effects pedals and music production @ fuzz-effect-sounds-and-more.com

BOSS Distortion/ DS-1-4A

Since its inception (1978), the DS-1 has remained a popular choice for many guitarists—including virtuosos, such as Joe Satriani and Steve Vai. That said, its distorted sound is hard-clipped (as oppose, to soft-clipped), which translates into an aggressive sonic character—great for creating vintage late-1970s thru 1980s Hard Rock TONES. Incidentally . . I employ this sound processor as a boost effect (i.e. increasing only its volume level), which enhances the sound of my personally-crafted Line 6 amplifier preset : “1972 Marshall Super Lead”. In other words, helping to saturate an already over-driven guitar signal to “perfection”.

Audio engineering techniques employed for the following video :

1.) This musical performance was initially recorded via the Tascam Porta Studio (07 model), which is a vintage analog tape-based stereo 4-track unit. Due to its non-digital nature, such was then possible for me to employ a particular audio engineering technique : Increase the master dB (volume) level to its maximum threshold (beyond +0 dB) without creating unwanted (digitally clipped/ non-harmonic) distortion; thus, having created a sonic illusion of greater liveliness and power for all musical instruments in the mix to share.

Subsequently, the individual volume levels and pan (panorama) adjustments of four audio tracks (stereo “drums” + mono bass + mono guitar) were then mixed in a balanced manner. Otherwise, the overall mix also includes the Sonic Maximizer process, developed by BBE Sound—thus, creating greater clarity and improved stereo imaging. Note : I may later produce an audio re-master of this performance, which would largely focus on having smoothed yet decreased the high-end frequency response.

2.) At this point in the production, I then transferred (re-recorded) the sound mix over to the Korg D888 (digital) 8-track recorder. In so-doing, I had thus digitized the mix as a stereo .wav file (16-bit resolution/ 44.1kHz sample rate). Via the Korg unit’s USB connection, I subsequently transferred the file to PC, so as to take advantage of additional sound processing . .

3.) The next logical step, was to master-engineer the stereo mix. I accomplished this by importing the aforementioned .wav file into the IK Multimedia T-Racks software application. Moreover, I had thus maintained 16-bit/ 44.1 kHz, so as to help preserve the initial sonic integrity of both the recording and mix-engineering stages. The virtual audio process’ incl. modeled vintage tube gear in the following sequential order : multi-band compression & equalization—ultimately, having created a sonic illusion being perceived as louder, smoother, and with greater dimensional depth.

4.) After having master-engineered the final .wav file, I then converted such (“saved as”) into 2 compressed file formats : .mp3 + .wma7 (128 Kbps/ CD quality). That said, .mp3 is used for this website’s audio player section, and .wma7 (incidentally, my favorite sounding file type) is used for my video soundtracks. Both compression types provide a manageable file size for Internet purposes (i.e., converting 30 MB to 3 MB). The software application employed to create the compressed files was that of the aforementioned Vegas Video. The original master-engineered .wav file is saved for archival purposes.

In order of sequence/ guitar signal chain :

* Gibson Les Paul “Custom Jr.” (incl., a Gibson ’57 reissue P.A.F. pickup)
* Ernie Ball 2223 Super Slinky guitar strings (gauges : 009 – 042)
* Mogami Audio Cables
* BOSS DS-1-4A Distortion (set only, as a boost effect)
* BOSS CS-2 Compressor Sustainer (vintage)
* BOSS GE-7 Equalizer
* Line 6 POD HD Pro (v.1)
(personal program preset, based on a ’72 Marshall 50w Super Lead amplifier + ’64 Fender Deluxe Reverb speaker cabinet)

In order of sequence/ bass guitar signal chain :

* Fender Squire Precision Bass (20th Anniversary Edition)
* Mogami Audio Cables
* Bass guitar was recorded direct—thru a BBE Sound Sonic Maximizer unit—into the aforementioned Tascam Porta 07 Studio

In order of sequence/ “drums” signal chain :

* BOSS DR-660 Dr. Rhythm Drum Machine (vintage)
* Mogami Audio Cables
* Origin Effects Cali76 Limiters (2x orig. units/ stereo pair)
* BOSS GEB-7 Equalizers (2x units/ stereo pair)

Suggested audio playback : High quality professional headphones (i.e., Sony MDR-7506), and a high quality pro audio interface are preferred. This way, the listener will hear the intended results of my music production efforts, inherent within the video presented below.

NOTE : There may be a delay for the video to download from my YouTube channel. Please, wait !

Epilogue :

I hope that what I’ve provided as an essential overview of my personal recording techniques, has helped inspire you to craft your own unique sound mixes. To the average home studio enthusiast, what’s been mentioned herein, must seem rather involved. As you realize by reading this post, such is NOT merely twiddling knobs on effects pedals. Rather . . such is to show how effects pedals enhance music recordings, along with pro-audio gear.

This Website :

The intention of fuzz-effect-sounds-and-more.com is to provide a reference resource; virtually sharing my gear collection, so that readers are made greater-aware of particularly good-sounding (and, in some instances), potentially collectible effects pedals. Otherwise, to also help those whom might benefit from my recording/ engineering techniques. Ultimately, as I continue to build and design this site, I will gradually introduce additional collection-based content—such as blog posts, image galleries, audio, video, and official manufacturer web links for your convenience. The information provided herein, is based upon biased opinion. Please, do your own research.

Ebooks :

Later . . I will offer for sale Part 1 of a series of self-authored eBooks, in relation to fuzz effects pedals; subsequently, also offering additional volumes regarding other effects types—boost, overdrive, distortion, etc—all via my private, independent collection. Moreover, these tomes of tone will include audio examples, color images, (in most cases) close-up circuit views, and generalized spec. information. Otherwise, said eBooks regarding fuzz effects pedals will additionally incl. generalized historical information as well. For details, please read this site’s eBook advertisement page.

THANKS for your interest of fuzz-effect-sounds-and-more.com

– Michael.

Disclaimer of Copyright & Trademark :

Product names, trademarks, and artists’ names (incl. the names of builders and designers) referred to, and/ or depicted herein are the property of their respective owners, which are in NO way associated or affiliated with fuzz-effect-sounds-and-more.com. Said, names and trademarks are used solely to identify products whose sounds were studied during the audio production efforts for this reference resource. The use of said, names and trademarks does NOT imply any cooperation or endorsement. NO copyright, nor trademark infringement intended. Any errors, omissions or variations in the subject-matter details are unintentional.

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