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Making Music with Lacuna Coil and Line 6

support@line6.com — Thu, 19 Nov 2009 22:32:01 GMT

Taking a break from the rigors of the road, Lacuna Coil guitarist Cris "Pizza" Migliore waxes historic about the Coil’s introduction to Line 6, and the gear that has changed the way the band makes music.

By Cris “Pizza” Migliore (Lacuna Coil)

The relationship between Lacuna Coil and Line 6 started almost 10 years ago, while we were recording our EP Half-Life. We heard this new amp that could simulate a bunch of great amps and effects, and we ended up using it for the whole recording session. It was the Flextone™ HD!

We were so impressed by it that we immediately went out and bought one! (We didn't have an endorsement back then.)

Later on, when we started touring the US and did a few successful tours with Type-0-Negative, Anthrax, Opeth, Ozzfest, and P.O.D., we finally got in touch with the guys at Line 6 and got a bunch of great stuff: amps, cabinets, and so on that we still use today. Honestly, this stuff is great! It gives you so many possibilities, so there are so many things you can do with it.

Just to give you an example of how versatile Line 6 is, let me tell you this: we wrote our latest album, Shallow Life, using a TonePort® UX2. We exchanged ideas via Internet and our home computers, and then recorded demos (and I mean everything: vocals, drums, guitars, and bass) at our rehearsal room using the same TonePort! How great is that?

We also used an HD147® and a Spider Valve™ HD100 to record all the guitar parts at NRG Studios for Shallow Life, and we're currently using two Spider Valve™ MkII HD100s, which are absolutely phenomenal! I can't believe how much better this new one is, considering that the first model was already pretty good...

I'm definitely a huge geek when it comes to new technology and Line 6 always comes up with stuff that's great to use and play with. We really never had a problem with our gear and we've really been touring a LOT in the past few years. That definitely proves that this stuff can take a lot and just keep delivering!

Lacuna Coil's Marco "Maus" Biazzi (left), and Cris "Pizza" Migliore with a road-worn Spider Valve MkII HD100 head.

A Message from JT of Hawthorne Heights

support@line6.com — Mon, 16 Nov 2009 18:26:42 GMT

At Hawthorne Heights, we know only 2 things: hard work and touring, and they seem to go hand in hand.

To hype our new record, called Skeletons, we are stripping away all the extravagances of a normal Hawthorn Heights tour. Instead, we will be rocking out in small clubs across the US to bring our new music to our ridiculously loyal fans.

As far as gear, we are bringing the basics to keep everything streamlined and easy. Micah will be using a Variax® guitar, which will be a blessing due to its ability to transform on the fly. We also enlisted the help of the new Spider Valve™ MkII head to give us the extra boost we need onstage.

As far as effects are concerned, we are using M13 and M9 Stompbox Modelers. They are so easy to use, and take up no space at all...plus the built-in tuner is key.

From November 2 to December 20, 2009, Hawthorne Heights will be rocking all night and driving all day. The tour is coming to every region in the US, so drink some coffee and bring your energy to the Never Sleep Again Tour 2009. (Also performing will be Just Surrender, Punchline, Anarbor, Monty Are I, and Nightbeast.)

Always remember to support the music scene, and to keep it LOUD.

Love,

Propellerhead Record: A Few of My Favorite Things, and Beyond

support@line6.com — Fri, 13 Nov 2009 23:56:45 GMT

By Line6Piper

Line6Piper (aka Matt Piper) takes you through his favorite aspects of Propellerhead Record. You’re in good hands – Matt is the in-house Propellerhead Product Specialist at Line 6, and the author of the acclaimed instructional guide, Reason 4 Ignite.

1. I love how easy it is

First thing in the morning with the first cup of coffee, or any time of the night, Propellerhead Record feels like fun, not work. It never boggles my mind, and it never gets in my way. There’s nothing intimidating or daunting about it that will trigger my procrastination routines.

2. I love the mixer

My two favorite things about the mixer: The EQ section, and the Master Bus Compressor. The EQ sounds great. I appreciate that I do not have to decide which EQ plug-in to use, or find where the window for that plug-in is hiding. Especially if you have worked with hardware mixers, there is something quite pleasurable about the mixer in Record. I very quickly got a feel for which (virtual) knob to reach for when I need to dial in a sound, and now it is second nature to me. And the Master Bus Compressor On/Off button is as close to a “Hit” button as I’ve ever found in software. It really sounds good.

3. I enjoy the truly seamless integration

Record and Reason® integrate seamlessly. I launch Record, and all my Reason devices are inside. I can route my guitar signal through the filters in the Reason synthesizers for unique and creative sounds. I can use the Reason vocoder, my guitar, and a mic to make a killer talk-box effect. Pretty much any combination or connection I can think of, I can do easily with this software.

4. The Line 6 guitar tones

The built-in Line 6 POD® and Bass POD® both really sound good, with minimal or no tweaking required. One of the best guitarists I know heard a recording I’d made recently with my guitar plugged directly into my USB audio interface, using Record’s built-in Line 6 POD. He said it was an awesome tone and that he could hear the mic and the tube amp. He was really surprised to find out I had used neither! (I had also used a bit of the room reverb and plate reverb built into Record.)

In the coming weeks, I look forward to posting some how-to’s and tips and tricks about Propellerhead Record and Reason. In the mean time, I’d enjoy hearing about your experiences using Record and Reason, if you feel like leaving a comment.

One more thing-- Here’s a video I’ve just made that I hope will give you a better idea of what Record is all about:

M9 Stompbox Modeler: Saul Zonana’s First Impressions

support@line6.com — Thu, 12 Nov 2009 23:02:24 GMT

By Saul Zonana

Guitarist Saul Zonana has played with everybody from Adrian Belew to Kings X. Most recently he has been racking up his production credits, and touring in support of his latest CD, Blue Monkey.

Just off the road and back in the studio, I’m working on an album that has so much room for ambient guitar tones that Line 6 will definitely be a part of it.

I normally turn to my POD® X3 Pro to get a lush, stereo guitar tone. However, a few days ago the new Line 6 M9 Stompbox Modeler arrived at my studio door. I played with it a bit and was instantly in love with it.

Out of the box, it is loaded with really great effect combinations, (or “scenes” as they call them). The fact that it’s also a powerful looper puts it over the top for me.

Beyond that, it’s a true stereo unit with two expression inputs so tones can be manipulated while playing. It’s my new favorite Line 6 product.

Oh yeah, and it’s small in size so no big pedal board needed. LOVE THIS THING!!

Top 5 Secrets Bands Should Know (That Will Help Them Make Better Recordings)

support@line6.com — Tue, 10 Nov 2009 18:13:07 GMT

By Travis Harrison

Stop the insanity! Engineer and recording studio owner Travis Harrison constantly sees bands sabotaging themselves in the studio. Want to make better recordings? Know the secrets.

1. IF YOU'RE ON A BUDGET, DON'T BE TOO AMBITIOUS

The majority of the bands I work with are on a limited budget. If you can only afford two days of studio time, it probably isn't in your best interests to attempt to record and mix your entire 45-minute live set.

Speak frankly with the engineers and producers you are working with. Make a realistic plan. Focus on fewer songs and get them right. I'm all for moving quickly and efficiently. But maybe it isn't wise to lay down seven basic tracks when you can only afford to complete three.

2. PRE-PRODUCTION

Schedule some rehearsal time specifically focused on preparing your music for the recording studio. Perhaps your producer or collaborator will be at the rehearsal. Record these rehearsals. The most primitive recording apparatus usually works fine. Listen back together.

Is the singer out of tune? Try the song in a different key.

Is the intro too long or are the transitions between sections clumsy? Tighten, expand or polish your arrangements.

Is the drummer slowing down? Use a metronome to pick and practice a definitive tempo that works.

Does the song sound cluttered? Everyone doesn't always have to be playing all the time. Maybe the second guitar player should lay out in the verses.

Does the track need something else? Plan your overdubs.

The more you can prepare before you enter the studio and the clock starts running, the smoother and more fun the sessions will be.

3. DON'T PLAY/SING STUFF THAT YOU CAN'T PLAY/SING

If there's a guitar lick, vocal riff or drum fill that feels way too difficult, that probably means that it sounds way too difficult. Have the good sense and humility to edit your parts and performances before you enter the studio, waste precious time and money, and attempt many many takes of something that is unrealistic.

Keep it simple. Sometimes the problem is fundamental. Often songwriters will write songs that are difficult for them to sing. Embrace your limitations as well as your strengths, and choose or write material that will showcase how awesome you are.

4. DON'T SHORTCHANGE MIXING

Often bands will spend a lot of time tracking, then get hung up when it comes time to mix. They either try to jam pack a half-dozen mixes in one day, or get obsessed with one mix at the expense of others.

Know what you want, communicate clearly with your engineer about how best to accomplish this. Maintain focus without developing tunnel vision. Keep an open mind. Talking, laughing, eating and constant commentary from the peanut gallery can often distract your engineer's ears and detract from the efficiency of your session. And time is money.

P.S. It may not be in the best interests of your recording to have the entire band attend the mixing sessions.

5. DON'T SHORTCHANGE MASTERING

Don't underestimate the power of a top-notch mastering job. I've seen bands release unmastered mixes on MySpace, CDRs, even manufactured CDs or iTunes. BIG MISTAKE. No matter how sweet the final mix sounds, compare it to other mastered records. It should compete, it should sound good on a mix tape next to your favorite stuff, it needs to be mastered. Budget it in from the beginning.

Can you suggest any secrets that would help bands in the studio?

Travis Harrison owns and operates Serious Business Music, a bustling New York City recording studio, production facility, and record label.

Recording With POD X3 Live: Teddy K. Bares All

support@line6.com — Wed, 04 Nov 2009 21:37:54 GMT

By Teddy Kumpel

Time is money for busy New York guitarist Teddy Kumpel. And when he’s in the recording studio, his time needs to be spent recording guitar tracks, not fiddling amp knobs. Teddy relies on Line 6 gear to record great tone and meet his deadlines.

I played guitar on a record for Saul Zonana called Blue Monkey and we used the POD® X3 Live to track guitars (we didn't want guitars bleeding into the drum mics). We thought we'd replace everything with real amps later. Guess what: the sounds were killing and we kept most of what was done through the POD X3 Live. (In fact the only reason we replaced anything was for performance, not sound.) All the overdubs were done with the POD X3 Live as well. So much for lugging amps to the studio.

I do a lot of soundtrack guitar playing with a film composer named Alex Wurman (Anchorman, March of the Penguins, Taladega Nights). I use the Variax® acoustic and POD X3 Live together to create a myriad of textures and odd instrumental doublings. I often find myself saying things like, "A little metal dobro with your slide banjo? No problem. You want me to play that on an old archtop with a mic on the neck and a mandola down the octave? Not a problem.”

With Variax® Workbench™ software you can get some amazing sounds out of the Variax, and throwing it through a POD X3 Live afterwards yields excellent professional-sounding results.

Right now, in my home studio, I'm mixing a record with Tony Scherr (Willie Nelson, Bill Frisell) by a great band called Ursa Minor. It was recorded in a project studio that produced pretty thin bass results. We fired up the POD X3 Live and auditioned a bunch of bass amps and are so amazed at the results we just want to put all the bass through it. POD X3 Live is an amazing piece of kit.

Gear Tips and Much More: Read the New Line 6 Blog!

support@line6.com — Fri, 30 Oct 2009 21:37:04 GMT

Line 6 is constantly looking for new ways of making its users’ lives easier and more musical.

The new Line 6 blog will offer our users (and all musicians) a sprawling online destination loaded with a variety of interesting content. As the blog grows, features will include helpful Line 6 gear tips, sanity-saving recording advice, geek-inducing pedal board setups, eye-opening artist tour diaries, and much more.

Right now, armies of touring artists, studio musicians, recording engineers, and in-house Line 6ers are firing up their laptops and pouring their hearts, minds and professional experiences into an expanding collection of indispensible information for musicians.

As always, user comments are encouraged. Please let us know if you find the blog posts helpful or interesting. And feel free to suggest topics that you’d like to read about.

If you enjoy our MySpace blog, don’t worry, it’s not going anywhere. Music-related news, opinions and deep-reaching questions will still have a home there. And, of course, we’re all over Facebook, Twitter, YouTube, and Flickr.

Thanks,

Line 6

Blueberry Summer Ale

support@line6.com — Mon, 01 Jun 2009 18:39:10 GMT

OK so we recently brewed a blueberry flavored summer ale a short time ago. We just placed it in secondary fermentation (a first for us) so I'll keep you guys in the loop as to how it comes out. The arome is beatiful. Let's hope it tastes as good as it smells! Should be ready in another three weeks. I'll post the recipe soon.

Rick

Harold's Honey Brown

support@line6.com — Fri, 15 May 2009 17:44:11 GMT

Tried the beer again last night with some friends. Starting to mellow out nicely. THe cinnamon is really poking through. It's a bit light but definitely refreshing.