Metal Guitar Gods 4 Torrent
Metal Guitar Gods 2 EZmix Pack, Metal Guitar Gods 2 EZmix Pack plugin, buy Metal Guitar Gods 2 EZmix Pack, download Metal Guitar Gods 2 EZmix Pack trial, Toontrack Metal Guitar Gods 2 EZmix Pack. This collection paints a broad picture of modern metal guitar of today. Find the soaring, saturated leads, the pummeling rhythm tones and all the. Toontrack EZmix Pack Rock & Metal Guitar 6-pack. Delivered In Minutes! Description Specs Reviews Modern Metal Mojo for EZmix 2. Metal Guitar Gods 2 EZmix Pack - an expanded selection of amp and cab tones designed with the help of top metal guitarists. Welcome to the EZmix Metal Guitar Gods 2 + TSE 808 post, that will give you a guitar metal preset, it's free and a high quality one.
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Let The Gods Set The Tone
Please Note: A registered copy of Toontrack's EZmix 2 is required to run the contents of this Pack.
50 Tones, Modeled Directly after the Personal Tones of Four Top Metal Players.
The fourth title in the Metal Guitar Gods series presents 50 unique amp and cab settings modeled directly after the personal tones of four top metal players: Gus G (Ozzy Osbourne, Firewind), Jake Pitts (Black Veil Brides), Wes Hauch (Black Crown Initiate) and Michael Keene (The Faceless).
Capturing their individual styles and preferences, this EZmix Pack presents a truly captivating and diverse collection of settings for metal guitar. Pummeling rhythm tones, soaring lead sounds, effect-saturated clean and ambient settings – the whole gamut from classic to extreme.
Features
- Approx. 50 guitar/bass settings based on amp and cab simulation
- Modeled and EQ-matched directly from the artists’ personal tones
- Rhythm, lead, clean and ambient tones
Meet the Guitarists
Gus G
Quick Gear Rundown, Please!
Jackson Star Custom Shop guitars, Blackstar signature 200 Blackfire amp through Blackstar 4×12 cab. My main tone comes from the amp and my signal chain goes from my Line 6 wireless into a tuner, into a Morley Wah, into a chorus pedal, into a BOSS DD-3 delay and from there to the amp. On the FX loop, I have another BOSS DD-7 delay which I use for my solos. I use DR Strings, 10-56 gauge.
Q. What’s your recording setup like?
A. Super simple. I plug my guitar straight into my Focusrite Saffire 6 interface and that’s it. I use Pro Tools and Toontrack as the main plugin software for all my sounds.
Q. What Toontrack products do you regularly use?
A. EZmix 2, lots of the guitar and bass tones ranging from the Metal Guitar Gods EZmix Packs to presets by Colin Richardson, Randy Staub etc. Also Superior Drummer 2. These would be my go-to sounds when creating songs.
Q. If you had to name one guitarist that influenced you the most starting out, who would you say?
Peter Frampton was the reason I picked up the guitar, but my life changed when I heard Black Sabbath, so Tony Iommi has been a huge influence.
Q. …and what guitarists do you think stand out today?
A. Lots of great players out there for sure these days, it’s really inspiring and refreshing to hear the great talent that’s out there, which really makes me want to push things further as well. If I had to drop any names, I can quickly think of Richie Faulkner of Priest in traditional metal, Joe Bonamassa in the blues world, and newer shredders like the dudes from Periphery, Andy James etc.
Q. If you could put together a dream-team of musicians to form a band with, who would they be?
A. That’s a tough one, always! Rob Halford, Geezer Butler, Dimebag, Cozy Powell. Or how about this one – Glenn Hughes, Steve Harris, John Bonham and Jimi Hendrix.
Q. Walk us through a typical day 'in the life of.'
A. If I’m on tour it’s usually a lot of killing time until soundcheck, which I use to take care of daily business emails, then probably press, soundcheck, warm up, showtime, then pack up and leave for the next town. If I’m at home it depends. Usually do a bit of office work and catch up on emails, play guitar a bit, and spend time with the wife and cats.
Jake Pitts Watch dogs 2 serial key generator free download.
Quick Gear Rundown, Please!
Live I use a Kemper Profiling Amp. I’ve been using them since they first came out and I love them. They make everything so easy. We don’t even use cabs, just straight to FOH and to our in ear board. The best part is, I have all the channel switching being controlled via Pro Tools Midi, so I don’t have to worry about stepping on any stop boxes or having anyone step on them accidentally. For guitars I have a couple different signature models, and I have a brand new signature E-1 coming out very soon.
Q. What’s your recording setup like?
A. I have my own studio that is constantly getting more and more gear. I’m actually at the point where I’m out of room and need to move to upgrade my space. For gear, I have so much, I’m a big Universal Audio fan, and love their pre’s, I also use the Apollo Quad interface and it has been absolutely great. I’m a Pro Tools guy and Avid hooked me up with the HD Omni but honestly I’m thinking about making the switch over to Cubase once I have a little down time to learn all the different quick keys. Can’t do it now as I don’t want to slow my workflow. So in my studio I have a Kemper, and Axe FX II, 11 different Tube Amps, Mesa, and Marshall cabs. Too many guitars to count! haha.
Q. What Toontrack products do you regularly use?
A. definitely use EZ drummer the most. It makes it so simple to just pull up a kit and get some drums down when I’m writing. The midi grooves I cannot express enough how awesome they are and I would love more! I have almost all of them, but I’m not even sure which ones I don’t have. They come in so handy with coming up with drum fills and parts I would never think of. I also play drums, but I’m not as skilled on the drum kit as the guys shredding the stuff in EZ drummer groove packs.
Q. If you had to name one guitarist that influenced you the most starting out, who would you say?
A. James Hetfield.
Q …and what guitarists do you think stand out today?
A. My all time favorite guitarist is Paul Gilbert. As for this generation of players now I would have to give huge props to Brian (Synyster Gates) Haner. He’s an incredible player, and such a down to earth dude. It always makes me such a bigger fan of bands I look up to when they are awesome people as well.
Q. If you could put together a dream-team of musicians to form a band with, who would they be?
A. That’s a really tough question and I have no idea haha.
Q. Walk us through a typical day 'in the life of.'
A. Oh man, it all depends on where I am, what I’m doing and if i’m on tour or not. When on tour, its pretty much the same everyday. Wake up sometime between 9 – 10am generally, go find out where I am, and if the venue is open. Then I head into the green room and get situated. Find somewhere to work out. Get a shower if there is one. Maybe play some xbox, then do sound check. Then we have a meet and greet typically, then its a couple hours of hanging, get some dinner, then about an hour before showtime, I start warming up and run through solos from songs I’ll be playing that night.
Michael Keene
I play Jackson guitars and I can’t say enough good things about them. My current favorite is a custom telecaster they built me with a Floyd Rose, 24 frets, a pull out volume knob for coil splitting and a pull out tone knob to activate the tone to, so you never accidentally bump it mid-song. I have a variety of amps, including some Randalls and Marshalls, but I have recently been playing an all-digital rig through plugins running in and out of a MOTU interface with the buffer set very fast. It has all patch changes programmed within the DAW we use for our click tracks and keyboard and sound design tracks. I also use some Dunlop pedals including the X2 volume, CFH wah, and I also have a Line 6 G50 wireless system on my pedal board as well. Sounds a bit complicated, but it’s actually fairly simple and I really like the results I’ve been getting.
Q. What’s your recording setup like?
A. I have a Tascam DM4800 digital console with the add-on interface card. It gives me 24 digital ins and outs or 12 ins and outs if I run it at 96k. The DM-4800 allows me to do minor pre-EQs on drums, get everything in phase with either the phase flip or the fine-tune delaying to get everything perfectly phased. I also have 2 MOTU 2408 Mark III interfaces, which you can run in parallel. So when I need more than 12 channels at 96k, I switch to those, which gives me 24 channels at 96k. I use Mackie HR824 MK II monitors, which I swear by and can’t say enough about. I also have the trusty, standard Yamaha NS-10s for secondary reference. I run a Mac Pro quad core 3.0 with 16 gigs of RAM. As far as outboard gear, I have two Universal Audio LA-610s and an API lunchbox with seven channels of API 512c mic pres. That’s pretty much the heart and soul of my setup.
As for software, I use MOTU Digital Performer as my DAW and have for the past 16 years. People are sometimes surprised to hear that, but it has a lot of really useful, cool features and after 16 years, I know it incredibly well and I’m very fast in it. Not to mention, I’ve seen other DAWs “borrow” its features years after they came up with them. Aside from the great Toontrack products, I also depend heavily on a lot of Kontakt libraries for some of my “post apocalypse” signature sounds, and I’m very impressed with most of the Steven Slate products I have, though I opt for Toontrack drum libraries over Slate virtually 100% of the time. I Particularly find his FG-X mastering plugin nearly indispensable.
My mic collection includes a Neumann U87, Neumann TLM103 x2, Blue Woodpecker ribbon mic, Blue Baby Bottle x2, Shure SM7B, AKG C414 x2, AKG C430 x4 and your standard things like about a half dozen SM57s, a few beta 57s, Audix D2’s and D6s, AKG D112 and things of that nature.
Q. What Toontrack products do you regularly use?
A. I am a big fan of the Metal Machine EZX library as either the basis of my drum sound with some additional samples I’ve made blended in to give the drum sound something that is distinctly signature to me, or I like it for blending into real drum recordings for reinforcement. I load it in Superior Drummer 2 player rather than EZdrummer 2, so that I can get the full mixer and effects before routing certain pieces out into channels in my DAW. I also really like the reverb on Metal Machine. I generally add a bit of high end on the insert of the reverb to bring out in the mix more. I also use a lot of the EZkeys products quite frequently, especially the organs, as well as the Drumtracker for sound replacement. I find it particularly useful on creating MIDI for toms which can otherwise be tricky with many trigger plugins.
Q. If you had to name one guitarist that influenced you the most starting out, who would you say?
A. My first real influence as a guitarist was definitely my dad, without a doubt. He’s a great player and had a pretty successful career as a session guitarist for several decades and still works. He never pushed me to play, but I had a massive guitar collection at my disposal growing up and I had someone to ask questions and teach me things when needed. From there, Alice in Chains put out their first record and Jerry Cantrell was my gateway into riff-oriented heavier music. Later, I’d get into guys like Paul Gilbert, Reb Beech, Eddie Van Halen and Marty Friedman, which then turned into guys like the almighty, untouchable, Allan Holdsworth all the way to Brent Mason. I would also say that Ron Jarzombek has been an influence on my playing that I think can be heard in my playing at times.
Q …and what guitarists do you think stand out today?
A. He’s not a new player, but finally getting the notoriety he deserves and that’s Luc Lemay of Gorguts. I think he is a brilliant player and writer. My good buddy, ex-band mate and co-contributor on this very Toontrack project, Wes Hauch, is another. Dave Davidson and Dan Gargiulo of Revocation and Daniel Mongrain of Martyr, Voivod and ex-Gorguts to name a few.
Q. If you could put together a dream-team of musicians to form a band with, who would they be?
A. Luc Lemay on guitar, Sean Malone on bass, Devin Townsend on vocals (who I feel is the Freddie Mercury of our time), either Dirk Verbeuren or Zach Hill (just to throw a little chaos into the mix) on drums and I’d like to play guitar and do a duo singing thing.
Walk us through a typical day 'in the life of.'
“Woke up, fell out of bed, dragged a comb across my head, made my way downstairs and drank a cup and looking up, I noticed I was late….” Just kidding. Let’s see, I usually watch the news until the early afternoon and then get into the studio for a bit and play a little guitar. I get most my daily errands and chores done during the day and then spend the hours that normal people with respectable professions are sleeping, in my studio writing, recording or mixing. I used to play guitar a good amount of time every day and admittedly I don’t do that so much anymore, but I’m redeveloping my love for shedding, working out complex things and spending time just sitting with my guitar writing, practicing, crafting tones, etc. I also really enjoy the side of composition that involves creating big arrangements and soundscapes and spend a lot of my days working on those types of arrangements. It’s something that shines through on our last record “Autotheism” in a pretty big way and I’ve continued to develop those skills and showcase them in the forthcoming record.
Aside from that, I enjoy reading and I’m currently reading a book on composition for film, as that is something that interests me in a big way. I’ve done some music for film, but I’m still in the phase of getting my feet wet. It’s something I’d like to take on in a serious way.
Presets:
- Gus – Blame It on the Bass (Bass / Amplifier)
- Michael – Crushing Bass (Bass / Amplifier)
- Michael – Crushing Bass Chorus (Bass / Amplifier)
- Michael – Fusion Metal Bass (Bass / Amplifier)
- Gus – 12 String Acoustic (Guitar Acoustic / Insert)
- Gus – 12 String Acoustic Delay (Guitar Acoustic / Insert)
- Gus – Blackfire Lead (Guitar Electric / Amplifier)
- Gus – Brand New Revolution (Guitar Electric / Amplifier)
- Gus – Burn Lead (Guitar Electric / Amplifier)
- Gus – Clean Chorus (Guitar Electric / Amplifier)
- Gus – Clean Chorus Stereo Delay (Guitar Electric / Amplifier)
- Gus – Rhythm 1 (Guitar Electric / Amplifier)
- Gus – Rhythm 2 (Guitar Electric / Amplifier)
- Gus – Rhythm 3 (Guitar Electric / Amplifier)
- Gus – Wet Crunch (Guitar Electric / Amplifier)
- Jake – Agony (Guitar Electric / Amplifier)
- Jake – Coffin (Guitar Electric / Amplifier)
- Jake – Dragon’s (Guitar Electric / Amplifier)
- Jake – Faithless (Guitar Electric / Amplifier)
- Jake – Fried (Guitar Electric / Amplifier)
- Jake – In the End (Guitar Electric / Amplifier)
- Jake – Madman Lead (Guitar Electric / Amplifier)
- Jake – Mr Vector (Guitar Electric / Amplifier)
- Jake – Pulverized (Guitar Electric / Amplifier)
- Jake – Shadows (Guitar Electric / Amplifier)
- Jake – Snake Pit (Guitar Electric / Amplifier)
- Jake – Terminator (Guitar Electric / Amplifier)
- Jake – Thorns (Guitar Electric / Amplifier)
- Jake – Total Destruction (Guitar Electric / Amplifier)
- Jake – Venom (Guitar Electric / Amplifier)
- Michael – Authotheism 1 (Guitar Electric / Amplifier)
- Michael – Authotheism 2 (Guitar Electric / Amplifier)
- Michael – Ethereal Clean (Guitar Electric / Amplifier)
- Michael – Faceless Lead (Guitar Electric / Amplifier)
- Michael – Lead That Holds Its Worth (Guitar Electric / Amplifier)
- Michael – Norwegian Black Metal (Guitar Electric / Amplifier)
- Michael – Stoner Metal (Guitar Electric / Amplifier)
- Michael – Stoner Metal Flanged (Guitar Electric / Amplifier)
- Michael – Whimsical Clean (Guitar Electric / Amplifier)
- Wes – Boosted 51 (Guitar Electric / Amplifier)
- Wes – Boosted 51 Scooped (Guitar Electric / Amplifier)
- Wes – Boosted Rhythm (Guitar Electric / Amplifier)
- Wes – Boosted Rhythm Fuzz (Guitar Electric / Amplifier)
- Wes – Cathedral Clean (Guitar Electric / Amplifier)
- Wes – Clean for Grown-Ups (Guitar Electric / Amplifier)
- Wes – Mountain Top Lead (Guitar Electric / Amplifier)
- Wes – Mountain Top Lead Delay (Guitar Electric / Amplifier)
- Wes – Scooped and Hot Rhythm (Guitar Electric / Amplifier)ier
- Wes – Sharp and Wet Lead (Guitar Electric / Amplifier)
- Wes – Smooth Criminal Lead (Guitar Electric / Amplifier)
System Requirements
PC:
- Windows 7 or newer, Pentium 4 or Athlon processor with 1 GB RAM
- Audio Unit, VST, AAX or RTAS host application and professional sound card recommended
- 200 MB free hard disk space required
Mac:
- Mac OS X 10.6 or higher, Intel-based Mac with 1 GB RAM
- Audio Unit, VST, AAX or RTAS host application and professional sound card recommended
- 200 MB free hard disk space required
Formats:
- VST, Audio Units, RTAS, AAX, 32 & 64 bit
Please Note: A registered copy of Toontrack's EZmix 2 is required to run the contents of this Pack.
Any references to any brands on this site/page, including reference to brands and instruments, are provided for description purposes only. For example references to instrument brands are provided to describe the sound of the instrument and/or the instrument used in the sample. Plugin Boutique do not have (nor do they claim) any association with or endorsement by these brands. Any goodwill attached to those brands rest with the brand owner. Plugin Boutique or its Suppliers do not accept any liability in relation to the content of the product or the accuracy of the description. 'RHODES' is a registered trademark of Joseph A Brandstetter.
Ez Mix Metal Guitar Gods Torrent
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Of all rock & roll's myriad forms, heavy metal is the most extreme in terms of volume, machismo, and theatricality. There are numerous stylistic variations on heavy metal's core sound, but they're all tied together by a reliance on loud, distorted guitars (usually playing repeated riffs) and simple, pounding rhythms. Heavy metal has been controversial nearly throughout its existence -- critics traditionally dismissed the music as riddled with over-the-top adolescent theatrics, and conservative groups have often protested what they perceive as evil lyrical content. Still, despite -- or perhaps because of -- those difficulties, heavy metal has become one of the most consistently popular forms of rock music ever created, able to adapt to the times yet keep its core appeal intact. For all its status as America's rebellion soundtrack of choice, heavy metal was largely a British creation. The first seeds of heavy metal were sown in the British blues movement of the '60s, specifically among bands who found it hard to adjust to the natural swing of American blues. The rhythms became more squared-off, and the amplified electric instruments became more important, especially with the innovations of artists like the Kinks, the Who, Jimi Hendrix, Cream, and the Jeff Beck Group. Arguably the first true metal band, however, was Led Zeppelin. Initially, Zep played blues tunes heavier and louder than anyone ever had, and soon created an epic, textured brand of heavy rock that drew from many musical sources. Less subtle but perhaps even more influential was Black Sabbath, whose murky, leaden guitar riffs created a doomy fantasy world obsessed with drugs, death, and the occult. Following the blueprint laid down by Zep and Sabbath, several American bands modified heavy metal into more accessible forms during the '70s: the catchy tunes and outrageous stage shows of Alice Cooper and Kiss; the sleazy boogie of Aerosmith; and the flashy guitar leads and wild party rock of Van Halen (not to mention the distinctively minimalist grooves of Australia's AC/DC). In the late '70s, a cache of British bands dubbed the New Wave of British Heavy Metal (including Judas Priest, Iron Maiden, and Motorhead) started playing metal faster, leaner, and with more menace than ever before. They helped influence a new American metal scene known as thrash in the '80s, which took shape as a reaction to metal's new mainstream pop breakthrough, which came courtesy of Def Leppard's Pyromania. Metal enjoyed its greatest presence on the charts during the '80s, thanks to a raft of glammed-up pop-metal bands, but thrash bands played complex riffs at breakneck speed, sometimes dispensing with vocal melody altogether. Thrashers like Metallica and Megadeth built rabid cult followings that pushed them into the mainstream around the same time that grunge wiped pop-metal off the charts. Mainstream metal in the '90s centered around a new hybrid called alternative metal, which (in its most commercially potent form) combined grinding thrash and grunge influences with hip-hop and industrial flourishes, though it broke with metal's past in downplaying the importance of memorable riffs. Meanwhile, the underground grew harsher and bleaker, producing two similar, thrash-derived styles known as death metal and black metal, which produced some of the most abrasive, intense, hyperspeed music and graphic shock tactics the metal world had yet witnessed.
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