I’m great! Just chugging away at the studio. Lots of cool projects going on right now.
So after having archived so much success as a producer – how did you come up with the idea of putting out this new STL plug-in suite?
I’ve been approached to do this type of thing before and it never really sat well with me. I’m such an amp guy and I felt like none of the existing software had actually captured what I needed to make a digital guitar sound translate. STL tones brought up the idea and had just hired on a software engineer who I believe is the best in the game. They really wanted to crack that code and make this plug-in the new standard, and they were totally down with the vision I had to really make pro level in the box tones a reality as well, so we went for it!
Was this something that you’ve been giving a lot of thoughts for a while now or was this much more of a recent idea?
It took us about a year to get it together from the brainstorming, initial testing, beta versions, all the back and forth. It was quite an endeavor to pull off correctly.
Having worked with some many great in the diverse metal community on many of its subgenres – was this suite in some way a departure for you, like you opened yourself to other genre or did you focus mostly on this particular style?
This is fully representative of my work. I didn’t break the mold here, we gave the consumer exactly the setup I would use in an engineering session to achieve my guitar tones. That was important to me, I didn’t want to cut a corner.
Did you borrow from some old work or did you get to work on new material?
There is some old and some new in here. Some of these presets and tones date back years, and some are brand new. There are amps in here I have had forever, and some that I’ve just recently brought into the studio, so you get a nice variety of my entire career in this plug-in.
What was it like the recording and selection process?
We did SO much testing. Running dis through each amp / cab setup with countless different settings, recreating schematics in the software world, revising and manipulating the software until we couldn’t tell the hardware and software apart. It took months and months and thousands and thousands of audio files to get to where we are.
As you stated in a few releases and interviews for this, guitar emulators haven’t been able to capture the organic sound of this instrument – was it easy to crack the code?
It’s certainly not an easy task. There’s a lot of compromise in the software world. Companies dress up a poorly engineered product with fancy graphics and slap a popular face on it and throw it out there. To me that’s a huge disservice to the consumer, and I feel like it takes advantage of people in the worst way. Going from the ground up to design this type of software takes a tremendous amount of work on all fronts, and I’m very happy STL tones was into doing this one the right way.
Without giving up any of your many secrets – how did you get to archive this and what can buyers expect?
The reverse engineering we did on some of these tones that are included is pretty detailed and not really worth getting into here, but I can say that there are truly identical recreations of my work in this software, things I have used and will continue to use are now there at the click of a button. I’m spoiled to have such a tool now!
Speaking of which, where can musicians catch this?
Check out Www.stltones.com for a full in-depth product rundown and links to pick it up.
What else is happening next in Will Putney’s world?
We’ve got plenty of records to make this year. Creating this plug-in was a blast but now it’s back to work!