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Need help with shania Twain tone


Levenso
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Hi, I'm new with Helix. It's a good thing to have lots of amps and pedals, but I get lost with all the possibilities...

 

I'm part of a Shania Twain tribute band and trying to replicate some of her guitar tones. If any experienced player could direct me in the rght direction for a distorsion tone for "Man! feel like a woman", I'd greatly appreciate! I play that song with a Gibson Les Paul Classic.

 

Thanks!

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On 6/3/2023 at 8:46 PM, Levenso said:

Hi, I'm new with Helix. It's a good thing to have lots of amps and pedals, but I get lost with all the possibilities...

 

I'm part of a Shania Twain tribute band and trying to replicate some of her guitar tones. If any experienced player could direct me in the rght direction for a distorsion tone for "Man! feel like a woman", I'd greatly appreciate! I play that song with a Gibson Les Paul Classic.

 

Thanks!

 

Cory Churko is Shania's musical director / Lead guitar player.... he's also a Line 6 Helix user. He is very approachable if you reach out via facebook messenger with a question. He does use a Kemper for his amp profiles, the Helix is his effects and controller - however I'm 99.9% certain he knows how to dial it in solely on a Helix as well. 

 

Cory wasn't the player on that album... that would have been a combo of a dozen session men, and Mutt Lang himself - but Cory is meticulous at matching tones. He's also toured with Shania since her initial tours in the 90's... he knows those sounds inside out.  

 

Edit to add: Check out You Tube for his live cam footage of that song from Vegas and his incredible mind spinning solo that starts around 5:20...

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Hey Levenso!

 

I have this in my set. Great fun to play. In reality, it doesn't pay to get too obsessed with recreating a sound. Performance i.e. timing, feel and balance accounts for a lot and the sound it will always be affected by how it needs shaped to sit in the the mix, live or studio, and how it sounds throught the PA and then in the room. I got reasonably close with a Vox/Matchless/Two Rock type of emulation + Tube Screamer and a lot of low end and presence dialed down to give it separation in the mix. Gentle flanger adn compression to tighten the sound. I'll switch between single/humbuckers depending on whether the audience likes it light or heavy. Using b-tracks, I produce them in my studio and then play live.

 

Always remember, the audience doesn't care about an exact sound match, only if it's wildly different and distracting because they are connecting emotionly with the music and the artists, rather than critically. Same reason why they either fail notice mistakes or only register them temporarily.

 

Recently I reconstructed a mix from midi of Kylies 'Can't get you out of my head' and then AB'd it with some friends. 'Perfect' copy they said. Played the original and they were gobsmacked at the difference. The moral of this story is, just approximate the sound and get on with the real job which is being the the best performer you can be!

 

PS listen on Tidal, the increased quality makes it so much easier to pick out sonic nuances! 

 

Hope this is of some use to you!

 

Kind regards

 

Gary

 

Brief bio: 35+ years in music, pro musician + studio owner, former lecturer in music production and performance, PhD in Psychology.    

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