How Do You...

[thegame]

Go and listen, really listen, to the tone on the first VH record. It's really not that amazing.
It's kind of dry and nasal.

What makes it magic (and spawned 30+ years of imitators) is the playing and the drums and bass that back it up.

Not really. The guitar sounds just as good during Eruption as it does on the rest of the album.

 

[Badronald]

I've been playing forever. 25+ years and I've always had really nice tone, but it's only recently that I listen back to some of my stuff and say "wow, I'm finally there, that tone is killer"!
I hate to say it, but most of it comes from the player, and yes, too much gain usually kills the tone.

Getting killer recorded tones is another thing altogether. Most of the time my tone is amazing coming out of my JTM45, but whoever is sitting at the recording console usually cannot capture that tone. There are so many variables. Mic's, preamps, compressors, headphones, monitors, eq's........etc.........

It's tough.

 

[Badronald]

Go and listen, really listen, to the tone on the first VH record. It's really not that amazing.
It's kind of dry and nasal.

What makes it magic (and spawned 30+ years of imitators) is the playing and the drums and bass that back it up.

Not really. The guitar sounds just as good during Eruption as it does on the rest of the album.

Agreed. Anyone saying the tone on the 1st VH record is not incredible, is just not a fan of hard rock tone. That tone absolutely slays.

 

[IndyWS6]

I've been playing forever. 25+ years and I've always had really nice tone, but it's only recently that I listen back to some of my stuff and say "wow, I'm finally there, that tone is killer"!
I hate to say it, but most of it comes from the player, and yes, too much gain usually kills the tone.

Getting killer recorded tones is another thing altogether. Most of the time my tone is amazing coming out of my JTM45, but whoever is sitting at the recording console usually cannot capture that tone. There are so many variables. Mic's, preamps, compressors, headphones, monitors, eq's........etc.........

It's tough.

I agree... It may be naive, but I figure that if I can get a tone that closely mimics the sound I want "live", it should be that much easier to get the track to represent the live sound. Granted, there are some really gifted individuals that can take an average guitar sound and make it pop, but it sure seems like it would be easier to start with something worthwhile...

 

[craftm1]

"I'd estimate that 20% is the player, amp and guitar.
The other 80% is the engineer and producer in the studio."

This is a semi accurate statement, there are some players that record magnificantly most of the time and these players can at times make bad equipement sound incredible. There are many variables to consider when recording guitars and the use of those variables can have a huge effect on the end result. The equipement, room, mic's, instrumment, string gauge and the list goes on.

The best advice I can give is keep it simple and keep the signal path uncluttered.

 

[Gainfreak]

I've been playing forever. 25+ years and I've always had really nice tone, but it's only recently that I listen back to some of my stuff and say "wow, I'm finally there, that tone is killer"!
I hate to say it, but most of it comes from the player, and yes, too much gain usually kills the tone.

Getting killer recorded tones is another thing altogether. Most of the time my tone is amazing coming out of my JTM45, but whoever is sitting at the recording console usually cannot capture that tone. There are so many variables. Mic's, preamps, compressors, headphones, monitors, eq's........etc.........

It's tough.

I agree... It may be naive, but I figure that if I can get a tone that closely mimics the sound I want "live", it should be that much easier to get the track to represent the live sound. Granted, there are some really gifted individuals that can take an average guitar sound and make it pop, but it sure seems like it would be easier to start with something worthwhile...

Ive been playing many years and when I was younger I had a TON and I mean a ton of older players telling me that Id never be able to re-create some of my Idols tones and I'm here to tell you that with hard work and perseverance I've nailed them all. It can be done. Granted a lot of them had heavily processed tones but I went from being told every BS story in the world to the tone is in the fingers BS and Ive nailed every one or I should say as close as I care to get them.
You can do it. The extra icing on the cake is if you can mimic the player you are going after but the basic tone can be had IMHO.
everyone can flame away but Ive done it, Ive showed a lot of my friends that Ive done it (so I have witnesses lol)

 

[Badronald]

I've been playing forever. 25+ years and I've always had really nice tone, but it's only recently that I listen back to some of my stuff and say "wow, I'm finally there, that tone is killer"!
I hate to say it, but most of it comes from the player, and yes, too much gain usually kills the tone.

Getting killer recorded tones is another thing altogether. Most of the time my tone is amazing coming out of my JTM45, but whoever is sitting at the recording console usually cannot capture that tone. There are so many variables. Mic's, preamps, compressors, headphones, monitors, eq's........etc.........

It's tough.

I agree... It may be naive, but I figure that if I can get a tone that closely mimics the sound I want "live", it should be that much easier to get the track to represent the live sound. Granted, there are some really gifted individuals that can take an average guitar sound and make it pop, but it sure seems like it would be easier to start with something worthwhile...

Ive been playing many years and when I was younger I had a TON and I mean a ton of older players telling me that Id never be able to re-create some of my Idols tones and I'm here to tell you that with hard work and perseverance I've nailed them all. It can be done. Granted a lot of them had heavily processed tones but I went from being told every BS story in the world to the tone is in the fingers BS and Ive nailed every one or I should say as close as I care to get them.
You can do it. The extra icing on the cake is if you can mimic the player you are going after but the basic tone can be had IMHO.
everyone can flame away but Ive done it, Ive showed a lot of my friends that Ive done it (so I have witnesses lol)

Sure it can be done. No argument here.

 

[Gainfreak]

I've been playing forever. 25+ years and I've always had really nice tone, but it's only recently that I listen back to some of my stuff and say "wow, I'm finally there, that tone is killer"!
I hate to say it, but most of it comes from the player, and yes, too much gain usually kills the tone.

Getting killer recorded tones is another thing altogether. Most of the time my tone is amazing coming out of my JTM45, but whoever is sitting at the recording console usually cannot capture that tone. There are so many variables. Mic's, preamps, compressors, headphones, monitors, eq's........etc.........

It's tough.

I agree... It may be naive, but I figure that if I can get a tone that closely mimics the sound I want "live", it should be that much easier to get the track to represent the live sound. Granted, there are some really gifted individuals that can take an average guitar sound and make it pop, but it sure seems like it would be easier to start with something worthwhile...

Ive been playing many years and when I was younger I had a TON and I mean a ton of older players telling me that Id never be able to re-create some of my Idols tones and I'm here to tell you that with hard work and perseverance I've nailed them all. It can be done. Granted a lot of them had heavily processed tones but I went from being told every BS story in the world to the tone is in the fingers BS and Ive nailed every one or I should say as close as I care to get them.
You can do it. The extra icing on the cake is if you can mimic the player you are going after but the basic tone can be had IMHO.
everyone can flame away but Ive done it, Ive showed a lot of my friends that Ive done it (so I have witnesses lol)

Sure it can be done. No argument here.

Yup It can be but Id be lying if I didn't say it was a HUGE pain in the ass

Hope all is well!

~R~

 

[IndyWS6]

I've been playing forever. 25+ years and I've always had really nice tone, but it's only recently that I listen back to some of my stuff and say "wow, I'm finally there, that tone is killer"!
I hate to say it, but most of it comes from the player, and yes, too much gain usually kills the tone.

Getting killer recorded tones is another thing altogether. Most of the time my tone is amazing coming out of my JTM45, but whoever is sitting at the recording console usually cannot capture that tone. There are so many variables. Mic's, preamps, compressors, headphones, monitors, eq's........etc.........

It's tough.

I agree... It may be naive, but I figure that if I can get a tone that closely mimics the sound I want "live", it should be that much easier to get the track to represent the live sound. Granted, there are some really gifted individuals that can take an average guitar sound and make it pop, but it sure seems like it would be easier to start with something worthwhile...

Ive been playing many years and when I was younger I had a TON and I mean a ton of older players telling me that Id never be able to re-create some of my Idols tones and I'm here to tell you that with hard work and perseverance I've nailed them all. It can be done. Granted a lot of them had heavily processed tones but I went from being told every BS story in the world to the tone is in the fingers BS and Ive nailed every one or I should say as close as I care to get them.
You can do it. The extra icing on the cake is if you can mimic the player you are going after but the basic tone can be had IMHO.
everyone can flame away but Ive done it, Ive showed a lot of my friends that Ive done it (so I have witnesses lol)

Sure it can be done. No argument here.

Yup It can be but Id be lying if I didn't say it was a HUGE pain in the ass

Hope all is well!

~R~

And therein lies the rub What's the best way to start from a clean slate and zero in on a given tone objective? Hell, the effort frustrates me to the point that I'd (almost) be willing to give someone my rig and pay them to program a patch for everything I want to copy. Yeah, I know that sounds lazy. I just get fed up easily when I can't dial-in what I want...

 

[Gainfreak]

I've been playing forever. 25+ years and I've always had really nice tone, but it's only recently that I listen back to some of my stuff and say "wow, I'm finally there, that tone is killer"!
I hate to say it, but most of it comes from the player, and yes, too much gain usually kills the tone.

Getting killer recorded tones is another thing altogether. Most of the time my tone is amazing coming out of my JTM45, but whoever is sitting at the recording console usually cannot capture that tone. There are so many variables. Mic's, preamps, compressors, headphones, monitors, eq's........etc.........

It's tough.

I agree... It may be naive, but I figure that if I can get a tone that closely mimics the sound I want "live", it should be that much easier to get the track to represent the live sound. Granted, there are some really gifted individuals that can take an average guitar sound and make it pop, but it sure seems like it would be easier to start with something worthwhile...

Ive been playing many years and when I was younger I had a TON and I mean a ton of older players telling me that Id never be able to re-create some of my Idols tones and I'm here to tell you that with hard work and perseverance I've nailed them all. It can be done. Granted a lot of them had heavily processed tones but I went from being told every BS story in the world to the tone is in the fingers BS and Ive nailed every one or I should say as close as I care to get them.
You can do it. The extra icing on the cake is if you can mimic the player you are going after but the basic tone can be had IMHO.
everyone can flame away but Ive done it, Ive showed a lot of my friends that Ive done it (so I have witnesses lol)

Sure it can be done. No argument here.

Yup It can be but Id be lying if I didn't say it was a HUGE pain in the ass

Hope all is well!

~R~

And therein lies the rub What's the best way to start from a clean slate and zero in on a given tone objective? Hell, the effort frustrates me to the point that I'd (almost) be willing to give someone my rig and pay them to program a patch for everything I want to copy. Yeah, I know that sounds lazy. I just get fed up easily when I can't dial-in what I want...

Well I had a burning desire to nail the sounds and in doing so I learned a lot. Trust me, I'm extremely lazy and If I could have found a person to do it for me I would have but no such luck lol

The Best way to learn is what I said in my first post. Find out what gear was used on the original and then work your way from there. If you want to do with modeling then pick a patch that gets close and learn how to use EQ. Experimenting with EQ will be frustrating but it will help in the long run.
On another note, if you are doing this with the 11 rack maybe you could post a thread on a forum and get someone to tweak a patch for you. There are guys who would probably like the challenge!!

 

[stratotone]

I'd say your estimate is a bit off. There is a percentage you can credit an engineer with but definately not 80%.

Listen to the Van Halen demos that they did with Gene Simmons, and then VH I. BIG difference in tone! I've heard a lot of live bootlegs too, never heard the VH I or II 'studio tone' there either.

Pete

 

[LP Freak]

I'd say your estimate is a bit off. There is a percentage you can credit an engineer with but definately not 80%.

Listen to the Van Halen demos that they did with Gene Simmons, and then VH I. BIG difference in tone! I've heard a lot of live bootlegs too, never heard the VH I or II 'studio tone' there either.

Pete

That's funny because I've read interviews with Ted Templeman and when asked how they got Eddie's tone he said they basically stuck a couple mics in front of his amp and that was it, there was no magic.

 

[Capulin Overdrive]

my head must be full of crap, because what comes out of my rig with me playing sure sounds like crap!

 

[tonefinger]

TONE IS TONE if its not there to start with,what do you have to work with. Yes, a engineer can turn things around some but if its not good to start with there is not much to do. My studio work has been on video games,television and radio. Got to get it right up front.

 

[ACShreds]

Ive never really gotten into trying to copy other players tones. I just kinda listen and find the things here and there that i like and just do my best to get to that point where im satisfied.

 

[rsm]

Dunno, but what I did/do with each new piece of gear is to start with the basics, and try to understand the controls, what each does, how it interacts, etc. to start to learn how to shape the tone. IMO, getting good with eq (GEQ, PEQ) is a basic skill. Search the internet on guitar eq, here's an example for recording...I haven't verified the content but skimming through looked ok? http://www.recordingwebsite.com/articles/eqprimer.php

Also, try to identify (as others have said) the equipment used and the tonal characteristics. Fuzz is a good example, IMO as there are different categories of fuzz, one of which is Muff (the one I like), but muff fuzz will be tough to get Tone Bender or Fuzzface tones, etc. out of it.

With the 11R, I would pick a clean amp setting, then try the gain settings and/or the od/dist pedal models / controls so you get an idea of what each one sounds like and the tonal ranges provided by each. Compare amp models with the same neutral tone settings (all nooned for example) to compare and contrast the diffs... over time, I think many expert players can dial in the sound on anything because they know how to tune the sound they hear to the sound they want (or hear in their heads) seeming automagically. FWIW, I was able to do this with my old ADA gear back in the day because I spent a boatload of time exploring the sonic possibilities of my MP-1, then MP-2....I was able to dial in a preset pretty quickly, and pretty much nail what I was going for (for the most part).

Over time, you can start to dissect the tones you are hearing and map them to your gear to get close, or identify what is missing or what you need to do (different amp, speakers, tubes, pedal, etc.) to get you closer.

My $0.02 worth. Knowing, almost instinctively, how your gear controls work, interact and affect each has on the others to define the tone is not impossible, but for many of us, it takes a good deal of work and effort...and still you may come up short...keep at it and it will come.

 

[IndyWS6]

Dunno, but what I did/do with each new piece of gear is to start with the basics, and try to understand the controls, what each does, how it interacts, etc. to start to learn how to shape the tone. IMO, getting good with eq (GEQ, PEQ) is a basic skill. Search the internet on guitar eq, here's an example for recording...I haven't verified the content but skimming through looked ok? http://www.recordingwebsite.com/articles/eqprimer.php

Also, try to identify (as others have said) the equipment used and the tonal characteristics. Fuzz is a good example, IMO as there are different categories of fuzz, one of which is Muff (the one I like), but muff fuzz will be tough to get Tone Bender or Fuzzface tones, etc. out of it.

With the 11R, I would pick a clean amp setting, then try the gain settings and/or the od/dist pedal models / controls so you get an idea of what each one sounds like and the tonal ranges provided by each. Compare amp models with the same neutral tone settings (all nooned for example) to compare and contrast the diffs... over time, I think many expert players can dial in the sound on anything because they know how to tune the sound they hear to the sound they want (or hear in their heads) seeming automagically. FWIW, I was able to do this with my old ADA gear back in the day because I spent a boatload of time exploring the sonic possibilities of my MP-1, then MP-2....I was able to dial in a preset pretty quickly, and pretty much nail what I was going for (for the most part).

Over time, you can start to dissect the tones you are hearing and map them to your gear to get close, or identify what is missing or what you need to do (different amp, speakers, tubes, pedal, etc.) to get you closer.

My $0.02 worth. Knowing, almost instinctively, how your gear controls work, interact and affect each has on the others to define the tone is not impossible, but for many of us, it takes a good deal of work and effort...and still you may come up short...keep at it and it will come.

rsm - thanks for the input. It is much appreciated...

I think your right - part of it is getting familiar with the gear and knowing what each control does. It can become frustrating though, epecially with the newer equipment that has almost limitless control options, to find the sweet spot or nail a prticular sound. I recently added a lot of equipment to my cheesy little home studio and I might just be overwhelmed with everything all at once (trying to dial-in a H&K Switchblade, becoming familiar with an Eleven Rack, trying to learn Pro Tools, trying to configure an Axiom Pro 49 to trigger things, etc.).

Some of the suggestions have been to "find out what the artist used", which isn't really feasible on my budget. What I'd like to be able to do is emulate a desired tone, as closely as possible, using a reasonable amount of quality equipment. I don't expect perfection, but I should be able to get close. It's enlightening to know how others take a rig and dial it in to achieve a particular sound.

Thanks again...

 

[Gainfreak]

Dunno, but what I did/do with each new piece of gear is to start with the basics, and try to understand the controls, what each does, how it interacts, etc. to start to learn how to shape the tone. IMO, getting good with eq (GEQ, PEQ) is a basic skill. Search the internet on guitar eq, here's an example for recording...I haven't verified the content but skimming through looked ok? http://www.recordingwebsite.com/articles/eqprimer.php

Also, try to identify (as others have said) the equipment used and the tonal characteristics. Fuzz is a good example, IMO as there are different categories of fuzz, one of which is Muff (the one I like), but muff fuzz will be tough to get Tone Bender or Fuzzface tones, etc. out of it.

With the 11R, I would pick a clean amp setting, then try the gain settings and/or the od/dist pedal models / controls so you get an idea of what each one sounds like and the tonal ranges provided by each. Compare amp models with the same neutral tone settings (all nooned for example) to compare and contrast the diffs... over time, I think many expert players can dial in the sound on anything because they know how to tune the sound they hear to the sound they want (or hear in their heads) seeming automagically. FWIW, I was able to do this with my old ADA gear back in the day because I spent a boatload of time exploring the sonic possibilities of my MP-1, then MP-2....I was able to dial in a preset pretty quickly, and pretty much nail what I was going for (for the most part).

Over time, you can start to dissect the tones you are hearing and map them to your gear to get close, or identify what is missing or what you need to do (different amp, speakers, tubes, pedal, etc.) to get you closer.

My $0.02 worth. Knowing, almost instinctively, how your gear controls work, interact and affect each has on the others to define the tone is not impossible, but for many of us, it takes a good deal of work and effort...and still you may come up short...keep at it and it will come.

rsm - thanks for the input. It is much appreciated...

I think your right - part of it is getting familiar with the gear and knowing what each control does. It can become frustrating though, epecially with the newer equipment that has almost limitless control options, to find the sweet spot or nail a prticular sound. I recently added a lot of equipment to my cheesy little home studio and I might just be overwhelmed with everything all at once (trying to dial-in a H&K Switchblade, becoming familiar with an Eleven Rack, trying to learn Pro Tools, trying to configure an Axiom Pro 49 to trigger things, etc.).

Some of the suggestions have been to "find out what the artist used", which isn't really feasible on my budget. What I'd like to be able to do is emulate a desired tone, as closely as possible, using a reasonable amount of quality equipment. I don't expect perfection, but I should be able to get close. It's enlightening to know how others take a rig and dial it in to achieve a particular sound.

Thanks again...

Finding out what the artist used might not be feasable on your budget but it will clue you in on what you will need in order to get close and given that you have a modelor, it should help you a ton. For example if someone used a recto ,a ts9 boost pedal and vintage 30's to get there tone, would you use a plexi, ratt pedal and greenbacks on the modelor? I think you see where I'm going with this!

 

[IndyWS6]

Dunno, but what I did/do with each new piece of gear is to start with the basics, and try to understand the controls, what each does, how it interacts, etc. to start to learn how to shape the tone. IMO, getting good with eq (GEQ, PEQ) is a basic skill. Search the internet on guitar eq, here's an example for recording...I haven't verified the content but skimming through looked ok? http://www.recordingwebsite.com/articles/eqprimer.php

Also, try to identify (as others have said) the equipment used and the tonal characteristics. Fuzz is a good example, IMO as there are different categories of fuzz, one of which is Muff (the one I like), but muff fuzz will be tough to get Tone Bender or Fuzzface tones, etc. out of it.

With the 11R, I would pick a clean amp setting, then try the gain settings and/or the od/dist pedal models / controls so you get an idea of what each one sounds like and the tonal ranges provided by each. Compare amp models with the same neutral tone settings (all nooned for example) to compare and contrast the diffs... over time, I think many expert players can dial in the sound on anything because they know how to tune the sound they hear to the sound they want (or hear in their heads) seeming automagically. FWIW, I was able to do this with my old ADA gear back in the day because I spent a boatload of time exploring the sonic possibilities of my MP-1, then MP-2....I was able to dial in a preset pretty quickly, and pretty much nail what I was going for (for the most part).

Over time, you can start to dissect the tones you are hearing and map them to your gear to get close, or identify what is missing or what you need to do (different amp, speakers, tubes, pedal, etc.) to get you closer.

My $0.02 worth. Knowing, almost instinctively, how your gear controls work, interact and affect each has on the others to define the tone is not impossible, but for many of us, it takes a good deal of work and effort...and still you may come up short...keep at it and it will come.

rsm - thanks for the input. It is much appreciated...

I think your right - part of it is getting familiar with the gear and knowing what each control does. It can become frustrating though, epecially with the newer equipment that has almost limitless control options, to find the sweet spot or nail a prticular sound. I recently added a lot of equipment to my cheesy little home studio and I might just be overwhelmed with everything all at once (trying to dial-in a H&K Switchblade, becoming familiar with an Eleven Rack, trying to learn Pro Tools, trying to configure an Axiom Pro 49 to trigger things, etc.).

Some of the suggestions have been to "find out what the artist used", which isn't really feasible on my budget. What I'd like to be able to do is emulate a desired tone, as closely as possible, using a reasonable amount of quality equipment. I don't expect perfection, but I should be able to get close. It's enlightening to know how others take a rig and dial it in to achieve a particular sound.

Thanks again...

Finding out what the artist used might not be feasable on your budget but it will clue you in on what you will need in order to get close and given that you have a modelor, it should help you a ton. For example if someone used a recto ,a ts9 boost pedal and vintage 30's to get there tone, would you use a plexi, ratt pedal and greenbacks on the modelor? I think you see where I'm going with this!

OK, understood...

Knowing what the artist used would certainly help replicate that (or at least provide a decent starting point) if you are using an Axe, or Eleven Rack, et. al. The way that a couple of the posts were written had me making an incorrect assumption that the suggestion would be to buy the same equipment. I'm a little slow sometimes

 

[Gainfreak]

Dunno, but what I did/do with each new piece of gear is to start with the basics, and try to understand the controls, what each does, how it interacts, etc. to start to learn how to shape the tone. IMO, getting good with eq (GEQ, PEQ) is a basic skill. Search the internet on guitar eq, here's an example for recording...I haven't verified the content but skimming through looked ok? http://www.recordingwebsite.com/articles/eqprimer.php

Also, try to identify (as others have said) the equipment used and the tonal characteristics. Fuzz is a good example, IMO as there are different categories of fuzz, one of which is Muff (the one I like), but muff fuzz will be tough to get Tone Bender or Fuzzface tones, etc. out of it.

With the 11R, I would pick a clean amp setting, then try the gain settings and/or the od/dist pedal models / controls so you get an idea of what each one sounds like and the tonal ranges provided by each. Compare amp models with the same neutral tone settings (all nooned for example) to compare and contrast the diffs... over time, I think many expert players can dial in the sound on anything because they know how to tune the sound they hear to the sound they want (or hear in their heads) seeming automagically. FWIW, I was able to do this with my old ADA gear back in the day because I spent a boatload of time exploring the sonic possibilities of my MP-1, then MP-2....I was able to dial in a preset pretty quickly, and pretty much nail what I was going for (for the most part).

Over time, you can start to dissect the tones you are hearing and map them to your gear to get close, or identify what is missing or what you need to do (different amp, speakers, tubes, pedal, etc.) to get you closer.

My $0.02 worth. Knowing, almost instinctively, how your gear controls work, interact and affect each has on the others to define the tone is not impossible, but for many of us, it takes a good deal of work and effort...and still you may come up short...keep at it and it will come.

rsm - thanks for the input. It is much appreciated...

I think your right - part of it is getting familiar with the gear and knowing what each control does. It can become frustrating though, epecially with the newer equipment that has almost limitless control options, to find the sweet spot or nail a prticular sound. I recently added a lot of equipment to my cheesy little home studio and I might just be overwhelmed with everything all at once (trying to dial-in a H&K Switchblade, becoming familiar with an Eleven Rack, trying to learn Pro Tools, trying to configure an Axiom Pro 49 to trigger things, etc.).

Some of the suggestions have been to "find out what the artist used", which isn't really feasible on my budget. What I'd like to be able to do is emulate a desired tone, as closely as possible, using a reasonable amount of quality equipment. I don't expect perfection, but I should be able to get close. It's enlightening to know how others take a rig and dial it in to achieve a particular sound.

Thanks again...

Finding out what the artist used might not be feasable on your budget but it will clue you in on what you will need in order to get close and given that you have a modelor, it should help you a ton. For example if someone used a recto ,a ts9 boost pedal and vintage 30's to get there tone, would you use a plexi, ratt pedal and greenbacks on the modelor? I think you see where I'm going with this!

OK, understood...

Knowing what the artist used would certainly help replicate that (or at least provide a decent starting point) if you are using an Axe, or Eleven Rack, et. al. The way that a couple of the posts were written had me making an incorrect assumption that the suggestion would be to buy the same equipment. I'm a little slow sometimes

No! You're not slow at all. That's what I meant before I knew that you had the 11 rack
Ultimately it would be a great idea to buy the gear that the artisit used but we all know how much $$$$ that can be
I know because Ive done it lol. The cool thing is that when I was able to nail the sound and get it imbedded in my head I was able to re-create some of the tones (close to it) without having to use the exact gear. I then sold off what I didn't need.