Sovtek Big Muff settings, anyone?

chrisjnyc said:
Can you share the patch? I would bet the amp and cab would be a major factor too.
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I'm far away from my axe right now and will be till sunday, anyway I usually use hiwatt jumped model with pretty stock settings (I just tweak a bit the parameters on the speaker page) and taf starfound cab.
It should sound good with any clean amp though, the trick is to find the right amount of output level on the muff to push the amp input stage: too low and it will sound farty/grainy, too high and it will be only mud.
 
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I always thought my Eleven Rack (which also incorporates a variable impedance input) did fuzz boxes better than my Axe-FX II =(
 
benvigil said:
Didn't know it had variable impedance.
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Its a great box. I always say that if they let people load their own impulse IR's instead of using the stock cab IR's it would still hold its own today. Its a shame that its basically been abandoned by Avid.
 
sumitagarwal said:
Its a great box. I always say that if they let people load their own impulse IR's instead of using the stock cab IR's it would still hold its own today. Its a shame that its basically been abandoned by Avid.
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Not exactly abandoned..
 
DLC86 said:
Not exactly abandoned..
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Holy hell!!! How did I not see this before??!

Not at all surprised to see no mention of variable impedance ("True-Z"). Somewhat surprised that the amp model list looks unchanged compared to before? I would guess that means no improvements to the models as well. Most disappointing, I see nothing about loading your own IR's, which is the one thing they needed to do!!! >=(

UI looks f(*@ing phenomenal, although I'd want dedicated amp control knobs like the AX8 has.

EDIT: Oh, yea can do custom cabs: "A "generous and diverse offering" of amp, cabinet, FX and microphone models is onboard, as well as the ability to load custom impulse response files" http://www.musicradar.com/news/guit...ls-ever-found-in-a-multi-effects-pedal-646698
 
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sumitagarwal said:
Holy hell!!! How did I not see this before??!

Not at all surprised to see no mention of variable impedance ("True-Z"). Somewhat surprised that the amp model list looks unchanged compared to before? I would guess that means no improvements to the models as well. Most disappointing, I see nothing about loading your own IR's, which is the one thing they needed to do!!! >=(

UI looks f(*@ing phenomenal, although I'd want dedicated amp control knobs like the AX8 has.
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It has IR loading and they say they improved the models.. I don't know about other specs though, I think we'll need to wait for a proper review
 
Made an observation while answering another thread, relevant here...

sumitagarwal said:
Note that the auto impedance settings for many effects seem to be wrong, from what I can tell. Amps default to 1M Ohm as expected. Some drives seem correct too (Treble Boost: 70K, Super OD: 230K), but it looks like many of the effects that would depend on it most heavily are incorrectly to 1M Ohm, such as all the fuzz models and all the wah models.
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EDIT: Whoops, I see now that this is an AX8 discussion, maybe not so relevant here...
 
The funny thing about OP question is I actually don’t think David Gilmour uses a big muff to record the studio version of Sorrow, he ran a steinberger into a boss hm-2 and boss delay (forget which one) which was then fed into a super champ, and also combined that with the distortion from a g-k amp.
 
The Delicate Sound of Thunder tones were indeed HM2, and even a Boogie head which he used as a preamp. If I’m honest, they are my favorite versions of his tone. The live album version of Comfortably Numb sounds just amazing, and I think far better than the usual crowd favorite Pulse tones, and I think both are far better than the album tone, with the Rams Head muff and power booster.

Differences between muffs are pretty slight though, touch more mids, slightly different input cap etc

EHX has a new green Russian/civil war muff that has a variable mids control, like the deluxe, so you can easily match most any muff, but you can also do the same with an eq block in the Axe

I use a Buffalo Fx Patriot, which sounds fantastic on its own, but with some parametric eq I can further shape the mids and get a real fully and cutting sound, without too much mud, just like Gilmour does with his EQ pedals

Fun pedals and classics, but there is a lot of hype around certain circuits or builds which is mostly just marketing BS
 
lqdsnddist said:
The Delicate Sound of Thunder tones were indeed HM2, and even a Boogie head which he used as a preamp. If I’m honest, they are my favorite versions of his tone. The live album version of Comfortably Numb sounds just amazing, and I think far better than the usual crowd favorite Pulse tones, and I think both are far better than the album tone, with the Rams Head muff and power booster.

Differences between muffs are pretty slight though, touch more mids, slightly different input cap etc

EHX has a new green Russian/civil war muff that has a variable mids control, like the deluxe, so you can easily match most any muff, but you can also do the same with an eq block in the Axe

I use a Buffalo Fx Patriot, which sounds fantastic on its own, but with some parametric eq I can further shape the mids and get a real fully and cutting sound, without too much mud, just like Gilmour does with his EQ pedals

Fun pedals and classics, but there is a lot of hype around certain circuits or builds which is mostly just marketing BS
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I thought by the time DSOT was actually recorded he had switched back to his more traditional rig, I could be wrong though, I do know he switched from the boogie heads as a distortion sometime during that tour.
 
marc0810 said:
I thought by the time DSOT was actually recorded he had switched back to his more traditional rig, I could be wrong though, I do know he switched from the boogie heads as a distortion sometime during that tour.
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You could be right, I’m not 100% sure, but I know there was a rack mounted Boogie used as a sort of preamp, which I believe came after the Boogie heads, and this was when he had the HM2 but also the Big Muff, so hard to say 100% what gear is what tone. I think the EMG’s were being used at this point too, so that has some affect on the tone too.

Pulse era seems to be where he ditched the hm2 and Boogie and Rams Head and went for the Tube Drivers and the Civil war, and back to the HiWatts, though the classic CE2 and CS2 chorus and comps remained, both a big part of his tone too

Overall though Gilmour always sounds like Gilmour, even with some quite different gear. Rat, HM2, various muffs, still unmistakable tone. I certainly can hear differences and have my preferences, but, at the same time, if he sounds essentially the same with tons of different gear, surely soemthing as simple as if I have the right brand of cap in my Rams Head, or one builders take on the circuit vs another couldn’t have much real world bearing on my playing.
 
The consensus about fuzz models seems to be the same as I've experienced.

What about fuzz pedals in front? How does the AX8 take those?
 
marc0810 said:
The funny thing about OP question is I actually don’t think David Gilmour uses a big muff to record the studio version of Sorrow, he ran a steinberger into a boss hm-2 and boss delay (forget which one) which was then fed into a super champ, and also combined that with the distortion from a g-k amp.
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The recorded version of Sorrow is an EMG Steinberger into a Big Muff (version not known) into a Super Champ which was then played through the Quad PA at LA Forum
 
I received yesterday one the new EHX green russian RI pedals and tried with my AX8: OMG, it's so much superior to the model in the AX8!! I tried to match it with the AX8 and I wasn't able to, every time I kicked the pedal it just sounded better. Not the first it happens to me, to try an analog drive in front of the AX8 and ended frustrated with the drive block.
 
I do t think anyone is throwing in the towel, the Axe can do lots of really cool fuzz tones, but, there are also some fuzz tones that can’t readily be emulated, or at least in a manner that behaves like their real world counterparts.

Simply can’t get authentic fuzz face style cleanup with the volume knob and passive pickups using a buffered modeler input anymore than you can behind a wireless

You can get the tone, but rolling the volume from 10 to 9 simply doesn’t have the same effect with a virtual fuzz, while on a Sunface that small change can go from raging fuzz to bright and spanking clean

Just depends what your needs and goals are, some stuff requires a real pedal, other stuff can sound really good with a model
 
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