Alex Lifeson, the renowned guitarist from Rush and current member of Envy of None, recently shared his thoughts on the ongoing debate between analog and digital guitar tones, revealing his preference for certain digital devices while expressing concerns about the limitations of guitar plugins.
In an interview with AllMusic, Lifeson discussed his excitement for some new guitar pedals, particularly Universal Audio’s amp models like the Lion ’68 and Enigmatic ’82. He praised their sound, despite admitting he is not typically a fan of pedals designed to emulate guitar tones. “I’m a pedal guy for sure, but I’m not this kind of pedal guy – like, emulating guitar sounds,” he explained.
However, Lifeson also touched on his involvement with the TONEX plugin, which emulates his extensive catalog of amps. “I did the thing for the TONEX, where they did my whole catalog of amps. Oh, it’s incredible,” Lifeson said, acknowledging how these digital devices have made a significant leap in sound quality.
This led Lifeson to discuss his views on the broader topic of digital guitar tones. While he recognizes the convenience of plugins, he expressed dissatisfaction with their depth and overall sound: “Digital guitar, like plugins, always sound like it’s taped onto the screen. It doesn’t have the depth – you don’t feel like it’s tall or deep or fat.” He explained that earlier digital guitar tones were lacking in low-end, but that newer devices like the TONEX have successfully addressed this issue, making them much more appealing. “They seem to have conquered that obstacle. And now those pedals and those plugins like TONEX are an incredible step into making it much more convenient and still maintaining a great, great, great guitar sound,” Lifeson added.
Lifeson’s discussion also touched on his approach to guitar work with Envy of None, particularly during the recording process for their latest album, Stygian Waves. He shared his method of creating basic guitar parts with minimal effort and using plugins to achieve a spontaneous feel. “I usually just use plugins and try to get through it very spontaneously,” he said, before passing the track off to vocalist Maiah Wynne to add scratch vocals. Once the song comes back to him, Lifeson adds the final guitar parts. He explained how he organizes his guitar work into sections, much like his approach with Rush.
When it comes to his choice of instruments, Lifeson often starts with acoustic guitar before transitioning to electric, finding the process more organic and flexible. “Quite often with this record, that was a starting point for me, and invariably, that became a signature for another part,” he shared. Lifeson also emphasized his continued use of analog gear for certain parts of the process, including his large collection of analog guitars and amps. “I like to do those things more analog,” he concluded.
Related Topics
- Pete Townshend Teams Up with Dutch Indie-Pop Artist Inge Lamboo for New Song “Call Out Your Name”
- Kurt Cobain’s Iconic MTV Unplugged Guitar and Cardigan to Be Displayed Together for the First Time
- Bill Kelliher Reflects on Mastodon’s Future After Brent Hinds’ Departure, Discusses Friendship with Ben Eller
