Mr. Scary - Tone Match

BBN

BBN

Fractal Fanatic
First tone match post....

When I created the TM, I was in standard tuning.
When I tracked this audio clip, I was tuned flat.....so for comparison purposes, I dropped the original track down a half step as well.

I'm no George Lynch....or even remotely close.....so be gentle on my playing!


Quick clip of the compare (George is first obviously, and me right after that)
Scary Compare by user5889770 on SoundCloud - Create, record and share your sounds for free

I did the TM and added a delay to the patch.....I spent only seconds dialing the delay, so I'm sure it could be tweaked to be much closer.
I did zero eq'ing after I did the TM to try and get it closer to the original...(so again, I'm sure you can tweak to get it even closer).


****NOTE*****
If you download the patch, you can delete or disable the cab block at the end of the chain.
That cab block (on my Axe) is the FBT Verve Flattening IR.
I have that in the patch for when I'm playing through my Verve.
That cab block was NOT enabled when I tracked that clip.
I should have deleted that cab block before I uploaded that patch (will upload a version later with that block deleted).
 

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Hey, when you did the second part of the recording, is that one guitar recorded or two? (sounds like two guitars)
 
Mr. Scary

Tone sounds good....but it sounds like Lynch has an Octaver on. Add that and I think you will even be closer!!!
 
claxor said:
Hey, when you did the second part of the recording, is that one guitar recorded or two? (sounds like two guitars)
Click to expand...

Two tracks.
Just did that to thicken it up a bit.
I'm sure a better delay setting and that Mutron Octave divider would thicken it up a bit so that the double track isn't necessary.
Thanks for the tip on that claxor.
 
EXCELLENT!

copycat.jpg
 
tlingen said:
Your TM example sounds great! What custom cab did you use in your patch?
Click to expand...

Oh damn, I should have deleted that cab.

The cab at the end of my chain is the FBT Verve "flattening IR".
When I tracked that clip, that cab block was NOT on.

It's in there because I 'turn on' that cab block when I'm playing through my Verve.
I should probably delete that cab and re-upload.

Thanks for pointing that out.
 
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cragginshred said:
The pre set did not work for me -silent. Any one else get it to work?
Click to expand...

Could be one of two things.
One - I mistakingly left my cab block at the end of the patch (which is my Verve IR Flattener). I should have deleted that before uploading. Just delete the cab block and you may be fine. The cab block was NOT engaged when I tracked the clip.

If that doesn't work:
Open the TM Block on the Axe and hit 'Enter' again.
I have had issues (much like others on the board) with patches suddently going silent when using the TM block. Usually 're-matching' using the Enter button in the TM block, brings back the sound.

Let me know if that doesn't work.
 
BBN said:
Two tracks.
Just did that to thicken it up a bit.
I'm sure a better delay setting and that Mutron Octave divider would thicken it up a bit so that the double track isn't necessary.
Thanks for the tip on that claxor.
Click to expand...

Actually, Lynch only uses the octave divider in the beginning before the band kicks in. In the studio version, the octave divider is then turned off with the band. He does double tracking from that moment onward. This is my favorite instrumental of all time. (clearly) ;)
 
claxor said:
Actually, Lynch only uses the octave divider in the beginning before the band kicks in. In the studio version, the octave divider is then turned off with the band. He does double tracking from that moment onward. This is my favorite instrumental of all time. (clearly) ;)
Click to expand...

I love to hack through this intro at almost every sound check. Killer instrumental.

Any tips for creating the Mutron Octave Divider??
 
"Mr. Scary" Tone-Match...Well done Jay!

BBN said:
First tone match post....

I'm no George Lynch....or even remotely close.....so be gentle on my playing!
Click to expand...

Hey Jay, what's up?!? Great job here, and don't be so negative about your playing bro!?! You sound excellent here (as usual!)

BBN said:
Quick clip of the compare (George is first obviously, and me right after that)
Scary Compare by user5889770 on SoundCloud - Create, record and share your sounds for free

I did the TM and added a delay to the patch.....I spent only seconds dialing the delay, so I'm sure it could be tweaked to be much closer.
I did zero eq'ing after I did the TM to try and get it closer to the original...(so again, I'm sure you can tweak to get it even closer).
Click to expand...

Jay, I have NOT tried the Tone-Match yet (I've been working on core-tones/presets for various gigs/bands,) but I am looking forward to messing around with it, and I'm sure it'll be a lot of fun if nothing else - LOL!

As far as Tone-Matching philosophy in general goes I think it gets back to what I keep saying about comparing (or in this case Tone-Matching) a studio-mastered recording to a preset in one's system...If that's the sound people are looking for (as in studio-finished/mixed & mastered) then that's cool! However, I just keep wondering if it's ultimately more effective ("in-the-studio/recording" for example) to try to "bypass" the entire mixing & mastering process for a guitar-tone by tone-matching it to a studio mixed & mastered recording, or if it would be a better end-result if we just tried to get a killer dry/raw-tone, and then give it similar mixdown & mastering treatment that these iconic recordings got? BTW, I am NOT preaching or even sharing an opinion...I'm sort of questioning out-loud, as I really don't know what will/would work best?!? I DO have a feeling that: A lot of people who are tone-matching soloed-guitar tracks (intros, breakdowns, etc.) are probably overlooking the fact that the mixed & mastered tones they are matching, were mixed & mastered specifically BASED on the accompanying tracks (other instruments) as well as what the producer (and in some cases) the player themselves wanted to hear for a sound. Since NONE of us will ever be using our sounds with the EXACT SAME accompanying players and their gear, and subsequently their recorded-tracks, then the context of our Tone-Matching efforts might be (most likely will be!) COMPLETELY DIFFERENT! BTW, THAT'S OK too, but I just think that some users need to "reel-in" their expectations since the Axe-FX II user not only has different fingers/hands/ears/hearts/minds than the musician whom they are "matching," but we "Tone-Matchers" need to realize that these tones were mixed/blended with other musician's tones whom we'll never (likely) play along with...Sorry if it seems as if I am over-analyzing the process, but I just wonder if users have thought of these variants?

Now as far as your specific "Mr. Scary" Tone-Match goes, again, I thought you played very well my friend! Seriously! To me, your tone seemed much more "modern." (I.E: The low-end & low-mids seemed bigger, although I thought the upper-mids and treble seemed a lot closer EQ-wise.) Also, Lynch's guitar seemed like it was in a fairly large-environment (Large-Room/Small-Hall maybe?) whereas yours was more "in-your-face." BTW, I know (since you said so!) that you didn't spend a lot of time trying to "post-match" your tone, which is good to know, since it gives us inexperienced "Tone-Matchers" an approximate idea of what to expect!

Well done...Now I gotta go look at your preset/patch now!

Bill
 
Hey Bill,
Great questions above! So I'll share my opinion on the practical use of Tone Matching.
Tone Matches I've done with a finished product (like Mr. Scary)....they don't translate "great" if I try to use them live. But they seem to record very well.
Tone Matches I've done with a raw guitar track....are more 'usable' in a live setting.
And I think it's for the exact reasons you mentioned above.
TM's done to a raw guitar track (to me) are more dry/raw and in your face....which seems to give me greater ability to then tweak to my liking.
I find the TM really fun to play with though. Just cool to be able to get a Dimebag tone in seconds....but when I play that through a loud FRFR, it's sizzle city.
That Mr. Scary patch translates "ok"....but I feel I can get a 'cleaner' high gain tone by just using the regular Amp Sims. (again...just my opinion)

Scott Peterson made a comment when 6.0 was still in Beta, that I very much agree with.
(I'm paraphrasing here...) - 'V6 Sims sound so good, that I really don't need Tone Matching'

I have been able to dial in killer patches that are exactly what I'm looking for, without using Tone Matching....so I just dial my presets from scratch (for gigging).
I'll say the one exception is the Framus Cobra TM that was posted here....I use that every once in a while because it's got something on the low end that I just really like. :)

That Axe just has so many amazing options now, it's hard to even think that anyone can't get a tone they love out of this box!
 
The Lynch Mob Rules...

BBN said:
Hey Bill,
Great questions above! So I'll share my opinion on the practical use of Tone Matching.
Tone Matches I've done with a finished product (like Mr. Scary)....they don't translate "great" if I try to use them live. But they seem to record very well.
Tone Matches I've done with a raw guitar track....are more 'usable' in a live setting.
And I think it's for the exact reasons you mentioned above.
TM's done to a raw guitar track (to me) are more dry/raw and in your face....which seems to give me greater ability to then tweak to my liking.
I find the TM really fun to play with though. Just cool to be able to get a Dimebag tone in seconds....but when I play that through a loud FRFR, it's sizzle city.
That Mr. Scary patch translates "ok"....but I feel I can get a 'cleaner' high gain tone by just using the regular Amp Sims. (again...just my opinion)

Scott Peterson made a comment when 6.0 was still in Beta, that I very much agree with.
(I'm paraphrasing here...) - 'V6 Sims sound so good, that I really don't need Tone Matching'

I have been able to dial in killer patches that are exactly what I'm looking for, without using Tone Matching....so I just dial my presets from scratch (for gigging).
I'll say the one exception is the Framus Cobra TM that was posted here....I use that every once in a while because it's got something on the low end that I just really like. :)

That Axe just has so many amazing options now, it's hard to even think that anyone can't get a tone they love out of this box!
Click to expand...

Hi Jay,

I just looked at your preset/patch from the "Mr. Scary" Tone-Match, and I noticed that you used the Brit JVM amp. I like that amp-model a lot, but I was wondering if you tried other amps first, and then decided that the Brit JVM sounded the best, or if you picked the Brit JVM and just went with that right away (without trying other amp-models?) I am only asking, because now that I know you used the Brit JVM, that "robust low-end/low-mid" thing I was hearing earlier (IMHO) is definitely a characteristic of that amp-model...It's got "lots-o-bottom" (I noticed that the Tone-Match block ditched a bunch of "lows" in the amp-block too..and I was still hearing a healthy amount!) Anyways, I was thinking about the George Lynch sound, and I think that either the Friedman Brown-Eye or the Cameron Channel-1 would be great candidates to do a "Mr. Scary" Tone-Match (since they both sort of do that "Midrangey-Plexi-on-Steroids/Late-80's Heavy-Rock" really well!) (Just my two cents!) Anyways, what you did came out very good, but if you ever feel compelled to give it one more try, do me a favor and apply the "Brown-Eye" or the "Cameron Ch-1" as your "ballpark/reference" amp-model!

(...Who knows, you might've already tried these amps, so I'm just guessing here!)

TTYS,

Bill
 
billmeedog said:
Hi Jay,

I just looked at your preset/patch from the "Mr. Scary" Tone-Match, and I noticed that you used the Brit JVM amp. I like that amp-model a lot, but I was wondering if you tried other amps first, and then decided that the Brit JVM sounded the best, or if you picked the Brit JVM and just went with that right away (without trying other amp-models?) I am only asking, because now that I know you used the Brit JVM, that "robust low-end/low-mid" thing I was hearing earlier (IMHO) is definitely a characteristic of that amp-model...It's got "lots-o-bottom" (I noticed that the Tone-Match block ditched a bunch of "lows" in the amp-block too..and I was still hearing a healthy amount!) Anyways, I was thinking about the George Lynch sound, and I think that either the Friedman Brown-Eye or the Cameron Channel-1 would be great candidates to do a "Mr. Scary" Tone-Match (since they both sort of do that "Midrangey-Plexi-on-Steroids/Late-80's Heavy-Rock" really well!) (Just my two cents!) Anyways, what you did came out very good, but if you ever feel compelled to give it one more try, do me a favor and apply the "Brown-Eye" or the "Cameron Ch-1" as your "ballpark/reference" amp-model!

(...Who knows, you might've already tried these amps, so I'm just guessing here!)

TTYS,

Bill
Click to expand...

Another good question.
Well, the way this came about....I was messing with the Brit JVM model and for some reason I started playing Dokken riffs (as I just had a long car ride with "Back for the Attack"). And I thought - hmmm....let me pump the Mr. Scary track into my Axe and try out the TM functionality. And there you have it.
I will definitely give this a try with the BE or HBE !!
 
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