That would be a Les Paul. The best player I know is a guitar player named Rick Wakeman. When we got into that session, he’s playing the guitar in the right part of the room, playing on this really clean sound, and then he plays the part right in the corner, and he plays for me in the middle. He’s got more space and less room to work and maneuver. Those are the three most effective setups. For this particular moment it was just what is.
For me, that’s the most obvious setup, and then a little less obvious when you want to get a really great tone. It gets more subtle depending on the player. If you’re into an aggressive playing style, you’ll want a little more space. If you’re into more subtle playing, maybe you want more room. We’ve used the same three setups for a couple years now. I know that for myself, when I start playing in a certain way and you think that you can get another angle by putting more space in the mix, it’s more difficult to realize what your intention was.
I think there’s something that you can’t quite decipher by just looking at the sound.
One of the really awesome things about the DAWs—I mean, I’ve used computers for a long time and I’ve used Cubase and Logic—I think all of these programs are giving you a lot of power over what you’re doing. You can really put a lot of space in you, and it’s a little easier to do that with software. You can get into all this great stuff, but you have to be the one who puts that space into your mix. It’s not so much like, “You get to hear exactly what I’m doing here.” People want to do this, but they have so much more creative freedom. It’s a little deeper because you can be more in control.
I remember in the early days of the DAWs, I used to do that kind of thing, with a lot of space to work with. Once you start getting into the mixing phase, where the mix is completely in the control of the artist, it gets so much easier. You can work with the controls at the same time, and you can put in more space, and you can keep that feeling of space on the mic. That becomes the feeling of what that song is going to sound like because it’s there in your head; it’s already in the mix.
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