RIGS! A journey thru sounds (audio and video content)

Not much to add here, but I wanted to say thanks to italoop for posting these. The idea of processing the highs and lows differently sounds amazing. I always try to find inspiration by pushing myself outside my comfort zone, whether it's a scale or a style that I'm not use to or using a processor in a way I typically don't, so thank you for some new ideas.

As much as I love plugging straight into my favorite head, and the incredible possibilities of modern DAWs, I can't help but agree with Zachman about rack rigs... there is NO substitute.
 
More TONAL variety!
Plenty of ways a distortion can be tweaked and morphed into VERY different characters HERE.
An amp cannot sound in so many different ways. It's in its nature. Here, beyond approximations of generic amps types, you get to change how the distortion is created, the base waveform, the rectifying circuitry, the equalization added in parallel... creating some interesting combs for tonal variety, the compression "squash" and the effects added to the picture.
A pretty much open laboratory to different and original distortion textures YOU create.
Much respect to the guitar amps GREAT companies that made the classic sounds come alive.
Do you want a guitar amp? Go buy it and respect its unique nature. Imitations are a poor and cheap attitude.
This is something else... for the wayfarer...

Eventide Cyber Distortion Tones
 
Space Design!
The Lexicon 300 Digital Effects System introduced in the early '90s, "little" brother of the mighty 480. They share tonal blessing and several algorithms.
A 300 today goes for peanuts and adds delays and reverbs to your system like nothing else can do.
The Random Hall algorithm is spectacular. The Rich Plate is superlative. The Dual Delays (cascading up to 6 delay lines!) makes for very unique effects.

Here's a moving Random Hall reverb, inspired to the ECM recordings. Space floats and randomized delays in the reverb network create a special quality in its texture.
It does not get better than this.

Lexicon 300 Oslo Hall

****************************************************************


The Rich Plate tones... still randomization going on... still so musical.

Lexicon 300 Awesome Plate

****************************************************************

Cascading two instances of Dual Delays...
A setup cascading two instances of Dual Delays... to replicate the Strymon DIG sounds. Only with much better tone and control. Each Dual Delays algorithm feature 6 delays, so there's a lot to tweak in there. Beautiful echoes into verb texture used with compression to tame attack transients.

Lexicon 300 DIG
 
italoop":prcqh43u said:
phil b":prcqh43u said:
italoop":prcqh43u said:
You can do anyhing you like, in any way you like, Period.
THIS is done differently from what you do... and applies to a lot of other sound sources.
IF you can't hear the difference between pitch and time... that is your problem, not mine.
I'm here showing things to people, not debating on how you do things.


The problem is if in a mix someone can get sounds that are so indistinguishable from YOUR sounds you refuse to believe it can be done any other way convincingly. Only thing you are showing people is what can be done with rack gear that most people done have, and if they did they wouldnt know how to program it.

You're right that you dont debate. If its not your way with only what you use then it will be impossible to get anything close. Your definitely smart enough to be able to manipulate sounds that are "close" with using plugins and would be more obtainable to the average person without top notch gear. I have seen Dave Prater get sounds out of older zoom units that I was blown away by. I know carpenters that blame their skills on the tools they have also.


You have totally derailed from my point, let alone the thread.
I haven't stated anywhere something can only be done in a single way or right one.
I am aware of how people work with technology and have designed myself both hardware d software (plugins) algorithms.
You are bending my point to your personal convenince in attacking me... for whatever other reason you may have.
BLAH BLAH BLAH BLAH BLAH.....
Come to this thread contributing to it as I won't tolerate anything different from that.

I am not attacking you and I'm sorry you feel that way. You absolutely do not accept when someone does things outside the box or disagrees with you and when your called out on it you write 37 paragraphs addressing everything but the point. As I have said before, this goes back to the HRI days. It was always great to hear something new from you and discuss signal chains, effects order..etc. until someone would come along and say "hey, I can get close to the same thing using xxx" and you would go off on a tangent, which resulted in basically discouraging the guy in the end.

Your comparison to a Henning amp vs. a plugin is not really relevant because you are talking about core tone vs. effected tone. If your core is garbage then any effect you put on top will suffer. Some of the best guys in the business can get stellar sounds using things that I would have passed over in a heartbeat and you would have laughed at! Its not always about the equipment as much as having the smarts to figure out ways to make it for you. :thumbsup: There is no question you have the abilities but the Elitist attitude can be overbearing at times.

I was excited about the TGP thread on racks. Now its become if you dont have an actual desktop mixer nothing else will do, rack mixers are inferior... etc.I could go on for days. If its not right on paper it wont ever be right no matter what it sounds like.
Btw, full disclosure.. I recently downsized from a 16 space to a 12 space rack for my guitar rig, {with the addition of some pedals even!!} and have never personally used a plugin when recording. I still own an Ampex MM1000 machine with tons of outboard rack effects. You and I are on the same page more often than not, but again, the elitist attitude can be discouraging to many people.
 
phil b":2qmbi6bx said:
italoop":2qmbi6bx said:
phil b":2qmbi6bx said:
italoop":2qmbi6bx said:
You can do anyhing you like, in any way you like, Period.
THIS is done differently from what you do... and applies to a lot of other sound sources.
IF you can't hear the difference between pitch and time... that is your problem, not mine.
I'm here showing things to people, not debating on how you do things.


The problem is if in a mix someone can get sounds that are so indistinguishable from YOUR sounds you refuse to believe it can be done any other way convincingly. Only thing you are showing people is what can be done with rack gear that most people done have, and if they did they wouldnt know how to program it.

You're right that you dont debate. If its not your way with only what you use then it will be impossible to get anything close. Your definitely smart enough to be able to manipulate sounds that are "close" with using plugins and would be more obtainable to the average person without top notch gear. I have seen Dave Prater get sounds out of older zoom units that I was blown away by. I know carpenters that blame their skills on the tools they have also.


You have totally derailed from my point, let alone the thread.
I haven't stated anywhere something can only be done in a single way or right one.
I am aware of how people work with technology and have designed myself both hardware d software (plugins) algorithms.
You are bending my point to your personal convenince in attacking me... for whatever other reason you may have.
BLAH BLAH BLAH BLAH BLAH.....
Come to this thread contributing to it as I won't tolerate anything different from that.

I am not attacking you and I'm sorry you feel that way. You absolutely do not accept when someone does things outside the box or disagrees with you and when your called out on it you write 37 paragraphs addressing everything but the point. As I have said before, this goes back to the HRI days. It was always great to hear something new from you and discuss signal chains, effects order..etc. until someone would come along and say "hey, I can get close to the same thing using xxx" and you would go off on a tangent, which resulted in basically discouraging the guy in the end.

Your comparison to a Henning amp vs. a plugin is not really relevant because you are talking about core tone vs. effected tone. If your core is garbage then any effect you put on top will suffer. Some of the best guys in the business can get stellar sounds using things that I would have passed over in a heartbeat and you would have laughed at! Its not always about the equipment as much as having the smarts to figure out ways to make it for you. :thumbsup: There is no question you have the abilities but the Elitist attitude can be overbearing at times.

I was excited about the TGP thread on racks. Now its become if you dont have an actual desktop mixer nothing else will do, rack mixers are inferior... etc.I could go on for days. If its not right on paper it wont ever be right no matter what it sounds like.
Btw, full disclosure.. I recently downsized from a 16 space to a 12 space rack for my guitar rig, {with the addition of some pedals even!!} and have never personally used a plugin when recording. I still own an Ampex MM1000 machine with tons of outboard rack effects. You and I are on the same page more often than not, but again, the elitist attitude can be discouraging to many people.


You keep derailing and getting off topic. STOP!
 
Deanmachine":wn2l59mu said:
My head hurts reading all of this I'm going to listen to the Cult Electric..guess I'm a wayfarer

Oh no... relax at this and your head won't hurt any longer...


Eventide H8000 GobiGTR in Europa
 
italoop":3pq0nlzq said:
Deanmachine":3pq0nlzq said:
My head hurts reading all of this I'm going to listen to the Cult Electric..guess I'm a wayfarer

Oh no... relax at this and your head won't hurt any longer...


Eventide H8000 GobiGTR in Europa
Thanks for that and btw I love my eventide units
 
Here's a quick example of how Eclipse can easily cover cool cascading dual delays sonic marvels. The Strymon DIG is focused on this kind of effect.
Done with the "dual delays in series" configuration, using 4 different delay modulation depths (can't do that on DIG) and using feedbacks in positive and negative phases (can't do that on DIG).
I also took the liberty to use mirror LFO sweeping and some other little tricks the DIG can't give you.
Delays 2 are set to Golden Ratio.
Enjoy...


Eclipse the DIG

 
Still in the delays cascading effects type...
here 4 "combs" (resonators) delays feed a dual modulated delays, creating a tuned set of resonanting echoes. Not possible on the DIG.


Eventide Eclipse DIG Combs
 
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