Hypocrisy/Pain guitarsound FUCKYES

The Unavoidable

jättebög
May 27, 2008
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Umeå, Sweden
So recently I have been studying the production of Peter Tägtgren, mostly his own work. Particularly "Dancing with the dead" "The Arrival" and "Catch 22" (the old one, not the re-release) and I was wondering how the hell he gets that guitar sound. Just listen to the first minute of Don't Count Me Out on the "dancing with.." album and tell me that is not awesome.

I have a friend who recently toured with pain, and he informed me that he is indeed using SansAmps, apperantly the PSA 1. So I asked him if he knew what was used for the guitars on that album, and he said "some sort of pedal SansAmp", a 5150 and another track that was EQd "really wierd".

So does anyone have any additional, more specific, information on what peter uses for his stuff? I'm not looking to copy his sound at all, I am just really curious how he gets that fatass wall of highly distorted guitars, still with perfect clarity and that still cuts through the entire mix like a chainsaw.

Also, co-incidently I will be getting a SansAmp PSA 1.1 in a few months, does anyone here have one? Do you like it? What kind of stuff can you do with it? I am looking for a simple way to line guitars for recording (and possible live use) and I simply don't really like the POD sound. Don't get me wrong, I love what some people do with them but it's not really for me.
 
I have older one - PSA1 (somebody told me that it is better than new 1.1 version and you can have it way cheaper than new one). I like it very much, after hours of experimenting with impulses I must say that I think this unit sounds best WITHOUT impulses, just direct to AD converter. I think for modern "brutal" music with little bit "industrial" feeling is PSA1 really interesting alternative. I can easily recognize it in many top bands´ music (rammstein to name only one), it has its own sound, I don´t using it as an "emulation" of other amps... It is little bit hard to use it, but after you figure out how to use it properly you will see that this box is awesome. The only bad thing about it is IMHO that it has not "infinity" encoders, so you must move a knob a little and then it will work correctly, which is not comfortly.
 
I tell you, this is not awesome, this is just fucking enormous !!
He is currently using ESP with EMG 81 with a Krank (maybe mixed with 5150 or some Mesa Boogie head), he has maybe 2 or 3 tracks in each channels with differents EQs and doing rythm and choruses apart.
The bass sound is awesome too, mixed with that rythm sound, it's like the biggest concrete wall + some keyboards to support this sound.
This man is a great producer ...
 
I knew that he is using the Sansamp too, as well hypocrisy bass player.

I have the sansamp, and let me tell you that i never will sell it or getting rid of it, i love it, is so versatile, as sigfried said, is little hard to use it at first, but once you understand every knob and it characteristics, is really easy.

But im sure he´s using other stuff in studio, and maybe the sansamp with tube poweramp too.
 
can't agree more, love pain/hypocrisy. Hope to catch them alive with a good sound again soon.

I had a sansamp rackmount (predessesor of the psa, but withouth midi), sounded pretty cool going direct.
 
you don't really need it on the psa, it has enough control over the lows with that buzz knob.

can hurt to try it of course
 
never tried it, but would like to. in other hand, yeah the low controls is really nice, you can put a good amount of bass (just passing 12 o´clock) and reduce the buzz knob (but not all) and you have a good tight low end sound.
 
Metal Overload: please could you post some of your favorite settings? (not exact numbers of course, just as you said- low 12 o´clock, buzz 8 o´clock etc.)... If so, thank you very much for inspiration!
 
i think the guitar sound on virus is great. its not something i could ever feel comfortable doing myself, but it is is just so massive and the whole album really takes me somewhere sonically. I think his guitar sounds have always been pretty over the top eq wise especially on records like virus and sons of northern darkness.

I pulled a little inspiration from him on the new order of ennead record i just completed last week, i would say its certainly a unique approach than what i normally do, and due to the ridiculous amounts of blast on the record, i started to understand where he was coming from with that approach (thinking about what he went through with basically chord strumming over blasts) and why he probably steered himself in that direction. Not only for clarity, but just rudeness and a certain artistic quality i find in someone who has balls enough to create a sound like that.

hope that makes sense.

oh and i have no idea what he using for those sounds, haha.
 
Metal Overload: please could you post some of your favorite settings? (not exact numbers of course, just as you said- low 12 o´clock, buzz 8 o´clock etc.)... If so, thank you very much for inspiration!

Of course dude!!

Hope to be clear, here we go:

Preamp (10 o´clock) buzz (10 or 11 o´clock) Punch (cranked!) Crunch (between 3 and 4 o´clock, and sometimes cranked), drive (same as crunch)

Low and High always at 12 o´clock and adjust them depending the gig, cabinet, etc, and level passing 12 o´clock.

you can play a lot with the preamp knob, but it´s noisy passing 12 o´ clock.

This is pretty much the setting i use, but i also use a G-major after it, and add some Eq and Compression.

Im not very good yet with recording and all that but, in a near future i´ll try to post some clips, at least some clips that do justice to it´s sound.
 
Metal Overload: Thank you, I´ll try it! I´m recording only direct to AD converter so I must have volume knob almost on minimum (7-9 o´clock), otherwise clipping occurs. Does this knob affect the sound, or it is simply output volume?