Metallica的《Metallica》黑专辑录音用的什么箱子设备？

雪掩寒刀

尤其是《Nothing Else Matters》前奏是哪个设备出的效果

swdkhjfm

哈哈
顶楼主
顺便同问of wolf and man的一开始的音色怎么弄得

xuan8839

好像是marshall + gibson或fender

stevevai1983

Metallica不是一直用ESP么。。。

摇滚的蜗牛

不是啊，有ESP, GIBSON，FENDER,······还有JACKSON········

mythwu

原帖由 stevevai1983 于 2009-8-13 19:20 发表
Metallica不是一直用ESP么。。。

完全被ESP忽悠了...

tensu917

原帖由 mythwu 于 2009-8-13 19:34 发表

完全被ESP忽悠了...

youtube上有个纪录片，是Metallica黑专辑制作的全过程，Jamez节奏部分是用的ESP EX Custom Shop和那把Gibson的Explorer。Kirk用的琴倒是很多，ESP的签名琴、Gibson LP，甚至还有把换了EMG SA的Fender Strat……

水盒子

你去看一下ing Else Matters的MV就知道他们用了多少琴了！！！一首歌不下十把琴

metal_283

我比较关心他们用的什么箱子。

Oceaniax

MESA MARK4

疯老乱

Metallica录音时用G的时候还是非常多的。演出用ESP貌似多一点。

silentrage

原帖由 Oceaniax 于 2009-8-13 23:53 发表
MESA MARK4

应该是IIC+，呵呵。

掉进回忆城

lz是想得到类似nothing else matters前奏的声音么？那其实用个合成就能搞到相似的啊～

fuckingjack

Studio

Mesa Boogie Mk IIC+
Mesa Boogie Mark IV
Jose Arrendondo modified 100 watt Marshall Head
Roland JC-120 combo
ADA MP1
ADA MQ1
Aphex Parametric EQ
Marshall 4x12
Mesa Boogie 4x12
Mesa Boogie 2x12
Notes/Quotes

"We tried a bunch of amps, but I ended up using the same Mesa Boogie Simul-Class Mark II that I've used on the last three albums. In Los Angeles, there are a million amps you can try out, but none of them were up to snuff. Bob also brought in a bunch of crappy looking vintage amps. We gave everything a shot and ended up with the same old shit. I must admit though, it was a lot of fun trying out all those little Sixties and Seventies amps-they really sounded unique. A lot of metal players have forgotten that they can be useful. We used a couple of vintage amps for texture. But I wasn't about to play a rhythm part through a ***in Fender Supro amp, you know? We sure as hell weren't making 'Led Zeppelin I.' " Guitar World, October 1991
...You can recognize Marshall distortion in an instant; that's why I shied away from that [although he does combine marshalls, uses them in the entire mix. He meant not just Marshalls by themselves-MJF] and went with Mesa Boogies. I basically use the Boogie's distortion with a non-programmable studio-quality Aphex Parametric EQ to fine-tune certain frequencies, dipping out some of the midrange [note, dipping out, NOT SCOOPING-MJF]. All my speakers are Celestion Vintage 30s." Guitar Player, October 1992
"I use a lot of mics...up to 8. I use them to phase cancel each other, to control the sound like with an EQ but instead of an EQ. I'm using Mesa Boogie amps, with an ADA MP1 preamp, but Boogie Simul-Class II is the main part of the sound. Cabs: Boogie for clean, cutting stuff, Marshalls with 30 watt Celestion Vintage 30s for warmth." Guitar Player, September 1991.
[Interview with Bob Rock]
"We synched two 24-track machines, one analog and one digital. We recorded the drums and fat rhythm guitars analog, but the vocals, solos, and clean rhythms were digitral. I've used that arrangement on my last few albums. I can't really explain why, though I like the clarity of digital for lead, and analog adds a pleasing quality for fat rhythm parts."

"The 'James' sound has a lot to do with the right resonance in a slightly enclosed space, as opposed to a wide open room [Kirk's sound-MJF]. I don't want to overstep my bounds, because James is very protective of what he does, but let's just say that a certain frequency is really dominant in his sound. It's almost a matter of building a 'room' specifically to bring that frequency out of the amp."

"....And so much of James' sound is that muted, bottom-end thunk. In fact, for James' harmonized lines on 'My Friend of Misery' it's just an MXR Distortion Plus straight into the board." Guitar Player, September 1991
[Asking about the new alubm being a reaction against AND JUSTICE FOR ALL]
Kirk: Definitely. Last time we went for a particular dry, up front sound, and we weren't 100% successful in achieving it. When we put that record on now, we go, 'Huh?'"
James: It's dry as a bone! Our second album, RIDE THE LIGHTNING, always sounded thicker than all the others-it had reverb, which we became afraid of using later on. We wanted the attack of the GARAGE DAYS EP, which was recorded live, but with the thickness of LIGHTNING. And when I listen to JUSTICE, I think, '-this is really long and drawn out.' We knew when we started this record that we wanted to concentrate the same energy and mood swings in shorter songs. A short song for Metallica used to be six minutes. Now everything is under five.

"My same old Mesa Boogie amps still work the best. We use a combination of things, like an ADA MP-1 preamp, but the Boogie Simul-Class II is the main part of the sound. It goes through a combination of cabinets: Boogies, which are good for clean, cutting stuff, and Marshalls with 30 watt vintage speakers for warmth. I got really good clean sounds playing Kirk's Tom Anderson strat through a Roland JC120 amp and plugging straight into the desk through an old MXR Dynacomp compressor [Think of the tone on "Nothing Else Matters"-MJF]." Guitar Player, September 1991

fuckingjack

White ESP Explorer Dot inlays
White ESP Explorer Middle Finger Inlays
White Gibson Explorer
Satin Black ESP Explorer
Black ESP Explorer Snake Inlays
Black ESP Explorer Dot inlays, "ESP Custom" logo
Black ESP Explorer Dot inlays
Black ESP Explorer Deer Skull inlays
Black ESP Explorer NRA logo inlays
Black ESP Explorer Man to Wolf inlays
Black ESP Explorer Single Coils
Black ESP Doubleneck Explorer
Black Gibson Explorer Dot inlays
Olympic White Danelectro 12 string
Blue Jerry Jones Dano Longhorn Baritone (Sad But True main riff)
Red Vincent Bell Coral Sitar
Blonde/Butterscotch Fender Telecaster
Natural "Hetfield" Stratocaster style
Black Gibson Moderne
Gibson...
The...
Classical....
Gretsch White Falcon (Belongs to Bob Rock)
Red Gibson SG Double neck
Guild 12 string
Tom Anderson electric
Aria nylon string acoustic (Gift from Cliff Burton)
Fender Shenandoah steel string-Used for its "shimmery, high end qualities."
Notes/Quotes

"I used a Gretsch White Falcon for that descending effect at the end of the chorus on 'Nothing Else Matters.' I tried it in several other places, but it was a little too twangy for my taste."

"I also used an old Telecaster for that distant, The Good, the Bad and the Ugly opening melody in 'The Unforgiven.' "

"Most of that song ['Nothing Else Matters'] was played on a Tom Anderson electric guitar. We recorded it using two extremely clean signals: one through an amp and the other directly into the board. We really worked hard on that sound, and are real proud of the results. We also used a jumbo Guild acoustic 12 string on the choruses. To get a fuller sound, we tuned the 12-string's high E-string down to a D." Guitar World, October 1991
"On 'Wherever I May Roam,' I use open position chords and Coral Electric Sitar-my God, what's going on?! Actually, I'd always wanted to use weirdo instruments, though the other guys didn't give a shit. We weren't going to write a specific song around a banjo, but I love learning how to use different things. Bob, our producer, has eased me into that-he's a guitarist himself, and he collects a lot of old '60s and '70s stuff. I used a Jones Danolectro 6 String Bass copy for the main riff on 'Sad But True.' It sounded great, more chunkin' than my regular guitar tuned down to D, and it's really fun to play. I knew it needed a push in terms of heaviness-it was already an ugly riff, but it needed to get a little uglier. I did some sort of microtonal slide work on the chorus of that song, just eerie sliding around sounds. Kirk hated it-he said it sounds out of tune.

My main guitar is still the ESP Explorer with EMG pickups I've been using since RIDE THE LIGHTNING. The acoustic on 'The Unforgiven' is an old classical guitar someone gave me years ago. That song also has some Tele for the background twangy parts, and at the tail there's some Fender Shenandoag 12 string. I used a Gretsch White Falcon for 'Nothing Else Matters.' I love the way the Bigsby tremolo drops. We recorded a descending part with just the reverb sound, no attack-it sounds like an airplane landing." Guitar Player, September 1991

fuckingjack

哥们满意波？？

[ 本帖最后由 fuckingjack 于 2009-8-14 09:46 编辑 ]

凝固的黎明

James' harmonized lines on 'My Friend of Misery' it's just an MXR Distortion Plus straight into the board.

shineofleo

他们用过很多情，比如主音Kirk Hammett用过

Kirk Hammett's current tour guitars:

    * ESP M-II "Zorlac" - This was the starting line for the whole KH series. It features a vertical skull & crossbones as opposed to the horizontal ones featured on today's KH's, and an upside down Jackson Guitars style headstock which is what Hammett originally intended. However, Jackson Guitars threatened law suits if this model was ever sold. As a result, the headstock was changed to the typical ESP style, but flipped upside down. [6][7]
    * ESP M-II Standard - EMG and Seymour Duncan, Kirk used this a lot in the studio and live.
    * ESP KH-2 "Skully" - Hammett's main touring guitar. This signature model is based upon the modifications he made to his M-II. [8]
    * ESP KH-2 M-II "Boris Karloff Mummy" #I - This has been Hammett's favourite guitar for many years. It features the Boris Karloff Mummy I graphic of which Hammett owns the rights to. It will not be released by ESP. Hammett has 2 of these guitars, one with Eye of Horus inlays and the other with hieroglyphics inlays. [9]
    * ESP KH-2 M-II "Ouija" - This guitar contains 2 spelling errors. It sports the words "WILLIAM FUED TALKING BAARD SET" but it in fact should say "WILLIAM FULD TALKING BOARD SET". Hammett also now plays a White Version of this guitar on tour. [10]
    * ESP KH-3 Eclipse - Pushead Spider graphic. It is taken from a classic Les Paul Jr. shape with a Floyd Rose vibrato and EMG pickups. [11]
    * ESP Flying V copy - Cherry Red with white pickguard and gold hardware. Kirk uses this live mostly for the song Seek & Destroy. [12]
    * ESP Michael Schenker Flying V [13]
    * Gibson 1968 Les Paul Custom - Mostly on ballads such as "Fade to Black" and "Welcome Home (Sanitarium)". [14]
    * Gibson Les Paul Standard - Used on songs from St. Anger. [15]
    * Jackson Randy Rhoads Model RR1T - Custom-Made specifically for Hammett. It is usually tuned one step down from standard tuning, and used for songs like Harvester of Sorrow, One and Sad but True".[16]

所以说ESP也没错，用得的确多，但不是唯一的牌子。。

nothing else matters我也很喜欢

开头的原声还是比较容易做的，用个箱琴模拟即可。这是上次受到BOSS一些东西的时候里面提到的，当然是不是BOSS的不肯定，但思路也是很清楚的拉！

瞳的住人

nothing else matters前奏是用ROLAND的JC120录的,不是什么金属箱子

天使与吉他之恋

请问这位兄弟，罗兰JC120的音箱多少钱可以买啊？谢谢指教了！

SKIDROWF

早几年的通俗歌曲有介绍     上面说他们录音用琴大部分是GIBSON和FENDER  
箱子不太想得起来了   貌似jams一直都是mesa      Kirk貌似是Randall