- Messages
- 10,142
Fractal Talk
- Thread starter laxu
- Start date
- Messages
- 12,489
You hungover?? Lamest Orvie reply EVAR.
- Messages
- 10,142
Hey listen, I'm not going to kinkshame you. Whatever fantasies you need to get that final oooooooooo, is fine with me.
KHAAAAAAANNNNNNN!!!!!!!!
Shredder
- Messages
- 1,706
GTR37
Rock Star
- Messages
- 4,907
/13 low, train wreck Liverpool ,
synthpenguin
Roadie
- Messages
- 666
I don't have much experience with the range of Fractal amp models (yet!), but I've had really good luck with this sort of sound by taking the Matchbox D-30 and adding in some negative feedback (which iirc was something I got from a Cliff quote in the Fractal Wiki). Really gives a "best of both worlds" thing, especially with the right speaker, and kind of in reverse of the way the Car Ambler does (sorta lol)
The speakers will probably make the biggest difference. Maybe try a blue dog and a Jensen (or whatever you prefer for the quintessential “fender” sound in your head.
Usually I find that as long as I get the basic gain and eq right with the amp, the speakers are the things that really make the biggest difference in getting the thing you’re looking for.
D
synthpenguin
Roadie
- Messages
- 666
This was pretty easy to do convincingly btw!
Multitap delay, quad tape delay type, all panned center, fourth tap muted, third tap set at a lower volume and with a longer feedback (25 to 45%), first and second tap volumes set to taste with the same feedback amount as each other (I liked 10 to 25%), and modulation set to be a little warbly (slower speed and higher depth) and with the astable waveshape.
Delay times are not tempo synced (important imo!), and tap 1's is set to 72ms, tap 2's is set to 155ms, and tap 3's is set to 200ms. Use motor speed to change the delay time while keeping this ratio; with the motor speed at 1.0, that's the fastest delay times on the Strymon Olivera, and with the motor speed set to 0.25, you'd be at the longest delay time on the Olivera, but adjust however.
Cool sound and really has that "reverb but not reverb" effect, especially when playing with the filter for darker sounds. The diffusion adds a lot too, but not really necessary imo
ETA: and I really recommend putting this into the front of an amp vs after btw
Thanks for posting this, I will definitely try it out.
iaresee
Roadie
- Messages
- 835
AC-20
holoholo
Shredder
- Messages
- 1,468
That’s my go to. But wanted to see what else is out there
KHAAAAAAANNNNNNN!!!!!!!!
Shredder
- Messages
- 1,706
FAS Class=A is worth a try. From the WIKI:
“A “Blackface” preamp into a cathode-biased 6L6 power amp with no negative feedback. ( The amp model has EL84's) This was a happy accident when originally modeling the Carr Rambler. Several mistakes were made in the model prior to MIMIC’ing the amp but the model was so well liked that we decided to make it into its own custom amp model."
The AC-20 recommendation is a good one.
The Black Magik cab is an AlNiCo Jensen which is great for classic Fender tones. I like it better than the other Fender cabs I've tried.
Also, it might be worth a try to lower the negative feedback on a blackface fender amp into something like the Class A 2x12 cab.
I've always likes old Fenders into British speakers.
iaresee
Roadie
- Messages
- 835
Forget this one is there! Definitely meets the criteria.
synthpenguin
Roadie
- Messages
- 666
If Fractal does a Benson Chimera model, it would be perfect for that sound too... there are schematics out there which Chris Benson himself has commented on too... just saying (dreaming) haha
- Messages
- 10,142
I wanna do a cover of this song:
Ideas on things to try to get a guitary version of:
- The synthy pad sound at the start, with the filter sweep
- The glitchy voices (DD3 glitch mode?)
- The pulsing not-quite-303 baseline that open up the filter continually throughout the song; sounds like they've got chorus on them too.
- Synthy stabs that come in around 3minutes in - learn the notes, slap a flanger on it??
I figure the VP4 would be the first place to start. The song is obviously 9 minutes of droney stuff in B-major, and I play in drop-B. Lucky coincidence!
PS: They just don't make dance music like they used to!
Ideas on things to try to get a guitary version of:
- The synthy pad sound at the start, with the filter sweep
- The glitchy voices (DD3 glitch mode?)
- The pulsing not-quite-303 baseline that open up the filter continually throughout the song; sounds like they've got chorus on them too.
- Synthy stabs that come in around 3minutes in - learn the notes, slap a flanger on it??
I figure the VP4 would be the first place to start. The song is obviously 9 minutes of droney stuff in B-major, and I play in drop-B. Lucky coincidence!
PS: They just don't make dance music like they used to!
synthpenguin
Roadie
- Messages
- 666
Without specifically thinking of the limitations in the VP4 (though most of this should be doable in it)...
For the pads, I'd add a deep mod effect (chorus or just plain vibrato, etc) but then use a modifier to tie its rate to the pitch follower so it goes faster with higher notes. Haven't tried this in Fractal, but a common technique with synths to recreate sampled pad sounds, and might help get the synth-y idea across. Anyway, it's a very Juno-esque sound (though probably from an FZ-1), so maybe try a CE1 / CE2 style chorus for that. Then subtly-env-controlled lp filter (24dB probably) + compression (slow attack) + gate. You may need to add a lot more harmonics with hard distortion before the filter (maybe cut the compression to do this). If you can fit it / skip the gate, maybe a pitch block set at a slight detune at 50% mix too. There is definitely some filtered noise going on in there, but I'm not sure how you'd recreate that with a guitar (increasing resonance as you open the filter might help a little).
For the stabs I'd look at using a pitch block for harmony so you get a sampled chord / chord memory type effect (could also try that for the pad...) The close chord voicings are pretty important for this sort of sound. And gate + filter (low pass or formant) + tempo synced delay (they used an SD-3000). With the low pass filter, cutoff set very low, again envelope controlled but in a more extreme way, and lots of resonance / Q (aim for a hollow sound). Again, you may need more harmonics before the filter, so drive it hard. Go for a square wave type sound. I'd again go for a Roland style chorus instead of a flanger. Though you could also try for some SPX90 style chorus / flanger sounds, which I believe they were heavily using around then (but could totally be wrong)
Bassline sort of the same approach. Get your sound into a square wave distortion / fuzz / etc. Maybe use ring mod for an octave down effect and play on higher strings. Gate, env-controlled lp filter. I think this will be the hardest to get right.
In all cases, I'd try plucking vs picking, though probably pick the bassline to get the right attack (maybe while palm muted?)
Idk, hopefully that makes sense! It's generally how I'd approach it!
SillyOctpuss
Rock Star
- Messages
- 3,853
