Chef's Rebell Yell

Thank you guys, you're all too nice! As I said before - enjoy the patches and soon there'll be plenty more where that came from! :twisted

:-O

Very nice. Sounds excellent. All the energy is there. I've always loved the juxtaposition of the almost ADD-like guitars and Idol's almost Valium-like calm in his vocal lines. Just makes it all more better.

Anyhow, yea, this is top freakin' notch man. I enjoyed every second of that. Solo was killer. Synth sound after the solo in the break down section was wicked.

Question for you: for the recording, did you have the exact tempo for the click track or did you just kind of free form at the beginning there?

Thanks! I had a blast making these patches and recording the song. I just copied the drumbeat 4 bars and played on top of that, then removed it. I tone matched the original later in Logic.

Wow ! Outstanding job!

About the only criticism I can offer is the two note synth thing in the verses seems to end a little abruptly. Perhaps add some reverb or something to let it tail out more naturally.

Well, now I haven't played this song through headphones since I don't have any good pair. But in my monitors, a couple of US made V8's, it's just what I was going for. In the original recording - it's about the same. They actually did this quite a lot in the 80s - blending different "spaces" and reverbs. Kinda makes the mix interesting. But details come out really well in head phones and I could make some adjustments to it sounds really off unnaturally weird.

Amazing!! That is spot on! Totally agree with everything being said. The guitar solo was great, the synth sounds are awesome and the total song smoked!

Thanks a ton, Groovenut! You're the man!

Nice.
And what a beautiful tyler! (Not a big fan of the burning water/vomit finishes).

Thanks! The top is a AAAA grade tiger stripe maple. It has a thinner and faster neck than the Tyler's made today.

Me neither. But IMHO looks are always secondary. If the guitar is good, I don't care what color or finish it has.

Excellent tones and performance. How do you do the ray gun sound in the solo? Is it in the patch for the solo and how it could be activated?

The ray gun sounds are edited in the recording since playing the solo was, on its own, a challenge - at times I am hanging on for dear life... :lol But if you want to use the solo patch live you can attach the mixer channels to one controller switch on your foot controller unit. Set the mixers channel slide controllers to work opposite of each other, i e when the guitar sound is feeding the amp, the ray gun is quiet and vice versa. This way you can kick in the ray gun when you want and bypass your guitar sound. It's very easy...

Just as an aside, I went to high school with Steve in the mid-70s, when he was just Steve Schneider. He was hot for my sister at the time. *LOL* I was in the school band at the time and every year we would sponsor a rock concert to raise dough. I worked the lights one year when his band played - they did a very credible version of Roundabout. I was a major Yes freak at the time and the chick who was singing needed me to feed her the lyrics during the performance, as she was having problems remembering them. Ah, the good old days!

Sounds like fun times. Ha ha, great! Do you have any pictures, concerts, yearbooks and stuff you wouldn't mind posting? It's always interesting to see how people looked in their school days. Yes, Yes are great. As a matter of fact I'm working on a cover of "Owner of a Lonely Heart". That'll sure generate some patches - let me tell you... But I will post that in few weeks maybe. Thanks!

That's not a Variax. Looks like a Studio Elite.

Yes, that's right. This is a 1991 James Tyler Studio Elite. It has a mamywoo body, maple top and neck. Really resonant body, slim neck and super hot output pickups. The electronics are all toggle switches, which makes it cover a lot of different pickup combinations and tones. It sure lives up to its name, Studio Elite: Really versatile guitars. Highly recommended!
 
Jeez Chef, you just ain't a chef but a mad scientist!!!! I almost threw this one on your radar after you did such an amazing job with the Flesh for Fantasy tone but no matter cause you read my mind and that of any other Idol/Stevens fan. Thank you for the insane amount of work that went into that. My band has been playing this song and I can't wait to try out your tones with it brotha.

I could never get the synth to work well for me. It always would go crazy if I didn't hit the note just right. I also could not do the vibrato or it would attempt to go to another pitch. I guess I can analyze your patch when I have some time but if you care to educate us here that would be cool too.

You da man!
 
Jeez Chef, you just ain't a chef but a mad scientist!!!! I almost threw this one on your radar after you did such an amazing job with the Flesh for Fantasy tone but no matter cause you read my mind and that of any other Idol/Stevens fan. Thank you for the insane amount of work that went into that. My band has been playing this song and I can't wait to try out your tones with it brotha.

I could never get the synth to work well for me. It always would go crazy if I didn't hit the note just right. I also could not do the vibrato or it would attempt to go to another pitch. I guess I can analyze your patch when I have some time but if you care to educate us here that would be cool too.

You da man!

80s Man (!!), I had you in mind all the time while making these patches. The mantra was "WW80sMD?": What Would 80s Man Dig? Seriously, it's stuff like this that make sharing patches and recordings so much fun. Thank you! :twisted

There are numerous ways to create vibrato effects when you have the synth sound down. You can for instance set a chorus block to 100% and set a controller pedal to change the depth at will. It is better to do this post-synth-block. Also thinking like a keyboard player will help you out a tremendous amount. They only press the keys and use separate tools for controlling the sound; pitch, vibrato etc. Think like that. Experiment with your controller pedals. Assign multiple stuff to the same pedal etc.

The Synth Lead patch, here's the lowdown:

  • Compressor, set to almost infinity. I basically want the note to ring for ever.
  • Drive, set pretty dirty. The synth needs a pretty dirty signal to not flip out all the time. It also helps to narrow the frequencies down to just the mids.
  • Gate, this prevents the floppy aliasing of the synth block. Basically it's not getting any half strong signal from the input. You only allow the synth to get strong signals. Key here is setting a sidechain to input 1. This enables you to have the gate react to your dry guitar tone, and not the signal feeding it through compression and drive.
  • Synth blocks, set to 5 oscillators and a noise generator. I set the osc's to Square - that tone is instantly recognizable on the album ("that's a square lead"). I also set the osc's to different octaves and tuned them a bit different. This makes the sound much richer fuller.
  • Drive, the synth blocks are then fed into the Tape Saturator in the Drive block. I basically use this as an exciter, since the axe has no exciter block yet. The "tape sat" introduces non harmonic overtones and makes the tone much richer.
  • Flange and Chorus, to create some movement and richness.
  • Delay and Reverb, for space.
  • Multipressor, this is the oven - it bakes the cake.

And that's the recipe for a swedish synth soup... :D
 
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80s Man (!!), I had you in mind all the time while making these patches. The mantra was "WW80sMD?": What Would 80s Man Dig? ;) Seriously, it's stuff like this that make sharing patches and recordings so much fun. Thank you! :twisted

There are numerous ways to create vibrato effects when you have the synth sound down. You can for instance set a chorus block to 100% and set a controller pedal to change the depth at will. It is better to do this post-synth-block. Also thinking like a keyboard player will help you out a tremendous amount. They only press the keys and use separate tools for controlling the sound; pitch, vibrato etc. Think like that. Experiment with your controller pedals. Assign multiple stuff to the same pedal etc.

The Synth Lead patch, here's the lowdown:

  • Compressor, set to almost infinity. I basically want the note to ring for ever.
  • Drive, set pretty dirty. The synth needs a pretty dirty signal to not flip out all the time. It also helps to narrow the frequencies down to just the mids.
  • Gate, this prevents the floppy aliasing of the synth block. Basically it's not getting any half strong signal from the input. You only allow the synth to get strong signals. Key here is setting a sidechain to input 1. This enables you to have the gate react to your dry guitar tone, and not the signal feeding it through compression and drive.
  • Synth blocks, set to 5 oscillators and a noise generator. I set the osc's to Square - that tone is instantly recognizable on the album ("that's a square lead"). I also set the osc's to different octaves and tuned them a bit different. This makes the sound much richer fuller.
  • Drive, the synth blocks are then fed into the Tape Saturator in the Drive block. I basically use this as an exciter, since the axe has no exciter block yet. The "tape sat" introduces non harmonic overtones and makes the tone much richer.
  • Flange and Chorus, to create some movement and richness.
  • Delay and Reverb, for space.
  • Multipressor, this is the oven - it bakes the cake.

And that's the recipe for swedish synth lead soup... :D

Truly masterpieces both in presentation and execution Chef, thanks again and thanks for keeping me in mind. The tone threads for a time went through a period of mostly heavy tones but it is so nice to see talented patch tweakers like you, Simeon, Groovenut, Java and others attempting these iconic and often overlooked tones.

Thanks so much for the detailed explanation with which as usual you went above and beyond.

If I didn't have leave for a gig tomorrow at 7am I would fire these up now but too much to do before the show. We're playing at the Georgetown University Homecoming in Washington DC for 2000 screaming (and drunk) kids. Should be fun.
 
Just made a new solo patch for this song. Old one was a bit raunchy and harsh - not very Steve Stevensy. I also wanted to redo the solo since the take I did for the first mix was a bit off. This patch is smoother and has more "schmo". I used the cab which Fremen recommended a few days back. It's called "Guitar Hack This One V30", you'll need it for this patch. I have used this cab quite extensively lately. It absolutely kills for high gainy stuff and sits really well in a mix. Great recording cab. So, thank you, Fremen - I salute you!

New solo mix:


Patch and cab below. I have the cab loaded in slot #20.
 
You're welcome ;) I wanted to try your presets today, but couldn't load them as I'm still on V7 (can't live without Axe edit :p )
 
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