Welcome, Rockman! Sorry for not responding sooner...I have limited time to post here and was all excited about the Satriani schematics for the past couple of days!
It's always great to meet another Boston fan, they are certainly one of my favorites...probably been a fan since around '83, when I was in the 9th grade....
When I was in 3rd grade, me and a buddy used to sit in the front row of the bus behind the driver because he always played the radio....typical 70's top 40 stuff.
One day, my buddy said, "You want to hear some REAL music, come on over after school."
He put on Boston's "Don't Look Back" album, and I was FLOORED!!!
I had never heard a guitar sound like THAT before!
Especially the thundering pick slides.
I've been hooked ever since!!
The Rockman can sound VERY good...take one of those X100 headphone amps and plug it straight into the mixing board and out through the PA full range.
A little tweaking of the EQ and you have a great sound that is consistent and easy to record.
BUT, it's NOT what Tom Scholz used on those 1st 2 albums.
That was all Marshall (with a LOT of processing...because that's how he does things)!
In reality, that sound is pretty easy to get, though it took me 25 years to figure it out!!!!
Currently, I use an MXR Distortion + to simulate the HiFi Preamp he used to boost his guitar level.
I then run it into an MXR 6 Band EQ with his settings:
File comment: Boston MXR 6 Band EQ
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File comment: Same MXR settings
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Finally it goes through an Echoplex EP3 that, though it's not required, does "something" to the sound, and then to the amp (currently a Plexi modded into a JCM800).
To me, it absolutely captures his sound.
The final piece of the Boston puzzle it all about recording technique.
Every rhythm track is doubled at minimum, but typically quadruple tracked!
There's one track on each side EQ'd dark, and another pair EQ'd bright.
All the leads are also double tracked and panned hard R/L, with a harmony track usually panned center.
Everything is panned hard L/R, with natural timing fluctuations giving it that wide stereo and natural chorusing effect.
And since the rhythms are so layered, they are actually pretty low gain, but in cumulative they sound pretty high gain.
So when recording, you'd want to go back to more of a Plexi based gain as opposed to the JCM800 levels, which are great for playing live since you probably won't have 7 guitarists up there on stage with you!!
Marshall JVM 410HJS - -ve Feedback
Marshall JVM 410H - Modified with Plexi/C83/Bass Boost Switches, Blackface Clean, 1959 Crunch, High Mids Crunch, Compression, OD1/OD2 Gain Reduction, ‘One Wire’ 3rd Stage Bias, PI Boost, -ve Feedback, Stiffness/Choke, Switchable Line out
Two Notes Torpedo Live
Marshall 1960AHW and BHW with G12H-30's
Marshall 1960A Lead 4x12 with G12T-75's
Full Rockman Stack and Rockman XP212
Echoplex EP3 - Hyperspace Pedal
Jackson Dinky Reverse - Sustainiac, EMG-81, Graph Tech LB63 Floyd Rose, Acoustiphonic preamp
Epiphone 68 Reissue Les Paul Goldtop - DiMarzio Super Distortion, Planet Waves tuners, Graph Tech Tusk nut