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On the Gearslutz thread someone posted screenshots of a retailer’s site that had since been taken down, it was Fantom EX indeed. -
By Caevan O’Shite · Posted
As others have noted above, this is VERY 'AC/DC' sounding, and a Gibson-y dual humbucker guitar with a Marshall-style amp or modeler/IR or a Marshall-voiced Overdrive pedal will get you there, and then some. The speaker-cab should be a closed-back 4x12 or 2x12 type (though a closed-back 1x12 will do), or IR's of those if going modeler/IR. It really sounds like a closed-back cab to me. Lots of mid, moderate lows, and slightly dark highs. Don't overdo gain/distortion. Picking dynamics need to be able to come through. Working on your playing to get that tone and attitude is just as important here as the guitar and pickups and everything. No reverb or echo, unless it's VERY little of it and VERY subtle. What's heard in the recording is room/mic sound where it was recorded. I don't think ANY pedals were used there. Moving where the pick hits the string, just a little up or down the length of the string, along with adjusting the angle of the pick and/or letting a little of the thumb or finger that's holding the pick touch the string just a little, can create harmonic-overtones and create what you're perceiving as "modulation" there. Fast picking with a medium of thin pick on light gauge strings (probably 9's) adds to that; lighter strings will sort of wiggle and 'yelp' that way. (Personally, I prefer heavier strings, but light strings do things that heavier strings won't, and vice verse... ) A subtle amount of harmonic-feedback from playing the guitar fairly close to the amp and speaker can also add to that, though I'm not so sure that this is happening there. What gear do you have already to work with, onion? What guitar(s), amp(s), pedals, etc.? -
By Still VanDerGraaf · Posted
Cubasis seems not to do tempo or time signature changes- making it utterly unsuitable in any pro sense. -
By Caevan O’Shite · Posted
That's actually not a stain at all, but just Roasted Swamp Ash, which is made darker by the *roasting process; ANY finish or oil added makes such roasted woods even darker. This has Clear coats topped with a transparent Vintage Tint. *(Torrefaction, in a vacuum kiln, to remove moisture, sap, and impurities.) As for electronics, that's all already covered. Pickups are a Lindy Fralin Blues Special Tele set, Hybrid Stagger. I have two different sets of Volume and Tone pots to choose from, a LOT of tone-caps of different values and types, and that Free-Way 3-Way/6-Position Switch that adds Parallel/Out-of-Phase, Series/Out-of-Phase, and Series/In-Phase to the usual three with a sideways click. Rutters Cup concave output-socket that looks vintage, is secured by screws, and allows me to use my favorite right-angle plug cable. Some of my favorite straps and StrapLoks, check. I love EMG's! And I really LOVE the SPC, as well! I just wanted to go passive and vintage-y with this axe, and also have the controls all appear stock and vintage/traditional/standard. The wiring, pots, and- most especially- the tone-capacitor value will allow me to get a perceived 'mid-boost' when the amp or modeler/IR is cranked, and the guitar's volume-control is full-up and the tone-control is rolled back juuust a smidge. Then when the volume-knob is rolled-back to clean-up and the tone-knob is maxed, it'll sound clearer and brighter and ever so slightly 'scooped' (but only because the higher treble is restored on top of the mids). Pedals that I've chosen dovetail magnificently with this dynamic and midrange-content approach. This tone-cap value and wiring-scheme is not quite as pronounced or complex as everything that the SPC does, but it's pretty cool none the less. I'm probably going with a " '50s Les Paul wiring" adapted for a Tele, or possibly " '60s Tele wiring". The actual wiring difference is VERY simple, so I'll easily try both, as well as comparing all those caps... I'll use some mini alligator-clips and long lead wires to quick-change and compare. I will go with the 'reverse' control-plate arrangement, Volume - Tone - Switch front to back. I just might go with a push/pull tone-pot later on, if I decide to be able to switch between two very different vale capacitors on the tone-control. -
News incoming in 4 hours
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In MPN’s GEARLAB
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By charliepersol · Posted
I just bought one used two days ago. I had in the past (a very past) the original ARP Odissey and an Avatar (the guitar version of the Odissey). They sounded quite differenti, and now I understand why: two different version of the filter. A friend of mine still have the all black one with coloured sliders, which Is again different, maybe two poles filter? Anyway the Behringer sounds good but a bit differenti too. My ARP had a ring modulator I used to build fabolous bell like sounds: metallic, full of harmonics. The kind of sound you can hear on Japan Tin Drum or Oil on Canvas albums. Until now I couldn't recreate this sound. Neither the Avatar did. Just my ARP Odissey I sold for little Money :( -
In V.A.S.T., be it the original V.A.S.T. or the newer vaster V.A.S.T. with Cascade and Dynamic, there are several ways you can use internal DSP sources with Samples: 1. Samples only 2. Internal DSP Oscillators only without any Sample 3. Samples mixed with internal DSP Oscillators In the new V.A.S.T., you can certainly use a multi-sampled Keymap, alongside an internal anti-aliased DSP Osc, e.g. a 2-block SINE+ for a single Layer, or even an aliased one like the old SAW+. For larger AA DSP Oscs, e.g. the 4-block SAW, you'd need to use Cascade Mode, a passthrough signal and a Mixer ALG. So these aren't mutually exclusive. Instead, what the manual seems to indicate is that if you want to do a traditional analogue subtractive synth, then you'd rather not use a Keymap, which makes sense since analogue subtractive synths don't use them at all. You can still use a Keymap's sample Envelope if it is set to Natural, even if the Sample itself isn't sounding via the Layer, say, if you have simply a 4-block AA DSP SAW. That SAW block effectively cuts off any of the Sample signal. However, as the AMPENV mode is set to Natural, it is the factory AMPENV for that multi-Sampled Keymap that is applied to the Layer. The Natural envelopes have more details than can be produced with a User AMPENV. The thing that happens with setting the Keymap to Silence is that it sets each key's amplitude to the same maximum amplitude. Maybe that's what you need in a certain program, but sometimes, if you are doing an emulative program, you could be better off actually referencing the emulation's Keymaps Sample although the latter isn't heard, with the corresponding Natural Envelope, or of course, you could just go into User Mode and make your own envelope. Hope this helps. -
Sweetwater might accept to deliver to Canada, but you will be charged transport accordingly and as anything going USA to Canada your item will go through customs and it is always possible to end up with extra fees - sometimes very expensive. I personally had a very bad experience about 10 years ago and promised myself to never import again from the USA unless the seller confirms on paper he pays for all possible customs and duties extra fees. Buying Kurzweil products in Canada has always been complicated. In the 1990s a few stores in the province kept a couple of them, but if you wanted something they didn't have you had to order sight unseen and wait months to get your purchase. That is how I bought my MIDIboard, K1200 and finally, around 2000, a PC2X. I hated the Fatar action on the PC2X from day one and swore to never buy a keyboard sight unseen ever again.
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