Mighty To Save - Hillsong

javajunkie said:
Here it is:

Mighty to Save Nigels part

Some notes:

For got to finish the wah in front. It works fine (auto-engage on that) but just stock settings other than autoengage and dampening. That is there in case you only have one guitarist and have to do the wah part. Plus you need it for the solo.

I would turn off wah 2 (the filter sound) for the choruses. Fulldrive is there for drive in to chorus, bridge, and solo
Middle position on my LP, sounded best w/ neck on strat.

Delay maybe a bit strong. I always set it a bit hot because our room just sucks up echos. Both delays set to tap tempo.

I hope that gets you close.
Click to expand...
WHOOOOHOOO! Thanks Java... I've been trying to get on here to check all day. First time I've got on. I shall try this tonight! Thank you so much. I have a stereo rig by the way (our PA is in stereo).
 
I finally got my set up going with the Ultra and the LFP. I am trying to get a patch on Mighty to Save to play in worship for next Sunday.

I tried to download the one sent but it save it as an html file and will not let me change it.

I currently have a patch set up but am having problems adjusting the delays. I am using two.

Can anyone help me?
 
When playing Hillsong stuff, I initially went with the AC30 but have since switched to the Trainwreck with the 2x12 Tweed. I run everything at 12 o'clock except sag (9 o'clock) and master (1 o'clock). It's my go to patch for Hosanna as well. The wonderful thing about the Trainwreck is that I can find the right amount of dirt by rolling off the volume and varying my pick attack.

Hope this helps!

-AL
 
marsodude said:
I finally got my set up going with the Ultra and the LFP. I am trying to get a patch on Mighty to Save to play in worship for next Sunday.

I tried to download the one sent but it save it as an html file and will not let me change it.

I currently have a patch set up but am having problems adjusting the delays. I am using two.

Can anyone help me?
Click to expand...

right click save as. The patch on much older firmware. it will need adjustment.
I can upload a newer version
 
Yep, tried the right click thing...didn't work.

I would appreciate a newer version...just having problem adjusting the timing on the delays.

Thanks! This thing is the BOMB!
 
Not to revive an old thread, but seeing this pop up recently had me revisit some settings for this song in particular, and the thread can be a little confusing. So, I'm summing up my findings. When you watch the Mighty to Save DVD, he explains the delay settings a bit more on the song "Higher" (which uses the same delays as MTS). I think even when he's explaining, its a bit confusing, as he mentions the 1/4 note delay, plays something, then mentions the 1/4 triplet, and plays something else. I believe they are reversed in his explanation (probably due to his using a GCX/Ground Control Pro). Regardless, you can nail the delays with the AXE-FX.

My signal chain is as follows (blocks in the AXE-FX Grid).

Guitar -> AXE-FX -> VOL -> WAH1 -> DRV1 -> DRV2 -> AMP(s) -> CAB -> Reverb -> DLY1 -> DLY2

The song is played at 74 BPM. Nigel's tempo is set to 100BPM for the delays. Nigel uses two delays. Delay 1 is a 1/4 note digital delay (I use a mono delay block 1/4 note w/ 24% feedback). Delay 2 is 1/4 analog triplet in series to the first (I use another mono delay block 1/4 trip with some highcut and feedback around 30%). With the two delays setup like that, you get the "gallop" effect he using, and it sounds really cool. The 'analog' triplet repeats have slighty less bite, and the 1/4 ones really "pop out". So, its not a wall of total repeats, and its not muddied up with dotted eighths (which is easy to do when trying to copy this type of setup).

Has anyone actually started writing a book on how to use delays? Sure, the Edge has mastered it, but he spent alot of time developing his style. Is there a school for these from MIT, GIT, etc? LOL. "Reverse engineering" whats on a record is a real challenge.

I'm not gonna share much on amp/drive settings, but with BB-Pre, FullOD, and Boutique1 on 9.0+ firmware, you can get in the ballpark pretty easily. I actually use two amp blocks (Boutique1 and Buttery), as I like them combined (personal preference which actually sounds alot like the Dr Z).

I'm sure Sean Strickland has more detailed specifics, but the 1/4 triplet was throwing me off, so I went on my quest and wanted to share my findings.
 
Remnant said:
Not to revive an old thread, but seeing this pop up recently had me revisit some settings for this song in particular, and the thread can be a little confusing. So, I'm summing up my findings. When you watch the Mighty to Save DVD, he explains the delay settings a bit more on the song "Higher" (which uses the same delays as MTS). I think even when he's explaining, its a bit confusing, as he mentions the 1/4 note delay, plays something, then mentions the 1/4 triplet, and plays something else. I believe they are reversed in his explanation (probably due to his using a GCX/Ground Control Pro). Regardless, you can nail the delays with the AXE-FX.

My signal chain is as follows (blocks in the AXE-FX Grid).

Guitar -> AXE-FX -> VOL -> WAH1 -> DRV1 -> DRV2 -> AMP(s) -> CAB -> Reverb -> DLY1 -> DLY2

The song is played at 74 BPM. Nigel's tempo is set to 100BPM for the delays. Nigel uses two delays. Delay 1 is a 1/4 note digital delay (I use a mono delay block 1/4 note w/ 24% feedback). Delay 2 is 1/4 analog triplet in series to the first (I use another mono delay block 1/4 trip with some highcut and feedback around 30%). With the two delays setup like that, you get the "gallop" effect he using, and it sounds really cool. The 'analog' triplet repeats have slighty less bite, and the 1/4 ones really "pop out". So, its not a wall of total repeats, and its not muddied up with dotted eighths (which is easy to do when trying to copy this type of setup).

Has anyone actually started writing a book on how to use delays? Sure, the Edge has mastered it, but he spent alot of time developing his style. Is there a school for these from MIT, GIT, etc? LOL. "Reverse engineering" whats on a record is a real challenge.

I'm not gonna share much on amp/drive settings, but with BB-Pre, FullOD, and Boutique1 on 9.0+ firmware, you can get in the ballpark pretty easily. I actually use two amp blocks (Boutique1 and Buttery), as I like them combined (personal preference which actually sounds alot like the Dr Z).

I'm sure Sean Strickland has more detailed specifics, but the 1/4 triplet was throwing me off, so I went on my quest and wanted to share my findings.
Click to expand...

IT IS NOT A TRIPLET DELAY it is a .8th delay (yours may work because you actually have the tempo set different from the tempo of the song - that doesn't work very well for tap tempo though) . He called it that (I've seen the video many times and it thru me off for a long time) but I think he misspoke. Listen to my clip above - compare it his video (2:39 on this youtube video http://www.youtube.com/watch?v=yUTpv2yKxsk) where he does the quick hit and lets the delay ring out, that is the galloping delay. I started off using Nigel's explanation and it just didn't work (others found the same thing). My patch above gets the same galloping delay he has using a 1/8 note analog type delay with a .8th in PARALLEL each delay goes. You can then just tap in the tempo of the song the drummer clicks off and go.


Go back and listen to that video again (I just did). What he calls a 1/4 analog delay is doing 1/8th notes (or 1/4 notes at double the tempo). He also states the triplet delay is stereo (it really is .8th). The funny thing is he says its "kind of like" a 1/4 delay and "kind of like" a stereo triplet delay :D
I believe he was using a Boss DM-2 for an analog delay which doesn't even have tap ability any way :).


BTW, I have since found you can nail this delay on the Axe-fx w/ just the stereo delay. I'll see if I can remember the day setting I used on the stereo delays.

Attached is the routing I have been using
 

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voes said:
why don't you use a dual delay. one side 1/4, 1/8 dot on the other side?
Click to expand...

it would be 1/8th, and .8th. Because I didn't want the filter on both. But It can be done w/ the dual or stereo delay
 
javajunkie said:
What he calls a 1/4 analog delay is doing 1/8th notes (or 1/4 notes at double the tempo). He also states the triplet delay is stereo (it really is .8th). The funny thing is he says its "kind of like" a 1/4 delay and "kind of like" a stereo triplet delay :D
I believe he was using a Boss DM-2 for an analog delay which doesn't even have tap ability any way :).

BTW, I have since found you can nail this delay on the Axe-fx w/ just the stereo delay. I'll see if I can remember the day setting I used on the stereo delays.
Click to expand...

+1
I've been using parallel 8th/.8th delays for MTS for quite some time because it was the only configuration that sounded like the recording to me. Nigel's instructions had me scratching my head for some time as well, but eventually I figured that using triplet-note delays for playing a part comprised of 8th and 16th notes in 4/4 just didn't make sense. The delays would be rhythmically out of phase for two thirds of the notes, and the effect would be noticeable.

Perhaps the Hillsong guys call it a triplet delay because the .8th delay (U2) style lends itself so characteristically to playing melodic patterns of 3, like the intro riff to MTS. Just a theory?

Regardless, this delay pattern is one of my favorites, and sounds great with a lot of other .8th songs. Try it with Hosanna!

Cheers,
-Mike
 
michaelconnor said:
javajunkie said:
What he calls a 1/4 analog delay is doing 1/8th notes (or 1/4 notes at double the tempo). He also states the triplet delay is stereo (it really is .8th). The funny thing is he says its "kind of like" a 1/4 delay and "kind of like" a stereo triplet delay :D
I believe he was using a Boss DM-2 for an analog delay which doesn't even have tap ability any way :).

BTW, I have since found you can nail this delay on the Axe-fx w/ just the stereo delay. I'll see if I can remember the day setting I used on the stereo delays.
Click to expand...

+1
I've been using parallel 8th/.8th delays for MTS for quite some time because it was the only configuration that sounded like the recording to me. Nigel's instructions had me scratching my head for some time as well, but eventually I figured that using triplet-note delays for playing a part comprised of 8th and 16th notes in 4/4 just didn't make sense. The delays would be rhythmically out of phase for two thirds of the notes, and the effect would be noticeable.

Perhaps the Hillsong guys call it a triplet delay because the .8th delay (U2) style lends itself so characteristically to playing melodic patterns of 3, like the intro riff to MTS. Just a theory?

Regardless, this delay pattern is one of my favorites, and sounds great with a lot of other .8th songs. Try it with Hosanna!



Cheers,
-Mike
Click to expand...

Yep, I use it for that as well.
 
I was looking for that Hosanna tone. Don't have a Gretsch, though. I'll see what my Variax has to say about that. :lol:

So, is that MightyVerse patch correct now, Sean? Like, it has two wah's.
I don't have the recording on CD, so I'm making do with youtubes to get anywhere near.
 
Dutch said:
I was looking for that Hosanna tone. Don't have a Gretsch, though. I'll see what my Variax has to say about that. :lol:

So, is that MightyVerse patch correct now, Sean? Like, it has two wah's.
I don't have the recording on CD, so I'm making do with youtubes to get anywhere near.
Click to expand...

If I remember correctly one is for the solo, one if for a filter (cocked wah in the intro). I hated it though. I play it w/o the intro wah (I never could get to sound right - I think the gretch and the filter play a big role together).

The patch I use uses red wirez and I've changed the amps around a number of times. That will get you in the ballpark. I have it set for tap tempo so you will need to adjust the tempo.
 
It did. I turned down the treble a bit and some other tweaks. I sort of pieced together that the second wah was for another song. Not completely familiar with all of Hillsongs repertoire.

Those Hendroff 'tubes got me gassing for one of those blue flake Duesenbergs, though. My collection could use a Gretsch flavoured specimen. :lol:

Thanks!
 
dmbandtimmy said:
Hey Java, can you upload your updated patch please! :D
Click to expand...


I am redoing all my patches right now. I am doing tomlin stuff right now, then hillsong.

I'll get something that translates but I am in patch reduction mode. I am going to be trying to fit as many songs as I can into as few patches as possible. This means I will be using my Eventide eclipse for some of the effects. Also, I use the Vox Ac30 REdwirez IRs for most of this stuff.

Regardless, When I get to that patch, I'll make a normal one.
 
Here is an updated mighty to save patch.

This is for a les paul w/p90son the neck r . I use middle (intro verse) and bridge (chorus) position. Wah I use only for the solo section. This is for the 2nd guitar, just Nigel's part (intro - chorus - solo).
I took out the cocked wah thing he said he does. I don't think he does that live anyway. Turn drive on for chorus, drive,wah, and filter for solo.

Tone is optimized for chord voicings in the 7th position, not open position chords.

I use a roland EV-5 for wah control so you will probably have to adjust that for taste. It is set to external 2.
 

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