Tone Report Weekly Issue 114 - Page 23

Situation 2: Acoustic Guitar For this clip, I really took the Colour Box through its paces, and here it really flexes its 1073 muscles. Instead of grabbing my condenser mic, I grabbed the SM57 out of my mic locker to really see how detailed the Colour Box could get. While not being my typical choice for acoustic sources, the focused midrange that makes it a favorite among engineers for miking cabs can make it sound a little anemic on an acoustic. Let’s listen in and see what it does: Although the basic midfocused character of the tone is still there, the Colour Box seemed to add a little bit more of everything. The low-mids are brought forward and given a hearty amount of fatness, while some high end detail is brought forward as well, giving a bit more presence to the attack of the pick. amounts of time and money researching, reading, tweaking, and playing our rigs (you wouldn’t be reading this if you weren’t). However, with all the flash and miles of patch cables, meticulously researched overdrives and windowshattering amp stacks, sometimes nothing beats a good DI tone. For its form, fit, and function, it has found its way onto countless recordings throughout the generations, and its pure and simple tone is almost too important a tool to ignore in the studio. It’s the unadulterated sound of the guitar, and while it may seem a little boring or sterile without all the fancy electronic fixin’s heaped on top of it, a good DI tone can be the missing piece of the endless puzzle that is the final mix. The Colour Box is surrounded by marketing for music business’s historically great DI tones with big names such as Pink Floyd, Radiohead, Queen, and many others being touted as cannon fodder for the unsuspecting consumer. Luckily for us, the Colour Box actually functions incredibly well as a DI, as we will hear in the clips below (I used the same D. Allen Echoes Strat into the Focusrite 2i2): Situation 3: DI Box I’m sure most of us spend copious 23