does anyone know the best way to recreate that synth sound in FL Studio? also another one...is that synth sound in "with you" something similar?
You can see it in the Meeting of ATS. Mike is with Joe and Joe is picking up the needle on different string sounds to audition them for Mike. The final sound is just a string sample with him hitting the crossfader to cut the sound in and out while messing with the pitch control.
Can anyone tell me how they created such a clean and crisp sounding guitar in No More Sorrow (besides the ebow part)? As in what effects, plugins, pedals, recording techniques, etc. that they used. I'm sorry it's such a vague and strange question, considering that none of us were there when they recorded it, but I'm trying to achieve a sound similar to that for a song that I'm writing currently.
There's a synth used in "Guilty All The Same" and in "A Line In The Sand", that I think are the same. In GATS, it starts during Rakim's verse around 3:40 while in ALITS it starts at 2:00. It's sounds like a raindrop with effects or some sonar noise. My question isn't how they're made, but instead if they are the same sample. If they are, it's interesting to point out.
i think these sounds are guitars with a heavy delay and a little distortion. If you listen to GATS stems you'll here the sound on the guitar track
You need a good signal chain from beginning to end. Truly your gear has to be up to task. 1. Guitar. You need a good guitar. It all starts here. I'm talking a mid range above $400 guitar that is setup right 2. Good pedals. This is very subjective. For distortion I love a nodded DS-1 or a Walrus Audio pedal. Of course there's an Ebow on No More Sorrow. 3. Good amp. This is a huge factor. It is subjective but some amps are clearly better than others. I prefer a cranked Vox AC30. 4. Good cables. Don't skimp and get cheap cables. It hurts your tone. A good chain overall will minimize him. Recording. Most modern rock is close mic'd. The mic is right up on the amp speaker cone. There may be a noise gate that cuts the signal when it goes below a certain threshold. This makes parts sound cleaner and it's how Mike can skiing the guitar over his back live without crazy feedback. Compression to keep the volume nice and controlled. Delay and reverb to taste either on the peak board or in the program. The overall take probably had some time correction in Pro Tools. Guitar is usually double tracked except for leads and solos (rock guideline, not a rule). And something that cannot be overstated: You must be a good guitar player. All the her on the world won't save you if your technique isn't up to par. Having recorded some albums, it's just about quality gear from start to finish with a close mic'd amp that gives you that upfront guitar sound.
They aren't. The one in GATS is some kind of synth sample, the one in ALITS is a palm-muted guitar strumming a harmonic note. A bunch of the stuff in the "guitar" stem in GATS isn't actually guitar. Those stems are only split into 4 tracks, there are WAY more than 4 tracks in the song.
Question for Astat, or anyone else that might know. What part does Joe play during faint (not the mpc triggered harmonics during the bridge)? I was thinking it may have been an emphasised open hi-hat sample like the faint demo, but I'm really not sure.
Glad I could help. Auto correct wreaked havoc on my post haha Edit: and thank you for confirming my suspicions that it's a palm muted harmonic line on ALITS, Astat! I feel like there just needs to be list of all the songs with s list of the sounds next to them lol
During the choruses, Joe plays this single-note repeating synth stab thing at a half note rhythm - "DUNNNNN...DUNNNNN...DUNNNNN..." etc. is the best way I can describe it.
i could be wrong but i remember reading on tv tropes that the spoken parts in high voltage are late turntablist Roc Raida speaking.
At the very beginning of Somewhere I Belong, it sounds like a distorted sample of a flock of birds flapping away. Lol probably not though also, I love the sound in Breaking the Habit at 1:14. No idea what it is...vwompf! oh and if anyone can tell me what drum parts were used for the outro to wastelands/intro to UIG that would be great.
There's a free VST I discovered earlier today that makes a similar, if not, the same sound. It's called "Sonar" by Stereoping. Here's a link - http://www.stereoping.com/downloads/sonar.zip There's only one patch (the Sonar sound), and 2 knobs - one for volume, and one for decay. Pretty awesome if you ask me, I'm in love with this thing. Layout's pretty cool too -
Bump, I guess. I've been eyeing this thread for a while. Meteora: Breaking the Habit pretty much uses the same scratch sample from Points of Authority. If you take the acapella version of H! Vltg3 and pitch-shift the sample of "Comin' at you from every side" up one step, it's pretty much the one in Nobody's Listening. Numb's intro synth is, judging from my reproductions of it, most likely an effected piano. Hybrid Theory: By Myself scratches the "myself" vocals like in the By_Myslf remix, but the scratches are buried in the mix. I haven't seen anyone ever mention this, but the first (I believe it's first, it's the one that's repeated several times) sample from Track 9 on Tasty Gas Station Breaks is the sample that Joe scratches in the intro chorus and bridge of Forgotten. Minutes to Midnight: Just a note here, I believe the bridge of Given Up is the only point in LP's discography where Brad has done a pinch harmonic (the squealy sound). Valentine's Day has some windy-sounding samples, which are actually scratches. Some people believe there's no scratches on this song, so that's why I add this. A Thousand Suns: On The Requiem(/Waiting for the End), that sonar sample sounds a lot like one of the UIG Stagelight samples. Still convinced that When They Come for Me's opening synth is heavily-effected and octaved power chords, because my guitar with a whammy pedal can produce a sound very close to it. Living Things: Lies Greed Misery has a phaser effect on the opening synth (which is probably some organish sample) Most of these are completely unconfirmed, so I'd like to hear some input on my interpretations.
It actually is the same scratch sample. There's a point on the Road to Revolution DVD where the camera zooms in on Joe's laptop screen and you can see the titles of a bunch of his scratch samples. The one for POA and BTH is the same file. They probably did a time stretch effect on it to get it to match the faster tempo on Nobody's Listening, the sped-up voice would have just been a side effect (your options for time/pitch effects were pretty limited in 2002/2003, you pretty much couldn't do one without the other). There are a couple of them in some of the solos on THP, although they're kind of "accidental-sounding." That could very well be the case. A lot of the synth-y effects found in songs from ATS onwards were created with a guitar and an EHX HOG pedal. Sometimes it's pretty obvious when it's a guitar, sometimes it isn't. It's hard to say for sure though, the stuff that ends up being played on guitar for live performances is a given, but that's by no means all-inclusive when it comes to how sounds were made in the studio.
Could you give me the song where this occurs, or the proximity of it? I haven't watched the Road to Revolution video very often, nor paid much attention to it. I've just run my keyboard playing a stock Charang Lead preset through a distortion pedal, and it also sounds extremely similar to that synth. So it could really go either way. Good catch. I haven't yet gotten to Nobody's Listening in my song covers, so I haven't had time to play with the sample more than some pitch-shifting and scratching. Also, listening to Numb, and there's a part in the intro (when the entire band kicks in) on the "Additional Instruments" track of the multitrack that has a sound that's very very similar to the siren from APFMH. Seeing as though most things on that track are either scratches or additional drums, I'd consider the possibility of the siren being the sample Joe scratches on that song.