cabinet simulator) is used through the effects loop. In the near future, Kushner hopes to use a Ground Control switching system that will allow him to use combinations of his effects with the help of a programmed footswitch.
Slash's Set-Up
[click here for a picture]
Amps:
2x Marshall JCM Slash Signature series Jubilee heads (for dirty tones);
Marshall JCM Slash Signature series Jubilee head (for clean tones);
Marshall JCM Slash Signature series Jubilee head for talkbox;
One Marshall JCM Slash Signature series Jubilee head as backup talkbox head;
2x JCM Slash Signature Marshall 4x12 Cabinets
Guitars:
Guild acoustic; BC Rich; Gibson Les Pauls. Ernie Ball strings; Dunlop Tortex picks.
Gear in rack:
Peterson strobe model 590; Cry baby; dbx166; Yamaha SPX90
Pedals:
Boss Digital Delay; MXR M-108 Ten Band Graphic EQ
Duff's Stuff
[click here for a picture]
Basses:
Fender Aerodyne Jazz bass; White Fender Precision Special bass.
Amps:
2x Gallien Krueger 800 RB heads (live he will be playing through the 2001 model); GK cabinets.
Kushner's Kit
[click here for a picture]
Guitars:
Fernandes Ravelle
Pedal Board:
Boss Chromatic Tuner TU-2; Boss Flanger BF-2; Boss Super Phaser PH-2; Boss Chorus Ensemble CE-5; Boss Digital Delay DD-3; Rotovibe pedal; Dunlop Cry Baby wah (rackmount)
Gear in rack:
Line 6 Filter Pro; Dynacord CLS222; Hush II CX Noise Reduction System.
Guitar Rig:
Bogner head; Bogner cabinet; Marshall JCM2000 Dual Super Lead; Ernie Ball strings; Dunlop Tortex picks.
Additional pedals:
Line 6 DL4 Delay Modeller; Line 6 DM4 Distortion Modeller; Line 6 FM4 Filter Modeller
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