dual rec Rev F: Arch enemy. Sneap tones with GGD!

VESmedic

Well-known member
I haven’t “really” tried to go after this sound over the years, but it’s a fun one for sure. This is as close as I’ve ever gotten to a sneap style tone I think, and it’s a fun one for sure. Very much captures the vibe of the record to my abilities anyways. I think I need to do a full cover of this one. IF I would’ve used the 20 watt recto, I’m sure it would’ve been much closer, I read a book on this once…. ANYWAYS..

93 rev F red channel
Ts808 typical settings
Channel 2
GGD Cali plugin
Upfront cab 57 only
Massive cab blended in slightly 57 only

Enjoy!

https://soundcloud.app.goo.gl/uq3ScqbtFghMg3xg7
 
Sounds great. Thick.

Now see, like you were saying, if you had used the 20w Mini Recto you could have taken advantage of the smaller iron to reduce the transient frequencies to lower the overall resonance response. I mean, you don't need low end for a band like Arch Enemy. Less headroom for metal I say. Otherwise, great job! :D



EXACTLY. you nailed it completely. Next take I’ll engage spongey mode, pull 3 and a half power tubes, put it on the clean channel and max the mids, that should get me closer to that small amp sound, but trust me, it’ll actually sound EXACTLY like the big amp!
 
That sounds pretty killer to me. Dammit maybe I should check out the GGD cab shit. That sounds better than any of the Mesa Standard 4x12 IRs I have from Ownhammer, ML Soundlab, ValhallIR, etc.
 
That sounds pretty killer to me. Dammit maybe I should check out the GGD cab shit. That sounds better than any of the Mesa Standard 4x12 IRs I have from Ownhammer, ML Soundlab, ValhallIR, etc.


Oh they 100 percent are no doubt, Nolly does a great few videos explaining the different cabs etc and how they are different and their different intricacies. It’s really great. Much MUCH better than anything from ownhammer especially. Those guys take tons of captures yes, but doesn’t mean they are good :)
 
I haven’t “really” tried to go after this sound over the years, but it’s a fun one for sure. This is as close as I’ve ever gotten to a sneap style tone I think, and it’s a fun one for sure. Very much captures the vibe of the record to my abilities anyways. I think I need to do a full cover of this one. IF I would’ve used the 20 watt recto, I’m sure it would’ve been much closer, I read a book on this once…. ANYWAYS..

93 rev F red channel
Ts808 typical settings
Channel 2
GGD Cali plugin
Upfront cab 57 only
Massive cab blended in slightly 57 only

Enjoy!

https://soundcloud.app.goo.gl/uq3ScqbtFghMg3xg7
That 20 watt recto would have roared. Unmatched punch
 
Sounds great. Thick.

Now see, like you were saying, if you had used the 20w Mini Recto you could have taken advantage of the smaller iron to reduce the transient frequencies to lower the overall resonance response. I mean, you don't need low end for a band like Arch Enemy. Less headroom for metal I say. Otherwise, great job! :D
I'm dying 🤣🤣🤣🤣👌

Great job, per usual @VESmedic sounds THICC
 
I haven’t “really” tried to go after this sound over the years, but it’s a fun one for sure. This is as close as I’ve ever gotten to a sneap style tone I think, and it’s a fun one for sure. Very much captures the vibe of the record to my abilities anyways. I think I need to do a full cover of this one. IF I would’ve used the 20 watt recto, I’m sure it would’ve been much closer, I read a book on this once…. ANYWAYS..

93 rev F red channel
Ts808 typical settings
Channel 2
GGD Cali plugin
Upfront cab 57 only
Massive cab blended in slightly 57 only

Enjoy!

https://soundcloud.app.goo.gl/uq3ScqbtFghMg3xg7
Sneap tone comes from a Mesa OS 4x12. ;)
 
The Mesa OS is/was a big player for Sneap, but a huge chunk of his tones were on his Mesa Stiletto 4x12’s. I always assumed it was all OS back in the day, so I was surprised when I found that out.


Also true. Even more so, lately the last few years he’s been on a Marshall kick, using Marshall celestion vintage speakers non stop.
 
Also true. Even more so, lately the last few years he’s been on a Marshall kick, using Marshall celestion vintage speakers non stop.
Hell yeah. Rig talk frfr.

Have you tried Fredman mic technique yet?
 
Also true. Even more so, lately the last few years he’s been on a Marshall kick, using Marshall celestion vintage speakers non stop.
Yeah I had read that recently. On here somewhere and somewhere else that I can’t recall off hand. I’ve been messing with the Marshall vintages the last few months in my Kerry Wright 4x12 and have been digging them as well.
 
Hell yeah. Rig talk frfr.

Have you tried Fredman mic technique yet?


Man i have, and I mean it’s cool, but it’s not this mythical mic technique to me that’s it’s made out to be. In my very novice experience, it’s just another tool to use I guess, just like anything else I suppose. Sure I loved the Gothenburg sound, the early in flames records etc, but so much went into those tones, the arrangement, the mix etc. but even still, that slight combfiltering in the high end and midrange is needed to get “that” sound I guess. That technique was used for years before it was dubbed the “fredman” technique as well: Hendrix did something similar as well as evh, so it’s been a thing for awhile I think. I do like what it does though, seems to naturally roll off the highs and lows and bumps the midrange a tad, but it’s at a cost just like whenever you use two mics: transient response. It’s impossible despite what anyone tells you to get two mics perfectly in phase, and there always seems to be a loss of transient information when using two mics. But of course, tons and tons of records have been made with two mics and sound amazing so who knows how big of a deal that really is. That’s the hardest part though I think, is deciding WHEN to do something like add another mic or whatever it is, and to recognize WHY to do it and what you are wanting to add/gain, and if that’s even the right move. It’s really complex if you think about it.
 
Man i have, and I mean it’s cool, but it’s not this mythical mic technique to me that’s it’s made out to be. In my very novice experience, it’s just another tool to use I guess, just like anything else I suppose. Sure I loved the Gothenburg sound, the early in flames records etc, but so much went into those tones, the arrangement, the mix etc. but even still, that slight combfiltering in the high end and midrange is needed to get “that” sound I guess. That technique was used for years before it was dubbed the “fredman” technique as well: Hendrix did something similar as well as evh, so it’s been a thing for awhile I think. I do like what it does though, seems to naturally roll off the highs and lows and bumps the midrange a tad, but it’s at a cost just like whenever you use two mics: transient response. It’s impossible despite what anyone tells you to get two mics perfectly in phase, and there always seems to be a loss of transient information when using two mics. But of course, tons and tons of records have been made with two mics and sound amazing so who knows how big of a deal that really is. That’s the hardest part though I think, is deciding WHEN to do something like add another mic or whatever it is, and to recognize WHY to do it and what you are wanting to add/gain, and if that’s even the right move. It’s really complex if you think about it.
Well put.

I love a 57, tube LDC or Royer ribbon personally. One 57 will get it done, especially with a Mesa V30 and good pre like a Sytek with BB or J-FET op amps. Really love to add the LDC though, especially for rock.
 
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