Salvation Mods Sloogie, XTC, 1086 and Twinface content!!

[m0jo]

I think you forgot to set the settings like I said

- Load an impulse into KeFIR
- Set Mix to 100% (so that there's no fuzzyness left)
- Set Gain to -20 or something like that

Standard the mix is set to 50% so the original fuzzy sound comes through
Plus the gain is set way too high, causing clippage.

Does this help?

And i did just that, everything you said, except i have the gain all the way down, it says -INFdb. I have the gain on the module set at noon, how is that too much???

@fearnloathing, How did you get my clip to be like that?? What did you do to it?

That's strange man. It seems like the plugin is not applied, do you hear any difference while changing the volume.

On Reaper:
- create a track, Arm it to Record
- click the little speaker to turn on Monitoring for the track
- click FX for the track
- add the ReaVerb plugin and set it as following:
- Add -> File -> impulse .wav file
- Wet: 0db (double click the slider)
- Dry: all the way down
- Width: 1.00
- Pan: 0.00
- Pre-reverb: 0ms
- Max FFT: leave it
- ZL: on (zero latency)

Then you should be good to go!

Alright i did that, See what your opinion on it is. Heres a clip. http://www.mediafire.com/?unjzcjybizz

@SacredGroove Its just a stock Treadplate haha, and alright cool i would love to hear it lol

It's a bit fizzy, did you use the Center -1 IR by any chance?
It's my favorite because of the clearness but it's veery easy to get fizz.

Try the Edge Sneap from the Full Set Straight
That's a good one for taming fizz and fuzz.
Also try turning down the highs and upping the mids a bit
There's a tad too much bass for my taste.

A good way to get a more spatial sound from one recording: duplicate the track and throw a different IR over each one

I like the playing also it does actually sound rectoish to me


By the way, by all means hijack my thread I'm joining in
I am thinking of writing a small how-to on IR's here for the noobs would be nice to have a place for it.

 

[Julia]

My windows media player won't open it. It says I need a codec which I believe is for 24 bit, which of course is available with the "pay for" version that doesn't come with windows.

You uploaded a 24 bit file right? Dither and bounce to disk as a 16 bit, 44.1 kHz audio before uploading. We can't tell the difference anyway.

 

[NgrungeBB91]

I think you forgot to set the settings like I said

- Load an impulse into KeFIR
- Set Mix to 100% (so that there's no fuzzyness left)
- Set Gain to -20 or something like that

Standard the mix is set to 50% so the original fuzzy sound comes through
Plus the gain is set way too high, causing clippage.

Does this help?

And i did just that, everything you said, except i have the gain all the way down, it says -INFdb. I have the gain on the module set at noon, how is that too much???

@fearnloathing, How did you get my clip to be like that?? What did you do to it?

That's strange man. It seems like the plugin is not applied, do you hear any difference while changing the volume.

On Reaper:
- create a track, Arm it to Record
- click the little speaker to turn on Monitoring for the track
- click FX for the track
- add the ReaVerb plugin and set it as following:
- Add -> File -> impulse .wav file
- Wet: 0db (double click the slider)
- Dry: all the way down
- Width: 1.00
- Pan: 0.00
- Pre-reverb: 0ms
- Max FFT: leave it
- ZL: on (zero latency)

Then you should be good to go!

Alright i did that, See what your opinion on it is. Heres a clip. http://www.mediafire.com/?unjzcjybizz

@SacredGroove Its just a stock Treadplate haha, and alright cool i would love to hear it lol

It's a bit fizzy, did you use the Center -1 IR by any chance?
It's my favorite because of the clearness but it's veery easy to get fizz.

Try the Edge Sneap from the Full Set Straight
That's a good one for taming fizz and fuzz.
Also try turning down the highs and upping the mids a bit
There's a tad too much bass for my taste.

A good way to get a more spatial sound from one recording: duplicate the track and throw a different IR over each one

I like the playing also it does actually sound rectoish to me


By the way, by all means hijack my thread I'm joining in
I am thinking of writing a small how-to on IR's here for the noobs would be nice to have a place for it.

Hahahaha yea i was using that one but alright ill do that IR, my Friend is helping me out EQing it cause he has a real recto and loves the sound of it already so lol, and thank you very much and a thread for noobs would be a very good idea haha, im doing a new clip now so hold on.

http://www.mediafire.com/?te4umfmnime, There it is. Ill do all that editing of throwing another IR when i figure out the right EQ

 

[fearnloathing]

Try putting a thin eq rip of like -3db with a q of 2.4ish at 6k. That will help kill the fizz.

 

[NgrungeBB91]

Try putting a thin eq rip of like -3db with a q of 2.4ish at 6k. That will help kill the fizz.

Had no idea what the 2.4ish meant, but i got the rest for the EQ, see what you think.

http://www.mediafire.com/?5lejllgyjjo

 

[m0jo]

Try putting a thin eq rip of like -3db with a q of 2.4ish at 6k. That will help kill the fizz.

Had no idea what the 2.4ish meant, but i got the rest for the EQ, see what you think.

http://www.mediafire.com/?5lejllgyjjo

Q / 2.4 being the width of the EQ spike/notch there

Personally I don't do any eqing on my tracks, none whatsoever.
I like it when the sound is pure, any soundsculpting is done before I hit record.

There's a lot of tweaking to be found in choosing the IR, just like you would tweak the mic setting in the studio.
Can't polish a turd (by which I mean if the recorded sound isn't good enough it's no use to throw effects and eq's at it..)

 

[NgrungeBB91]

Try putting a thin eq rip of like -3db with a q of 2.4ish at 6k. That will help kill the fizz.

Had no idea what the 2.4ish meant, but i got the rest for the EQ, see what you think.

http://www.mediafire.com/?5lejllgyjjo

Q / 2.4 being the width of the EQ spike/notch there

Personally I don't do any eqing on my tracks, none whatsoever.
I like it when the sound is pure, any soundsculpting is done before I hit record.

There's a lot of tweaking to be found in choosing the IR, just like you would tweak the mic setting in the studio.
Can't polish a turd (by which I mean if the recorded sound isn't good enough it's no use to throw effects and eq's at it..)

Hahaha yea true.. ill just fool around with the IR's and stuff.. So whats the verdict??? Is it a good tone yet??

 

[Julia]

Tip from the infamous "Slipperman" regarding recording guitar: basically run a LP filter -6 to -12 db/octave from about 5 kHz up. It's all fizz and hiss up there from an electric guitar anyway. Makes your mix a lot easier on the ears.

This leaves room for cymbals and vocal syblence.

Acoustic is a different animal.

 

[m0jo]

Tip from the infamous "Slipperman" regarding recording guitar: basically run a LP filter -6 to -12 db/octave from about 5 kHz up. It's all fizz and hiss up there from an electric guitar anyway. Makes your mix a lot easier on the ears.

This leaves room for cymbals and vocal syblence.

Acoustic is a different animal.

I'm not sure I agree on that, if you have a well recorded guitar there is some .. clarity (not the right word) up there.
Having a high pass up there might be very good with some tracks, but doing any EQ without thinking it is nessecary after listening to it is not a smart idea.

If fizz is a problem with that track, by all means go ahead, but it's not a given that an EQ like that will be beneficial.
You're in danger of making your guitar sound dull if you blindly do this.

 

[NgrungeBB91]

Maybe its just the impulse that is creating the little fizz that i have???? Has anyone tried these Mesa impulses??? Are they any good, cause thats what Im going for, a Mesa tone. http://www.guitarampmodeling.com/viewtopic.php?f=32&t=4183&start=0

 

[fearnloathing]

Tip from the infamous "Slipperman" regarding recording guitar: basically run a LP filter -6 to -12 db/octave from about 5 kHz up. It's all fizz and hiss up there from an electric guitar anyway. Makes your mix a lot easier on the ears.

This leaves room for cymbals and vocal syblence.

Acoustic is a different animal.

Um not to be contrary but Slippy has never said that. Here is the post you are speaking of from Slipperman

Take a AMEK9098 module, 'shunt' the nasty/toppy crap with the low pass at say 7-9k, trap the 'mud' with the hi-pass at 50-90 range(whatever.... sweep it around, freaky). Great. Now rip the 'wool' at 130-240 narrow with the low-mid on either 'wide notch' or 'narrow bell'. Then, engage "bell" on the low band and roll it up to the top of it's range(300) and slam a couple of db off the low-mids 'murk' area. Now engage a similar 'Q' shape on the hi mid band and suck the hell outta the 'rat' at 6k. Now, being the sneaky **** that you are.... Flip the top band around between bell, sheen and shelf, and boost ABOVE the low pass. Like 15-26k. That's right freaky.... 26k. Keep shifting the low pass filter point and the hi-boost against each other until you've lost the nasty 'fizz' and haven't KILLED the top end. The effect of the different 'stupid' combinations is quite an eye opener. PHASE ANOMALIES AS A CREATIVE TOOL. Don't leave home without them. Great analog EQ's **** **** UP when you abuse them. Impress me.

Mojo I respect your wish to stay pure to tone, but in todays industry it is a requirement and any good AE that says they dont use heavy eq on heavy guitars is liar.

As far as leaving room on the top for cymbals. If we are talking heavy music is a mute point. The way most heavy overhead mics are mixed now is to low pass around 8k and then boost around somewhere around 4k obviously there are no absolutely specific numbers. Then ad a bit of distortion to the track. This kills the airy crap on top and reinforces the BANG of the cymbal and will make the drummer sound angry.

If anyone has taken offense by my post I appologize, but it kills me when inaccurate information is being posted for people trying to learn, and is the reason most of the good AE's have left the gearslutz forum. To much internet BS for people to sift through.

 

[SacredGroove]

Ngrunge, here are some sample IRs with your track.

Fender Bassman
http://soundclick.com/share?songid=9106401

Mesa recto 4x12
http://soundclick.com/share?songid=9106445
http://soundclick.com/share?songid=9106448
http://soundclick.com/share?songid=9106453

 

[fearnloathing]

Sorry Ive got a bit off topic here but I wanted to post some examples. Here is what I was refering to when it comes to cymbal.

This is a standard high freq eq sweetener shape for overhead drum mics

http://soundclick.com/share?songid=9106468

And this is how most heavier overhead mics are eq'd not as flashy sounding but much angrier in the mix.

http://soundclick.com/share?songid=9106471

And here is how it would sound with the final drum buss eq Much heavier sounding

http://soundclick.com/share?songid=9106484

 

[Julia]

Basically what you quoted ends up what I posted. Of course I didn't go look it up since I was doing stuff. But I did remember the way it works.

You know I do have to ask a question. And please don't take offence. Guys who play metal tune low these days like we're talking drop B or even drop A in some cases. And you're worried about highs. Well maybe the boosts and high shelfing is necessary when you're tuned that low. In std D or std E it gets harsh, and in a lot of cases really harsh to my ears.

I'm drifting over to jazz/blues these days so I'll bug out of this thread. If Randall ever put out a Dumble type module, I'd grab it.

 

[m0jo]

Basically what you quoted ends up what I posted. Of course I didn't go look it up since I was doing stuff. But I did remember the way it works.

You know I do have to ask a question. And please don't take offence. Guys who play metal tune low these days like we're talking drop B or even drop A in some cases. And you're worried about highs. Well maybe the boosts and high shelfing is necessary when you're tuned that low. In std D or std E it gets harsh, and in a lot of cases really harsh to my ears.

I'm drifting over to jazz/blues these days so I'll bug out of this thread. If Randall ever put out a Dumble type module, I'd grab it.

Julia, as you hear when you listen my clips, I'm not that much of a supermetalhead either.

Also I only said that I personally don't use any EQ.
My views are that, and there are many people who agree with me.
And probably many more who don't but that's not the point.

What I notice about the "exciting" of tracks, and you do notice it a lot in cymbals, is that it gets taken too far.
I bet you have heard those tracks where everytime a cymbal hits the whole rest of the mix suddenly dissapears ..

EQ-ing is not persee a bad thing, but what I said is that its very important to listen and then decide what EQ-ing you're gonna do.
A lot of people hear of these "tricks" and blindly slap them on their recording, asfterwards they listen back and notice that it sounds like ****.
And then they ask "I used all the EQ's like you said but it doesn't sound right" ... :?

That was what my comment was about, sorry if I caused any misunderstanding... :wink:

 

[Julia]

Basically what you quoted ends up what I posted. Of course I didn't go look it up since I was doing stuff. But I did remember the way it works.

You know I do have to ask a question. And please don't take offence. Guys who play metal tune low these days like we're talking drop B or even drop A in some cases. And you're worried about highs. Well maybe the boosts and high shelfing is necessary when you're tuned that low. In std D or std E it gets harsh, and in a lot of cases really harsh to my ears.

I'm drifting over to jazz/blues these days so I'll bug out of this thread. If Randall ever put out a Dumble type module, I'd grab it.

Julia, as you hear when you listen my clips, I'm not that much of a supermetalhead either.

Also I only said that I personally don't use any EQ.
My views are that, and there are many people who agree with me.
And probably many more who don't but that's not the point.

What I notice about the "exciting" of tracks, and you do notice it a lot in cymbals, is that it gets taken too far.
I bet you have heard those tracks where everytime a cymbal hits the whole rest of the mix suddenly dissapears ..

EQ-ing is not persee a bad thing, but what I said is that its very important to listen and then decide what EQ-ing you're gonna do.
A lot of people hear of these "tricks" and blindly slap them on their recording, asfterwards they listen back and notice that it sounds like s*&t.
And then they ask "I used all the EQ's like you said but it doesn't sound right" ... :?

That was what my comment was about, sorry if I caused any misunderstanding... :wink:

Okay maybe I'll read it. And maybe I'll change my mind.

I don't like the "exciting" of tracks either. I HATE loud cymbals. I've got some pretty bad tinnitus in my right ear and I'm very sensitive to high frequencies. And I've heard tracks that have been EQ'd for crappy stereos (those that have no highs or lows), and when I listen through my studio monitors they sound like ****. My reference tracks go back way too many years.

And this gets worse if I've been doing like I have for the past several weeks -- playing acoustic stuff only. I turned on my amp a couple days ago and I was in that "F***!! Kill those highs!! They hurt!" stage. Essentially my hearing recovered. We have a lot of noise pollution in day to day life that does affect our hearing. I've been away from the noise (sleeping days, and up at night) -- hence the acoustic.

I'm a big fan of EQing when you mix it. I like tracks recorded as full as possible. But there is no absolute to say "you have to EQ this way." It depends upon the song and overall sound texture. My background is classical and orchestral. I know about sound textures.

There's this thing about mixing with your ears instead of following formulae.

If someone is doing a demo of a module, they've no doubt heard the module through a very well broken in speaker, and that is going to affect the sound. then there's the mic and mic placement or more than one mic. Which mic. What the mic picks up and sends to the interface and onto the track. The end result can sound totally different from what was heard directly from the speaker. Which speaker and how much cone breakup are also going to affect the sound a lot.

So to eliminate that chain some people go direct in. Speaker impulses may be a decent work around but they're no substitute for cone breakup. Eleven LE has amp models (which can be disabled), cab models, and has an adjustment for cone breakup. It's better but still it's not the real thing.

So you end up finding a good recorded tone, and that can and usually does sound different from a good live tone.

 

[hyenik]

finally I listened, and good job, nice solo sound.
in jamtrack missed more space, doubling is must
in monster is rhythm guitar a bit fizzy, but ok it is Monster

 

[m0jo]

Julia, I totally agree with you on the recorded vs. live tone.

You see I don't have a studio .. I have a bedroom :lol:
So IR's open a world of better tones to me that otherwise are impossible to get.
Yes they are recorded tones and not a perfect (not even near) representation of the live tone of my rig, but that's fine to me if the recording sounds good

I'm sorry to hear about your tinnitus, I do know what you mean. I've been playing in two bands for a while now, bass and vocals in one and lead guitar in the other.
The one where I play bass we have a much rounder sound, so I've noticed myself dulling down my tone in the other band as well.
This while I've allways been searching for clarity and a bright top end (a Laney with the prescence maxed .. pretty bright )

It's all dependant on how you train your ears, I've turned the bass down on my monitors (which where very bassheavy) and suddenly found myself content with the bassresponse of my normal rig .. which at first I wasn't.
It's that my ears became so accustomed to a wall of bass that I missed it in other situations.

 

[m0jo]

finally I listened, and good job, nice solo sound.
in jamtrack missed more space, doubling is must
in monster is rhythm guitar a bit fizzy, but ok it is Monster

Thanks for the honest criticism!

For jamtrack I actually jammed it 3 takes rythm guitar, bass, leadguitar.
So I didn't double it on purpose.
This is also why it is a bit of a mess in some places

Thanks about the solo sound, I really love the tone coming out of the XTC
Even my drummer has been complimenting about it! :lol:
(normally he's making fun of me when I say anything about new stuff in my rig )