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Everything posted by Dave.
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Long time no post from me, but I just won a Voskhod on Ebay! I'd always wanted one of your pedals, but figured I'd be killed on Customs Duty. I will get an Animated one day though. If just to satisfy my teenage curiosity about it haha
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In all honesty, I wouldn't be able to make a proper EQ judgement based on a phone's mic. But it sounds like you're on the right track. Just take into account that literally every guitar tone you've heard from Muse is going through a microphone and other processing. So don't worry too much about getting it exactly the same for bedroom playing or even for live use. It sounds like you have it in the right area, so just tweak until it feels right to you. Best of luck!
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That's a very tasty P-Bass!
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The reason you won't find anything clean cut is because what Matt uses changes constantly and you can be very sure that he doesn't use the same stuff live as in the studio. The Marshall is a good starting point. In generally, he doesn't actually use a lot of gain on his amp sound. This is so he can maintain clarity while playing chords. Keep your low end pretty tight (You can do this through a combination of reducing the Bass EQ on the amp, using an overdrive pedal (which I'll get to in a bit), and having a clean pick attack). He also has a very mid-range heavy sound. Again, dialling in some more mids alongside an overdrive will do this. In terms of Treble and Presence, try to add some nice high-end detail to the sound, but not too much as to make it sound harsh. I wish I could be more precise than that, but I don't know how your speakers, pickups, strings etc. are influencing the sound, so I can only be vague. In terms of pedals, as mentioned, an overdrive will help add that bit more gain to the amp sound. Preferably running either your Blues Driver or the '59 Sound with minimal gain and maximum level (I've never ran either of those pedals into a Marshall DSL, so I don't know which one will work best. But have fun trying it!). You're basically looking to make the signal hitting the amp louder with a touch of distortion and with a more focused sound. Whichever one doesn't do this job best, experiment with using it as a distortion pedal for heavier moments. Beyond that, it's honestly up to what sounds right to you. What I've laid out there will get you a solid rock guitar tone, which is really all Matt is using. There isn't really any particularly unique aspects about his base tone. It's designed to have the notes ring out clearly, get out of the way of the bass and have a touch of aggression. I hope any of this is useful. If not, well ¯\_(ツ)_/¯
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It was definetly red. I stared at that PCB on my desk for so many years I think I could redraw the circuit from memory
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That's almost word-for-word a conversation I had with someone one time haha Honestly, I don't think I'll ever get another Phaser. Every time I see a DIY version of a really interesting one like those Maestro Stage Phasers , I look up a demo and feel like it just doesn't sound right. Then I use the Phase 90 and it's just what I think a Phaser should sound like.
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People still don't believe me when I tell them you gave me a Phase 90! Haha I don't know, some weird forum-fuckery. Matthijs says he'll try to get it fixed permanently, but if that's not possible, I won't get upset over a full stop.
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I remembered that I don't think I've posted anything about my gear in here in like, 3 or 4 years? So here's my pedalboard! The painted enclosure is James' Phase 90 and the unpainted is a GCI Brutalist Jr.
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New name who dis?
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sup kittens
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It turned out to be a Rangemaster boosting a Big Muff, right?
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This week in the continuing adventures of "So close, yet so far". Replace the overdrive and octave on the bass with a compressor, job done.
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Sounds interesting anyway! I checked their facebook page earlier and they didn't have anything on it, so they must have deleted it.
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I can't even remember what the original title was That link isn't available
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Well, they should've included a wah wah, preferably one with a larger sweep. Adam uses that thing the whole time. Lateralus, for example, uses a wah wah with the toe down to get that slightly more trebly tone. They could've also included an MXR Micro Amp as a gain boost for the more heavy parts. In fairness, in that particular video, they get very very close. I just think there are things they could've included to wrap up the whole thing under budget. Don't talk to be about that QOTSA video. So many things they should've done...
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I always feel they get 70% of the way there, but forget obvious and simple ways to get closer to the tone.
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Everyone can access the schematics of the deep impact. But it was the programming of it's microchip that was the issue. He designed so obviously had the codes and recreated the sound using purely digital systems. He has made his receated version into a pedal called the Future Impact 1. And since he has ownership of that design and the pedal design, he is currently profitting from it's sale.
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Not intentionally. He is just doing it because people asked him to and it's profitable. But it's certainly a by-product.
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To be fair Crowella did that to the Animato used market too. And the guy designed the Deep Impact is about to do it to the Deep Impact.
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Well, to be honest, there is no defined Muse tone. Matt adjusts his gear to suit each individual song. Just use a modern style high gain amp with a decent amount of mids for the distorsion and as close as you can get to a Vox AC30 for cleans. A bit of delay, reverb, a whammy style pedal, maybe an octave and you're there.
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I've started a new project called Vicus. It basically the same approach as JPTO except that was 100% me with no input from others. Vicus is meant to be more collaborative. Here's the first EP from Vicus, it's called 'To Create A Greater Reality'. Soundcloud Bandcamp
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If the price is reasonable, I'll jump on this!
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The Unblinking Eye
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