Rush - Limelight Double Tone Match for 12.03

yyz67

yyz67

Fractal Fanatic
EDIT (12/2022): These presets don't sound right with later FWs (e.g. 19, 20, 21). I may redo for FW21 at some point.

EDIT: Will keep links to posts with the latest/greatest preset and TM IR's updated here.

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Original Post:

Continuing the Rush theme... Reworked and re-matched my Limelight preset for 12.03. Matched to the first 40 seconds or so of Alex's iso guitar to my ESP LTD EC-1000 with JB's.

It has two tone matches, one to DRV (Rat) + AMP (Plexi 50) with no cab and another with same DRV+AMP after a CAB (F2#730). The first TM is saved off as an IR (attached) and the second TM is in the TMA block. Both TMs are routed in parallel and panned L/R.

There are variations on the default scene (1) by tweaking some amp parameters to reduce/increase harmonics or increase/reduce depth and presence etc.:

Scene 1: "Default" - original double TM​
Scene 2: "Rounder"- increased cathode follower harmonics which actually rounds out the highs​
Scene 3: "Fatter" - increased depth and reduced sag for more low end immediate punch​
Scene 4: "Rounder + Fatter" - combination of changes in scenes 2 & 3​
Scene 5: "Sparklier" - increased dynamic presence and decreased CF harmonics (adds sparkle)​
Scene 6: "Solo" - rounder+fatter + increased compression + delay + flanger.​
Scene 7: TM w/ no cab panned center​
Scene 8: TM w/ cab panned center​

Cab 2 block: currently uses User 1 #14. Import the IR below to whatever user slot you want and point the first cab in CAB2 to that. If you don't want to load the IR of the second tone match go to the MIX block Ch A and pan Row 3 to center.​

I'm still tweaking the Solo scene. Set delays according to Alex's settings (in video posted below). Don't know what chorus/flanger he's using. Also tough getting that liquid attack and sustain.

If anyone has variations or improvements, feel free to post them to this thread!

A recording of scene 1 with dual TMs (a little sloppy, too lazy to do multiple takes :))
 

Attachments

  • U1.0014_TM Limelight on 12.03 no cab.syx
    10.1 KB · Views: 93
  • Rush Limelight TM - 12.03 - v4.syx
    48.2 KB · Views: 104
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From what i've read, he used a Loft Rackmount flanger. There's a ghosty background almost violin like quality to some of the notes in the delays. I'd LOVE to know how it was done, or could be replicated.
Even though i don't seee the Loft Flanger mentioned here, I've seen it in many other articles

Moving Pictures (studio)

  • Guitars
    • Gibson ES-355 (used on “Tom Sawyer” and on “Witch Hunt”)
    • Gibson Howard Roberts Fusion (used on “Tom Sawyer” lead)
    • Fender Strat black (“YYZ”, “Vital Signs”)
    • Fender Strat red (“The Camera Eye”)
    • Fender Strat white (“Red Barchetta”, Limelight”)
    • Gibson Dove acoustic in Nashville tuning (“The Camera Eye”)
  • Amps
    • Hiwatts
    • Marshall 4140 combo amps (2)
  • Effects:
    • Advanced Audio digital delay (New)
    • Roland digital delays (New)
    • MXR distortion (New)
    • MXR Micro-amp preamp (New)
    • Loft analog delays (New)
    • Maestro parametric filters
    • Roland Space Echo’s (3)
    • Maestro parametric filter
    • Ashley pre-amps for the acoustic guitars.
    • Custom-built effects board
    • Moog Taurus pedals
    • Acoustic guitar stand
    • Fuzz Face distortion
    • Maestro phase
    • Crybaby wah pedal
    • Echoplex
    • Morley Volume/Echo pedal
    • Electro-Harmonix Electric Mistress flanger
    • Boss chorus
 
yyz67 said:
Continuing the Rush theme... Reworked and re-matched my Limelight preset for 12.03. Matched to the first 40 seconds or so of Alex's iso guitar to my ESP LTD EC-1000 with JB's.

It has two tone matches, one to DRV (Rat) + AMP (Plexi 50) with no cab and another with same DRV+AMP after a CAB (F2#730). The first TM is saved off as an IR (attached) and the second TM is in the TMA block. Both TMs are routed in parallel and panned L/R.

There are variations on the default scene (1) by tweaking some amp parameters to reduce/increase harmonics or increase/reduce depth and presence etc.:

Scene 1: "Default" - original double TM​
Scene 2: "Rounder"- increased cathode follower harmonics which actually rounds out the highs​
Scene 3: "Fatter" - increased depth and reduced sag for more low end immediate punch​
Scene 4: "Rounder + Fatter" - combination of changes in scenes 2 & 3​
Scene 5: "Sparklier" - increased dynamic presence and decreased CF harmonics (adds sparkle)​
Scene 6: "Solo" - rounder+fatter + increased compression + delay + flanger.​
Scene 7: TM w/ no cab panned center​
Scene 8: TM w/ cab panned center​

Cab 2 block: currently uses User 1 #14. Import the IR below to whatever user slot you want and point the first cab in CAB2 to that.​


I'm still tweaking the Solo scene. Hard to tell the delay settings and don't know what chorus/flanger he's using. Also tough getting that liquid attack and sustain.

If anyone has variations or improvements, feel free to post them to this thread!
Click to expand...
Sounds like you spent a lot of time on the solo scene. Sounds pretty awesome.
I had trouble with the panning being almost all on one side.
I'm not clear on what cab goes where, cause no matter what there's a pan offset.
 
@PincoTech thanks. Scenes 7-8 should be centered using only one TM each. The other scenes use two TMs panned L / R.

To fix the main scenes, load the IR (U1.0014_TM Limelight on 12.03 no cab) into a user cab of your choice. Then go to CAB 2 block (in row 2) and select it. That will give you the other left side :).

Or go to the Mixer and center Row 3 in all scenes if you don't want to load the IR.
 
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Somehow, I got in contact with Terry Brown and he said the Loft Flanger was the Flanger used on TSOR in the studio. I believe an Electix Mistress was used live.
 
Nice to see Rush getting so much attention!

I looked at your TM preset. It's unusual to use a tonematch to try to change a factory cab into something that matches a recording. I'd like to hear how it sounds for you though, before I come down too firmly on that :)

Looking at the monitor for your match reveals what I am seeing; the high spikes in places where the original signal has almost no energy.

Axe-Edit III 2020-02-27 20-19-14.png

Here's what the reference looks like in comparison:

Axe-Edit III 2020-02-27 20-18-58.png
 
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I came back to post a clip so you can HEAR what I thought was SEEING.

The first pass thru in this clip is of your preset and cab. That high frequency stuff in the right speaker is probably due to what we see in the first plot above.

The second pass thru in this clip is something I just made. It uses two tonematches (left and right, exported as cabs). With my guitar, it has more "kerrang" when that high energy isn't there. Remember, I haven't heard your preset with you and your guitar, so who knows.

I did not use the available iso version of the song for my match because it has too much bleed; I used the intro from the CD, so the reference material is unfortunately quite limited. No double tracking but I did some tricks to widen it (not the enhancer ;-) I also gated the heck out of it like it is on the original recording for some super "smack". Reverb removed in all cases for clarity.
 
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Admin M@ said:
I came back to post a clip so you can HEAR what I thought was SEEING.

The first pass thru in this clip is of your preset and cab. That high frequency stuff in the right speaker is probably due to what we see in the first plot above.

The second pass thru in this clip is something I just made. It uses two tonematches (left and right, exported as cabs). With my guitar, it has more "kerrang" when that high energy isn't there. Remember, I haven't heard your preset with you and your guitar, so who knows.

I did not use the available iso version of the song for my match because it has too much bleed; I used the intro from the CD, so the reference material is unfortunately quite limited. No double tracking but I did some tricks to widen it (not the enhancer ;-) I also gated the heck out of it like it is on the original recording for some super "smack". Reverb removed in all cases for clarity.

Click to expand...


That second clip sounds gooooooood!
 
Thanks @Admin M@. In the preset is a TM without cab and with cab that sound pretty similar but thought I'd do both to get a couple takes on it. I didn't look at the match w/o cab before exporting it, but maybe it looks more like yours.

In this recording, the first clip is TM w/o cab and second with cab (#730). They are close to my ears but I can't hear high stuff too well. Turned off chorus but left compression and reverb.

 
Admin M@ said:
I came back to post a clip so you can HEAR what I thought was SEEING.

The first pass thru in this clip is of your preset and cab. That high frequency stuff in the right speaker is probably due to what we see in the first plot above.

The second pass thru in this clip is something I just made. It uses two tonematches (left and right, exported as cabs). With my guitar, it has more "kerrang" when that high energy isn't there. Remember, I haven't heard your preset with you and your guitar, so who knows.

I did not use the available iso version of the song for my match because it has too much bleed; I used the intro from the CD, so the reference material is unfortunately quite limited. No double tracking but I did some tricks to widen it (not the enhancer ;-) I also gated the heck out of it like it is on the original recording for some super "smack". Reverb removed in all cases for clarity.

Click to expand...

Feel free to make this a factory preset on the FM3 😬
 
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