Choosing Your Weapon

Like it or not, the recording industry has reached an era of sonic anarchy where the public’s definition of a “good” sound can include just about every kaboom, clatter, and snap imaginable. On every medium from radio to iTunes, you can hear massive hits adhering to supreme measures of old-school audio quality, as well as lo-fi platinum smashes that sound as if they were recorded through a Playskool “Record-A-Sound.” This aural free-for-all is very much in play during the quest for striking guitar tones, as Jack White’s punch-drunk squall can excite just as much awe and envy as Alex Lifeson’s exquisitely constructed textures. Furthermore, option anxiety is often exacerbated by, well, all the options available to those attempting to document guitar sounds: mics, modeling processors, direct boxes, and more.
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