Is there any brutal metal song without guitars?! Would there be any idea about heavy metal without distorted and aggressive guitars at all?! Here you can find how to get that most important part sound f***ing awesome and ass-kicking!

Peavy 6505 Sample

For preparing the next recording session I have done a quick sound test with the 6505. The signal chain was as followed:

ESP Horizon (SH-13) -> OD 808 -> 6505 -> Mesa 4x12 -> SM 57 -> Duet 2

No Eq, no post processing… nothing at all. Enjoy!


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Peavey 5150 / 6505 Settings + Samples

The Peavey 6505 / 5150 is one of the most famous amps for metal. That aggressive monster can be heard on many of the most famous metal releases from the last 20 years including Machine Head, Trivium, Bullet For My Valentine, Chimaira, etc.

Many different settings can be found out there in different forums and different hints for recording this amp. I collected some of the most frequently cited settings and made a comprehensive comparison of it. One thing that all approaches have in common is the use of a Tube Screamer and a cabinet with Celestion Vintag 30 speakers. Altogether I selected settings from the following artists:

  • Andy Sneap
  • Ola Englund
  • Killswitch Engange
  • Machine Head
  • Bring me the Horizon

All details of these settings can be downloaded here: 6505/5150-Setting.pdf

Additionally I have used each of these settings for reamping the DI’s provided by Ola Englund that can be found  here (Thanx for that Ola! Really great work!). For each setting I used the following Signal Chain:

Duet2 -> Radial X-Amp -> OD 808 -> 6505 -> Engl 4x12 -> SM57 -> Duet2

NOTE that I changed the mic position during the reamping to get a better impression of the sound of the setting. Due to the moving of the mic you might hear some changes in the sound of the guitar sample. For every sample I started with a mic position straight to the dust cap of the V30, so that each sample should have a very similar starting point of the mic position.

For the backing-track I used EZDrummer with the Metal Machine EZX recorded by Andy Sneap without any changes in the default setting! The bass was processed with Ampeq SVX and some EQ and Compressors.


Backing Track:


Andy Sneap Setting:


Ola Englund Setting:


Killswitch Engange Setting:


Machine Head Setting:


Bring Me The Horizon Setting:


Each of the guitar tracks is recorded with a 60hz hi pass and a 12kHz low pass filter. There are no effects in the master bus and the drum track.

Hope you have fun trying these settings in your next recording session and perhaps it will make your work and decisions for the next session a bit more easier!

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Line6 POD Metal Preset

Unforunately I was very busy in the last time and was not able to write new posts. But now I have taken some time to provide a really badass preset for your recordings. I have done it on the basis of this post here. Enjoy!

Here you can listen to the preset in a typical mix (4 gtr tracks; panned L – L 80 – R 80 – R) and processed with UAD Cambridge and UAD Pultec (see pictures below)




Download the Preset here



(You need the Metal Shop AddOn and a compatible Line6 device; I’m using a POD XT; Song snippet is from a song called warchild from my band Kohatred)

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G12K-100 vs. V30

I’ve done a short comparison between these two speakers. The V 30 sits in a Engl Pro 412 and the G12K in a Diezel Custom 412 Cabinet. Mic was a SM57 and the amp an Dieze Herbert in channel 2 with Mid-Cut enabled. Here is the signal chain:

Guitar -> OD808 -> Diezel Herbert -> V30 o. G12K -> SM57

Engl 412 Pro with Celestion Vintage 30



Diezel 412 Custom with Celestion G12K-100



Diezel Herbert Settings

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SH-4 vs. EMG 81

Here you can hear a quick comparison of these two pickups. The Seymour Duncan SH-4 is in an ESP Horizon Custom and the EMG 81 in a Mayones Regius. The signal chain for this test was:

Guitar -> OD808 -> Engl Powerball -> Engl 412 Pro -> SM57

Mic Position 1:



[audio:|titles=EMG 81]


Mic Position 2:

[audio:|titles=EMG 81_2]



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Fredman Micing

Today I did some tests for the recording of our new release and I tried the Fredman-Micing-Technique. The basic idea of this technique is to use two dynamic mics in front of one speaker. One of it on-axis and the other one off-axis. The on-axis mic should deliver the raw and scratchy sound, while the off-axis mic offers a more creamy sound. The combination of these two charachters should offer a real good comination of both worlds. I usually use 2 x SM 57 for Fredman-Micing and set the on-axis mic about 6db lower than the off-axis. For this example I used the Diezel Herbert with an Engl 412 loaded with V30 and quadtracked the guitars. All in all this results in 8 guitar tracks: 2 L – 2 L60 – 2 R60 – 2R.Here are the results:


DI track:

[audio:|titles=FredmanMicing - DI track]


In the first test the on-axis mic pointed directly at the center of the dust cap:

Guitars Fredman 1:

[audio:|titles=FredmanMicing - Position1_Guitars]


Mix Fredman 1:

[audio:|titles=FredmanMicing - Position1_Mix]


In the second test the on-axis mic pointed to the point where the dust cap meets the diaphragm

Guitars Fredman 2:

[audio:|titles=FredmanMicing - Position2_Guitars]


Mix Fredman 2:

[audio:|titles=FredmanMicing - Position2_Mix]


(Don’t judge my playing; it was only done for getting an impression of the sound!)


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Mic Placement for Metal Guitar Recording

I’ve done a short video where you can hear and see the influence of the microphone position when micing an amp. I used an SM57 with three different angles: on-axis, half-off-axis and off-axis. Then I moved the mic before the speaker, so that you can hear how the mic placement influences the sound. The signal chain for this video was the following:

Regius 6 -> OD808 -> Herbert -> Diezel 412FK -> SM57

The settings of the OD808 are: Overdrive 9:00; Tone 12:00; Balance 12:00. All knobs of the Herbert are at noon (except the volume :) . Note that the cabinet is front-loaded with Celestion G12K100. Hope you like it…


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Re-amping Guitar and Bass Tracks

Re-amping is a recording technique that allows you to dial in every possible sound after you have recorded your tracks. The trick of this process is to record the dry signal coming from your guitar or bass. This source signal can be routed back from your DAW to every possible amp and mic combination you like. So you are able to set the right sound for your mix after you have recorded a tight track. It is also possible to send the source tracks to a professional recording studio and get the sound of your favorite setup.

Usually you can divide the signal route into two sections, that can be successively recorded. In the input chain you record the source signal from your Guitar. It is important that you route the signal coming from your guitar or bass through a DI-Box. But it is also possible to use an instrument input of your recording device. The input chain looks something like that:

Guitar/Bass -> DI -> DAW

Theoretical this small setup is enough for recording you guitar or bass tracks and send them to a re-amping studio to get the desired sound. The problem with this setup is, that it is no fun to record your guitar without any amp. The simplest way to overcome this problem is to use an amp modeller in your DAW (like Revalver, Amplitube or GuitarRig) to get a reasonably sound during the recording process. The other way is to route the source signal to one of the free outputs of your recording interface and through a re-amp box (e.g. this one or a reversed passive DI-Box; that converts the low-impedance signal to a high impedance signal) back in your guitar amp and record it with a mic. This output chain looks like this:

DAW -> Re-amp Box -> Amp -> Mic -> DAW

Usually this routing is also used in a professional re-amping studio to get the right sound from your source signals. Another thing that is really cool on this setup is, that you can dial in the right mic position an experiment with different amps and setups without playing. So you are able to concentrate on the sound!


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