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[Midiworks]

You might think I am crazy !

But I want to try to make that "Ramstein" sound !!
"Wall of sound" like.

So I need some takes played in that style...

Anyone please !?

[Sascha Franck]

Difficult to do that.
It's wellknown that Rammsteins guitars are cut a LOT and even sampled to trigger them spot on.
This is with the amp sound allready being present.
So, to emulate this, you'd need to know how that dude actually played...

[Lunch Money]

I'm not all that familiar with the band, but from what I recall, it was a very heavy -gated- rhythm sound. I could be mistaken. The Rammstein (the pedal) sound is a bit ick.

Without having a reference song handy, I'd only be guessing, but my tips for uber-heavy guitars are usually:

1. 'Wall of Guitar' is created brick by brick. Ie. you have to layer and double. Pretty tough to pull this off live, and I bet even Rammstein's live sound isn't as thick guitar-wise.

2. Gate with a heavy-handed approach. If your attack and release are set hard enough, even with imperfect technique you'll lose some transients at the beginning, and a bunch of tail end. That'll help provide a fairly aggressive sound.

3. Mix a wee bit of clean signal in there. It sounds counter-productive, but it'll give you the articulation it takes to make each note of the chord stand out in the mix.

4. Don't crank up your gain/distortion. A tin can full of hornets only seems heavy when it's in isolation. As soon as you put it into a musical context it sounds like mush.

Greg

[Rik]

Ok, you asked:
- A wahwah with both manual (=controller) and auto wah settings.

This was planed !
But Auto-wah... ? I never liked those...

That could be cool if it has a tempo sync to the host.

- Some "pre" effects. I use to use quite a lot of effects before the actual amplification stage. Think Rotovibe, Octavia and the likes...

Alright, I still have to think about the routings...
Before the amp ?

I always plug my whawha pedal before the amp (but I know some people like it better after distortion). I wish it will be possible to plug it before or after the amp.

ERik.

[Lunch Money]

I much prefer manual wah before the amp. After the distortion is an exercise in screechy feedback. Which can have its charm, I suppose!

As for auto-wah, it's a very useful effect, in my opinion! Just don't expect it to sound like a manual wah... they're two very different effects, and I like both.

Greg

[Midiworks]

Manual Wah and host sync is not a problem !

About the Rammstein sound:

To achieve his huge tones, Kruspe employs a two-tiered sonic assault. "I love the sound of Mesa/Boogie Dual Rectifiers-they're really warm and powerful," he says. "But by the time my sound goes from the amp to the microphone to the mixing console, it has lost some of its precision and immediacy. So I also record my guitar direct through a SansAmp PSA-1 to fill in the frequencies that are missing from my amp sound. The final blend was about 80 percent amp and 20 percent SansAmp."

Kruspe sometimes went to extreme measures to make sure the guitars remained the sonic focal point on Mutter. On "Links 2-3-4," for example, he layered 24 tracks of guitar. "My birthday is on the 24th," he explains, "and I always wanted to overdub a guitar 24 times. I played eight tracks in the low register, eight tracks higher up, and then eight more with the guitar tuned way down. I tried to get every frequency in that riff."

The album's dirty parts were tracked with Kruspe's EMG-81-loaded ESP, and he used a late-model Gretsch White Falcon plugged into a Mesa/Boogie TriAxis preamp for some of the clean parts. He also experimented with guitar sounds that were a little left-of-center. For the song "Feuer Frei!" Kruspe created an eerie, penetrating tone unlike anything else on the record. "That's what I call my braten guitar-a fried or roasted guitar," he says. "I turned my Morley wah on and left it in the deep position for something trashy and groovy."

For the freaky solo in "Adios," Kruspe drew on Rammstein's longstanding relationship with machines. "That solo is the first time I ever used a noise gate on a guitar," he relates. "I programmed a pattern into a sequencer and used it to trigger the open and closed action of the gate. Then I played a simple solo line, but it came out completely different after it was chopped up by the gate."


Crazy stuff !
But I think so too as Sascha said, they use samplers too, to double the guitar sound.

Cheers

[Lunch Money]

Interesting post-- thanks for that!

Greg

[Sascha Franck]

To get a halfway fat guitar sound live, a lot of the doublings are coming from some multitrack. It's almost half-playback.
You know, they're not THAT great players...

But anyways, here's another effect:
A Whammy! Of course PRE amp, to get that typical sound. Maybe routable to post-amp.

[Midiworks]

To get a halfway fat guitar sound live, a lot of the doublings are coming from some multitrack. It's almost half-playback.
You know, they're not THAT great players...

But anyways, here's another effect:
A Whammy! Of course PRE amp, to get that typical sound. Maybe routable to post-amp.

Whammy ?
Was'nt that this foot pedal that did pitch shifting ?

[dimitar]

Hey MIDIWORKS !!!

Sorry for my delay

There are

To track for you !!!

1. Drum and Bass
http://nalbi.hotbox.ru/Drum&bass_track.mp3
2. Guitar
http://nalbi.hotbox.ru/guitar_track.mp3
After procesing The guitar track

You should mix this Guitar and Drum&Bass tracks
together !


Best Regards

Dimitar

[Midiworks]

Thanks !

[Sascha Franck]

Whammy ?
Was'nt that this foot pedal that did pitch shifting ?

Yes, just listen to Rage Against The Machine. Tom Morello is great with his Whammy.
It actually offers several modes:
- Complete signal processed in 1-2 octaves up or down, or just a half/wholestep up/down.
- Part of the signal processed (50%), in certain intervals, such as 5ths, 6ths, whatever.

The most important effect however being the octave settings.

[Amberience]

With Ableton Live 4's brand new routing scheme, its easy for me to duplicate my guitar input and effect each instance differently.

I often like to put SpectrumWorx on a track too, because with its pitchshifting abilities I can add more bass frequencies into my guitar parts.

I'll usually have multiple instances of TriDirt on the guitar parts all with different sounding patches to give a really lush and thick sound. Then I'll bounce it down and EQ to taste.

I find TriDirt to be one of the best freebies out there for distortion simulation. I don't own any amp simulators however.

[dimitar]

Midi Works

Here is my bad Video

http://www.nalbi.hotbox.ru/FixedNalbiIbanezShow.wmv


http://www.nalbi.hotbox.ru/

Web Cam - piece of crap - "Genius"

[Midiworks]

With Ableton Live 4's brand new routing scheme, its easy for me to duplicate my guitar input and effect each instance differently.

I often like to put SpectrumWorx on a track too, because with its pitchshifting abilities I can add more bass frequencies into my guitar parts.

I'll usually have multiple instances of TriDirt on the guitar parts all with different sounding patches to give a really lush and thick sound. Then I'll bounce it down and EQ to taste.

I find TriDirt to be one of the best freebies out there for distortion simulation. I don't own any amp simulators however.

It great to see people getting cretive !

Yes, I use the same aprocess as you discribe using my tools.
Only I can touch the audio stream directly and do whatever idea I have.

In the moment I try to split and pan the frequenzy bands seperatly.
Pitching, EQ, chorus them and add very small delays.

Stay tuned !