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[georgeinar]

I have been tweaking around with Slayer and Trash which has great stompbox type effects for lead and rhythm guitar effects. They sound great sort of, but I can't figure out how to select those effects which will sit well in my song and I end up settling for something safe that doesn't clash with the rest of the music or sound too fuzzy or static-y. I hear such awesome guitar sounds in so many songs. How do they do that? Jonsolo did a good crunchy guitar song in his Stay in the OSAM section. Any tips? Anyone?
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[Pecca]

I would think that for solos with disted guitar you would want some delay effect corresponding to the bpm. Long or short delays would prolly depend on the speed / mood of the song.
Also a bit of reverb that doesn´t decay too long (or if you want it to sound cheesy - looong reverbs).
I´m by no means any kind of expert in this. Just my ear talking

Perhaps if you find a clip of a guitar sound on youtube (or sumthin) that you like would help you a bit faster to find the effects that you seek.

Is this close to solo effects of your choise ? http://www.youtube.com/watch?v=9HIaOwgA7yE
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[georgeinar]

Actually that tone I have been able to do somewhat with the moss guitar on the Triton. My basic problem is figuring out how to use some of the presets that already exist in these pre-made packages and figure out how to choose the effect that works for a given song. It seems that I always end up with something that sounds completely outside the sonic realm of the rest of the instruments. I think I may need to simply take a simple song of mine and try different effects over and over, remastering with them inside the soundscape until I get a better feel for what works and what doesn't. i do feel that I'm a bit nervous about reverb and delay as it sometimes seems out of control, yet when used properly can really fatten up the sound. I think I've made great strides mastering my voice to fit the soundscape of my songs, now I'm going to master these guitar effects. It might help though, to do this experimenting outside a song composition, as when I'm trying to get a song finished I get anxious to finish and don't always try enough angles.
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[JonSolo]

If I can wrap my head around what you are saying here- correct me if I am wrong.

Example-

You've created this track. Great sounds. "Clean" sounds. Everything has it's sonic place in your song. Suddenly this distortion comes from out of nowhere. But not just distortion, lots of high end buzz and noise that has nothing in common with your track: odd and unnatural attack at the beginning of the sound with every note you hit, and then a seemingly endless trail of sustain the never tapers off, but cuts off abruptly leaving almost no emotion any way you play it.

Am I close?

The problem I have found with distortion type of pluggins is that they always include some way out compression to help get the distortion without a lot of gain. We used to get a similar effect with the old solid state Peavey style amps when we would crank the volume to max and drop the gain to almost nothing (or was that vice versa).

Having the Triton Extreme I get a slight edge with the tube and the warmth of it's distortion. But....

I recommend shelving the highs and the lows. Cut off everything above 7-10k, and everything below 300hz. Give yourself a boost around the 1k area.

If you can control the compression of the effect, make the attack delay around 100ms. And give yourself a quick roll off around 300-500ms. And as much as you want it, don't gate the sound after the roll off.

As for the source (the sound) have something with a fairly hard attack, but minimal sound thereafter. This will kick the compressor in and make the sound more realistic. Make sure there are no delays or reverbs prior to the distortion effect as this creates a nasty trail of noise.

If you decide to add chorusing or phasing to the sound, you might want to compress it again, this time with a dynamic compressor so you can target the hz range that is getting modulated. Then you can add reverb, delay or whatever after the fact.

Hope you can make heads or tails of what I said. I tend to do it better than I can explain it. Sorry.

Jon
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[georgeinar]

Thank you Jonsolo, I'll maybe print that out and dive in the next chance I get. I think I should maybe take a silly demo thing that's simple, and do maybe 3 or 4 guitar tracks off the TrStudio using different types, like clean electric, lead guitar etc and then try pumping each one thru these effects to see what happens to them. Because when they're just isolated by themselves they can have an interesting sound, but then when I brng them back into the mix it's like coming from another planet. Also, the opposite happens where the presets they supply sound horrible right out of the box so I don't even attempt them in my piece, where maybe with the right tweaking it could work. I have to learn Trash better. It's from the Izotope folks who make Ozone 3 which I love for mastering. I've fairly gotten that one to work, and I just recently got trash. The nice thing with trash is that you can actually set parameters or bands by frequence and apply or not for each band you've defined. So I think you can distort just certain bands if you want and leave like the low end dry or something like that. I think your suggestions may help. Let's see if anyone else can help here. Maybe Stephen has some ideas too. He does so much real guitar picking. I'm sure he has some tricks up his sleeve.
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[Stephen]

Jon pretty much has the right ideas, but since I use real guitar, I'm not really gonna be very helpful here.
Like Jon said, hi, and low shelving is something that I started doing a long time ago, but as for suggestions, hmmm.
I plug my guitar into my V-Amp 2, using the compression setting, a little reverb, and the British Hi Gain Amp model. I get the tone I like on that setting, then vary the EQ, and distortion level, next I feed the output of the V-Amp into a TubePre, then once I have recorded the track, I add a subtle (usually) delay, and run it through the Boost 11 limiter.
That's for soloing, and playing melody lines, distortion varies, but that Amp setting gives me a bit, and I usually push the TubePre quite a bit, so the tube distortion factors in.
Rhythm, I do directly into the mixer, completely dry, then add what I need once the track is recorded, which is usually a little compression, and some verb.
Hope this helps.

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[Lorenzo]

I didn't read the whole answers... and maybe this one can be OT but useful... many rythmic guitar track out there are recorded 2 times and panned, not the same track doubled and panned, but 2 real tracks recorded in different moment but with same notes and rythm.
This produce a great stereo and chorus effects.
Another way to achieve something similar is to record the guitar only once, double the track and move the second track start a few ms from the first one. You can apply different effects to the two... there are a lot of experiments you can do... but the base is always a dobuble guitar track panned L/R.
Regards, Lorenzo
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[georgeinar]

Some great suggestions here already. I think I'll do some experimenting this weekend not on a real song but just some chords and rhythms and see how i can manipulate the TS synth sounds using some of these ideas and see how it fits in with the other tracks.
_________________
George Nelson is 2loose
http://www.cdbaby.com/artist/2loose for my cds
http://www.soundclick.com/2loose or follow my tweets = 2loose_buzzgoth (twitter name)