MapleNeck72`s Ambient Setting #1

MapleNeck72’s Ambient Setting #1
MapleNeck72’s Ambient Setting #2
MapleNeck72’s Ambient Setting #3
HolyMuffDiver Settings
HolyMuffDiver Settings – pg 2
Running this into a Tech 21 SansAmp TRI-A.C. feeding a Power Engine 60. I
have the SansAmp in the loop, but in this scene the loop is set to post all since
I'm using a clean setting on the SansAmp. I have it set up to sound fairly dark on
its own. I have different distortion setups that I use for different clean amp
settings, and then if I want to use the SansAmp's drive I'll have that in a scene
with the SansAmp in the middle somewhere.
Actually, since I re-EQ'd my amp setting the other day at band practice (to get my
favorite clean sound, a nice, dark Mesa clean), I tweaked my drives a little bit, so
the settings I use now are a little different. These were good for the basic, flat
clean amp tone I had been using.
Weeze77’s Old School Videogame Setting
fire this up if you're a fan of old school videogames (atari/nes era). Try pinch harmonics
and palm muting for bonus 8-bit sounds.
TheGearGuy’s Univibe
Jon Silberman’s Screamer
Jon Silberman’s Auto-Wah
DallasD’s Fuzz Pi
For ultra high-gain lead sounds, I came across this setting for the Fuzz Pi model. It
definitely has lots of bass response and can do the "woman" tone. Not a bad "recto"
impersonation, too.
The key for this model (IMO) is to crank the Mid control to > 75%, then tweak the bass
and treble as needed.
DallasD’s Comp/Distortion Settings
The pic below shows the basic comp/DS settings I have been using lately
which are mostly based on settings that folks have kindly posted on this
forum. I had to cheat a bit to get started as my time is limited with two
toddlers running around and destroying the house constantly.
The Screamer seems to work fine in front of the Tube Drive, but I don't use it
with the higher gain Line 6 Drive settings. The Boost Comp is my new
favorite and is very close to the Tube Comp to me although I don't have a
great ear for compressor tone "color".
I'm running this into a mic'd Roland Cube 30 on the Vox AC30 model with the
gain set to near 0 for a clean sound. The output settings in my M13 are set
to be close to unity gain when compared to dry to avoid over driving the
front end of the solid state modeling amp.
Thanks to everyone for contributing to this thread!
Stratocastic’s Settings
It's a shame this thread's getting buried! Here's my contribution, from my M9:
Pretty nice Univibe sound. Sounds just like my Micro Vibe:
Nice slap-back delay:
My "DLS" setting. Works great for my SG and Strat...
Stratocastic’s Settings – Pg2
...DLS tweak a bit for my Tele:
Run this in front of the "DLS" setting and you get a really great Marshally high-gain sound:
Stratocastic’s Thick Lead Tone
Stratocastic’s Other Notes
My gig setup goes:
Pedals: Wah > Comp > Vibe > Dirt > Dirt > into my M9 with my main gig
scene as follows:
B1:Opto Trem B2: Digital Delay (high mix/feedback) B3: Digital Delay (low
mix/feedback)
A1: Dimension (flange) A2:Classic Dist A3:Boost (GEQ with everything +1)
then a volume pedal at the end > amp.
That gets me through 90% of a gig (covers 60s to 00s). I have other scenes
that use the above as a basis but with some replacements, like barber pole
phaser instead of Dimension, or the Classic Dist/GEQ set up with the recto
sound given earlier in this thread.
Philip H
BadBrad’s Fat & Sweet
Tube Driver -> Analog w/ Mod effects
http://www.youtube.com/watch?v=nerweMcrVoQ
BadBrad’s Channel:
http://www.youtube.com/user/badbrad#p/u/3/t7kNqhqUlk0
Maxaronijjj’s David Gilmour “Echoes” Solo
Fuzz pi > Tube drive > Color Drive > Long analog delay
Tibbonds’ Delay
… It's a quarter note multi-head delay into a dotted 8th ping pong. I actually set the ping
pong to a dotted quarter note to achieve the dotted 8th sound because the ping pong
mode puts your repeats out at twice the note value you select when you run in stereo.
It's important to run this one in stereo, the rhythmic variations the multi-head mode
causes to bounce between amps is great!
Try adjusting feedback levels to taste, you can get many rhythmic variations with a slight
adjustment of the feedback levels.
Nashorn’s Mike Oldfield Setting
Classic Distortion with Drive, Filter and Treble set to maximum. Bass
at about 30%. Set Output to taste and go straight into the mixing
console.
The result reminded me of the classic Mike Oldfield lead sound. It can
be combined with modulation effects quite nicely. I liked the combo
with the Barberpole Phaser set to a very slow sweep and Mix at about
50%.
Bronco 1891’s Settings
Bronco 1891’s U2 “Streets” Setting
into a spring reverb. sounds great when i play b/w the bridge and
middle pickup. just like streets!
TheFlash
Low gain OD:
Crunchy OD:
Rhythmic Delays:
TheFlash – Pg 2
High-feedback soupy delay:
Funky Fuzz Lead:
INTO
TheFlash – Pg 3
Single Note Ambient (sometimes with a light OD or comp after the filter and
before the flanger):
INTO
INTO
DSMC80 Organ Patch
It does not track well on the lowest register notes on a guitar, but its great
on everything else.
Here is how I have it set up...
Synth O Matic.....Freq=50%, Q=Off, Wave 1=10%, Pitch=50%, Mix=30% ---->
Smart Harmony....Major Scale, Key of A, +5th Shift, Mix=50% ------->
Smart Harmony....Major Scale, Key of A, +8th Shift, Mix=60%
stilwel’s Mighty to Save Stacked Delays
Sweep Echo, Dotted 4th
V
Dig Delay with Mod, 4th
V
Frankencat’s Mojo