#Wet dry wet guitar rig diagram software

Adjust the input of the Nova with the level control on the line out. The higher the signal the better the fidelity. Run the tc Nova System input and output as high as possible (no boost).

It is needed because the polarity (in this case) needs to switch 180 degrees to keep the wet signal in phase with the dry signal. What is not to common in this setup is the transformer isolated lineout. The effect signal travels as such: VHT Channel A – Line Out Box – tc Nova System – VHT Channel B – Bottom 2×12’s in Xcab.Ĭhannels on the IE4 are changed via midi from the Nova system. Tip: Rewire a stereo 4×12 from Left/Right to Top/Bottom. The dry signal goes: Guitar – IE4 – VHT Channel A – Top 2×12’s in Xcab. The picture below shows a simple 8U rack with some standard issue guitar components – VHT 2/50/2 stereo power amp, Egnater IE4 preamp, and tc Electronics Nova System effect unit all running into an Old Dog 4×12 Xcab. Ultimately, the best advice we can give is to forget the memes and experiment: the Metal Zone is a hugely powerful pedal, and taking the time to carefully tweak the EQ can – with a bit of patience – yield formidable results with just about any guitar rig.Īnd if you’re looking for a more collectable version of the classic design, the grey-on-black MT-2-3A 30th Anniversary Metal Zone (opens in new tab) is available now – but only for the remainder of 2021.Here is a very simple way to get a huge guitar sound with a minimum of components. The result is a pedal that's more in tune with the modern djent crowd, although it still requires careful dialing in. The Custom mode seeks to address this, enhancing the low mids and slightly tightening the bass, reducing rumble and (we think) tightening the Q of the bass control itself. Most users of the original found themselves boosting the bass at least a little, in order to beef up the low mids. S (Standard) mode is the same Metal Zone you love (or hate), while C (Custom) is a new mode aimed at modern metal. Launched in 2018, the Waza Craft Metal Zone adds an additional mode over the original with different EQ. Its powerful, amp-like EQ and huge amount of gain on tap make it a metal monster when used in this way. You can then use the Metal Zone to kick the power section of a decent tube amp into saturation. To use the Metal Zone as a preamp, you plug directly into the effects loop return of a tube amp. From there, you can adjust the EQ on the Metal Zone to your taste, making it a very powerful dirty boost.įinally, Ola Englund's preamp trick is worth a go. He's a fan of flattening the MT-2’s EQ, turning down the gain and using the level control to smash a tube amp into saturation. Kurt Ballou is a man who knows a thing or two about metal tone, first from his band Converge, but also as the owner of God City Studios. This results in some fizz, but it's worth bearing in mind that Neil runs a wet/dry setup, so there's a clean amp to blend into his sound. The main difference is in how he's set the EQ, with the Mid freq at about 10 o'clock, and the Middle at about 11. For his main gain sound, he's using similar settings to our example posted above, but with the treble and bass not quite as dramatically boosted. Simon Neil used to use at least two MT-2s in his Biffy Clyro rig, and reportedly still does. There are any number of ways that other guitarists have used the Metal Zone, but three of our favorite methods come from Biffy Clyro's Simon Neil, Converge's Kurt Ballou and YouTuber Ola Englund. Those settings were an attempt to emulate the guitar sounds on Tool's Aenima, and make for one of the pedal’s best all-purpose distortion tones. Our preferred setting, in fact, uses the high and low band controls as a boost, with a heavy cut in the upper mids.

Now, take some time to really experiment with the EQ, bearing the above points in mind – particularly when using the pedal’s active EQ boosts to overdrive your amp, in conjunction with that highly tweakable midrange. There's more gain than you'll ever need here! We’d advise you start at a very low gain setting, and increase it gradually until you find the sweet spot for your guitar and amp. With that out of the way, let’s get to tone-shaping. Treat it carefully, as it dictates the entire sound of the distortion. As a result, it's better to think of it simply as a single active EQ control, and disregard the idea it's only for shaping mids. Although it's listed as 'Mid freq' on the front panel, it has a very wide range, going from 200Hz all the way to 5kHz.

#Wet dry wet guitar rig diagram software

In fact, the software functions go beyond those of the CAB M, with variable output modes, a stereo reverb and the new Twin. This is why using the mids control to tame problem frequencies makes sense. The new Torpedo Captor X puts the dummy load/attenuator functions of the Captor and the sophisticated speaker and signal-chain software emulation of the CAB M into one compact and surprisingly affordable box. Yes, it kills fizz in the tone, but it also results in a much darker guitar sound, as you lose the upper mids. This explains why simply pulling back the treble control doesn't work. It's a shelving EQ that depends on the settings across the rest of the pedal.