Source Audio Aftershock: replacing a Bass Big Muff Pi 2

[smeet]

I’ve been using a BBMP2 to create an awesome wall of sound to work the guitarist’s power chords. Sounds amazing on the gig even though the sound seems kinda meh by itself. I get it, sometimes it do be like that.

Now I want to modernize my setup, using the AfterShock to produce that sound (and hopefully others) in a 100% repeatable manner. Starting with some of the user patches online, I created an AfterShock patch that (in isolation) sounds pretty similar to the Analog pedal settings. But in the band context it utterly fails. It’s too bright or too thin or disappears it’s too bassy or too distorted or…

So I’m inexperienced at creating analog fuzz tones, but I quickly got one on the BBMP2. But after a few tries, I can’t get the same gravitas out of the AfterShock version of that sound. I know the analog pedal has controls optimized for its intended useage, and the AS is more generalized. But…

Am I just inexperienced, or is this a really difficult and subtle thing to so?

Here’s the knob settings:

:

My AfterShock patch:



Recordings of each
Clean:

BBMMP2:

AfterShock:

 

[ItsmeSantiago]

I couldn’t vibe with the aftershock. On the surface it’s pretty cool but it seemed like every time I plugged it in it would sound different. I had a Gemini and liked it but the aftershock seemed finicky to my ear. People love them though so maybe someone in the SA thread can chime in for ya

 

[stubbsonic]

bump up the drive a little.

maybe lower the frequency of the bass band a little.

mess with the voice knob. might need to be lower.

 

[smeet]

The frequency centers on the eqs sound off to me. For example, when I boost at 1.3kHz with the highest Q, I hear lots of bass frequencies being boosted. After a while it feels like I’m randomly tweaking knobs because they don’t seem to affect the sound as I expect.

 

[stubbsonic]

I can't explain why an EQ at 1.3kHz would boost lows. Try turning off the clean mix temporarily, while you adjust the EQ of your dirty. The Clean sound is post-EQ, so any dialing you do won't affect the clean.

Notice at the bottom of the editor, there's a knob called Clean High Cut. That's a LPF for the clean signal. Try dropping that "High Cut" way down to something like 100-200 Hz, (I'm totally just guessing). Then you can feel free to bump up the clean mix more. That'll give you solid clean lows to blend in with the distortion sound. Now you can fine-tune the EQ on the distortion so that the lows are of the quantity and quality you need/want. If it were me, I wouldn't try to get any lows from the distortion (EQ), and get it all from the clean mix with that LPF.

Might be a good idea to keep messing around with only one engine at a time for now, just to get to know how everything sounds/works. Then you can mess with putting two in series or parallel. When two engines are active (series or parallel), the EQ is separate but fully linked values. The Clean High Cut and Clean Mix are also separate but linked. Also, when you turn a knob on the unit, the values for both engines instantly link & match.

(Many of these fun facts were obtained through my own rigorous scientific study.) Horn-rimmed-glasses-emoji.