Jump to content

james90

Moderators
  • Joined

  • Last visited

  • Days Won

    7

james90 last won the day on February 29

james90 had the most liked content!

Community Reputation

27 Excellent

About james90

  • Rank
    boring_moderator
  • Birthday 01/07/1990

Personal Information

  • Location
    Long Island, NY
  • Show Flash Content
    Yes
  • Muse Concerts Attended / Attending
    6 August 2007 - Madison Square Garden
    5 March 2010 - Madison Square Garden
    23 October 2010 - Nassau Coliseum
    15 April 2013 - Madison Square Garden
    16 April 2013 - Madison Square Garden
    25 May 2013 - Emirates Stadium
    26 May 2013 - Emirates Stadium
    8 May 2015 - Webster Hall
    27 January 2016 - Barclays Center
    29 January 2016 - Prudential Center
    22 July 2017 - Jones Beach
    24 July 2017 - Central Park
    6 December 2018 - Barclays Center
    8 April 2019 - Madison Square Garden

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Yeah, there's an article where Tommaso Colliva (the engineer/producer) discusses that pedal briefly and how it was used for having a scooped sort of sound. Thing is, they were running it through that Ampeg head, so it will end up sounding quite a bit different depending on how the EQ is set. I think Matt's words were "extreme mids" Supposedly some guy on twitter got the last of those pedals directly from the builder, but I saw he still has a website up - although it looks like a work in progress (as of 2018, and hasn't been updated since). Contacted him through there, but didn't hear anything. If you find anything out, let me know - I'd be interested in one too, and I'm sure there's some demand at this point. Having said all of that, it might not be the best choice for what you're currently looking for. It seems to be more of an overdrive, and I'm guessing you want a versatile high gain distortion of some kind? Not sure of your exact price range, but here are some others that come to mind. -Keeley D&M Drive -MI Audio Crunch Box -Fulltone OCD The D&M is sort of an overdrive/boost (or boost/overdrive - you can change the order) and it has quite a bit of drive available. Probably the most versatile of the three. The other two are basically high gain Marshall voiced pedals. The Crunch Box is definitely one of the best out there for that sound. The Wampler stuff is great too, but I've only tried their fuzz pedals before. Only other suggestion is some of the Mesa/Boogie pedals, but I know anything made by them is quite a bit more expensive outside of North America.
  2. Yeah, I'm sure he's got various presets he uses on it. Might have replaced that mystery reverb pedal he's been using for several years now. I never found out what it was, but there are other pedals that can do the same effect at least It is a bit expensive. Might be worth seeing if there are any of the older versions around? As for the Mind Abuse, is that the one on The Globalist you're referring to? That's the Machsonic Thrust Drive. I don't think they're being made anymore, and I've only seen two for sale in the past few years. Doesn't seem like anything special, but probably works well in that particular setup with the bass amp and 7 string.
  3. So is this all on the phaser patch, but you're changing various parameters by MIDI? Sort of related, but it looks like Matt now uses a Big Sky. Looks like it's on the Spring setting in this picture. Yeah definitely a good idea about the loop pedal. I really should have one of those anyway, though my delay pedal can do a 40 second loop, which should work for this. As for distortion, the obvious choice would probably be the Diezel VH4 pedal - but at the same time, Matt has said that the "core" sound is AC30 and he just blends the other amps with those. Even as early as the Absolution tour, I'm pretty sure he was running a separate direct fuzz signal on top of that. Might have just been from the Line 6 gear. I generally get the distortion from the amp and only use pedals for overdrive or fuzz, but I've been intrigued by the Revv pedals. https://www.youtube.com/watch?v=ZPp_UsoypA4 Sounds like that could work pretty well. A big plus is that it has the individual EQ controls (which seem to have a large sweep too) so you can likely get it sounding how you want with your setup.
  4. You're probably in the same one in that case. As for the backing track, that's true, though I did need to keep the LFE channel (which has the low frequencies) as well. But since that still had some guitar in it, I ended up duplicating the center channel and cutting everything above a certain frequency. Worked well enough. Yeah that makes sense. Does the Strymon have MIDI control? The buffer does affect the sound as you say, but I think that's one of the reasons he used the DT for this song. When you combine settings using each side, you don't lose nearly as much sustain/fuzz with the -2 octave sound. If you listen to any performances of The Groove from 2015, the riff is played with that setting on the drop tune side - so it's basically that, but shifted down another octave by the whammy side of the pedal. That's what I was thinking. He's said in the past that he likes plugging straight into the desk and cranking the gain up. I think in recent live performances it's the AC30 (Kemper) mixed with the VH4, which is his main high gain sound. I've definitely found that amp distortion works better than fuzz pedals.
  5. Sounds good - I'll send you the link to the one I'm in if you want. I think there are a few, but haven't really checked the others. Here's the original post https://forum.fractalaudio.com/threads/muse-unsustainable.59805/#post-745908 I know what you mean about the filter effect though. I ended up making a backing track from the 5.1 audio from the Rome Olympic Stadium DVD and noticed this. The center channel only has the bass, drums, vocoder, and newscaster - the crowd noise and guitar are barely audible. Only issue is that the orchestra is missing. I think I looked at it quickly but never got to try it. Any chance you can send it again? What grid division are you using for the +2/-3 octave triplets? I keep going back and forth on the -3 octave and where it sounds best, but I'm starting to think that might have to do with the actual distortion sound. Also, did you notice the fuzz factory oscillating in the background in certain parts of the song? It's the same sound at the very end, but you can hear it underneath the low A notes at times.
  6. No problem, and thanks. Wasn't actually expecting you to see this, as it's gone quiet here! I haven't got an account actually. I'm really only in the facebook groups now. Not sure if you're in any of those. Latest version is sounding great anyway. I recently read an old post on the Fractal Audio message board from the admin (probably a reliable source) and he said the axe FX was used. Not sure in what way, but I wouldn't think the entire song.
  7. https://www.reddit.com/r/Muse/comments/f9xk7v/i_tried_to_play_unsustainable/ Sounds great giovannicovanni. Some credit for helping you with the track would have been nice though. At the same time, it's just for fun - hence not posting mine on youtube etc. More trouble than it's worth.
  8. Yeah this is definitely true. You could always get a file from someone else, but it will have to be played to match how it's written. Plus if you need to go in and fix something that doesn't sound quite right, it could become a bit tricky. I've learned so much about DAWs and MIDI from writing this file as well, so it's worth it in a way.
  9. Yeah that's definitely true. I stopped using my MacBook (same amount of ram) for these projects. Can't simply add more either, since it requires a completely different board. But yes, if you have several MIDI tracks with their own instruments and plugins going at the same time, it's going to slow things down a bit. So it does make sense to convert them into a single .wav file and re-import it into the project, just so you have that and the whammy control. I haven't checked if the Focusrite stuff is having any issues, but I don't think those actually require their own drivers like Steinberg does. I did re-install the driver and it seems fine so far. I think it was just the 1st gen Focusrite interfaces that had clipping issues. I had the 2i2 1st gen and I always had to keep the gain super low on it, but the 2i4 2nd gen that replaced it seemed fine. I recall it also had switches on the front to pad the inputs, which helped. I've not tried the 3rd gen models though. The one I have is the UR-RT2. Not familiar with the UR22, but this one is pretty decent. Main issue besides the driver is that some of the features that would normally be on the interface itself (such as the input/playback control on the Focusrite) have to be adjusted separately through the included software. I can't say I find their software particularly intuitive, though I've only used Cubase. It does appear to be easier on the computer, and is a little more flexible with drawing automation
  10. Sounds great - you're certainly brave for attempting that live, especially when Matt seems to have things go wrong with the MIDI stuff at times. Though I guess there's a lot more that could go wrong with the amount of stuff he uses. The one time I played that in front of others (just to demo the track) I didn't have the box ticked. Didn't go too well. Also, unrelated, but if you're using a mac - I'd take caution if you plan to update to the new OS. I just did, and it doesn't recognize my audio/MIDI interface anymore. I gather it's more because steinberg didn't update their driver, but it does apply to other brands as well.
  11. The part about it being repaired by its owner really should be made more clear, especially if it's estimated (by who?) to go for that much...
  12. Well it depends which live version - I think he was using the fuzz factory (or possibly the fuzz head?) in the T2L era (2012/2013) recordings. In that last video I linked (from 2018 I think) it seems to be one of the high gain channels on the VH4. It's definitely easier to get a good sound with amp distortion rather than a fuzz pedal. You could probably use that Strymon pedal with similar results though. I think I get what you mean. I ended up changing that part slightly, but just so it wouldn't use the dry signal from the DT side of the pedal. Seemed a bit closer with the dive-bomb only. So at the minute, the only part using both sides of the pedal combined are the A notes on the 12th fret. -1 octave with dry signal on the DT side combined with -1 octave on the whammy side. As for external instrument, in this case, it's for the MIDI interface. It's that bit highlighted in blue in the channel strip (left of the window) where you select the MIDI interface and channel. It might just show up as "External I" until you click it, and then you'll see this: It sounds like you already have it configured to work with the whammy, but you'll want to have that box ticked like above. As for the signal bleed, that shouldn't be happening. I wouldn't think there's any audio that travels through the MIDI interface. I will say that I've noticed similar behavior with my setup, but I always assumed that it was due to the mic bleeding into the monitors - as if the gain control on the interface still let some of the sound through, even when turned all the way down. I'll have to look into it though - might be the exact same issue. My initial thought is that it's related to the computer, since the MIDI and audio interfaces are completely separate. And no problem at all - glad to help
  13. Yeah that's normal. You just don't want it turned up too high so that it affects the sustain. The other option is turning the stab control all the way up and the almost all the way up, but that doesn't sound quite the same to me. I haven't tried the file myself yet, only just had a quick look at it. It's definitely a tricky one to get a decent sound for, and there are different ways you can approach it. For what it's worth, Matt seems to have recorded it with the 007 which does have a P90 (single coil) in the bridge. If that's the case, it would likely be pretty noisy with a fuzz pedal on high gain settings. But as far as I know, it's that same setup where he's running it direct, and has the input gain cranked up so it's clipping there (while having a reasonable setting on the fuzz pedal) And maybe - I'll have to pay closer attention to what he's playing in the live videos, but it sort of sounded like there were two sounds at once. I did find the same about the 5th fret compared to 12th fret though. Here's what the DT file sounds like at the minute. No video this time, but better sound quality anyway. The expression automation is exactly the same as in the picture, but I corrected some of the program changes (mainly the ones for bypassing, so it doesn't make much of a difference I guess.) This is with the low A notes played on the 12th fret, using settings from both sides of the pedal. The nut strikes will sound a bit off in this one. The guitar has a 3+3 headstock, so I just hit the open strings instead. Should still give you an idea though. This was just with amp distortion and some post EQ to brighten it up slightly. One downside of the DT that I think I mentioned was that it doesn't seem to track MIDI well. You can hear that on the wider/slower pitch bends (the -2 octave ones). As for the lag issue, go to the external instrument plugin and make sure the auto compensate latency box is ticked. I know mine has a significant lag if it isn't. dt.mp4
  14. It's definitely a DT in the studio video. You can see the extra switch and LED on it. The whammy 5 can still get super close and seems to track MIDI better, but the range/sweep of the pitch bends on the DT is slightly more accurate. The main thing is that it sounds much better on the low notes, due to the dry signal being mixed in. @giovannicovanni here's some of the DT MIDI track if you want to have a look. I ended up splitting the program changes into two separate tracks (one for each side of the pedal) as it was far too messy, especially with two events often happening at exactly the same time.
  15. Exactly. I know the one Matt tends to use in his live setup is a slightly older Vexter (the one after the initial black/green print version), but those shouldn't vary anywhere near as much as the old pedals did. Tolerances aside, the older pedals did have differences in component types as well, but it seems like they became fairly consistent after he switched transistor types in 2003/2004 But as far as the settings go, the sound I'm describing is... well, it's that effect you get when turning the comp control up. It seems to take away a bit of low end and make the high end a bit smoother? But you don't want to turn it too far (past where it stops oscillating) otherwise the sustain is affected. You basically just want it to have that subtle effect on the sound. I'd also keep the stab control on a higher setting (around 2 o clock as mentioned) since it does take away some low end. Same with the drive control (keep this above 12 o clock). I'd try to set the gate around 9 o clock, but you can lower it if it's affecting the sustain too much Here's a good example. He probably has the comp control turned a bit higher than I'd suggest for Unsustainable, but you should be able to hear the effect I'm referring to. With the nut strike bit, I think I see what you mean. The reason it works better switching between active/bypass (rather than active with expression CC 0/CC 127) is because of the difference in high end when using the pedal. In other words, if the pedal is on the whole time, it will be reducing the high end the entire time, as the signal is going through the pedal anyway. But if you switch between active/bypass, the nut strikes stand out a bit more for the bypassed sound, since it's not going through the pedal's circuitry. And yeah, I can't say for sure if they did it that way, but... the low notes sound so much better (even with the whammy straight into the fuzz factory) and the sweep of some of the pitch bends seems a bit closer. Another combination seems to be the second +2 octave triplet part. Seems like it might be the +1 octave dry setting mixed with something else. Have a listen to 1:36 in this video - almost sounds like the harmonizer? As for the tuning, worth a try I guess. Might make the pitch bends sound a bit different though, but I guess that's less important than the low strings. Got halfway through the middle part, but got sidetracked when I realized the DT is setup differently for the entire song. 🤦‍♂️ So I'm trying to figure that out at the minute. It doesn't really require rewriting anything, but just trying as many combinations of the drop tune/whammy sides as possible to see what works best.
×
×
  • Create New...