- #971
- Publié par
lemg le 23 Fév 2005, 12:06
MORBID ANGEL
Trey Azagthoth
_ BC Rich ironbird
_ Ibanez universe 7 cordes
_ Hamer flying V
_ ampli marshall JCM 900
_ baffle marshall 1960
_ disto pro co rat
_ wah-wah
_ eventide DSP 7500
Un autre truc:
Morbid Angel
Formula's Fatal To The Flesh
Author: Richard Broadhead II
I run a metal guitar site on the internet and one of the most common questions I get asked is how to emulate a certain group's guitar sound. Many times, it's simply a question of figuring out what amplifiers they use, and what guitars they play with. However, some times a group's sound is so unique that amps and guitars will not do the trick to obtain the same sound. One of these such groups is Morbid Angel. Their sound is so unique that as soon as you hear one riff from the guitars or one beat off the drums, you instantly know it's them. The guitar has one of those great energies that pack a lot of power and gain yet sounds crystal clear. So now, lets peak into the secret world of Trey's gear and see how they recorded Formula's Fatal To The Flesh to obtain their classic energy.
Trey has a great line up of guitars that he uses. He's got a Black-Green Ibanez 7-String Universe, and a Red Hamer V that he uses most of the time. However, he's also got a Red BC Rich Ironbird and a Yellow Jackson Thunderbird 4. All his guitars are modified.
He uses the very common Marshall JCM900 100 watt amplifier with 1960's cabinet in stereo. His equalizer settings are set at the following: Gain 10, Treble 4, Middle 5, Bass 7, and Presence 6. He has the very expensive Eventide H3000S and Quadraverb running through the effects loop of the amps. For his rhythm tone he uses Rat Distortion and a Rane Eq. His floor effects include MXR Flanger, MXR Phaser, Analog Delay, and Uni Vibe Chorus.
While recording Formulas Fatal To The Flesh, they used many recording techniques in the studio to obtain their sound. Trey used a variety of combinations of techniques from his Mic-Ing Technologies Inc. Tech. Some of their more famous techniques include Wind Rift, Xposetron Probe E7A, and the Anti-Vacuum Culture.
The Wind Rift is a process of using an industrial size fan between the cabinet and the mic. He used a SM58 mic with a windscreen and had the airflow traveling away from the microphone. Trey did this in the 2nd solo section of "Prayer".
The Xposetron technique uses a metal mixing bowl with a hole cut in the center and a microphone placed there. This creates a sparkling effect in the high frequencies and a complex structure in the sub-harmonics. This technique was used in "Heaving Earth".
Last but not least, there is an Anti-Vacuum Culture Technique which requires an SM58 microphone with a glass bubble placed tightly over it, sealing it, and then placing the structure close to the cabinet's speaker. With this technique you must increase the trim on the board since no external sound waves reach the mic. All it will pick up are the sound waves that vibrate through the glass. Trey, used this technique in the "Nothing Is Not" solo as well as the last solo in "U Mu La Mah Ri"(The Bubbly Bong Hit Solo.)
Thanks to Trey Azagthoth for all his useful information(in between saying "lavalavalavalava" every third word for eight pages!)
