He used the Coliseum for all the rhythm tracks. All the solos were done on the Marshall.I always thought it was a Mesa Mark series amp, so I did a quick search.
https://www.johnsykes.com/equipment.html
"For much of the Whitesnake '87 album and first Blue Murder album John used 2 Mesa Boogie Coliseum heads. These amps have a Mark III pre-amp section but use six 6L6 power tubes--giving the amps180 watts each! John also owns several Mesa Boogie Mark IIC+'s, Mark III's and some rack mounted Mesa Dual Recto heads. Other Mesa Boogie equipment includes a Tri-Axis preamp and a Strategy 500 Power Amp."
The second link is a soundboard, its not even from a live album, so theres very little mixing/editing and its pretty damn close to the first link, any differences could easily be down to general amp settings.Keep in mind that Mssr. Syke's guitar signal, very likely, passed through one heck of a lot of processing/modifying before it reached your ears.
It is extraordinarily common/standard procedure with big rock tracks to "carve" the various instrumental tracks in order that they sit in the band mix appropriately and...if we could listen to the final treatment on a given guitar track...it is often rather unappealing on it's own.
And so it can be hard to say just how that amp sounded out there on the studio floor....
Tangentially for another rabbit hole, Michael Wagener had 17 mics in the room at one time during a George Lynch recording session. Chasing recorded tones using their precise gear has the potential of a Pandora’s box.Keep in mind that Mssr. Syke's guitar signal, very likely, passed through one heck of a lot of processing/modifying before it reached your ears.
It is extraordinarily common/standard procedure with big rock tracks to "carve" the various instrumental tracks in order that they sit in the band mix appropriately and...if we could listen to the final treatment on a given guitar track...it is often rather unappealing on it's own.
And so it can be hard to say just how that amp sounded out there on the studio floor....
And also proximity effect, overall mic coloration, where the mic was aimed, mic preamp, that sort of thing? Is it safe to assume that the mic capsule was at-or-near the grill cloth, a position that we don not normally listen to an amp from?The second link is a soundboard, its not even from a live album, so theres very little mixing/editing and its pretty damn close to the first link, any differences could easily be down to general amp settings.
Its pretty obvious thats the same amp used in both those solos. Do you need an entire rig rundown or can you trust your ears for once?And also proximity effect, overall mic coloration, where the mic was aimed, mic preamp, that sort of thing? Is it safe to assume that the mic capsule was at-or-near the grill cloth, a position that we don not normally listen to an amp from?
But as you point out, any similarities betwixt soundboard recording/studio recording can indeed provide some useful info so many thanks for pointing that out sir!![]()
A live signal chain "rig rundown" would be fun, if you can provide one. Were they touring with an XL-4 perchance?Its pretty obvious thats the same amp used in both those solos. Do you need an entire rig rundown or can you trust your ears for once?
....can you trust your ears for once?
As an example...Keep in mind that Mssr. Syke's guitar signal, very likely, passed through one heck of a lot of processing/modifying before it reached your ears.
It is extraordinarily common/standard procedure with big rock tracks to "carve" the various instrumental tracks in order that they sit in the band mix appropriately and...if we could listen to the final treatment on a given guitar track...it is often rather unappealing on it's own.
And so it can be hard to say just how that amp sounded out there on the studio floor....
Dual Recs wouldn't be in production for another 2-3 years.I'm pretty sure the '87 WS album was recorded with a first revision Dual Rec...
beat me to it!Dual Recs wouldn't be in production for another 2-3 years.![]()