Overdrive everything: overdrive, distortion, fuzz


#24

I mean, I think you’ll like it a lot. Denis has done a fantastic job with everything he’s done.

I’ll see if I can put together a little demo. it may have to wait for a bit until my norns shows up.


#25

overdrive everything is definitely a method I can get behind! hardware wise I have a russian big muff that I love, particularly because of how easy it is to modify. running it at the very end of a pedal chain, or piping the main output of my euro system through it is a ton of fun. in addition to the muff, I’ve modified just about every pedal I own to have some sort of distortion or feedback loop.

if I need to make a mixdown a bit more interesting, I’ll track it down to tape really hot - not enough to make it a mess, but just enough that some distortion occurs, and that nice tape compression comes into play. my 4track does this a bit better than my 1/4" machine. if I want to make things just abjectly terrible, I’ll track everything onto the lowest-quality cassette I can find, running on my trusty phillips shoebox recorder with mic input.

I don’t really use software distortion all that often (I can’t justify it with so much tape staring me in the face), but I recently discovered the tanh~ object in max and it’s easily the nicest sounding overdrive I’ve ever heard from software. I still have a soft spot for degrade~ though.


#26

Oooh… how’s that power starve knob? I’ve got a Bass Muff that I really dig because of the blend knob (plus bass guitar is my “real” instrument :P), but a power starve mod sounds pretty fun.


#27

it’s really cool! great if you want to take some of the high end away! it’s an easy mod on my russian muff, just wire a potentiometer in line with the red (positive) wire coming from the power jack.


#28

@PacificNorthWes, I had a brief moment and threw together a demo. it is not exhaustive by any stretch of the imagination.

focused on the distortion generator models and played with the drive, hi-cut filter, and level settings (as well as the mix balance). settings were tuned to taste given the input signal. input signal is an arpeggio from the vermona perfourmer with a touch of reverb from bam before it hits the boum. I employed no compression at all except at the very end.

order is dry signal -> boost distortion -> dry -> tube distortion -> dry -> fuzz distortion -> dry -> square distortion -> dry -> boost + compression + more reverb + some changes to the perfourmer to make things interesting

like the rest of the oto boxes, the boum really encourages hands-on adjustment and the hi-cut filter really adds to that play-ability. boost and tube distortions sound entirely lovely. fuzz is nice, but not necessarily something I’ll go to often. square sounds like something better suited for percussion.


#29

Wow! Thank you so much, that was amazing! Glad I finally got to hear the models. They all sound like they have pretty distinctive tones (I mean, lots of variety) and nice big sweet spots. I could imagine using all of them at different times.

That Perfourmer also sounded pretty sweet. I actually hadn’t even heard of those before, but I dug it!


#30

i’m probably going to invest in a boum if they are still around when i have money. for now tho i just run my mixer into vcv rack and put it through unfiltered audio’s saturation module before it goes to a recording module. it works well for recording but the small amount of latency is still annoying. i’m really glad the boum is finally out, it sounds great!


#31

Yeah, I’ve been doing similar things with some VSTs in Ableton, but I’d like to be able to have similar sounds when I play out without a laptop. Maybe I just need some sort of tiny device that does flexible audio processing. :wink:


#32

Can mic preamps be used as general signal processors?
If so, how would the Pro MPA2 compare to Analog Heat & Boum?
https://www.soundonsound.com/reviews/art-pro-mpa2


#33

Sherman Filterbank in its new compact guise.

Although demos may not show, this wild animal can be tamed to show a more subtle side which adds a special vibe in tone and dynamics shaping scenarios… coupled with multitude control parameters and connectivity options its a tool for life provided ur willing to dive in and learn how to use its idiosyncrasies.

But ya got a boum on the way too.


#34

Sherman filterbank; Vermona retroverb drive; intellijel jellysquasher; any mixer pushed to the red. Kenny’s Death is also an obscene pedal great for more extreme processing. Hard to say isn’t it. Such a subjective thing, distortion.


#35

Those all look rad, but they’re all mono and I like mixing in stereo and want something to put at the very end of my signal chain. Hence the Analog Heat and Boum coming up.

I got excited about that Vermona! Seems like a cool unit.


#36

everything they make is pretty excellent


#37

Vermona + Sherman Filterbank is a killer setup + 1000 for that (I used it on a loootttt of songs, but the filterbank wasn’t mine and the guy moved at some point so now it’s just the Vermona + other stuff, but the filterbank was incredible.) In fact, I managed very often to create fantastic sounds just using the Sherman Filterbank on some bland, very generic or a bit too “clean” sounding things, it’s an incredible piece of hardware, not easy to tame though, but incredible.


#38

How you guys see the difference or maybe even similarities in emulations of tape saturation vs filter resonance?

Having yesterday run some drums through 3 sisters and dialing for sweet spots that dont sound too much like filter. And i am gassing over the strymon deco. Back when i was into actually recording i was a big tape geek. I do love The sound and i wonder how much of these dsps are actually 80-90% archiveable with a complex Filter lile 3s


#39

Not tried this yet but seems promising https://youtu.be/FOpUvnXJ-ug


#40

Haha yeah. For drums its cute.
@Galapagoose‘s mention of the inspiration for Rip being DIYRE made me stumble over the Eurorack Version of colour Palette. I dig the concept and Debating right now. But it really adds up when one wants the better colours with Cinemags and stuff.

But ive seen similar cables with transformers in the middle made to be connected to speakers. Maybe i should get a pair and see what happens. Not really after grundgy distortion tho


#41

Just put the whole mixer thru a second mixer and clip the channels


#42

Having no mixer and no plans to get into recording again… or i will end up like in the past living between big consoles, reel recorders and spacexpanders and yucca palms…black arc style…

Or should i :slight_smile:

I am investigating UTC A-21 right now.

Btw does someone know. Can i use almost any transformer, be it 1:1 or 1:4 in a passive wiring arrangement?

It should be easy to connect the out to any passive attenuator


#43

Answering myself 3 Sisters with all its crazy sweet spots can give a lot of saturating drive! And here the melodically less usefull easy distortion comes in quite handy.

My transformer gas went down to get sth old big and nice for fun instead of getting a damn collectors Triad/Utc.