(I apologize in advance for the long-windedness. TL;DR version is that it sounds different, more present and forward, which may be the result of the gear and techniques used in post, rather than any differences in the original sound as it was coming out the amp while he was playing.) So here's the problem with patches like this. They work with a guitar player from a band, asking the basic questions of what has the greatest effect on tone (other than scale length and pickups because they have no control over that), and then they create emulations of the signal chain from the guitar to the pedals to the preamp to the output to the cabinet, and that's all they can really do, at least that's all they can do practically. The thing is, the guitar player of a really big band, going into a high budget studio to record an album, has no idea what happens to the tracks they recorded afterwards. The mix engineer puts EQ on it, anything with a lot of heavy chugging will also probably be compressed some, in some cases (not this one) even adding time-based stuff like reverb or delay to put a little "space" into it. Pretty sure this album was recorded to a reel of tape, though the multitracks may still be made digitally available. Give them a lesson and it probably sounds a lot more like what you did hear. However, on the finished product? Well, honestly, not only is it different, yours is better. Just in terms of how it fits with the drums and how I imagine it would fit with the original bass (which was slightly cleaner and had more mid-bass than yours), but even how it fits with the bass as you recorded it. Overall, your recording is better, however much of it you did. Megadeth were very much victims of the early 90s mid-scooping-gone-too-far trend, and the thing about all those scooped tones is that they were often achieved simply by turning down the midrange control on an amplifier's built in 3 band passive EQ, when they should have been doing it much more surgically, having the three band all wide open and putting a 12 or 15 band graphic EQ in the loop (or between the ADA preamp and the Marshall power amp both guitarists used for some of this stuff) and very carefully rolling off stuff under 150 Hz and over 5KHz, biking a little from 1.6k to 3K, notching at about 700 to 800 with a very narrow scoop. That could be done without turning your rhythm tone into a mix engineer's nightmare, and it even leaves a particular spot open for vocals so not have to compete with the guitars for volume. For Boss to create a patch of this album's guitar tone for the Katana was kinda difficulty level: Impossible, just because there was so much going on in the studio that you could literally pick up Dave Mustaine's guitar from that era and plug it in to everything he used then on the exact same settings and hear nothing like what you hear on the album. All of those things considered, they did about as well as they could with it, and you seem to have recorded it better than whoever they paid thousands of dollars to track the original. Somewhere there's a middle-aged recording engineer talking like a South Park character about how you took his jerb.
haha wow dude, i read that whole thing. Thank you for one, and i agree with everything you said. When i make these patches i’m mainly just trying to get the katana to act (imposter syndrome) like the original amp behaved. i’m really not trying to make it sound exactly like the recordings. 90% of the recorded tone is simply where you have the microphone placed and what microphone it is. I used a different mic, different amp, different mixer, a different DAW, and it’s not recorded to reel to reel. and this is as close as i could get the katana with No post eqs or compression. only a limiter so it doesn’t clip. I THINK that the 2 global EQs i do on every tone could count as POST processing but that’s before it comes out of the speaker. Some of my tones sound really close to other tones. like this tone is really similar to my 72 Seasons one. And that’s cuz it’s the same amp using the same amp model with different eq.
@@Synthedelic You're onto it .... especially with the mic placement thing. Knock that shit like 5 degrees in any direction and you have a VASTLY different tone. I actually bought a second E609 because I like them on snare, but didn't want to move the one I had gotten set JUST RIGHT.
@AdamRainStopper I usually put a piece of blue tape over the spot i’m going to record for each specific tone. The SM58 is a little more forgiving with placement, maybe? Or i’m just good at microphone placement. With what you said about how it sounded more Present and Forward, i have been telling myself this for a while. i can’t figure out how to make it sound further away without some weird reverb after the fact and i think that’s probably how they do it on the originals.
@@Synthedelic For clarity, the forward and present part is a *compliment* and yes you are good at mic placement. AND yes the SM58 is more forgiving, partly because the clown-nose creates a bit of distances as well as some damping and dispersion. I have actually taken couch cushion foam and cut it to a half inch thick slice, in a square that's about 2 inches wide and sandiched it between a very sensitive small diaphragm condenser and the very light nylon speaker cloth grille of a cabinet being driven by a 200 watt Marshall Major, because it was clipping and I checked everything the signal was going through and found no source to explain the clipping and hence determined it was the mic. I was correct and the foam did, in fact, stop the clipping. The SM58 has the mesh ball AND foam inside it as well, so it will be more forgiving of a lot of stuff. The only way to creat distance in a recording of a cab IS to back the mic off some, but if it's causing it to pick up room reverb, and you don't want that, then you gotta have something to insulate it. There needs to be something behind the mic. I'll use drop-ceiling panels, kinda put one on the floor and stand two up on it, meeting at the ends of each and held together with tape, then another over the top. I just happen to have a box of ceiling panels, no idea why, the people who were supposed to be building the studio with me are dead, so I can't ask them. There's no drop-ceiling anywhere in this place. Perhaps they just got that box free and planned to use them for exactly what I use them for. I also put tape to mark where I mic, but I got SUCH a PERFECT spot (perfect angle, perfect spot off the dustcap, perfect distance) with that E609 that I had to grab another one used when I had the chance. It's just a matter of dumb luck, I've tried to find a similarly ideal spot on my Eminence Swamp Thang open back cab and never quite found it. Also every speaker, even the same model from the same factory on the same day, is different, as is every mic, so I just try to leave it alone. It ain't broke, don't BREAK IT....... I know that's not how the saying goes, but it's for dumb shits like me.
Your comments have been very insightful, thanks. Since i can’t really play at a loud loud volume, backing the mic up ends up picking up my acoustics of hitting the strings and i don’t particularly like that. with my setup i have now it wouldn’t be exactly easy to create an isolation chamber for my amp. Me personally… i think that because i’m not using a DI box (like a scarlet fire) im getting a much different sound than the average custom copycat tone.
gotta try some deftones stuff, Ive made some good personal patches but I cant seem to get the white pony record tone. I don't know the distortion sounds very smooth and thick, I know steph the guitarist used a marshall jmp-1 preamp into a marshall 9200 power amp, and then used a rocktron intellifex for effects and a few pedals but thats it.
Hello! I just bought an Ibanez and a Boss katana 50 MKII and when I turn up the volume and touch the strings or different metal parts on the guitar there is a sound like a small crack/pop every time I touch them. And also when I enter the brown channel and increase the gain and some boost, a very sharp sound like a whistle is heard. Do you know why it happens? Thank you very much!
i would need an example of what the sounds are. it could be a grounding issue. it could be a gain issue. it could be where you are in relation to the amp. it could be a lot of things.
@@Synthedelic I understand. I found a person with the same problem on Reddit and there was a video with the sound (pops) I don't know how to show you the sound otherwise.
Are you using the a/c power cord that came with the amp? It looks the same as a standard computer power cord. The boss cord is shielded better than others. Using a different cord causes a lot of noise.
@@deano572 i’m using whatever i found in my garage that fit into my katanas “power spot” to turn it on, it is a standard pc power cable 😂🥲 yes different cables with different shielding will have more or less noise. more so instrument cables.
I don’t know why but when i download your tones they don’t sound really the same. Is it maybe because of my guitar? Or because im using the boss ktn 50? Or what else could it be?
it’s mainly pickups, string gauge and how old they are, playing style, and which katana you have. mostly just fiddle around with the settings and try and get it somewhere you’re happy with.
mustache patch when
lol 😂 gotta have the gain on 101 and use zero mids for this stache.
Watch him become a GoOoOoOod
please never stop doing these you're doing gods work dude🙌
(I apologize in advance for the long-windedness. TL;DR version is that it sounds different, more present and forward, which may be the result of the gear and techniques used in post, rather than any differences in the original sound as it was coming out the amp while he was playing.)
So here's the problem with patches like this. They work with a guitar player from a band, asking the basic questions of what has the greatest effect on tone (other than scale length and pickups because they have no control over that), and then they create emulations of the signal chain from the guitar to the pedals to the preamp to the output to the cabinet, and that's all they can really do, at least that's all they can do practically.
The thing is, the guitar player of a really big band, going into a high budget studio to record an album, has no idea what happens to the tracks they recorded afterwards. The mix engineer puts EQ on it, anything with a lot of heavy chugging will also probably be compressed some, in some cases (not this one) even adding time-based stuff like reverb or delay to put a little "space" into it. Pretty sure this album was recorded to a reel of tape, though the multitracks may still be made digitally available. Give them a lesson and it probably sounds a lot more like what you did hear. However, on the finished product? Well, honestly, not only is it different, yours is better. Just in terms of how it fits with the drums and how I imagine it would fit with the original bass (which was slightly cleaner and had more mid-bass than yours), but even how it fits with the bass as you recorded it.
Overall, your recording is better, however much of it you did. Megadeth were very much victims of the early 90s mid-scooping-gone-too-far trend, and the thing about all those scooped tones is that they were often achieved simply by turning down the midrange control on an amplifier's built in 3 band passive EQ, when they should have been doing it much more surgically, having the three band all wide open and putting a 12 or 15 band graphic EQ in the loop (or between the ADA preamp and the Marshall power amp both guitarists used for some of this stuff) and very carefully rolling off stuff under 150 Hz and over 5KHz, biking a little from 1.6k to 3K, notching at about 700 to 800 with a very narrow scoop. That could be done without turning your rhythm tone into a mix engineer's nightmare, and it even leaves a particular spot open for vocals so not have to compete with the guitars for volume.
For Boss to create a patch of this album's guitar tone for the Katana was kinda difficulty level: Impossible, just because there was so much going on in the studio that you could literally pick up Dave Mustaine's guitar from that era and plug it in to everything he used then on the exact same settings and hear nothing like what you hear on the album. All of those things considered, they did about as well as they could with it, and you seem to have recorded it better than whoever they paid thousands of dollars to track the original. Somewhere there's a middle-aged recording engineer talking like a South Park character about how you took his jerb.
haha wow dude, i read that whole thing. Thank you for one, and i agree with everything you said. When i make these patches i’m mainly just trying to get the katana to act (imposter syndrome) like the original amp behaved. i’m really not trying to make it sound exactly like the recordings. 90% of the recorded tone is simply where you have the microphone placed and what microphone it is. I used a different mic, different amp, different mixer, a different DAW, and it’s not recorded to reel to reel. and this is as close as i could get the katana with No post eqs or compression. only a limiter so it doesn’t clip.
I THINK that the 2 global EQs i do on every tone could count as POST processing but that’s before it comes out of the speaker.
Some of my tones sound really close to other tones. like this tone is really similar to my 72 Seasons one. And that’s cuz it’s the same amp using the same amp model with different eq.
@@Synthedelic You're onto it .... especially with the mic placement thing. Knock that shit like 5 degrees in any direction and you have a VASTLY different tone. I actually bought a second E609 because I like them on snare, but didn't want to move the one I had gotten set JUST RIGHT.
@AdamRainStopper I usually put a piece of blue tape over the spot i’m going to record for each specific tone. The SM58 is a little more forgiving with placement, maybe? Or i’m just good at microphone placement. With what you said about how it sounded more Present and Forward, i have been telling myself this for a while. i can’t figure out how to make it sound further away without some weird reverb after the fact and i think that’s probably how they do it on the originals.
@@Synthedelic For clarity, the forward and present part is a *compliment* and yes you are good at mic placement.
AND yes the SM58 is more forgiving, partly because the clown-nose creates a bit of distances as well as some damping and dispersion. I have actually taken couch cushion foam and cut it to a half inch thick slice, in a square that's about 2 inches wide and sandiched it between a very sensitive small diaphragm condenser and the very light nylon speaker cloth grille of a cabinet being driven by a 200 watt Marshall Major, because it was clipping and I checked everything the signal was going through and found no source to explain the clipping and hence determined it was the mic. I was correct and the foam did, in fact, stop the clipping. The SM58 has the mesh ball AND foam inside it as well, so it will be more forgiving of a lot of stuff.
The only way to creat distance in a recording of a cab IS to back the mic off some, but if it's causing it to pick up room reverb, and you don't want that, then you gotta have something to insulate it. There needs to be something behind the mic. I'll use drop-ceiling panels, kinda put one on the floor and stand two up on it, meeting at the ends of each and held together with tape, then another over the top. I just happen to have a box of ceiling panels, no idea why, the people who were supposed to be building the studio with me are dead, so I can't ask them. There's no drop-ceiling anywhere in this place. Perhaps they just got that box free and planned to use them for exactly what I use them for.
I also put tape to mark where I mic, but I got SUCH a PERFECT spot (perfect angle, perfect spot off the dustcap, perfect distance) with that E609 that I had to grab another one used when I had the chance. It's just a matter of dumb luck, I've tried to find a similarly ideal spot on my Eminence Swamp Thang open back cab and never quite found it. Also every speaker, even the same model from the same factory on the same day, is different, as is every mic, so I just try to leave it alone. It ain't broke, don't BREAK IT....... I know that's not how the saying goes, but it's for dumb shits like me.
Your comments have been very insightful, thanks.
Since i can’t really play at a loud loud volume, backing the mic up ends up picking up my acoustics of hitting the strings and i don’t particularly like that. with my setup i have now it wouldn’t be exactly easy to create an isolation chamber for my amp.
Me personally… i think that because i’m not using a DI box (like a scarlet fire) im getting a much different sound than the average custom copycat tone.
this is fantastic bro
That Layne Staley part! 😂 Great tone!
😂 😂 I think that clip has to be one of the funniest things in rock n roll history, perfect comedic delivery from layne
Made me spit my coffee out 😆
Great tone
This sounds great!
Thanks Dude 🤘
gotta try some deftones stuff, Ive made some good personal patches but I cant seem to get the white pony record tone. I don't know the distortion sounds very smooth and thick, I know steph the guitarist used a marshall jmp-1 preamp into a marshall 9200 power amp, and then used a rocktron intellifex for effects and a few pedals but thats it.
ua-cam.com/video/BDeGSXVDihk/v-deo.html at 2:30 on the link shows a small snippet of just guitars and maybe a synth in the backround but whatever.
Amazing can you dial the Sick the dying and the dead guitar tone?
yes expect it in the future.
Nice tone bro, Can you try to make a Dethklok Dethalbum tone?
i have dethklok on my “tones to make” list. i haven’t really listened to them to much yet. i will get to it eventually.
Hello! I just bought an Ibanez and a Boss katana 50 MKII and when I turn up the volume and touch the strings or different metal parts on the guitar there is a sound like a small crack/pop every time I touch them.
And also when I enter the brown channel and increase the gain and some boost, a very sharp sound like a whistle is heard. Do you know why it happens? Thank you very much!
i would need an example of what the sounds are. it could be a grounding issue. it could be a gain issue. it could be where you are in relation to the amp. it could be a lot of things.
@@Synthedelic I understand. I found a person with the same problem on Reddit and there was a video with the sound (pops) I don't know how to show you the sound otherwise.
@@Synthedelic Thanks a lot for your help!
Are you using the a/c power cord that came with the amp? It looks the same as a standard computer power cord. The boss cord is shielded better than others. Using a different cord causes a lot of noise.
@@deano572 i’m using whatever i found in my garage that fit into my katanas “power spot” to turn it on, it is a standard pc power cable 😂🥲 yes different cables with different shielding will have more or less noise. more so instrument cables.
Please do vio-lence 2022 EP sound. And re-recorded morbid visions by cavalera bros.
I don’t know why but when i download your tones they don’t sound really the same. Is it maybe because of my guitar? Or because im using the boss ktn 50? Or what else could it be?
it’s mainly pickups, string gauge and how old they are, playing style, and which katana you have.
mostly just fiddle around with the settings and try and get it somewhere you’re happy with.
@@Synthedelic which katana do you have?
@@dartadark1 the 100w mk2
Tone nerd 🤓