Sounds

Alberta is quite unique; she makes your guitar sing.
She provides instant access to the kind of warm overdrive and emotive distortion usually reserved for 30-year-old tube amps. Alberta delivers a creamy, yet crunchy sound with a smooth mid-range boost, reminiscent of the old Ibanez TS-808.

Recorded with a Neumann U87 into a Great River Electronics MP-2NV and Coles 4038, into a Chandler TG2, and finally a Lynx Aurora 16 AD Converter

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Here’s a clip of the MXR Distortion + effects pedal in all of its ugly yellow glory. I recorded this when I was 16 with a ‘93 Stratocaster and a Behringer GM110.

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TheENERGIZERBUNNY45http://gdata.youtube.com/feeds/api/users/theenergizerbunny45HowtoavsHOW TO: distort your voice with AVS audio editor

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How to use built-in distortion on your guitar amp in this free online instructional video.

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Music from Pokemon Platinum
Plays during the Torn World area
Picture: Mt. Corronet shouded by darkness

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I want to start by saying that youtube has been messing up the audio quality of my last 3 videos. You can hear a lot of background noise, distortion and compression on the lower and higher frequencies. It might not sound any strange to you since you haven’t heard the track in full quality yet but after you listen to the mp3, you’ll know what I mean. The kick totally blasts my speakers in the mp3, while on the uploaded video the beat sounds quite distorted – that’s even in 720p. I’m investigating the reason and hopefully will fix it in time for the next videos. You can always download the mp3s and listen the songs in proper quality. For me it’s a very serious matter since I’m putting a lot of time on this and it’s a shame if it doesn’t come out to your ears as intended.

Now onto the song, I believe this is one of my best remixes ever and I think the reasons can be heard throughout the track. Strong beat, sharp bass and sharper flowing gated pads and leads. I don’t know if this satisfies your needs but for me it’s the definition of progressive house/trance as I was introduced to it in the late 90’s through Global Underground series and DJs such as Sasha, John Digweed, Dave Seaman and more.

Back then, along with a few very good friends, it was our absolute obsession. Our food was trance white label vinyls and our drink the various live mp3s of our beloved DJs. Each of us had at least one belt-driven pair of turntables and a cheap mixer. Getting the pitch and the cross patterns right became our second life; our lists of tracks that would mix well where compiled on a weekly basis.

Some of us were eventually able to DJ here and there and gain some stage experience. Middle-high schools would at times host parties inside their school’s gym – of course with formal approval and without alcoholic drinks. I began when I was younger as a secondary DJ then I became the first. Had to make arrangement for the sound systems, the lighting and of course prepare for my DJ set. No, this was not a cute formal party with balloons. 300-500 teenagers (including me) would dance all night to progressive trance magic. That was my magical – but sadly never satisfying – highschool years.

At that time I was trying to produce this kind of music. Software synthesizers back then would be almost non existent – with the few ones like VAZ requiring many seconds of processing before producing a sound. Hardware synths were out of question – try asking your parents for $2000 when you’re 16. Things have changed a lot since then. Software synthesizers are right on my desktop ready to fire on click.

That very unsatisfying feeling of never being able to produce what I wanted was always over my head when I was making music. These 25 remixes I have done throughout the last few months, with all of you guys supporting me and pushing me, were the last pieces in this large emotional puzzle. This track and its sounds are not random clicks here and there till it sounds right. They are exact stereotypes and memories as they emerge from those intense highschool times. That lead/pad sound at 0:52, I couldn’t even dream about making it back then; the beat/bass compilation at 1:10, there was no chance; 1:38 the voice pad, 1:55 the chord lead, 2:46….

This remix for me is a stereotype dream becoming reality. If you have time and you don’t mind leaving U-Kiss alone for a bit, I would suggest you also give a listen to the instrumental (dub) version as it contains all these feelings in their pure form.

That said, I feel U-Kiss have done a good job this time too and they keep raising in the charts. Once one of them (I don’t know their names well) said his dream is that they will become number 1 on some chart. I wish them that they will achieve this soon.

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Remix MP3: http://www.mediafire.com/?gmuujmjmzyz
Remix Instrumental (Dub) MP3: http://www.mediafire.com/?yzyfz4zzmzy

You can watch the original video here:
http://www.youtube.com/watch?v=grwnZ5HA33Y

Track BPM: 130 orig / 137 rmx

Subtitles are a slightly altered version of the subtitles found in this video: http://www.youtube.com/watch?v=-e26DjycPVY

Enjoy and please visit my blog: http://remix.areiacreations.com

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The Mad Professor Mighty Red Distortion is a high-gain distortion pedal, which was modelled after the 80’s style compressed gain sounds. It is extremely easy (and lot of fun) to play, because its texture is adjusted to give clarity and definition also at heavy distortion.

MRD has that 80’s sound many have longed for but never got before at such low noise levels and versatility. The Presence control was designed to control the upper treble, but not to affect the upper midrange, so that you can get the exact treble you desire. You can master anything from fat warm singing distortion to screaming cutting leads with the MRD’s Presence control.

Available in Australia and New Zealand from http://gearfactory.guitarnoize.com

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www.ProGuitarShop.com-The Seymour Duncan Lava Box was designed to react more like a tube amplifier than an actual distortion pedal. The SFX-05 has exceptional dynamics and harmonic response as well as superior string separation and volume knob response. It truly is like plugging into an overdriven amp! The Lava Box has a large amount of gain for super saturated fun and also a large amount of volume boost so it can double as a clean boost pedal as well. The most unique feature of the Lava Box distortion pedal is the 6 position Rumble selector. This is a bass roll-off contol with cutoff frequencies at: 620Hz, 520Hz, 330Hz, 300Hz, 210Hz, and 160Hz.

The first thing you will notice about the Seymour Duncan SFX-05 is the warmth. It sounds like a great tube amp being pushed too hard. The dynamics are responsive and the low end is tight. Pick lightly and it cleans up, pick hard and it really goes through the roof. The Rumble selector lets you tailor the Lava Box to your guitar. It makes single coils thunderous and humbuckers lean with midrange bliss. Truly a unique pedal the Seymour Duncan SFX05 Lava Box distortion / overdrive pedal is a monster pedal for a monster sound.

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Demonstration of the hermida audio distortion pedal. I’m playing a Tokai Les Paul with high order pickups through the hermida and then a ‘69 dual showman reverb through an open back cab with ev force 12 speakers, sennheiser e609 mics.

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The tuning process for a car’s amplifier is the most important process after installation, and this is done by turning the amplifier down, turning the radio to three-quarters volume, and then turning the amplifier up until it sounds good. Find out how to tune a car amplifier so there isn’t any distortion with help from a car sound system designer in this free video on car audio tips.

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