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Ok, this is a thread where we can share different effects/amps settings for Muse songs that people on the board have found and would like share.

Hopefully this should minimise the number of threads created asking "how do I get this sound for this song."

Obviouly I'll need help from you lot to get as much information on this thread as possible, so any settings you have for songs, please send me a Private Message stating what the settings are and preferably what pedal or amp you found it on.

 

So basically:

Find good setting for a song

PM me with details of the settings and what pedal/amp it was on

I'll put it on here

Simple enough

 

Showbiz

 

Sunburn

 

Muscle Museum

 

paranoid:

Don`t play with straight on distortion, rather go for a cleanish overdrive, that`s not too bassy. I play it like the album version, so I use the whammy with the harmonizer set on the second setting from below (push the treadle down for the 14th fret notes, then back again after you finished playing them). You could add more distortion for the chorus, as the album version of it sounds weak when you play by yourself. Go with the powerchords instead, sounds better anyway.

 

Fillip

 

Falling Down

 

Cave

 

Showbiz

 

Haze015: You just need some form of delay. Slow, subtle phasing and two fuzzes preferably. One is the FF set to feedback to use for the verse riff(s) or feedback in the second verse like on Hullabaloo, I use my volume control to play around with pitch of feedback if I fancy walking around a bit, doesn't really matter how you do it, also use the fuzz factory for the solo aswell. The second is just for the chorus, just set it for a heavy sound that works with the chords.

 

Unintended

 

Uno

 

Sober

 

Escape

 

Overdue

 

Hate This And I'll Love You

 

Origin Of Symmetry

 

Here's a way of getting close to Matt's live tone during the OOS Tour if those who don't have a DSL:

 

If you have a valve amp, get a mid heavy distortion pedal, like a Rat, turn the volume on the amp right off, then max out the volume on the distortion pedal, then bring the volume of the amp up to whatever is suitable, set the gain to whatever suits you. With a Rat, I managed to get pretty close and just used the guitar's volume for 'clean' and distortion, like Matt did during OOS.

 

New Born

 

Dymund:

POD: Fuzz Box, gain all the way up, bass backed off a lot, mids and trebs really high. I also boost this with a G Major's parametric EQ but im guessing not too many ppl have that facility.

 

This gives a quite nasty nazal fuzz that cuts through better than normal. I then add a touch of hall reverb, not so much that it swamps the sound but so that the notes kinda run into one another easier than if there wasnt any.

 

This kind of sound is great for songs like TSP and newborn's intro.

 

Bliss

 

reverendmaynard - (This is a setting for the Line6 DL4) digital delay Time: 5th dot Repeats: 6th Dot Tweak: 5th Tweez: 5th Mix: Up to you.

 

Haze015 - (DL4 again) Sweep Delay, Time = Half, Repeats = Half, Tweak = around 10'o'clock, Tweaz = 2'o'clock, Mix = Half. (Thats one of my presets ok, don't slag me off about it).

 

Space Dementia

 

Hyper Music

 

Deepfat:

I have it on a clean channel on the amp, this song is in drop D. I use my back humbucker for a clean tone, I use a Big muff NYC with the tone very high set at 3 o'clock and the sustain set at 8 o'clock.

 

For the intro I have the distortion on. On the Verses I turn the distortion off and just use a clean channel, you can use a delay set on short delay with little of no effect, it just makes the notes clearer and its sounds a bit nicer. When you get to the "just to spit it your face part" I turn my stomp box on and use my neck humbucker to get a heavy distortion on the scraping, then switch back down to my back humbucker for the chorus.

 

Plug In Baby

 

Haze015:

(For FF owners) For the main riff set the FF to the Radio Fuzz Preset on the intruction sheet. For the live sound, use a phaser in front of the FF, FF's work pretty much the same with phasers like the Phase 90 and Small Stones in front of them as they do when there's nothing there, except the guitar volume has no effect on oscillation pitch. Basically, that WILL nail the live sound.

 

Deepfat:

Plug in baby: I use a clean channel as preset one and then a clean channel with the phaser set to its slowest as preset two, you'll need the channel changer pedal to do this properly.

 

I use a bigmuff, set to tone on full and the distortion at a 1/3, on my neck pickup for the main riff, when played live matt holds the notes 9-----7-----8----10 you should have enought gain to do that as well.

 

I then switch to preset two and turn my muff off for the chorus. Matt usaully plays a little riff here live, you can improvise or work it out what it is for yourself.

 

Switch to your back pickup for the chords on the verse and turn your muff back on. Your then back to the main riff, so select your neck pickup and preset 1 on your amp.

 

Main rift: preset one, muff and neck pickup

 

Chorus: preset two and back pickup

 

Verse: preset two, muff and back pickup

 

Citizen Erased

 

Haze015:

You must have full on distortion for this song, otherwise the harmonics don't sound good at all.

For the clean verse, use delay for the volume swells.

For the solo, just improvise and hit random stuff whilst getting loads of feedback, basically just make noise

Helps if you own a Marshall DSL100 which I discovered is what Matt used for the song, really heavily distorted, the harmonics really stand out. Use a soft "V" shape on the EQ for it.

 

Mirco Cuts

 

Screenager

 

Dark Shines

 

Feeling Good

 

Megalomania

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Right due to running out of space in my first post, all other settings will continue in this post...

 

Absolution

 

Apolcalypse Please

 

Time is Running Out

 

Dymund:

For the clean, I tend to use the Roland JC120 patch on the pod, plenty of reverb and a touch of delay, fast repeats, quite a few of them but not very loud in the sound. I sometimes use a dual delay algorithm from the G Major but again, not too many ppl would have access to this. After this, a shallow de-tune algorithm, similar to the one on the whammy is mixed in sparingly giving it a bit of sparkle. I find this method mroe effective than using a chorus.

 

This kind of setup works nicely with songs like toada with guitar tone on max and rolled back a bit gives the clean solo sound on time is running out.

 

Donut:

(Bass)

I use an Akai Deep Impact for the synthy-fuzz verse -

 

Preset: 1

Attack: 9

Decay: 9

Envelope Depth: 1

Dynamics: 6

Cutoff: 5

Resonance: 1

Balance: 9

 

The trick is to overdrive the input level so the red LED is just about always on, but not so much that it starts glitching. I had it set a quarter turn further than I normally have, and it seemed to work ok - I think a compressor might help a bit as well.

 

mp3 sample here (find Donuts post below for the link, I'll sort it out later)

 

Haze015 - For the weird piano bits on guitar, try having a short delay time with alot of feedback/repeats (not quite reverb though) and a phaser set to have a fast rate.

 

Sing For Absolution

 

no3chris:

sing for absolution, whammy harmony 1 octave up with .. i dunno wot delay but ull fugure it out whislt your playing, gives a nice alternative to the piano/kerboard, for the chorus use the same delay with a crunchy or less hardcore fuzz sound without the whammy, for the solo whack the delay up to like a 2 second delay time and use lots of fuzzy distortion, you may also use many different effects to make it sound cool (i sue chorus and phaser) but u can use a wah like the proper version if you want, even tho its a fuzz wah but yea, sound the same lol

 

deepfat:

I use a Boss digtal delay DD-2 with it on 2 second delay; the effect on about 2/3, the feedback a 1/3 on and distortion time half way. I use my back humbucker for a a very sharp tone on chorus/verse picking parts. Note this is on a clean channel with no other effects stacked with it.

 

For the solo I stack an american big muff on top of the delay with the tone on 2/3 and the sustain just over the halfway mark. At this point I switch to my neck humbucker to give a nice fuzz tone, I also use the tremlo arm on certain parts. When you to the high part of the solo I switch back down to my back humbucker so you get a nice tone for the end of the solo.

 

Stockholm Syndrome

 

ReinierK:

Flextone III: Line6 Insane setting (2nd one, which is a fuzz amp model).

 

Bass: 6

Mid: 9

Treb: 6

 

Little bit reverb

 

Phaser at lowest rate, with high amplitude (you can turn this on for the intermezzo).

 

For the chorus I usually use some digital delay (line 6 delay modeler that is). But since there's lots of synth goin on, you might just pop in any effect that sounds cute or right.

 

There ya go...

 

Cheers

 

Haze015 - Just use a heavily distorted, really compressed sound. Little bit of chorus for the harmonics, if you really want to. Slow deep phasing for the solo. I also use sweep delay for the chorus, as it sucks away tone, so when you go into the heavy riff after the chorus. It does sound heavy :cool:

 

Cut the Mids in your EQ, just slightly, boost the treble and the bass, just like a "metal" V shape, just not to extremes. (Same thing works for Citizen Erased)

 

Falling Away With You

 

Interlude

 

Hysteria

 

reverendmaynard - Hysteria Solo

multi-head Time: 4th Repeats: 3rd Tweak: 1st Tweez: 2 1/2 Mix: 7th

 

Hysteria Bomber intro

Multi-head Time: 4th Repeats: 7th Tweak: 5th Tweez 5th Mix: your opinion

 

Haze015 - Delay in the solo is actually digital delay, mixed in alot, fairly long delay time, with not that many repeats, well live I'm pretty certain it is.

 

Black Out

 

Haze015 - I discovered that Matt actually uses phasing on this, rather than sweep delay. Again its the FF set to feedback, but with lots of Comp, phasing (A small Stone set to "Colour Off" I think, with the rate knob at 9'o'clock works best) with Lo-Res delay as I love how it sounds.

 

Butterflies And Hurricanes

 

The Small Print

 

Dymund:

POD: Fuzz Box, gain all the way up, bass backed off a lot, mids and trebs really high. I also boost this with a G Major's parametric EQ but im guessing not too many ppl have that facility.

 

This gives a quite nasty nazal fuzz that cuts through better than normal. I then add a touch of hall reverb, not so much that it swamps the sound but so that the notes kinda run into one another easier than if there wasnt any.

 

This kind of sound is great for songs like TSP and newborn's intro.

 

Endlessy

 

Thoughts Of A Dying Atheist

 

Dymund:

For the clean, I tend to use the Roland JC120 patch on the pod, plenty of reverb and a touch of delay, fast repeats, quite a few of them but not very loud in the sound. I sometimes use a dual delay algorithm from the G Major but again, not too many ppl would have access to this. After this, a shallow de-tune algorithm, similar to the one on the whammy is mixed in sparingly giving it a bit of sparkle. I find this method mroe effective than using a chorus.

 

This kind of setup works nicely with songs like toada with guitar tone on max and rolled back a bit gives the clean solo sound on time is running out.

 

Ruled By Secracy

 

B-Sides

 

Fury

 

Phill - Fury:

 

set up

FF -> EQ -> Whammy

Whammy Dry -> Main Amp

Whammy Wet -> Delay -> 2nd Quieter Amp

 

i use:

Fuzz Factory on (O'Clock)

Gate 7 Comp 10 Drive 1 Stab 1 (adjust to preference 5 kills oscillation)

 

Delay - Reverse

Mix - full wet signal into 2nd amp

Repeats - 1

Time - about 3/4's of a second or something like that

 

Whammy - 1 up / 1 down Harmony

 

I think the neck pickup sounds best for the main riff, i trem pick it so that it all blends together and then just put in some bends and hammers/pull offs etc.

 

set whammy on octave up/down harmony setting and just freestyle with the treadle through the riff.

then turn the delay off for the verse and use the harmony octave down for a chunky sound in the verse riff.

then rock forward in harmony to up octave for the chorus then back to down harmony for the verse and forward (up) again for the chorus.

then rock back down for the little interlude then put the delay back on and freestyle the treadle for the riff and into the solo bit, then turn the delay back off and rock the treadle forwards for the chorus and then back down for the outro....

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You don't have to PM me, you can post the settings here, I'll just copy them into the thing

 

 

:) sing for absolution, whammy harmony 1 octave up with .. i dunno wot delay but ull fugure it out whislt your playing, gives a nice alternative to the piano/kerboard, for the chorus use the same delay with a crunchy or less hardcore fuzz sound without the whammy, for the solo whack the delay up to like a 2 second delay time and use lots of fuzzy distortion, you may also use many different effects to make it sound cool (i sue chorus and phaser) but u can use a wah like the proper version if you want, even tho its a fuzz wah but yea, sound the same lol

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Sing for absolution:

 

I use a Boss digtal delay DD-2 with it on 2 second delay; the effect on about 2/3, the feedback a 1/3 on and distortion time half way. I use my back humbucker for a a very sharp tone on chorus/verse picking parts. Note this is on a clean channel with no other effects stacked with it.

 

For the solo I stack an american big muff on top of the delay with the tone on 2/3 and the sustain just over the halfway mark. At this point I switch to my neck humbucker to give a nice fuzz tone, I also use the tremlo arm on certain parts. When you to the high part of the solo I switch back down to my back humbucker so you get a nice tone for the end of the solo.

 

I'll post some more when I get the time.

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yeah i agree that its a good idea i was considering that when it was first posted but then no-one seemed to show interest oddly :-/ i'm going to hold off acting yet just incase the interest vanishes again hopefully it won't cos this could hold some really good info.

i don't really want to actually sticky another thread tho what i'd like to do is put this as part of the faq sticky but i'll have haze post so that he can still edit them . hmm

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good idea. i've done that.

 

just have to watch out this thread doesn't get caught in a prune.

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Hypermusic:

 

I have it on a clean channel on the amp, this song is in drop D. I use my back humbucker for a clean tone, I use a Big muff NYC with the tone very high set at 3 o'clock and the sustain set at 8 o'clock.

 

For the intro I have the distortion on. On the Verses I turn the distortion off and just use a clean channel, you can use a delay set on short delay with little of no effect, it just makes the notes clearer and its sounds a bit nicer. When you get to the "just to spit it your face part" I turn my stomp box on and use my neck humbucker to get a heavy distortion on the scraping, then switch back down to my back humbucker for the chorus.

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Time Is Running Out (bass):

 

I use an Akai Deep Impact for the synthy-fuzz verse -

 

Preset: 1

Attack: 9

Decay: 9

Envelope Depth: 1

Dynamics: 6

Cutoff: 5

Resonance: 1

Balance: 9

 

The trick is to overdrive the input level so the red LED is just about always on, but not so much that it starts glitching. I had it set a quarter turn further than I normally have, and it seemed to work ok - I think a compressor might help a bit as well. :)

 

mp3 sample here

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It still sounds to bassy imho ;) You can hear the actual bass notes cut through, which you don't want.

 

I'm not a bass player, but filtering all the tone out seems a better idea.

 

Also, just fyi, you played it too slow and wrong ;)

 

take a quick peek here:

http://zmeba.free.fr/frame.htm

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I've just got my new line 6 spider 11 today and so have been playing around with the settings heres what I came up with:

 

Plug in baby: Okay on you amp have the phaser set at its slowest speed, for the fuzz i use my big muff with the tone on full and the sustain at 10 o'clock. I use my neck pickup for the rift and use my back pickup for the (turn the fuzz off at pre chorus) prechorus and chorus. I perfer having the phaser on all the time as it just sounds soo much better. If you want lots of hyped up distortion at the beginning just piss about with your whammy on 1 octave up.

 

I'll post hysteria later when I get in from work.

 

cheers,

 

stewart

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anyone got fx advice for the guitar on dark shines? i know he uses the trumpet effect for the two solos, but for the intro it just says "distortion" on the sheetmusic.

 

peace be with you.

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anyone got fx advice for the guitar on dark shines? i know he uses the trumpet effect for the two solos, but for the intro it just says "distortion" on the sheetmusic.

 

peace be with you.

 

Something compressed for the intro, nothing too wet lol. Just like a simple marshal dry distortion with no reverb, and the treble pot on full.

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can anyone help me with FF/FP settings for stockholm syndrome. i can't find them anywhere on this board

 

cheers (recording v soon, now have cool edit pro copied)

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A lot of people think he may use something other than the FF for this song. I myself am not quite sure what he uses. I have no idea where any FF settings for this song are.

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i found a great one on the line 6 spider, play with the settings in green metal, soz because i couldnt remember what i chose.

 

but my stockholm syndrome cover is now done. i decided not to sing. i'll try and get it up v soon, prob 2nite, so watch that other space!

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can someone help me with another newborn setting, possibly from fuzz probe or line 6 amp? haze's one is rubbish

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can someone help me with another newborn setting, possibly from fuzz probe or line 6 amp? haze's one is rubbish

 

Cheers, here's the one I used for my sound check before my gig on Monday, sounded pretty cool.

 

Stab - Full

Drive - Half

Comp - 10/11'o'clock

Gate - 7'o'clock

 

I have the volume just below half, going into an EQ with the treble boosted, the very middle band boosted and bass boosted and leave the volume on it where it is.

 

I don't know how it sounds at bedroom levels though, I don't use my pedals at home, just guitar and amp

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thats more like it

 

so hard to replicate the studio fuzz sound tho

 

You have to play it very loud, gig volumes to get close to it, when I played it on Monday, I managed to get that trashy sound using my Squier, so I imagine single coils are the key to that song

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