MultiDrive Pedal Pro driving AmpLion Pro (follow-up)
Hi Audified friends,
Today, I bring you two more sound samples created the same way as the last time. Meaning the old school way of plugging in the stompbox in front of a clean to a slightly driven amplifier, and thus pushing it to more saturation. Of course, everything happens in a virtual environment using our virtual guitar tools. In addition to this, we will take a look at the example where the MultiDrive Pedal Pro gets used on its own as the only thing put on DI electric guitar sound. You thought this is not possible? Wait for it! :)
As for the last time, the guitar used was my trusty 1980s modded HSS MIJ Fender Stratocaster.
A closer look at today's sounds:
The first example is called Speedy Palm Muting, but it may as well be called 'this sounds so much like the real deal it is not even possible.' Forgive the enthusiasm, but I honestly think this is one of the most realistically sounding digital pedals I have ever had a chance to play through. The classic of classics - the infamous green pedal comes alive on this one :)
Although MultiDrive Pedal Pro includes two equally great versions of this stompbox design, modeled after its two very widely acclaimed incarnations, the 9-Scream model is used for this example.
The 9-Scream stomp is run into Bass Crunch preamp with the matched power amp and then to both FBlues 1x12 Combo mic'd up with the Dynamic S57, and to FRocPro 1x12 Combo mic'd up with Condenser 1000. The S57 is used for close miking, and the condenser is placed more far away. Both point to the center of the speaker.
The amp itself is set a tiny bit above the edge of break-up. But nothing radical is happening there. In terms of EQ, it is sporting a slight bass roll-off and a presence and treble boost while being switched to the bright channel at the same time. (The EQ setting will be heavily dependent on the guitar used.) Most of the gain comes from the pedal itself. While pushing a considerable amount of level, the drive is set just below noon, and the Tone is once again being pushed. (Open the pictures to see the settings close up.)
The following sound uses our XXL-distortion stompbox from MultiDrive Pedal Pro. This pedal is modeled after one of the first guitar distortion pedals ever. The famous brownish-yellow box was the invention of the late 1970s, and it shook up the guitar world quite considerably. It is the predecessor of many famous stompboxes, which came to the scene later.
In our sound example, we put the XXL-distortion in front of the ampLion Pro's Super Clean preamp with the matched power amp. It is to give the pedal the cleanest platform with the most headroom possible. The amp is still clean, despite the volume turned up to almost ten. The bright channel is on, the bass is below 3, mids are between 4 and 5, and treble is between 6 and 7. Reverb and Tremolo are off, but I encourage you to try them as well. They are great! :) As for cabs, the selection and settings are left the same as in the previous example.
The XXL-distortion creates all the gain. The output is almost at maximum, and the distortion is at about 60%. This stompbox is very simple. It does not have a lot of controls, but they do what they are supposed to do. And they do it incredibly well. Remember the tons of legendary songs that have been recorded using this type of pedal!
For the third and final sound sample, I have prepared something different. This time the spotlight is focused only on MultiDrive Pedal Pro, and ampLion Pro is not used at all. As for the stompbox, I have chosen one of my favorites - the B-Drive. It is put directly on the dry DI of the electric guitar. The sound itself is heavily inspired by classic 1970s funk recordings, and to get typical out of the phase quack, single-coil pickups are used. Particularly the combination of the middle and neck positions. This sound sends a nod to recording directly to the mixing console. It is present, focused, sparkly, and 'bubbly.' If you follow today's funk scene, you will decipher the inspiration behind the sound from the name of the track.
The sound is designed to be as clean as possible. Because of that, the gain on the pedal is at zero. The level boosts the signal, and it is mimicking a preamp of a mixing console (does no. 1073 reminds you of anything?). The tone control is set at around noon. This setting still scoops mids a little and adds the tiniest bit of sparkly highs. You can push it even further, If desired, to simulate possible EQ moves of a recording engineer, who would be probably adding quite a lot of presence in the mix. All you need then is to play as funky as possible!
So there you have it - the second part of the Guitar plug-in combination blog series. Thanks for reading all the way through, and enjoy your virtual stompbox tweaking! :)
Do you like these sound examples? Did you learn anything new? Let me know by sending me feedback via the feedback form, and have fun with the suggested settings! :) You can also leave us a review of the MultiDrive Pedal Pro plug-in.
Go back to Part 1