Posts by vernon48

    Sorry to bring an old thread back from the dead, but this profile pack deserves more life. It didn’t come up straight away in my search for Megadeth tones and well, it should have done, because Matt’s profiles are spot on.

    Anyone looking for Megadeth tones, Rust era - go right ahead and get this pack.

    Sam, great job on the playing mate! Great demo

    Back with a review of the 'Deth Pack'.


    Not many words are needed for this pack. Looking for Rust In Peace Tones? Holy Wars? Tornado of Souls? Then stop wasting time and GET THIS PACK!!

    We have Top Jimi to thank for perfect VH1 tones. Now we have Matt to thank for perfect Rust tones.

    Bravo Matt, bravo!

    Solved 😃 Thanks guys! It wasn’t so much the EQ that needed tweaking , it was the lack of compression on the Laney.

    I had gotten very close with the graphic EQ and any further EQ change seemed to take me further away from the sound. Then a chap on the gearpage mentioned compression and the lightbulb went on.

    The AKG’s have a lot of natural compression that I suppose made that pick scratch pop out. I added a compressor before the graphic EQ with 0.8 intensity and a tad of squash, and bingo. I’m chuffed 😃

    Thanks for the replies chaps.

    To clarify, the sound is perfect through my AKG 92’s, I’m trying to get that sound out of my Laney.

    Yeah I’ve been doing it in my living room with the amp in the opposite corner, not ideal but it’s a start for when I can next get to the studio.

    That’s a good idea about setting the studio EQ with a narrow bandwidth and sweeping the frequency until it pops out, I’ll give that a go!

    I’m really hoping someone with a bit of studio knowledge can help me out as I’m clueless...

    What frequency range would you use to describe:

    • A) ‘Chewy gain’. Think Van Halen, digging in and hearing that definitive pick drag across the strings

    • B) Pick attack - when you can hear harmonics just from the attack of the pick.

    Here’s a bit of context:

    I’m dialling in an EQ block to help match my Laney LFR-112 to what I hear through my AKG 92 headphones. The AKG’s have a 6dB scoop in the 1k-2kHz range, a 12dB scoop in the 2k-5k range, a spike of +6dB @ 6kHz and are pretty unresponsive after 10kHz. I love the way these headphones sound and I want my ‘flat(ish)’ Laney to sound similar.

    I have gotten so close with a graphic EQ block, trusting my ear and A/Bing to tweak the frequencies - I have done this for 8 hours over the last two days, but I’m just missing what I would describe as ‘chew’ and ‘pick attack’.

    By ‘chewiness’ I don’t mean honk (lower mids) or nasal (mids). Please help me find these I’m loosing the will to live and driving the neighbours nuts!

    If someone can use descriptive words for the frequency spectrum that would help massively as I can experiment with the Studio EQ then.

    Sorry for the ignorance on this subject chaps 😞

    I bet it’s the headphones you’ve tried - I went through the same ones you’ve listed after having read they’re superb. The thing with these headphones are that they are great for ‘monitoring’ and have a relatively flat frequency response - this doesn’t always mean they’re great for listening...

    The thing with monitoring headphones is the higher frequencies sound more pronounced and my ears hate this - everything sounds buzzy, bee-in-a-jar-like.

    Please try the AKG K92 headphones. These are NOT good monitoring headphones as they are massively scooped in the upper mid frequencies and have very little response after 8kHz. My ears are thankful for reducing those horrible buzzy distortion sounds. (PS I have purecab on 5.5)

    EDIT: I’d go as far to say as I would have sold my Kemper a long time ago if I hadn’t have come across the K92’s because of the problems you describe. Now I couldn’t live without the Kemper and would buy another immediately if mine broke.

    Poundcake - Eventide Harmonizer

    Credit to Liam Thompson - this is superb!!

    Quote: "

    • Quad Chromatic Delay
    • Mix: Start at 85% and adjust to taste between this and 100%, I find about 90% seems to get in the "Balance" area
    • Feedback: 0% (You only want the one repeat to simulate a guitar left and right)
    • Low Cut: To get closest to the Eventide you can leave it right off at 20.6 as there would have been no filtering on the unit, I personally go for 65 Hz to clear the bottom end a touch
    • High Cut: I'd aim for around 8000 Hz to simulate the early 80's bit rate/sample quality the original unit would have had
    • Delay 1 Ratio: 0.0%
    • Delay 2 Ratio: 0.0%
    • Delay 3 Ratio: 48.9% (You want a slight offset to help lessen phase cancellation especially if playing in mono. I noticed some stereo panned delays in the old Lexicon PCM units had an offset of 48.9% so I go with this value, when you listen to a ping pong delay in mono you can here it clears up phasing issues lots)
    • Delay 4 Time: I like 26ms therefore giving the other delay tap on the other side of the stereo field a timing of just below 13ms due to the 48.9% (26ms is a classic time offset from the dry signal used on old Roland SDE3000 units used by Joe Holmes in his wet dry wet rig to thicken tone, its was one of the preset timings as the unit only went up in increments and George Lynch in the studio was known to have a 0% feedback 26ms delay on his rhythms for the same reason according to Michael Wagener so if its good enough for them.....I have heard Eddie mention his is more like 6ms on the Eventide but also heard 10 and 12 and 13 in different interviews, go what you think sounds best, I think the higher the mix level the shorter you will have to bring the delay time down otherwise you will almost get a room sound happening which is not what you want here. Another tip if you like this by the end, try 56ms with 48.9% the other side on leads really adds some "air" around your notes, another 80's rack setup trick from back in the day)
    • Pitch 1: 0
    • Pitch 2: 0
    • Pitch 3: 0
    • Pitch 4: 0 (We want all of these at 0 as we don't want any semitone pitch adjustment we only want to use the detune later in the settings)
    • Volume 1: 0.0
    • Volume 2: 0.0
    • Volume 3: 10.0 (We want this on 10.0 full as we will control the overall detune effect in relation to the dry signal with the mix level)
    • Volume 4: 10.0 (Same here)
    • Panorama 1: 0%
    • Panorama 2: 0%
    • Panorama 3: -100% (This pans the 13ms or 48.9% delay to the left)
    • Panorama 4: +100% (This pans the 26ms or whatever you set the master delay to the left, this now gives you three voices, 1 left, 1 centre dry, one right)
    • Stereo: 100% (we need this at 100% to make sure the previous panorama settings work as we set them in stereo)
    • Modulation: 0.0 (A tip is to also try this at around 5 or 6 for a different type of stereo widening and modulation, but set the detune to 0.0 if you use this as you don't want both on the same time although there are no rules for as close as EVH as possible you want this off)
    • Pitch Detune: Start at +2.8% and try down to +2.2% and up to around +3.2%. I feel at around +2.8% to +3.0 max gives you about 9 cent sharp or flat either side of the stereo field to closest approximate the Balance or F.U.C.K type micro pitch. This is the parameter that will give you the sound you are looking for I'm sure.
    • The next settings, Formant Shift, Cross Feedback, Flutter Intensity and Flutter Rate leave turned off or on zero they aren't needed here.

    " : Unquote. Thanks Liam, hope you don't mind me sharing here.

    Hi chaps,

    There has been some fantastic EVH effects settings shared across this forum, this thread is to consolidate those ideas into one thread.

    Please keep chatter to a minimum and post only effects settings to help all those who come here looking for EVH tips and tricks.

    If you're reading this and don't already own the Brown Sound Top Jimi Pack, what are you doing?! Buy it!

    I'll kick off with: