I just imported the track from the original CD into my work station - WOW - my EQ is way off, it's way too dry, and my vibrato and bends leave much to be desired.
#BOSTON DEBUT ALBUM WALLPAPER HOW TO#
If anybody has an idea on how to "create" a compressor (I have one but have yet to try it) within the AXE-FX other than the standard compressor block I'd love to hear them.
A better IR would probably eliminate that need. One other tip, I used some very high Q notches between 1 and 2kHz that seemed to bring it to life - that's what I meant by "heavily phase notched". I still have a couple of ideas on how I might be able to do this entirely within the AXE-FX itself by creating a compressor using modifiers, but I need time to play around with it some more. Is it possible that he used the compressor section of a "compander" with the release time increased by changing the time constant of the circuit? It's anybody's guess, but I think that's what gave me the idea to try to use a compressor to get that distortion sound and it seems to work! I seem to recall reading an article once where Tom Scholz said he used some "strange equipment" to create the lead tones on the first album, and I think he mentioned one of those pieces of equipment was half of a single ended noise reduction module (compressor/expander) that he modified. I used a Soldano model but other models I tried worked almost as well, but none would put the "hair" on the tone like the compressor would. Everything is AXE but the compressor distortion. After the Sonitus compressor I put the signal through an IR (custom) and a brick wall LPF in the AXE.
I think it might just need a faster release as the attack seems to be very fast.
I guess that would be something to add to my wish list: faster attack and release times on the AXE compressor so it can be "abused" to distort the tone beyond what the amp model does. Waves C1 also does almost the same thing on the fastest attack and release times but the Sonitus seemed to be slightly better at creating the effect. I tried the compressor in the AXE but the release is too slow on the fastest setting, so I had to loop the signal through Sonar and the Sonitus compressor (after the high gain AXE amp model with lots of distortion already present) to get the "hair" effect. The attack and release of the compressor are so fast that they are shorter than the fundamental frequency of the guitar notes and as a result the release starts to increase the gain during the troughs of the waveform and the attack reduces the gain on the next peak, and in doing so this creates a "buzz" or the "hair" that gives it that special character. While eljodon's effort is noteworthy, I think my tone is considerably closer to the original, but it wasn't done entirely within the AXE-FX. By setting the attack and release times to their minimums, it "shreds" the sound and produces a unique distortion that I just can't seem to get any other way. It's the Sonitus compressor that's built into Sonar, also available as a VST plugin. The "special sauce" in the distortion is derived from an outboard digital compressor that's native to Sonar. I've been unable to find a model to date that will create the buzz or "hair" as I like to call it that creates the unique character of the Boston lead tone. I can crank up the gain and it doesn't help. The "hair" or "buzz" that characterizes the tone is not derived from the amp model.
I'll share something here that finally allowed me to get close to the original Boston lead tone (not the Rockman tone but the first album tone).
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