Michael Romeo solo tone?

T

tomzitom

New Metal Member
Jul 18, 2007
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Hey!

Does anybody knows what kind of equipment michael used on his solo album?
 
Straight from the horse's mouth:

" For the solo CD and first 2 SymX CDs - the only amps I had, at that time, were a Marshall JCM800, Fender M-80, a Mesa/Boogie recording pre-amp. By the third CD ( Divine Wings ), I had bought the Tri-Axis and for some of the solos, I used a Rockman Compressor/Sustainer as a preamp ( in front of the Marshall...if I remember correctly ) - but only on that CD - thus - the 'Rockman-esque' tone on some of those solos. I always like to experiment and try out new things - different pre-amps, cabs , mic placement, etc."

I know at one point in the early days he had one of those Washburn 27-fret guitars (sorry, can't remember the model name) and I don't think he was using ESP yet (someone correct me if I'm wrong) so I wouldn't be surprised if that was what he used on the solo disk.
 
Speaking of his tone, my favorite tone has to be on the Damnation Game album. That tone is full, clear and very defined. The new tone misses the latter two.
 
Mastering won't change the solo tones that much. That's what they were going for when they mixed this album, and those kinds of tones are common in some of the stuff Romeo likes. I think it works for the songs.

Over-compression in mastering is a huge problem right now, though. It's the fucking A&R guys.
 
I actually always thought the guitars on V sounded kind of funny, can't really figure out why though. It's not a bad thing though, and the album's just good.
 
I love SymX...probably my favorite metal band right now...I have most of their releases. I think Romeo's a great player but I hate his tone...there's nothing organic about it...totally overprocessed.
 
EyeballKid said:
Compared to the other SX albums, I think the guitars on V are just a little hollow. They lack the bite that Romeo's tone generally has.
Click to expand...

I actually think that sound worked perfectly for V. The way that album is composed the guitars are not meant to be screaming, and in your face, as they are on PL (and as they tried to be on The Odyssey). V is more about balance with rich vocal textures and keyboard layers of both chords and harmonic lines. I think on that album they accomplished something that is rarely accomplished in metal production - instrument balance in the best interest of the composition. The guitar is used in such a cool dynamic way on that album, it can be very powerful and upfront like the intro of Evolution, or it can play an ancillary role in support of other textures like the simple descending line under 'Five senses come alive...' in Communion. If that line were biting and in your face it would be compositionally dull and over power the real textures of that section - the keys and the vocal layering. You're right that the tone is a little hollow and often lacks bite - if that were the tone on an album like PL it would not work at all. On V, I think it works in the larger context of that albums presentation.

Compression is not always a problem at the mastering level of things. Compression is usually used to some degree on almost every individual instrument track, there is usually one layered on top of that on the drum kit as a whole, and then one layered on top of THAT on the entire mix. Mastering is usually more about using limiters than compressors really. So to be fair, a mix may be hopelessly over compressed well before it goes to mastering, and you can't undo the compression at that stage of things.
 
Oh, I'm not saying the tone doesn't work in respect to the whole CD, but it is definitely a variation on the standard Romeo tone. I think the guitars on The Odyssey have FAR too much bite.

And I agree with schenkadere, I'm a fan of a fat rhythm tone and Romeo's leaves me cold in that respect.
 
SyXified said:
I actually think that sound worked perfectly for V. The way that album is composed the guitars are not meant to be screaming, and in your face, as they are on PL (and as they tried to be on The Odyssey). V is more about balance with rich vocal textures and keyboard layers of both chords and harmonic lines. I think on that album they accomplished something that is rarely accomplished in metal production - instrument balance in the best interest of the composition. The guitar is used in such a cool dynamic way on that album, it can be very powerful and upfront like the intro of Evolution, or it can play an ancillary role in support of other textures like the simple descending line under 'Five senses come alive...' in Communion. If that line were biting and in your face it would be compositionally dull and over power the real textures of that section - the keys and the vocal layering. You're right that the tone is a little hollow and often lacks bite - if that were the tone on an album like PL it would not work at all. On V, I think it works in the larger context of that albums presentation.

Compression is not always a problem at the mastering level of things. Compression is usually used to some degree on almost every individual instrument track, there is usually one layered on top of that on the drum kit as a whole, and then one layered on top of THAT on the entire mix. Mastering is usually more about using limiters than compressors really. So to be fair, a mix may be hopelessly over compressed well before it goes to mastering, and you can't undo the compression at that stage of things.
Click to expand...

I agree it works on V (my favorite album...and top 10 all time fav)...it fits the mix.
 
Seaoflies07 said:
I own every Symphony X album except the S/T and i find V to be the weakest besides TDG
Click to expand...

I used to find The Odyssey to be my hands down favorite...then upon continued listening, I think the continuity and content of V raises it above the rest...it's the most complete package and holds some of their best melodies as well. IMHO of course..."H" standing for "humble".

They all have their moments. I have Divine Wings, Twilight, V, Odyssey and Paradise Lost...so I can't really speak for the rest.
 
SyXified said:
I actually think that sound worked perfectly for V. The way that album is composed the guitars are not meant to be screaming, and in your face, as they are on PL (and as they tried to be on The Odyssey). V is more about balance with rich vocal textures and keyboard layers of both chords and harmonic lines. I think on that album they accomplished something that is rarely accomplished in metal production - instrument balance in the best interest of the composition. The guitar is used in such a cool dynamic way on that album, it can be very powerful and upfront like the intro of Evolution, or it can play an ancillary role in support of other textures like the simple descending line under 'Five senses come alive...' in Communion. If that line were biting and in your face it would be compositionally dull and over power the real textures of that section - the keys and the vocal layering. You're right that the tone is a little hollow and often lacks bite - if that were the tone on an album like PL it would not work at all. On V, I think it works in the larger context of that albums presentation.

Compression is not always a problem at the mastering level of things. Compression is usually used to some degree on almost every individual instrument track, there is usually one layered on top of that on the drum kit as a whole, and then one layered on top of THAT on the entire mix. Mastering is usually more about using limiters than compressors really. So to be fair, a mix may be hopelessly over compressed well before it goes to mastering, and you can't undo the compression at that stage of things.
Click to expand...

Totally true, well said.
 
I just went through and listened to a few songs off of each album, and I think his tone on Paradise Lost (both lead and rhythm) is the best he's ever sounded to my ears. From a mix/tone/overall production standpoint, I still think it's the best thing they've ever put out.
 
Meedleyx10 said:
I just went through and listened to a few songs off of each album, and I think his tone on Paradise Lost (both lead and rhythm) is the best he's ever sounded to my ears. From a mix/tone/overall production standpoint, I still think it's the best thing they've ever put out.
Click to expand...

I'm not crazy about his lead playing on that album at all...nothing grabs me...don't like the tone either...it just sounds super digital to me.
 
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