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Steveg219
Username: Steveg219
Registered: 1-2005
| | Posted on Saturday, July 14, 2007 - 2:27 am: | |
Just wanted to pass on that I have been doing some studio work this week with my Ar1200's and I can't believe the tone I am getting. The six string side is just simply amazing, really something special!! Since I have two of them I can be sure it is not just this one instrument, they are both equally incredible in fullness of tone and sustain. I was wondering if anyone knows from experience how the AR 300 compares, i.e. would it be as good as the six string in the double neck, or, is it a result of all that extra wood!! |
Rockon2112
Username: Rockon2112
Registered: 3-2007
| | Posted on Saturday, July 14, 2007 - 1:38 pm: | |
Steveg,
My AR1200 is an exceptional instrument for recording. Yes, the tone is amazing and I found myself grabbing that thing everytime I wanted to do some tracking. It's a bit of an issue in a one man studio though, trying to work with it strapped on, so I began the hunt for a single neck equivalent. I ended up with a really nice '78 2619. The pickup wiring for the tri-sounds is a bit different, but overall the tone is extremely close (and my back and neck have recovered nicely). The body on the 2619 is a bit thinner and the neck/heel joint is a bit smoother than the AR 300, super 80's as opposed to super 58's.
I've done a fair amount of tracking since I got the 2619 and it's every bit the tone and recording monster that the 1200 is. I'm sure there are arguments that could be made for the affect on sustain from all the extra wood, but the 2619 doesn't seem to have any issues keeping up... it just flat out sings.
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Steveg219
Username: Steveg219
Registered: 1-2005
| | Posted on Saturday, July 14, 2007 - 1:48 pm: | |
How come I am not surprised someone knew exactly what I was talking about and had been there and done it on this forum! 
That is very encouraging that one of the six sting artists can be just as good.
You are quite right the handling the double neck and opearting the gear is tough. Do you mic the amp in the same room? I have gotten very good results doing this, the only caveat is that you have to check playback to tweak mic positioning. Takes a little longer, but allows you to work alone...
PS- is your AR1200 mahogany or ash? It almost looks like mahogany in the picture... |
Rockon2112
Username: Rockon2112
Registered: 3-2007
| | Posted on Sunday, July 15, 2007 - 1:21 pm: | |
It's all ash (they should have flipped it around because the grain on the backside is absolutely intense). I've got an SM-57 in front of the amp that I only use when tracking with headphones, usually to get a second track to "fatten" things up in the mix (I seriously doubt that I'll have to do this with the 2619, as it sits in a mix like a dream). The amp is a Line 6 Vetta II, and there are XLR direct outs that record very nicely (even feedback gets sent out the directs, as the same signal is being sent to the directs as the speakers). Using the direct outputs makes life quite a bit easier as everything can be adjusted at the console. The speaker outs and the direct outs have seperate master volume controls, so I can get a hot signal at the input, crank the amp up in the room and monitor with the rest of the mix coming out of the monitors, and at the same time record a take with no bleed from the playback.
Strings has a thread started in the '70's forum on the AR300 entitled "It amazes me..." that has already spurred quite a bit of dynamic discussion. These Artists are some of the best playing and sounding guitars around, and from a recording standpoint exceptional. |
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