For the first time, I found a clear explanation of how to get the post-punk sound without any "magic secrets". Very straight and didactic. Although I always have used those effects, I never tried the same order of them as you do (and voilà: the emblematic goth sound appeared). Thank you so much for sharing your knowledge with us. You helped me more than you might think. Cheers!
Great Video! The Tone explanations are great. If you would talk shortly also about some riff ideas it would be a perfect round up! Just as an idea for future videos.
I LOVED flander + delay and your passion for post punk atmospheric sound! the chorus is basically what around The Forest (by the Cure) has been build это подписка!
This really great. I add a Dynacomp, which aside from the chorus I find to be the second most important part of this sound. Sounds become more compressed when they're further away, which is exactly what we want for that far away in space and time sound. I'd suggest the best all around amp is Fender black, or silver face, they're thin and sparkly and the mid scoop seems to suit the style. Failing that the next best choices are solid state transistor based amps from the late 70s, JC 120s, Peavys, Vox, Carlsbro and HH are all good choices. Speakers with a bit of an extended high-end and clarity are good, maybe JBLs, Fanes, G12H30 anything with a little bit of clarity. A lot of the amps mentioned had built-in reverb and chorus, and it's not unusual to see flangers and delays stacked on top of chorus, just like you've done. Choice of flanger is a little tricky, since the SAD1024 chip was discontinued it's been hard to find an analog flanger that can actually flange properly, although I've always thought Boss did a great job hacking the BF2 to sound almost as good with a much more limited chip. So the BF2 is good, also the MXR reissue tries very hard and I think is almost as good as the original. In vintage pedals, the MXR, the Carlsbro and the Electric Mistress is my favorite. The latter two a particularly good for metallic frozen flange sounds that you here in PiL and a lot of the more "Death Rock" British bands from the 80s whenever you hear a guitar that sounds like a piece of sheet metal. For rack effects, I like the Ibanez UE405, SPX90, Drawmer DS201, MR140 Spring, Effectron, tape delay, Midiverb I and 2. Delay is as important as reverb, and it's hard to beat a real tape. Also, don't underestimate acoustic guitars, a lot of the jangly numbers just have a bit of acoustic doubled underneath. Pads from a string machine are nice too. Consider building a plate reverb, it'll cost half as much as a Lexicon and you don't have to worry some unobtainium chip will blow up. The outboard gear that was used at live shows was better than you'd think as well. It wasn't unusual to have a Space Echo or two at the mixing desk, and later on cheap digital multi-effects like the SPX90 were everywhere, so some of the more successful bands were able to bring a fair bit of studio magic on the road. For dirt, it doesn't matter so much, but I like the SD-1, or the MXR Distortion Plus, maybe a Rat, although the Rat reminds me of the 90s too much these days. Those solid state amps of the 70s sounded pretty alright pushed into overdrive as well. I favor single coils as well, McGeoch's Yamaha had a coil-split, and I think for the most part you want something with a bit of shrillness to it, the Tele is a great choice. Like I said in the beginning, don't underestimate the power of compression. Magnetic tape adds a lot of compression that makes recordings sound sort of... old, sort of far away, just try recording yourself on a cassette, and even putting aside the wow and flutter there is something else about the compression that makes the recording sound like it's not "in the moment", almost like it was recorded in the past. Dynacomps are pretty good at capturing some of that far-away compression sound. Without any compression the whole thing just sort of sounds like real life, like it's happening right now in your boring old bedroom, it's not as transportative. Also, it helps with all the damn arpeggios.
It definitely adds its own flavor to the tone. Especially if you're playing with a cleanish tone. I personally like the natural dynamics I get which makes the guitar tone sound more raw.
Compression on electric guitar drives me crazy unless it’s funk. Personally though. I’m from Sacramento and grew uo as The Deftones were still playing local clubs and yeah the guitar definitely sounds processed and compressed. Far another band from here that didn’t get the same fame but were as good. Their lead guitarist kinda had a similar thing going on. Almost like that band Helmet. I personally like compression on drums bass and vocals where it’s often essential. But depends. I like a lot of british alternative stuff like The Cure and The Smiths. So I have the Boss Waza chorus but am seeing I need a flanger for sure. You have my dream amp. Generally like older Fender and Voxes but that Bluesbreaker issue is nice. Not the cliche Marshall sound at all.
For modern post-punk I prefer to stack overdrives. Currently I us a Klon clone into a MXR Timmy. Then a Boss Waza Chorus, Boss Flanger, and finally a Boss DD-500 delay that can do dual delays. For amps I use a Fender SuperReverb. Eventually, I will be using a King of Tone from Analogman to replace the stacked OD. I am very close to the end of the waiting list. Examples are on my channel.
My friend, the Root of the second chord of the Spellbound riff is C, and you are playing the open A string as root instead. Nothing wrong with that if that’s just how you like to play it. But it’s one of my all time fav riffs and changing that second chord root REALLY changes the feel, so I couldn’t help myself to point it out 😂 sorry. As for the tone, one thing I could add is that, on studio recordings (as opposed to live sound) the guitars would have much of the Low/Low-Mid either cut or rolled off significantly. That’s the main thing missing from this tone. Try EQ or HP filter, with cutoff set at like 350 hz. Then adjust to taste from there. This will get that spellbound tone closer to the authentic sound.
Thanks. I would have appreciated a more documented video with a little review of the gear used by the several post-punk bands with archive photos and maybe a classification of the most used effects in that music genre. A little analytical and historical work and trying to reproduce a few more specific track's guitar effects and licks. Feedback is always great to improve next videos 🙂
I love my tele too! Had the old guys at the local guitar shop set it up and they said it plays better than the American tele. It's a squier tele, nothing special, but it's special for real!
Many thanks for tthe video, I have a similar effects setup (except Boss Chorus and Line6 DL4 for analogue delay), I've experimented trying to get that classic Goth sound and your video helped with a lot heavy lifting, in order for my to achieve my own tweaks to the classic sound. Incidentially, while I love the Spellbound guitar tone, one of my favourites is 92 degrees played by John Valentine Carruthers. Thanks again Yousif.
Hey Yousif. Thanks for a clear and quick explanation to get a nice basic good tone. If you could do another video maybe on what type of modes or keys are used to write or play Postpunk that would be great. I'm more into Darkwave but they share some elements. You got a subscriber. I hope your channel grows quickly. Thanks again.
Thx you for you vidéo, you have one of the best amp for clean “post punk” (cold wave or dark wave) sound just behind you: Roland Jazz Chorus 😊 it’s perfect with a reverb (strymon bigsky ie), analog delay with modulation capacity (anasound utopia ie) and a flanger/chorus (ehx electric mistress and clones ie), you could turn on the beautiful integrated chorus of the amp for more mod and with that rig you can reach the sound of 99% of “post punk” clean guitar sound 😊
A CE-2(W) and a RAT (+ a delay and chorus), a traditional Tele style guitar, and a VOX AC15C1 is all fairy affordable and will get you in the ballpark.
I think any guitar at any budget can achieve a clean sound. If you struggle, change your amp settings to get less overdrive/gain. Or you can roll down the volume knob until it cleans up.
Squier guitars have come a long way in quality since I started playing like 20 years ago - I've played some Squire models that blow Fender ones out of the water, imo. the J Mascis Signature Squier Jassmaster springs to mind - great feeling neck and pickups have great tone. But to answer your question: yes - it's totally possible to get clean tones out of Fender/Squier guitars - particularly because they tend to use single-coil pickups, which most people prefer for clean tones than humbuckers you'd more commonly find in a guitar like a Gibson Les Paul. both styles of pickups are capable of achieving a clean tone, but single-coil ones typically sound better/brighter. Personally, I run a standard Fender Telecaster stock I bought like 20 years ago for my single-coil tones, and a Fender Jaguar with a DiMarzio Super Distortion humbucker in the bridge and a Gibson 36th Anniversary PAF humbucker in the neck position, and between those two guitars, I can cover a huge range of tones.
I dont know about that amp choice. Solid state was the norm for Cure and Joy Division. Mars used fenders. Also, considering the time, boss pedals were the go to for most. Honestly, if you are going today to go for late 70s / early 80s, give the boss katana a go and you can always put a boss pedal or all of them, in front of the katana.
My goal was mostly to try to get the sound from any amp or basic set up. The differences between amps and pedals are less than what the marketing tries to convince us.
Any amplifier afaik consists of two stages, one that is forming the tone and one that makes everything just louder. The names of these two stages are called preamp and poweramp and you can find both stages isolated on the market. Preamps in pedal format are often called Amp-in-a-Box Pedals, or straight up preamp and can be found by manufacturers like mooer, donner, electro harmonix and some more boutique-like manufacturers like bogner and diezel. The poweramps are often called just that and can be found made by electro harmonix, quilter or seymour duncan (and many others of course). In addition my statement at the beginning that one stage is forming the tone and the other one is just making it louder is a bit misleading. Everything affects the tone, from the way you play, the cables you use and obviously the poweramp can colour your tone as well but in principle my statement is correct.
I would go for the cleanest choice for post-punk. Some band definitely had a dirtier tone. I think it depends on your playing style and you want to go for. But again, I think a Marshall might be more diverse and would work beautifully with other genres.
@yousifzourob9159 I have both, if your pushing the Vox (a 30 or 15) into overdrive it has a distinct sound but will be fine as it is of the era, the JCM 2000 can sound like a 800 kind of, stay away from Ultra gain and use classic gain and you'll be fine on the 2000. If you want Marshall distortion go 2000 it'll be better that pedalling a Vox bit you want a boost or dirt pedal with either anyway ( + obligatory modulation, reverb and delay). If your looking for an amp that does anything up in this sonic territory up to Goth with no pedals you want a Roland jazz Chorus but I prefer the other 2 (or a Fender) plus pedals.
Agreed! I think any clean sound will do with the right playing style. I kind of challenged that by plugging into the marshall rather than the jazz chorus since I have both
I usually go with E standard for postpunk. I am not sure how much each effect costs. I think it is better to check locally in your area or online. None of them are "boutique" or very expensive. You can hopefully find cheaper alternatives.
@@yousifzourob9159 nice im new to guitar so could you explain E standard tuning to me? Thank you for even replying i was ready to wait months for a reply. Some of my fav bands are Asylum party Burning skies of elusium Jack off jill
@@toxiknao8826 no worries! E standard is the standard basic tuning. I wouldn't worry too much about other tunings if you're a beginner. I hope this helps!
Hmm.... well you are wrong about the amps. Most of those bands were using either a Fender or a Music Man or a solid state amp like a HH or Peavey. I don't think any were using Marshalls.
Would have been great if when you turned on the flanger immediately the riff turned into Barracuda. As if it is what the pedal demanded that you play. 😂
![แฉกลโกงงานวัด 2024 [ โกงมั้ยครับ ep.106 ] | DOM](http://i.ytimg.com/vi/taC5dpP3HXA/mqdefault.jpg)
Mannn, all the effects at once sound amazing. Would love to see more videos related to the genre! Great vid!
Thank you!
For the first time, I found a clear explanation of how to get the post-punk sound without any "magic secrets". Very straight and didactic. Although I always have used those effects, I never tried the same order of them as you do (and voilà: the emblematic goth sound appeared).
Thank you so much for sharing your knowledge with us. You helped me more than you might think. Cheers!
Great Video! The Tone explanations are great. If you would talk shortly also about some riff ideas it would be a perfect round up! Just as an idea for future videos.
Good suggestion! I will try to show more examples for each idea/effect I talk about!
I LOVED flander + delay and your passion for post punk atmospheric sound!
the chorus is basically what around The Forest (by the Cure) has been build
это подписка!
This really great. I add a Dynacomp, which aside from the chorus I find to be the second most important part of this sound. Sounds become more compressed when they're further away, which is exactly what we want for that far away in space and time sound.
I'd suggest the best all around amp is Fender black, or silver face, they're thin and sparkly and the mid scoop seems to suit the style. Failing that the next best choices are solid state transistor based amps from the late 70s, JC 120s, Peavys, Vox, Carlsbro and HH are all good choices. Speakers with a bit of an extended high-end and clarity are good, maybe JBLs, Fanes, G12H30 anything with a little bit of clarity.
A lot of the amps mentioned had built-in reverb and chorus, and it's not unusual to see flangers and delays stacked on top of chorus, just like you've done.
Choice of flanger is a little tricky, since the SAD1024 chip was discontinued it's been hard to find an analog flanger that can actually flange properly, although I've always thought Boss did a great job hacking the BF2 to sound almost as good with a much more limited chip. So the BF2 is good, also the MXR reissue tries very hard and I think is almost as good as the original. In vintage pedals, the MXR, the Carlsbro and the Electric Mistress is my favorite. The latter two a particularly good for metallic frozen flange sounds that you here in PiL and a lot of the more "Death Rock" British bands from the 80s whenever you hear a guitar that sounds like a piece of sheet metal.
For rack effects, I like the Ibanez UE405, SPX90, Drawmer DS201, MR140 Spring, Effectron, tape delay, Midiverb I and 2. Delay is as important as reverb, and it's hard to beat a real tape. Also, don't underestimate acoustic guitars, a lot of the jangly numbers just have a bit of acoustic doubled underneath. Pads from a string machine are nice too. Consider building a plate reverb, it'll cost half as much as a Lexicon and you don't have to worry some unobtainium chip will blow up.
The outboard gear that was used at live shows was better than you'd think as well. It wasn't unusual to have a Space Echo or two at the mixing desk, and later on cheap digital multi-effects like the SPX90 were everywhere, so some of the more successful bands were able to bring a fair bit of studio magic on the road.
For dirt, it doesn't matter so much, but I like the SD-1, or the MXR Distortion Plus, maybe a Rat, although the Rat reminds me of the 90s too much these days. Those solid state amps of the 70s sounded pretty alright pushed into overdrive as well.
I favor single coils as well, McGeoch's Yamaha had a coil-split, and I think for the most part you want something with a bit of shrillness to it, the Tele is a great choice.
Like I said in the beginning, don't underestimate the power of compression. Magnetic tape adds a lot of compression that makes recordings sound sort of... old, sort of far away, just try recording yourself on a cassette, and even putting aside the wow and flutter there is something else about the compression that makes the recording sound like it's not "in the moment", almost like it was recorded in the past. Dynacomps are pretty good at capturing some of that far-away compression sound. Without any compression the whole thing just sort of sounds like real life, like it's happening right now in your boring old bedroom, it's not as transportative. Also, it helps with all the damn arpeggios.
It definitely adds its own flavor to the tone. Especially if you're playing with a cleanish tone. I personally like the natural dynamics I get which makes the guitar tone sound more raw.
@@yousifzourob9159 Yeah fair enough, but compression does a lot of other things than just squish dynmanics.
Compression on electric guitar drives me crazy unless it’s funk. Personally though. I’m from Sacramento and grew uo as The Deftones were still playing local clubs and yeah the guitar definitely sounds processed and compressed. Far another band from here that didn’t get the same fame but were as good. Their lead guitarist kinda had a similar thing going on. Almost like that band Helmet. I personally like compression on drums bass and vocals where it’s often essential. But depends. I like a lot of british alternative stuff like The Cure and The Smiths. So I have the Boss Waza chorus but am seeing I need a flanger for sure.
You have my dream amp. Generally like older Fender and Voxes but that Bluesbreaker issue is nice. Not the cliche Marshall sound at all.
For modern post-punk I prefer to stack overdrives. Currently I us a Klon clone into a MXR Timmy. Then a Boss Waza Chorus, Boss Flanger, and finally a Boss DD-500 delay that can do dual delays. For amps I use a Fender SuperReverb. Eventually, I will be using a King of Tone from Analogman to replace the stacked OD. I am very close to the end of the waiting list. Examples are on my channel.
That's an incredible rig you have! I am pretty sure your tone sounds amazing!
My friend, the Root of the second chord of the Spellbound riff is C, and you are playing the open A string as root instead. Nothing wrong with that if that’s just how you like to play it. But it’s one of my all time fav riffs and changing that second chord root REALLY changes the feel, so I couldn’t help myself to point it out 😂 sorry.
As for the tone, one thing I could add is that, on studio recordings (as opposed to live sound) the guitars would have much of the Low/Low-Mid either cut or rolled off significantly. That’s the main thing missing from this tone. Try EQ or HP filter, with cutoff set at like 350 hz. Then adjust to taste from there. This will get that spellbound tone closer to the authentic sound.
Very awesome explanation of the effects chain.
To sum up, Post-Punk is simply the best. 💁🏻♂️
I could learn many things thank you!
cool video, and very informative 👍
This is so great! Do you know how I can get this sound with Guitar Rig 6 or 7 (by Native Instruments)? (Or Amplitube, or any VST)
Thanks, I love post punk and I had the idea of the tone but you help me so much with some tips
Great info! Thanks for this video!
Excellent walk through.
Thanks. I would have appreciated a more documented video with a little review of the gear used by the several post-punk bands with archive photos and maybe a classification of the most used effects in that music genre. A little analytical and historical work and trying to reproduce a few more specific track's guitar effects and licks. Feedback is always great to improve next videos 🙂
Thank you! It was very helpful.
I love my tele too! Had the old guys at the local guitar shop set it up and they said it plays better than the American tele.
It's a squier tele, nothing special, but it's special for real!
I find the mxr carbon copy with internal trim pot for the modulation turned all way up is instant banshees
Might try that!
Yousif this was a nice video. Very nice
Many thanks for tthe video, I have a similar effects setup (except Boss Chorus and Line6 DL4 for analogue delay), I've experimented trying to get that classic Goth sound and your video helped with a lot heavy lifting, in order for my to achieve my own tweaks to the classic sound. Incidentially, while I love the Spellbound guitar tone, one of my favourites is 92 degrees played by John Valentine Carruthers. Thanks again Yousif.
Hey Yousif. Thanks for a clear and quick explanation to get a nice basic good tone. If you could do another video maybe on what type of modes or keys are used to write or play Postpunk that would be great. I'm more into Darkwave but they share some elements. You got a subscriber. I hope your channel grows quickly. Thanks again.
Great video. Keep em coming
Great video.
I was thinking long time to make similar, but i found your and it is amazing.
Great job. 🙂👍🏼
Top Video. Thanks and greeting from germany
What a gem!
great content, thank you!
Thx you for you vidéo, you have one of the best amp for clean “post punk” (cold wave or dark wave) sound just behind you: Roland Jazz Chorus 😊 it’s perfect with a reverb (strymon bigsky ie), analog delay with modulation capacity (anasound utopia ie) and a flanger/chorus (ehx electric mistress and clones ie), you could turn on the beautiful integrated chorus of the amp for more mod and with that rig you can reach the sound of 99% of “post punk” clean guitar sound 😊
A CE-2(W) and a RAT (+ a delay and chorus), a traditional Tele style guitar, and a VOX AC15C1 is all fairy affordable and will get you in the ballpark.
Would a squire fender work to achieve clean sound too? I’m a beginner. I’d appreciate your advice. 😊
Of course. Maybe you'll have to play around with the eq but is totally doable. Squiers are good workhorses
@@339Jackscarify Thank you! 😊
I think any guitar at any budget can achieve a clean sound. If you struggle, change your amp settings to get less overdrive/gain. Or you can roll down the volume knob until it cleans up.
Squier guitars have come a long way in quality since I started playing like 20 years ago - I've played some Squire models that blow Fender ones out of the water, imo. the J Mascis Signature Squier Jassmaster springs to mind - great feeling neck and pickups have great tone.
But to answer your question: yes - it's totally possible to get clean tones out of Fender/Squier guitars - particularly because they tend to use single-coil pickups, which most people prefer for clean tones than humbuckers you'd more commonly find in a guitar like a Gibson Les Paul. both styles of pickups are capable of achieving a clean tone, but single-coil ones typically sound better/brighter.
Personally, I run a standard Fender Telecaster stock I bought like 20 years ago for my single-coil tones, and a Fender Jaguar with a DiMarzio Super Distortion humbucker in the bridge and a Gibson 36th Anniversary PAF humbucker in the neck position, and between those two guitars, I can cover a huge range of tones.
Any idea of Bass Guitar effects?
And type of strings, round or flat wound? Thanks
didn't know Alphadestiny had a guitar channel
I dont know about that amp choice. Solid state was the norm for Cure and Joy Division. Mars used fenders. Also, considering the time, boss pedals were the go to for most. Honestly, if you are going today to go for late 70s / early 80s, give the boss katana a go and you can always put a boss pedal or all of them, in front of the katana.
My goal was mostly to try to get the sound from any amp or basic set up. The differences between amps and pedals are less than what the marketing tries to convince us.
Thank you
9:20 horror vacui vibes
Can you sound like Halloween by Siouxsie
What is the difference between a pre amp and an amp
Any amplifier afaik consists of two stages, one that is forming the tone and one that makes everything just louder. The names of these two stages are called preamp and poweramp and you can find both stages isolated on the market. Preamps in pedal format are often called Amp-in-a-Box Pedals, or straight up preamp and can be found by manufacturers like mooer, donner, electro harmonix and some more boutique-like manufacturers like bogner and diezel. The poweramps are often called just that and can be found made by electro harmonix, quilter or seymour duncan (and many others of course).
In addition my statement at the beginning that one stage is forming the tone and the other one is just making it louder is a bit misleading. Everything affects the tone, from the way you play, the cables you use and obviously the poweramp can colour your tone as well but in principle my statement is correct.
👍👍👍
Best guitar tone? I stick in sound card and put Valhalla reverb
a Marshall JCM 2000 DSL 401 amp will do the job? Or better spend more and get a AC30cc2? Or maybe other thing ...?
I would go for the cleanest choice for post-punk. Some band definitely had a dirtier tone. I think it depends on your playing style and you want to go for. But again, I think a Marshall might be more diverse and would work beautifully with other genres.
@yousifzourob9159 I have both, if your pushing the Vox (a 30 or 15) into overdrive it has a distinct sound but will be fine as it is of the era, the JCM 2000 can sound like a 800 kind of, stay away from Ultra gain and use classic gain and you'll be fine on the 2000. If you want Marshall distortion go 2000 it'll be better that pedalling a Vox bit you want a boost or dirt pedal with either anyway ( + obligatory modulation, reverb and delay). If your looking for an amp that does anything up in this sonic territory up to Goth with no pedals you want a Roland jazz Chorus but I prefer the other 2 (or a Fender) plus pedals.
T Y my dawg
What are recommended amp EQ settings?
It really depends on the amp. I would focus on getting a good amp sound regardless for which genre. That's where I would start.
A lot of that sound is late 70s solid state amps like HH and roland
Agreed! I think any clean sound will do with the right playing style. I kind of challenged that by plugging into the marshall rather than the jazz chorus since I have both
What tuning is use for postpunk? Also how much are the effects?
I usually go with E standard for postpunk. I am not sure how much each effect costs. I think it is better to check locally in your area or online. None of them are "boutique" or very expensive. You can hopefully find cheaper alternatives.
@@yousifzourob9159 nice im new to guitar so could you explain E standard tuning to me? Thank you for even replying i was ready to wait months for a reply.
Some of my fav bands are
Asylum party
Burning skies of elusium
Jack off jill
@@toxiknao8826 no worries! E standard is the standard basic tuning. I wouldn't worry too much about other tunings if you're a beginner. I hope this helps!
Hmm.... well you are wrong about the amps. Most of those bands were using either a Fender or a Music Man or a solid state amp like a HH or Peavey. I don't think any were using Marshalls.
Shalome
Would have been great if when you turned on the flanger immediately the riff turned into Barracuda. As if it is what the pedal demanded that you play. 😂
Flanger is key
Weakest goth rock enjoyer