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So I don't know any other way to put this. I'm a reverb junkie. Eventide Space makes me drool. The price... does not. I have more than adequate digital plate, spring, room, hall available to me already. I want to get hold of some of the more crazy algorithms, but are there even options out there to compare to this chassis?
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Apr 24, 2014 18:52
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Found some vids of Mr. Black Supermoon Chrome. Any experience with those? Might be a decent crazy substitute.
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Apr 24, 2014 21:25
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Declan MacManus posted:EHX graphic fuzz and/or a Foxx Tone clone. Combine it with a Dynacomp and you can do this: Thanks for the heads up. I will be checking those out then. 
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May 3, 2014 15:30
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Southern Heel posted:I want to get a compressor to even out my bass tone, but compressors marketed towards bassists seem to have their prices pumped to the limit simply because bassists tend to have fewer pedals and so can be squeezed more readily for the few that are 'neccesary'. My brother in law gifted me a plain old MXR Dynacomp a month or so ago because I thought I wanted it for guitar. After playing with it for a bit I figured out quickly that I hated it. For giggles I turned around and put it on my bass. Now on there... there's some interesting sounds. Some very interesting sounds. I kinda dig it.
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Jun 6, 2014 20:07
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I've no clue which thread to put this into. I ruled out the guitar thread, because to my ears it sounds like a single coil bridge to me and it's more the signal processing/amplification that seems to be what I'm asking about. What does a person have to do to get this sound: https://www.youtube.com/watch?v=hbe3CQamF8k&t=85s I realize it's Massive Attack, and their studio manipulation is legend, but it kinda seems they let the guitarist on Angel just go... So do any of you far-more-guitar-sound-trained persons have a clue what pedal or amp or combo might be making that tone? I've been researching my butt off for a pedal to be my driven sound. It's appearing that I am not a fuzz person, or a TS person, or a gain-o-riffic distortion person. It seems my taste lays in the land of overdrive, which it seems this sound is. I've just been listening to samples and demos of the blizzard of overdrive pedals out there for like a month now and nothing's quite grabbed me yet. Eventually when I have time later this year I'll go demo a bunch of stuff, but this morning I remembered that track, that sound, that minor chord and thought that if someone could point me in the direction of that it might help. Light picking it's thin, then when they put the spurs to it seems to get so screamy AND creamy at the same time. I want something I can hear every drat pitch in in complex chords, but still sounds like it's about to shatter.
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Jul 30, 2014 21:04
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Well, I'll throw on the bright clean channel with an EL84 tube emulation on the ID30 tonight and see what I can see at various gain settings (as the AC30 well overdriven was the thought I had as well). It won't sound quite the same as I didn't wire my bridge bucker (ToneZone S) for a coil split, but I was considering coming back around and doing that at some point anyway, so sometime in the next couple of weeks I may do that.
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Jul 30, 2014 22:51
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iostream.h posted:Well bear in mind that typically the apparent recorded level of overdrive is usually much less than it is on the amp, which is why I said it was minimal. Nah, the ToneZone S is quite mellow compared to a true single in the bridge. It's why I got it. The Seymour Duncan bridge pickup the thing came with was like nails on a chalkboard. And, I pretty much never touch the tone knobs, so it's as bright as it's going to get sans some 500k love. Edit: Messed around for a bit when I got home. Closest I could get with my gear, and I'm fairly satisfied with it: Channel: Super Crunch Gain: Dimed Cabinet Volume (emulated): Dimed Bass: Rolled off to about 10 o'clock Treble: Rolled up to about 3 o'clock ISF: All the way over to the "British" side Tube Emulation: EL34 A very, very small amount of plate reverb behind it, bridge pickup, fretted up a 6-string C# minor barre and let rip. Boom. So yeah, dimed Marshall sound through a strat'ish bridge. Alleric fucked around with this message at 01:41 on Jul 31, 2014 |
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Jul 30, 2014 23:57
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Jeff Goldblum posted:Three guitar tracks, but all very similar. I would agree with you that it's probably a single coil bridge pickup, and most likely using something like an AC30 on the verge of breakup because that's just how those British studios do. There definitely a degree of compression being applied to the recorded signal, as well as a spot of reverb (most likely studio processing) and a touch of delay during the first few measures of the guitar piece. When the three tracks come together you have two relatively dry signals playing in sync, and a third one sort of carrying under with a wah pedal. After the last decade of music in England predating Mezzanine, Massive Attack was among many of the artists of the time to learn that the best way to achieve total harmonic saturation with a guitar was to dedicate at least 8 tracks to it, most of which were simply for chorusing or panning. I was just about to come check in with this thread again. After some other discoveries on YouTube, it's indeed a Thinline Tele. On one of the live vids I found he's got it up on neck, but in that one he's indeed down on bridge. I still can't discern the backline amps though. Did I miss something about them from the vid? I see what appears to be a Marshall 4x12 on its side at 3:37. Oh, and found this: http://massiveattack.ie/media/gallery/guitarist-magazine-interview/ GT5 + Mesa? Alleric fucked around with this message at 23:56 on Jul 31, 2014 |
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Jul 31, 2014 23:49
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So, overdrives. Holy crap there's a lot of overdrives. And none of them seem to be what I want. I really don't know how to describe the sound I'm looking for, but it is way, way more subtle than what I see out of anything I've found samples of on youtube so far. I'm looking for a very smooth, breathy, slow-onset kind of drive, that really only harshens on the hardest of pick attacks. I guess that means headroom in guitar-pedal-speak? It's low, low gain, that's for sure. I dunno, the best sound example I can give is Duane Allman's softer, more expressive stuff from the Fillmore East album. My presumption is that what I'm looking for is basically power tube saturation, but I would need someone far more versed in effects to say for sure. Anyway, things I've noticed so far: TS circuits are not the answer I'm looking for. I find them way, way too harsh. Maybe what I'm looking for is a booster and not an OD? I've kinda dug some stuff I've seen/heard on the TC Spark and the Xotic EP.
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Nov 25, 2014 18:58
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Gorgar posted:You might like the T Rex Moller overdrive. While I believe it is more or less based on a tube screamer, I generally dislike tube screamers and love this thing. The key feature is the mix knob, so you can blend clean and overdriven signal. https://www.youtube.com/watch?v=RTgdtekVnyY 2:00 demonstrates the mix knob, and 3:30 shows it and the gain at about noon, which is where I always ran mine. The Moller still seems a little fizzy to me.  Smash it Smash hit posted:I was kind of the same way, I ended up using my Caroline Pedals Icarus for a clean boost for my current band instead of my Haymaker. Haymaker is good for high gain but the Icarus just has a more pleasant clean sound that is retained when I push the gain. Actually, at initial listening I'm digging the Haymaker. I'm going to give that a more serious look. massive spider posted:Soul Food? Lots of people like Klones because of how they sound with the gain dialed way down. You know, I looked at Soul Food months ago and didn't like it all. I'm trying more and more in my review of the sample material to really pay attention to the shape of the clipping and how it handles harmonic interference. With that in mind, returning to some samples of the Soul Food, it's kind of nice. Thanks for the recommendations, all. The search continues.
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Nov 26, 2014 17:27
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Smash it Smash hit posted:definitely should dude! the people behind the company are awesome as well. the a is kinda a tube screamer, b is awesome it really pushes your amp up in the mix and c is kinda a more fuzzy overdrive. A has been described by various people as an "808" type of overdrive, mid boost, etc... but Caroline says it's their own circuit. Either way, I like it a bit more than a standard "808" sound. B is what has me kind of intrigued for normal usage: clean(ish) boost, especially if you hand it 18v... and then treat the rest of it like a preamp, skirt around with a bit of dirt on it and use the volume knob to put yourself as deep in the grit as you want to be. C is another animal to my ears, but obviously could be useful to get those darker, more full, hairier kinds of crunchies.
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Nov 26, 2014 22:14
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Just a heads up for anyone considering a minifooger boost. It's MF's stupid deal of the day: http://www.musiciansfriend.com/stupid
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Jan 19, 2015 19:37
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So during rehearsal last week I noticed several things with the array of songs we're playing. This was my first time playing guitar with people ever, so most of this I just didn't have to worry about on my own. All of the songs are classic/album rock and A3 type stuff, so I could play it safe with a pretty static setup and call it good... but it made my teeth itch to do that. I tweaked as I went, but afterward I gave some serious thought to my signal chain. Strat/Tele -> Way Huge Green Rhino -> Fulltone OCD clone -> MXR M234 (when it arrives) -> TC Flashback -> TC Hall of Fame -> One-off clean boost -> TC Ditto X2 -> Blackstar ID30 I have the Blackstar setup to do a "vox'ish" thing on clean bright channel, EL84 tube emulation, treble boosted, bass rolled off with input and output gain set at noon. It's 100% clean and gives me a nice, sparkly sound to start with. Even with the boost kicked in it stays clean. Just Rhino, mild gain, unity output = Slight mid-forward hair that can be backed off into very sparkly cleans, and then on the Strat's bridge bucker it's smooth, tight leads. Just OCD, medium gain, unity output = Same mild breakup as just the Rhino, but as a fatter marshall sound Rhino into OCD = the AC/DC track we're doing... cranked marshall sound After that it'll just be dialing in the mild chorus used for some things, then a nice 1-to-2 tick analog delay on dotted eighth and a mild room or spring reverb. Going over things this afternoon this seems to give me strumming cleans, a couple of different chunky crunches, a couple of mild leads and then an onslaught setting and then all the spots in between the volume knob gets me. Oh and at the end before the looper the clean boost to get me up over the band for the one solo I'll be doing. Does this seem fairly reasonable? I appreciate any input. I'd like to get things nailed down before our last rehearsal tomorrow night.
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Apr 5, 2016 22:34
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For Christmas I was given a Pigtronix Philosopher's Tone Micro. I've had it since last Wednesday and have been noodling with it at night since. My previous compressor experience was with an old Dyna Comp, also given to me by a family member. I was all stoked at the time since OMG DAVID GILMOUR used/uses one. I hated it the second I turned it on, and it's sat on a shelf for months. This began my research into various types of comps: VCA, FET, OTA (Ross), etc... Once I read up on how they worked I figured out why I hated the Dyna Comp so much. Anyway, the PTM is optical and has two significant knobs: treble control, blend. Blend control: left of noon, you're cutting compressed signal, right of noon, you're cutting dry signal. Find your happy place on this knob to put enough of your uncompressed tone back in to keep your natural attack sound (if you want to). Treble control: Put the shine back on things or darken it right up to allude to OTA-style compression. I love this thing. Sustain aside, with mild compression and a dry-favored blend, the even response between frets, between strings... I just immediately sound better. I dialed in settings that sound good clean and into drive, and I now get why I've seen people say they just leave their compressor on all the time. I probably won't have time to get it installed onto my board before the holidays take over, but this thing is amazing. And it's so freakin tiny.
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Dec 12, 2016 16:31
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Southern Heel posted:Yeah so that HM-2 was just ... a bit much. I also got rid of my MXR MicroAmp+ - that was actually a good pedal, but so clean and crispy to the extent it almost felt clinical and it didn't 'inspire me'. Maybe you won't be as picky as I apparently am about compressors, but read up on the types a bit before pulling the trigger. I was all set to consider the SP until I asked lord Google why I hated the Dynacomp so much and found loads of info on the major types of compressors, how the circuits differ, how they behave, etc... Based on that I found out that I apparently can't stand Ross compressors, and went "optical with a bright dial and a blend", ergo the Pigtronix option and yep, I love the thing. Trip report on Source Audio Lunar Phaser: the "classic" and "univibe" algorithms out of the box are worth the price of admission. I haven't even touched the editor. Set the classic at the right pulse tempo and it's like having a nice subtle wash over chords and a nice almost-wah over single note. Univbe is pretty much just for throwing shitloads of gain on and sounding like Hendrix... but it does it and it's fun as hell.
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Jan 26, 2017 17:37
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Southern Heel posted:Seriously, pop survey - how many modulation pedals do you all have, and how often do you use them? I'm really honestly trying to find a reason for a permanent modulation effect on my board like a Phase 90 or Electric Mistress or whatever, but really they seem SO situational. Two dedicated ones and two with ability. MXR234: Purchased on crazy sale from Musician's Friend last year on the notion of "hrm... I should have SOME kind of mod on the board". It's incredible. I use very, very slight amounts, and never too much depth at all. The tone stack on the modulated signal is AWESOME. Overall the thing is lush as hell and is so far beyond what I expected. It just sounds so drat good. It let's you do everything from 80's pop, metal cleans, leslie'ish stuff. It is very situational, yes, but at low settings it's a great way to pull all of the low end right out and make a snappy, percussive tone. Source Audio Lunar Phaser: Christmas present from my family. This thing is just jaw-drop good, and I haven't even waded into the editor. You can Gilmour all day on the classic setting and Hendrix all night on the Univibe setting. The poly-phaser setting is too much for me. You can change the shape of the modulation wave from sin to square to suit your fancy too. The last one is actually both of my environmental pedals: TC Hall of Fame and TC Flashback. Each of them have an algorithm labelled "mod", and have the ability in their editors to bring in a bit of modulation into their respective effects. On the HoF, I almost never use it, on the Flashback it lets me have my TonePrint spot loaded up with an Andy Summers EchoPlex setting, and I love it. So much so that I figure one of these days I'll ditch the Flashback and go with somebody else's analog tape echo pedal, or a modern carbon copy with modulation. I figure the Mistress is going to make you sound like Andy Summers all day every day. As much as I love the sound, that's why I didn't get one. I can cheese almost the same sound with the MXR234 and do so many other things. But, alas... I don't play out, I don't gig, I don't jam, so I can only talk about the quality of the ones I have, not their usage pattern. I would think for classic rock, gainy stuff a phase 90 and calling it good would do you?
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Feb 5, 2017 00:40
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Duder needs to play more RTS, learn how to not tech up too fast. Some game crap does apply to life.
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Feb 8, 2017 17:04
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Southern Heel posted:Why would I ever pre-delay my reverb? I have it as an option on my Talisman and I'm so confused... The article that Kilometers Davis posted is a fabulous "Because", but a simpler one is: Imagine yourself in a huge underground cave, sitting on a rock with a guitar in your hand. If you hit a note, you have direct sound coming at your ears from the instrument immediately, and then later in time all the reflections come back at you. That's what pre-delay will do. Psychologically it makes the instrument sound "near" to the listener. Imagine yourself in the same cave, with some other dude sitting on a rock 100 yards away off in the dark. If they hit a note, their direct sound gets to you with a shiiiiiiitload of reflections coming in at the same time. That's what no pre-delay will do. Psychologically it makes the instrument sound "distant" to the listener. Mixing the pre-delays, along with what that article said, can allow you to build a sense of distance and park instruments in space. We used to have to do this all of the time back when I did theater house sound because of how piping all of the audio through a PA would squish the space and we'd have to artificially set it back up again on the mixer. Fun trick if you have the gear to do it: put the pre-delay on a slider and even if you keep the reverb "chamber" static, you can create a sense that a sound approaches or recedes.
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Feb 9, 2017 16:59
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massive spider posted:Maybe the big boss synth thing? Does it now? Hrm... the HoF just has a toggle for near and far. Though, now that I think about it, that's probably editable in the TonePrint software. Another thing to look into this weekend.
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Feb 10, 2017 16:43
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