MABB v6.6.6

As sort of a break from the stagnation going here on the forums, how about a discussion on what you think is an example of Trey's best tone. And to make this a fun debate, please include the time of the song that you are referring to. I'll start... and will most likely upset a few people here, but that's ok, we're all Morbid Angel fans...



I say "Hatework" on Domination.....



I know that for a number of reasons (which I don't personally agree with per se) most Morbid Angel fans don't look fondly on Domination. To me it is my favorite album with Altars and Covenant tied for a close second.



Anyways... I think that the guitar tone on Domination as a whole is a perfect mix of both smoothness and lucidity with a hauntingly acidic quality. I feel that the most demonically beautiful example of this tone is the ending solo on Hatework (5:10). Probably the most disliked song on the most disliked album; but to me at least the guitar work on this track is done in a way that is so melodic and stingingly-alluring like a macabre snake-charmer's song, that even though the song is a very nontraditional one for the band, this tonal aspect makes up for it and makes this, one of my favorites off the album.

all of FFF

and Summoning on G

[quote name="sworn"]Anyways... I think that the guitar tone on Domination as a whole is a perfect mix of both smoothness and lucidity with a hauntingly acidic quality. I feel that the most demonically beautiful example of this tone is the ending solo on Hatework (5:10). Probably the most disliked song on the most disliked album; but to me at least the guitar work on this track is done in a way that is so melodic and stingingly-alluring like a macabre snake-charmer's song, that even though the song is a very nontraditional one for the band, this tonal aspect makes up for it and makes this, one of my favorites off the album.[/quote]



Hatework is a really awesome song, Erik's solo tone is amazing. Just like the ending solo in Ageless, Still I am. Domination has amazing guitar tones, really smashing stuff.



My favorite guitar tone is probably on Formulas. Nothing Is Not, Covenant of Death, Prayer of Hatred, forget about it. It's fucking in your face and it's very atmospheric.

[quote name="zim"]
[quote name="sworn"]Anyways... I think that the guitar tone on Domination as a whole is a perfect mix of both smoothness and lucidity with a hauntingly acidic quality. I feel that the most demonically beautiful example of this tone is the ending solo on Hatework (5:10). Probably the most disliked song on the most disliked album; but to me at least the guitar work on this track is done in a way that is so melodic and stingingly-alluring like a macabre snake-charmer's song, that even though the song is a very nontraditional one for the band, this tonal aspect makes up for it and makes this, one of my favorites off the album.[/quote]



Hatework is a really awesome song, Erik's solo tone is amazing. Just like the ending solo in Ageless, Still I am. Domination has amazing guitar tones, really smashing stuff.



My favorite guitar tone is probably on Formulas. Nothing Is Not, Covenant of Death, Prayer of Hatred, forget about it. It's fucking in your face and it's very atmospheric. [/quote]



Yeah on FFF Trey messed with a lot more disparate ways of miking. You can really hear it throughout the record with the different combfiltering, phasings, and imaging going on with the leads.

[quote name="sworn"] I feel that the most demonically beautiful example of this tone is the ending solo on Hatework (5:10). Probably the most disliked song on the most disliked album; but to me at least the guitar work on this track is done in a way that is so melodic and stingingly-alluring like a macabre snake-charmer's song, that even though the song is a very nontraditional one for the band, this tonal aspect makes up for it and makes this, one of my favorites off the album.[/quote]

Its kinda funny you are talking about Trey's sound and you take Erik's as an a example. Hatework is kinda Erik's baby. An to me one of the strongest songs on Domination.



For me, i like the rythm sound on covenant a lot. It is to my ears the cleanest distorted tone he had on all the recordings. Listen to the single guitar in Rapture which starts playing the first riff just after the fade-in. Very crunchy but articulate.

Also the first two notes (open B string) played in world of shit. The crunch is amazing.

As for the lead tones. I must agree that on D Treys sound is fully matured like a good wine haha. Where on the older albums the sound was a little thin, on D he kinda found this thick lush flowing lava TONE which is awesome.



My two favorite albums sound/production wise are C and F. To me they share a similar feel although the rythmguitar sounds is a little more woolley (sp?) on F. Especially on the 7 string songs.



I am quite happy with the sound i get from my rig. And I fully admit analizing Trey's sound was a huge influence on how i started listening to crunchines vs clean. low-end vs punchyness etc. I think my personal rythm tone heaven would be a mix between Metallica's MOP, the fluidness of MA's B and the rawness of MA's C and F

Treys solo tone actually sounds a bit thin to me on Domination. It's definitely got a wah sound to it, even if he's not moving it with his foot it sounds like he has it turned on. I think he should have used the Covenenat solo tone for the album. His solo tone on Covenant was awesome. Erik's sounds thick to me though, it's smooth. I love Erik's solos on this album, very melodic and fluid sounding. While Treys is still chaotic they both create an awesome atmosphere.



I'm not sure if I agree on Covenant having the cleanest distortion rhythm sound though, Gateways sounds cleaner to my ears. It's probably my favorite tone, it's huge! A wall of sound..

Moving it with food?

[quote name="HbW"]Moving it with food?[/quote]



"moving it with his foot"



..I'm tired give me a break.

I just woke up. I should've been able to put that together.

[quote name="zim"]

I'm not sure if I agree on Covenant having the cleanest distortion rhythm sound though, Gateways sounds cleaner to my ears. It's probably my favorite tone, it's huge! A wall of sound..[/quote]

Okay here comes my lack of knowledge in English around the corner.. how am i gonna explain myself so you get what i mean...



If you listen to the grain of the distortion on G then there is a lot more of it than on C. The tone is smoother because of more breakup in the distortion. It compresses more and smoothens it out more.

The C sound sounds a bit more raw because it has more crunch than distortion.

A bit like comparing a DS1 to a Metal zone. The MZ has a lot more gain going on which compresses a lot more and evens/smoothens out the tone. Having less distortion can make you sound more raw than overdoing it with gain. But it can sound less huge.

Different mikes in front of a cab has a lot of it to do with it too.



Also the mix of both albums is totally differnt G is purposly mixed to sound huge. (Treys Pink Floyd mood)

C sounds more angry and in your face. To me the G sound has a sizzle going on in the sound which isn't there on C and F.

The distortion sounds a little to "metallic" to me. Overall it is my least favorite album. Though I love God of the forsaken..



Having said all this, a lot has to do with our ears too. Gain breakup happens in de mid freqencies. Everybody hears it in a different way , as we are all made different.

for regular guitar tones, I would go with overall the sound on D & G, but i prefer his lead tones on C I think, it doesn't sound as "crinkly".