I've been listening to Mitch Kashmar's, "Live at Labatt", album. I am interested in what his rig was for that album (not in general). This is probably going to be hard to determine, I know.
I think I hear reverb, as there is a bit of a wash over his playing, but I can't tell for sure. I am assuming he's using a larger amp with a hot mic. I just really like the ambience of the verb, whether it be from the board or his rig. I don't usually use a lot of reverb, but am looking for some good verb sounds from my Line 6 M9 for home recording stuff.
Maybe it is delay, but in listening to, "You're The One", it sure sounds a bit washed out.
The issue I ran into was no real website to start with. I then thought of going through DG, but figured the likelihood of the question getting passed on would be slim.
I'll try FB. I figured with the immense amount of personal connections here with the blues world, someone would have the inside scoop. Thanks!
It' s just that Mitch seems to truly enjoy playing in that hard Chicago blues style on occasion, without the effects and tricks some players like to use. What you hear is just Mitch, his harps and his amp.
"What you hear is just Mitch, his harps and his amp."
A comment like that always gets me...I am hearing his harps through a mic that changes the sound, and then to an amp that my or may not have a built in effect like reverb, but surely has sound shaping controls like bass and gain, that has then been recorded with tone coloring mics that were probably ran through a tone coloring preamp to some sort of analog (or digital) console where plugins like compression and eq are used, etc, etc.
I am not familiar with the club, the room, the audience at this show, nothing...If I had to guess, though, I would say there is a fair amount of the room in the mix - so what I hear as an echo/verb may not be coming from his stage rig of harp-mic-amp, but rather from a room mic.
Either way, it is a cool sorta sound on some tracks. And I believe "no effects" as much as I believe 100% tongue blocked...unless there is undisputed proof, and not just heresay, I don't believe it. Too many guys like to keep their secrets...which is fine...I am just careful about the facts.
I am not picking on harp players to be clear. The same thing makes me chuckle about Derek Trucks and his one-guitar-one-amp-no-effects. He has a heavily modded Super Reverb he has gone to great lengths to replicate, uses the onboard reverb, his guitar isn't stock, and he uses special slides.
I just got that CD and I just got through listening to it. I love it. Featuring local L.A. guitar great John Marx who of course backed up William Clarke... ---------- myspace
Mitch or Randy Chortkoff @ DG are really your best bet, neither the video nor audio clips posted here are from that album...not saying that he cannot have used the same gear, but it strikes me that you were asking specifically about live at Labatt. Do you want "an answer", or "the answer"? ;-)
If the album was conceived as a live album, changes *may* have been made to his regular live set up, engineers often like to record largely dry and add controlled wet in the studio. Is it possible he used an in-line effect/his usual gear? Of course, but it's just as likely things were tweaked in that respect post production, whether instead of, or on top of the regular set up.
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Last Edited by on Sep 28, 2012 2:06 PM
that is a nice recording. THere is definetly plate reverb(with delay which is an tonal option with plate reverbs) on the harp and entire sound. A good recording will make you shine if sound good and a bad recording, which is about of what 99% of the youtube videos I see here, will reveal very little of the nuances, which to my ears, seperate the good from bad players. Walter ---------- walter tore's spontobeat - a real one man band and over 1 million spontaneously created songs and growing. I record about 300 full length cds a year. " life is a daring adventure or nothing at all" - helen keller
HarpNinja Don't forget some nuances. Any studio recording usually use post processing which makes any instrument sound much different than just after recording. Post EQ-ing, post track compression, master EQ-ing, reverb sends, master compression, enhansing, stereo and time effects. E.g. very good tone for harmonica especially for backup riffs is to make two similar tracks pan them enough hard (up to one 100% to the left and other to 100% to the left) and to move the right on 10-30 ms back (like very short stereo delay). I absolutely sure that reverb is emulation of concert hall or concert room have to be added as a send fx to the final mix to make instruments "farther" and "closer". So I absolutely sure that reverb is a soundguy's job to make mix sounds fuller, so I never wish a reverb pedal or I rare use reverbs in my fx-presets except the situation where I'm also the soundguy (e.g. solo playing with loops or playalongs).
---------- Excuse my bad English. Click on my photo or my username for my music.
Last Edited by on Sep 30, 2012 2:34 AM
It all comes down to tone, dictated principally by your acoustic playing. Really good players, you know, the ones with great acoustic tone and breath control, can naturally add reverb, delay, distortion, and even electrosynthomagnetic musical sounds just by playing from deep within, from the diaphragm. Amps, mics, EQ, pedals, etc have VERY little to do with it!!
Yes. I shoulda just posted the question at GearSlutz.com, lol. I figured it was a studio effect, especially after paying attention to the vocals this weekend - same sorta reverb effect.
