The Sword’s “Freya” sound-alike with Amplitube 3

Alright, here we go. I left in my little count-in on the left at the beginning, because it might help you understand why it’s a bit sloppy on the doubling – I foolishly decided “feh, who needs a metronome when playing metal?” I didn’t want to take the time to whip up a drum track for it because I lack the midi cables I need for the drum controller I got recently, and I’m sick of piano roll drums. So, sorry for the slop. Also, this was just by ear, and I know for a fact the rhythm has a part I’m not playing because a guitar would actually have to be tuned in C in order to play it, and I kept mine in standard. But, anyway, Freya:

And the two patches involved:

1. For the intro and the solo (I didn’t play the solo, but it’ll work there too): Megaupload link

2. For the rhythm part, Megaupload link

What I did here to avoid retuning my guitar is for the intro I used AT3’s pitch shifter. While -4 would make the root of a guitar tuned to standard become fake C, I wanted more control over the dynamics and playing, so I went with -6. That turned the second fret into fake C, and gave me the ability to do vibrato and more easily mute non-played strings. It also helped accomplish some of the “sloppy” sound that the guitarists intentionally go for as part of their sound.

The rhythm part I played without any pitch shifter, because polyphonic pitch shifting sounds worse and worse the lower you take it. By -4, chords bigger than two notes start to sound a little glitchy. So, rather than do that I just stayed in standard and played what my range allowed, using a couple tricks to help get the low sound without actually being tuned really low. Throw a bass under it and it’d sound like I was tuned in C, I think. I might do that later, but I probably won’t.

As for the sound itself, tricks and such aside, I know that The Sword uses Orange amps with distortion pedals. One of them is a EHX Metal Muff. Well, the Metal Muff is based on the Boss Metalzone – different tone shaping stuff and not totally identical, but really close (close enough to be obviously derived from it) so while I’d probably not choose a Metalzone in the physical world, I figured it’d be my best shot at getting as close to the sound as possible in AT3 alone. I spent a lot of time adjusting the pedal and the amp, going back and forth between them until I had the balance that I wanted. The Orange model in AT3 is killer, it has a great sound on its own and the way the controls work makes them very reactive to one another (in a good way). While it’s said that the band uses pedals into Orange amps set clean, I found the closest approximation of the sound came from getting a little bit of grit going on the amp and then hitting it with the pedal. I used mic choices and positioning rather carefully to hit the right spots in the sound that I wanted, and then applied EQ in the rack section using the parametric EQ. For the intro bit I did a rudimentary lowpass with a second Parametric EQ; for the rhythm I made sure the sound would have balls even though it had a lot less gain by using the Tube Compressor.

I didn’t do anything at all in post. I just normalized the tracks, hand-adjusted the levels to match (the doubling meant that the normalization wasn’t 100% even, and I’m a little persnickety about levels), and rendered it out. No effects or compressors, just AT3 doing its thing.

So, there you go, a clip, two patches, and an explanation of what I did. Questions and feedback are, as always, welcome.

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2 Responses to The Sword’s “Freya” sound-alike with Amplitube 3

  1. geareview says:

    Hrm, it works for me? Maybe they goofed but fixed it?

  2. moverdrive says:

    This is great. I’m plowing through tracks with amp sims but hadn’t tried the orange in AT3. I actually tweaked one of the Marshall patches a bit in the recordings I’m doing. Found that the ‘spring reverb’ sounded better than any warm room sound I could apply. Really digging AT3 but will mess around with the Orange sims a bit. Thanks again…

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