Video Idea: Dialling in Lead and Rhythm tone in terms of ambient heavy sound. Where to set a limit in gain, eq, reverb, delay, etc. How one effect has influence on the other, and overall tone. How to sound massive, but wide and open (and spooky) at the time. I'd gladly see some Fuzz base here! ;)
Dual delay is a big thing with this, I am releasing a heavily ambient influenced hardcore record, and I run two signal chains: For lead metal, I run this: Gibson LP > any one knob noise gate > TC integrated pre > any modded marshall, though preferably a bogner XTC or a Cameron CCV > Zilla 412 w/H75 creams > dual delay > a tinge of spacial reverb. The rhythm is this: LP > SLO > HESU > dual delay > a lightish reverb. For the B-M-T-D-P pattern, I run lead at 6-2-9-2-9. I typically run rhythm at 8-6-4-7-4.5~
11 месяцев назад
@@alexandertorrente198 Yeah, I thought Keeley AT Halo would be a killer in this type of tone. That's why I'm getting my hands on it in the future 👌🏿
@ I don't think I've tried this one! I use a strymom timeline for the delay though, I personally enjoy the screen that reads the times and whatnot. But there is no right or wrong way to do it. There is only tone 😎
Watching this kind of stuff unfold organically and hearing you discuss your thought process along the way is a huge value. I'd love to see an episode where you dial in some quacky mid-gain cranked single coil tones for single-note riffing.
😂he started like “reasonable amount of gain, and keep the mids around halfway” to 16 years old random metal dude “ give me all the gain! Fuck those mids! Mooore gain!”
I feel like the use of the mids on the 5150 (closest I own is a 6505+) rely a bit on the speakers that you are running in your cab. Scooping can sound great and mix well on certain speakers while a slight boost in mids is important with other speakers. Glad to hear the Ola shoutout,: great video, it chugs!
Maybe so, but I’ve always watched these vids for the fact that Bea is So Good at dialling and playing extremely heavy tones.. The nuno stuff and huge chords
Metal players taking an amp like a 5150 and scooping all the mids while driving up the bass and treble then putting a green pedal in front which clips a load of bass and adds back in mids never made sense to me it’s like your two pieces of gear are pulling in opposite directions?
one thing I struggle with is dialing in a good Fuzz tone for both lead and riffing out. personally I absolutely suck at using fuzz effectively so its been something I avoid for live performances. thanks for the awesome content as always.
I think one thing that makes a difference for new players is realizing how much low tuning makes a difference (like drop C, drop B, whatever), particularly in modern metal guitar tones. Man I love an old school 5150ii and a tube screamer. Great video!
Standard is pretty good to play in too, domination by pantera, which imo is one of the heaviest breakdowns ever is in standard. Drop C does sound really good though.
As a proud owner of the MT15, Im right there with you on the 100... MT did not show enough of it in that video he did unveiling it... Stoked to hear it.
You lost all of the note separation and clarity when you scooped the mids. It just sounded like too much static and distortion masking the notes. Mids are the key to having a legible tone....even a metal tone. Scooped tones will sound like arc welding when the rest of the band gets in the mix.
The amp itself has a ton of mids, plus adding a tube screamer and my pickups are fairly mid forward (not overly) there were definitely enough mids for me in the room.
In a live setting yes, If you're recording it's not as big of a deal, because you can layer tones and control volume. Pretty sure Metallica's classic tones were scooped
I owned the kraken years ago. Sold it for a Kemper. Used the victory kraken official profiles for a while. Sold the kemper and got back the kraken again. Nothing compares to that box. Massive tones.
Killer improv riffing, very informative demonstration and the Super Kraken just kills - it’s like a more refined, smoother 5150 - both amps love boosts!
@@eriklamelakillingspree7690 it's kinda like comparing different kinds of coffee, you lose some characteristics but gain others or parts become more distinct. They are quite amazing to behold in person though.
The Peavey sounds really good here! The 5150 through a closed back Orange 2x12 was the best high gain tone I ever played. Your tone is really good either way. 👍
I literally had one guy dialing in an amp on maximum bass, maximum treble and minimum mids. I told him "Dude, guitar is a mid heavy instrument. Get some mids in" and he refused to dial the mids up.
8:34 to be honest, that tone is 100 times better than 90% of what most people pass as a "good" metal tone. The Silos are passive Alnico V's with high output. Imo that'll do better than actives, especially EMG 81/85's, ever will or could.
Ho BOY were they some delicious tones! That musicman beast definitely needs some damping past the nut haha, but thanks for demoing all those tones, good stuff to go on. As for video ideas, I'd be interested to see how you approach dialing in tones for recording vs jamming/playing live with a band - is there a difference or do you just futz with the tones once they're in the box?
A fun challenge is dialling in high gain tones on a completely unsuitable amp. I have a little Laney VC15 and it’s surprising what it will do on the drive channel with a Spark boost (min gain, max level, mid boost position on the switch).
Edge of breakup neck single coil, fuzz, and lead tones… Please! Maybe that was never your goal at all, and has nothing to do with your approach to music, but I perceive your music, and play style in general as perfect combination of „modern” compositions with some really tasty element of more classic tone (not brutal hi-gain etc), so I’m really curious how you think about shaping your sounds!
I know dozens of metal musicians, myself included. Have spent years around metal bands and practice spaces.... I dont think i can recall more than one or two people ever using a Maxon 808.
I woulda shouted out john browne for modern metal tones 💪 also I had no idea you guys were behind Victory amps, i've been looking for something to replace my egnater armageddon lol
The Victory Kraken has harmonic overtones coming through it sounds like there's a broken spring that's rattling around its awful man! I'm not suggesting it is a broken spring it's just used as an example but it doesn't sound good at all maybe it's just the particular amp where there's that issue I don't know enough about them to say it's a common problem right across the board but it's definitely noticeable dude also not being in the room with that amp I can't rule out it could just be the RU-vid algorithm that doesn't agree with the frequencies although it was noticeably absent when playing through the 5150! Which by the way sounded pretty good, definitely better than the tones I've dialled in on my own 5150 at home either way it's always good to get another perspective when it comes to tonal qualities of an amp rig and subject to personal tastes of course! Great video man certainly worth taking the time to watch it right through
Id love to see you do a comparison video of a tube screamer and a Boss DS1. The tone knob on the DS1 is magical. If you havent done a deep dive of it, I'd heavily suggest it. Hands down my favorite distortion/od pedal. Way better than the TS, IMO. Cheers Rabea. 🍻🍻
Common practice is when you carry your amp head into the venue you hold it so the nobs are facing you and all the nobs rub against your belly and you just run with that. Belly tone goes unmatched
Yeah nowadays I basically approach my heavy guitar tones from a mixing perspective. Also I think heavyness doesnt come from distortion alone. The frequency topography needs to have lots of articulation. I therefore for example turn down, sag, ripple and hum on all my heavy helix presets and crank the treble and presence to get that top end „CLACK“ when chugging. I try to aim for an AFD100 Slash sound with more low end basically. Maybe one day Ill be able to afford a BE100D
Bro drag Dave out of the void to do a Dialling in Bass video. Put ya hands on him if you got to we neeeeeeeeeeeeeeed him back. jk but for real I miss hearing him
Really need to play the same for the comparison of the two amps. An extremely heavy but tidy tone is more than possible with a 5150 MK1,2,3. I understand the Victory thing though. :)
This is perfect! I know that part of my plugin is inspired by the 5150 and I really wanted a mean rhythm tone. This video helped me shape my tone perfectly!
when I used to play guitar in the death metal band Suffocation, I always used one of the following amps, Peavey 5150II, 6505+, 3120, XXX, or XXXII which is the one I still use, along with the Maxon OD 808 my other guitar player used the Maxon, OD 909 the only other pedal we always used was the BOSS Noise Suppressor NS-2 and once in a while, we may use a delay pedal. I currently use the neural DSP quad cortex.
8:33 Is my reference. I'm trying to simulate with Boos OD200 - Scream (Gain 10, Level 50, Low 0, Mid 20, High 20) Boss IR 200 - BGR UB (Gain 60, Level 80, Bass 50, Mid 75, Treble 70, Gain SW Middle) + York Audio Mesa 212 V30 SM57 1N. It doesn't sound as good as Bea's tone, but it's the best tone I can get
With presence I *try* to remember some simple psychoacoustic stuff I learnt when I was mixing reverb in electronic music. The more very high frequency content a sound has, the nearer our brain thinks the sound is to us. Obviously we want the guitar to sound forward, and close, but is the guitar the most forward thing in the mix? And that depends entirely on what you’re doing. If the guitar is the showpiece of a mix, that hyperdetailed high presence may be perfect. If the guitar is more supporting a vocal, then it probably needs less presence, comparatively.
Owned a 5150 for quite a while, and it’s so easy to make these amps sounds good. You can leave it at the classic 666 EQ settings, raise Resonance and Presence up to 7-9, adjust gain and volume to taste, add a boost and there you go- quintessential modern metal tone that’s mean and pissy as hell
Cool vid man. Iv got a suggestion for you to have a try of with your set up esp because your amp has a low and high mid. Take your gain up to 5 put your highs to 1 o'clock. Take your low mids down between 3 to 4 and set your high mids around 5. Bass up to 4 minimum. Leave presence around 7 to 8. As you mentioned about noise gate if you put one in it will clean it up and you can then increase your gain. With your mics here's a little trick from a sound engineers prospective. On the cab turn one of the 57s 45 degrees as this will nock a little trebs off on the gain. Have a little tweak around I rek8n you will like what you hear with that set up. Good idea on your vid mate nice work man
Awesome tones, awesome riffage. I'd praise stereo (dirty+clean) if it wasn't such a bitch to setup... A compressed clean to help with the low end boom, and the high end snap, as those dirt harmonics lie in that mid range. Like presence'd be "depth", the width to it comes from harmonics. But that clean dirt can be quite nicely eq'd with just volume balance between the two. For a dirt tone, you sacrifice the clean channel and vice versa. We're not hearing what you are, as there is still the microphone, it's preamps, and the signal chain you got on your daw. I'm hearing you got a high pass quite high. I'm saying that with using a too muddy source, and a too transparent source (be them amps, or mic placement), and then AB those, you don't need to touch eq. Mics are speakers in reverse, bitta multiband compression in there. Also, you might enjoy having a 1x15, or a 2x10 with that 2x12" is it... Scooping the mids "is the same" as boosting bass and treble. Like what is that, drop c? Isn't it 64hx, and you got the first subharmonic at 32hz... But yea great stuff, and great bs enjoyed it. That VX is so good for that contemporary dirt.
When you made your comment about the Kraken sounding more like an American amp, I was just thinking as you were playing that it sounded like a triple rectifier. Awesome brother
I have a VX Kraken now and I do quite like it. I typically have it set slightly scooped to make room for some kind of boost to push the mids else I find it gets too honky. Bass 5 Mids 4 Treble 7. I find unless I'm using my baritone or 7 string, using my boss sd1 in front of gain 2 cuts way too much low end for my liking. I find gain 2 is tight enough to run without a boost but I tend to run a bit less gain and use a klon style pedal up front (ehx soul food, gain at half, volume at half and treble at 3oclock) it does shelve a bit of low end but keeps enough to stay percussive and the boost to the upper mids makes everything more aggressive. I do use my SD1 in front of gain 1 and that sounds awesome to say the least. I've blended gain 1 with a boss SD1 and gain 2 with the soul food on plenty of my recordings and it sounds massive.
Great, thank you! I love clean feedback sounds and wrote a few very cool octave riffs using a clean sound going into feedback BUT...the amp is almost unusebly loud esp onstage. whats your take on dialling in such a sound, maybe by using certain pedals without getting too compressed?! THANK YOU!
Sounds like your block letter might have a problem with either the FX loop, bad solder joint on the input or one of the pots, or maybe the Q7 transistor has failed (quite common problem in 5150's). Try patching a cable between the FX loop in and out and see if the amp sounds better afterwards. If not, you can try removing the Q7 transistor and then check if the amp sounds okay. A replacement J174 transistor should be easy to find online.
17:11 That pling sound in the background with the Kraken, is that comming from the strings beyond the nut? Sound is nice apart from that pling. Even more audible around 24:34 Sounds like harmonics from the strings death spots or digital artifacts if there is anything digital in the signal chain?
When you put an overdrive in front, you should try less gain on the amp itself :) when I play with the 5150 Without an overdrive I set the gain pretty much like you on 5 to 7ish but when I put my OCD in front I put the gain on 3 maybe 4 because otherwise it's too much gain for me anyway :) Can you make a video on how you dialing a preset with the timeline and bigsky ? btw I buy the superkraken because of you and it's an amazing amp same as your silo humbucker and your archetype with neural it's truly inspirationnal and amazing ! thank you !
Don't let Glenn from SMG hear you talking about pups making a difference, haha. Good guide, Rabea, I learned a thing or two and reinforced that my raw tones are pretty good.
I love your tone, Rabea! Funnily enough, I usually approach high gain amps in the almost opposite way: Push bass right before it gets too "woofy" / flubby, boost mids until it starts sounding like a tube screamer is in front, keep treble as close to 12 o' clock as possible (so the highs don't take your head off when standing in front of the amp at loud volumes). Then push the presence as high as you can before it starts to thin out.
