Post by ashcatlt on Apr 7, 2011 22:34:54 GMT -5
Finally got the chance to get Luke into the studio on Sunday and do a demo for the 1337Drive and Rodent pedals I've been babbling about. Did a quick comp and mix last night.
Before linking to the actual sample, I'd like to remind our older members (
) that this is a demo of two fairly extreme distortion pedals at one time. I tried to keep it somewhat tasteful, but it gets a little harsh.
Anyway, here it is.
The riff is based on the Circadian Nations song "Let the Right One In", but we adapted it to cover a bit more ground. I start with low single notes, work through some middling chords, and end up with a somewhat higher lead thing in order to show how it responds in different situations. Luke did something similar. It's a little weird with us panned hard, but I think it will allow you to adjust balance on your playback device or whatever and hear each instrument seperately. Each time the riff cycles we both change settings.
Starts with the bypass signal. I'm playing my newly rehabilitated (graphite nut and saddles and professional setup) Les Paul with both pickups in (interpickup) parallel into my V-Amp Bass Pro set to the "Brit Class A" amp I always use. I turned the gain down a bit from where I normally keep it, so this would be more or less clean.
Luke's playing his Yamaha bass. It's got a bridge P-style HB and a Jazz style neck SC. Not sure how he had the controls set, but he's running into his V-Amp Bass set to the "Mosound" model which is supposed to sound like one of those flip-top Ampeg things. The amps stay exactly the same all the way through this recording.
We both use a little bit of pre amp compression (built into the modelers) and there's a little bit of tape sim on the final mix, but I didn't do much else aside from comping and then RMS normalizing each part so that you wouldn't be fooled by volume based bias.
Second time through I switch on the Rodent with the "SALWO" switch set to O. No clipping diodes. Gain is set to about 10 o'clock, with Filter and Volume all the way up. Here there shouldn't be much distortion from the pedal itself. It's acting like a clean boost and just hitting my "amp" harder and pushing it into overdrive.
Luke turns on the 1337 with both controls all the way "down" - the 639 (mix) control is all the way to the clean side and the PWN (filter) control is wide open so it's mostly clean with just a bit of hair to fill out the middle. If you're listening on tiny speakers or cheap headphones this is likely the point where you say "Oh, there is a bass guitar there!"
Next I switch to the "LED" mode - two silicon diodes in series in each direction. I turned the gain up to about 12 o'clock, left the filter where it was (wide open) and turned the volume down till it was right about unity so that most of the overdrive you're hearing comes from the pedal. I personally like the sound of the amp breaking up on top of the pedal's distortion, but we're here for the pedal today, right?
Luke turns his 639 knob up to about the middle, so it's an approximately equal mix of distorted and clean side. It's still "un-PWNed" so we get all of whatever picking clarity there was in the clean signal on top of the fuzz.
Fourth time through I switch to the Asymmetric mode - one diode one way and two in series the other way. The other knobs stay where they were.
Luke leaves the 639 knob where it was and totally PWNs it. All the treble and mids are now from the distortion, but we've still got the solid bass foundation from the clean side.
In the breakdown section Luke plugs his Dunlop bass wah into the distorted side FX loop and turns the PWN knob back down while I switch back over to the O setting and crank the gain, compensating the volume downward so that you're mostly hearing just pure opamp clipping.
The backing tracks for the lead section are back to the second set of settings.
The actual lead parts are the most extreme settings of both pedals.
For me that means gain and filter all the way up, though I did not really crank the volume. I also switch my guitar between the system series and the bridge only settings.
Luke cranks the 639 knob all the way over to the distorted side, at which point it doesn't much matter what he does with the PWN. He's still got that wah pedal in there, too.
Neither of us are particularly confident lead players. We recorded about 10 x what you hear, but I think it turned out pretty cool.
Before linking to the actual sample, I'd like to remind our older members (
) that this is a demo of two fairly extreme distortion pedals at one time. I tried to keep it somewhat tasteful, but it gets a little harsh.Anyway, here it is.
The riff is based on the Circadian Nations song "Let the Right One In", but we adapted it to cover a bit more ground. I start with low single notes, work through some middling chords, and end up with a somewhat higher lead thing in order to show how it responds in different situations. Luke did something similar. It's a little weird with us panned hard, but I think it will allow you to adjust balance on your playback device or whatever and hear each instrument seperately. Each time the riff cycles we both change settings.
Starts with the bypass signal. I'm playing my newly rehabilitated (graphite nut and saddles and professional setup) Les Paul with both pickups in (interpickup) parallel into my V-Amp Bass Pro set to the "Brit Class A" amp I always use. I turned the gain down a bit from where I normally keep it, so this would be more or less clean.
Luke's playing his Yamaha bass. It's got a bridge P-style HB and a Jazz style neck SC. Not sure how he had the controls set, but he's running into his V-Amp Bass set to the "Mosound" model which is supposed to sound like one of those flip-top Ampeg things. The amps stay exactly the same all the way through this recording.
We both use a little bit of pre amp compression (built into the modelers) and there's a little bit of tape sim on the final mix, but I didn't do much else aside from comping and then RMS normalizing each part so that you wouldn't be fooled by volume based bias.
Second time through I switch on the Rodent with the "SALWO" switch set to O. No clipping diodes. Gain is set to about 10 o'clock, with Filter and Volume all the way up. Here there shouldn't be much distortion from the pedal itself. It's acting like a clean boost and just hitting my "amp" harder and pushing it into overdrive.
Luke turns on the 1337 with both controls all the way "down" - the 639 (mix) control is all the way to the clean side and the PWN (filter) control is wide open so it's mostly clean with just a bit of hair to fill out the middle. If you're listening on tiny speakers or cheap headphones this is likely the point where you say "Oh, there is a bass guitar there!"
Next I switch to the "LED" mode - two silicon diodes in series in each direction. I turned the gain up to about 12 o'clock, left the filter where it was (wide open) and turned the volume down till it was right about unity so that most of the overdrive you're hearing comes from the pedal. I personally like the sound of the amp breaking up on top of the pedal's distortion, but we're here for the pedal today, right?
Luke turns his 639 knob up to about the middle, so it's an approximately equal mix of distorted and clean side. It's still "un-PWNed" so we get all of whatever picking clarity there was in the clean signal on top of the fuzz.
Fourth time through I switch to the Asymmetric mode - one diode one way and two in series the other way. The other knobs stay where they were.
Luke leaves the 639 knob where it was and totally PWNs it. All the treble and mids are now from the distortion, but we've still got the solid bass foundation from the clean side.
In the breakdown section Luke plugs his Dunlop bass wah into the distorted side FX loop and turns the PWN knob back down while I switch back over to the O setting and crank the gain, compensating the volume downward so that you're mostly hearing just pure opamp clipping.
The backing tracks for the lead section are back to the second set of settings.
The actual lead parts are the most extreme settings of both pedals.
For me that means gain and filter all the way up, though I did not really crank the volume. I also switch my guitar between the system series and the bridge only settings.
Luke cranks the 639 knob all the way over to the distorted side, at which point it doesn't much matter what he does with the PWN. He's still got that wah pedal in there, too.
Neither of us are particularly confident lead players. We recorded about 10 x what you hear, but I think it turned out pretty cool.
