How to dial in Archetype: Mateus Asato

[Music] [Applause] [Music] [Music] w [Applause] [Music] how's it going everyone John here from noral DSP and welcome to this deep dive of archetype Matas asato this plugin is a comprehensive package for of mat's favorite Boutique and vintage gear Matas asso is a highly respected and influential player in the modern guitar scene and is well known for his expressive and unique style of guitar playing so archetyp mat assaro captures his tonal aesthetic and makes it really accessible in a simpl to ous plug-in interface so when you open the plugin up you'll be greeted with this UI it's a brand new UI y for our normal DSP plugins and at the top left we're going to start at the pre effects the first device in the pre effects is a compressor pedal and taking a quick look at that you'll see we have four dials here we've got a compression dial altering the amount of compression applied with the pedal we have an EQ this is just going to be an overall tone control varying from darker to brighter at the bottom left we've got a volume so this will control the output of the compressor pedal and then finally a mix so you can blend in a mix of the compressed signal with dry signal So currently I'm on the default preset when you open the plugin and here's how it sounds without the compressor pedal engaged now let's engage it let's dial in a bit more [Music] compression maybe boost EQ as well [Music] boost the mix of the [Music] [Applause] [Music] compression let's now bring back the EQ make it slightly [Music] darker we can then bring back the mix of the [Music] compression and maybe boost the volume to drive the amp a bit more as [Music] well and now finally let's really dial in the compression boost the EQ and have a really obvious Vivid compression sound so let's bring in the mix quite high up as [Music] well so that was the compress the puddle next let's move on to od1 so this is one of two overdrives in archetype matato and od1 is great for pushing that sort of mid gain pushed clean sound and it's a very flexible unit because it can be used for tone shaping as well so at the top left we've got volume this is again just going to be the output of the pedal at the top right we've got a gain control so that can dial in the amount of saturation and gain applied with the pedal at the bottom left we've got a tone so that will be a general EQ from darker to Bright and at the far right at the bottom we've got a mid boost so this can have two different characters from left to right and we'll go through that so you can hear the sweep and the full change in the mids there so again here is the default sound without od1 [Music] engaged let's now engage od1 with everything at noon nice and flat so first let's push the volume a [Music] bit and do the same thing with the gain let's push it to maybe three [Music] quarters let's push the tone just so you can hear it a bit [Music] brighter and with mid boost now I'm going to put it all the way to the left so you can hear that [Music] character and now all the way to the [Music] right and now I'm going to bring the game back a bit and then sweep through this mid boost so you can hear the full scope of that I'll also bring the tone back to the middle as well so here's the mid boost I'll cycle through it so you can hear the sweep of that so with the mid boost all the way to the left the mids kind of thin out a bit and with it all the way to the right they get a bit more bottom heavy and it's slightly Fuller they're two different characteristics and obviously you can blend that anywhere in between and at noon they're exactly in between them both so let's now maybe dial in a darker sound so bring the tone back a bit gain I'll push that as well and mid boost let's get that over to the Fuller sound so let's hear that [Music] next moving on to od2 this second overdrive pedal is going to take you from slightly overdriven all the way to more aggressive fuzz type sounds and it's really flexible pedal for only three dials and we have a volume so again the general output you can drive the amp a bit more by pushing that you've also got gain all the way to the left this is going to give more of that overdrive character and towards the far right you'll get that more fuzz end of the Distortion spectrum and finally at the bottom we have this cut dial this is just going to be a low pass control and with it all the way to the right this will have a darker tonality and with it all the way to the left you'll let more of those high frequencies through and it'll be nice and bright so again here is the default sound without od2 engaged let's pop it [Music] in let's boost the volume a [Music] bit next we'll have a look at how this gain dial can affect the sound so I've put the volume back at noon and I'm going to start with the gain lower so we get more of that lightly overdriven sound let's put it [Music] midday and then all the way [Music] up so you'll hear there as it's all the way up we've got more of that softer cheer fuzz type of distortion moving on to the bottom we'll have this cut then so I'm going to bring the gain back to midday and I'll start with it all the way to the left so all of these high frequences can be let through and it'll be nice and [Music] bright let's now put it a [Music] midday [Music] and then with the cut all the way to the right it'll be nice and warm with all those high frequencies rounded [Music] off as you can hear od2 is a really flexible device in the pre effects and where it really shines is being used to push a lead sound and you can go anywhere from really bright and shiny lead sounds all the way to warmer darker fuzz sounds and the fourth pedal in the pree effects is the modulation pedal and at the top left we've got a speed control and this is going to alter the frequency at which the modulation mode CU there are three of them operates and we'll hear that in the full sweep in a minute and then next to that we have an intensity so this is going to vary the intensity or depth of the modulation below that we then have these three modes so this modulation pedal is kind of like three different pedals in one because we have a tremolo chorus and viat all in one pedal so starting off without the pedal engaged first let's pop it in with speed intensity at the middle and we're in tremola mode speed all the way to the left [Music] you'll hear that tremolo is a lot more subtle and it's taking a longer time to reach its peak and trough with it all the way to the right it's going to be a lot more Vivid and obvious now let's do the same thing with intensity so speed is back at noon and intensity I'll put that all the way to the minimum value and with a setting like this it almost won't be noticeable because it means that the depth of this tremolo is almost non-existent so you won't really hear any volume ducking at all but as I bring that in it's reducing the signal more as I dial it in so with it all the way up so that's the most extreme intensity you can get out of the tremolo so let's dial it in maybe with a quicker speed bring back the intensity a bit and here's how that would [Music] sound so now we're on mode two chorus mode and speed and intensity back in the middle here's how it sounds so I'm going to bring the speed speed all the way down so you can hear that at its minimum value and then at its most extreme value same thing with intensity let's put speed back to noon and intensity all the way down at minimum again this will be a much more subtle effect because it's barely changing the depth of that modulated signal with the chorus so let's bring it all the way up to noon and you'll get a more obvious chorus effect and now with its highest intensity it's going to be very Vivid very wobbly sounding and very obviously a chorus [Music] effect so now let's dial in a typical chorus Sound Speed maybe just shy of noon and intensity maybe just over finally we're on to vibr mode the third mode in this modulation and here's how it sounds with the pedal disengaged and here's with RI [Music] engaged so here vbr is different to chorus because vbr is changing the entire signal and treating it as just one signal that's modulated instead of chorus being separate signals with a mix of wet modulated signals and a dry signal as well so this going to be in some ways a lot more Vivid than chorus and with everything at noon it sounds like that let's bring back the speed so it's going to be a lot slower in modulating that whole [Music] signal back up to noon and then all the way at its [Music] maximum so very wobbly indeed let's put that back at noon intensity do the same thing all the way to the [Music] left back at noon [Music] and all the way up at its maximum [Music] intensity so you can get really seasick if you do want to uh now I'm just going to dial in a more usable more common way of dialing in of a br pedal so let's bring back the speed actually let's raise the speed and intensity I'm going to put that just below midday and here's how it [Music] sounds so again another really expressive device here in the pre effects you've got tremolo for adding that movement in your cordal playing next you've got chorus adding that very lovable 8s type swirling sound and then finally the V mode to inject some of that nostalgic Loi sound as well so there is a plethora of versatile units here in the pree section and Mata zato uses these all the time in his playing and in his tone and they're a great way of adding Sonic interest to your sound as well as driving the amps a bit more if you're going for that higher gain sound as well in the track that I've written to Showcase this plugin I've used few of these pree effects in the open clean chord Melody section of the track I've used the compression just to keep it nice and full and keep the Dynamics nice and even and nice and up front and then I've used od1 to push the sound a bit more drive it slightly harder just so you're getting a bit of breakup on top as well and then finally the modulation pedal is set to chorus mode just giving it that classic Attis character as well and here's how all of those sound in that section of the track that I [Music] wrote [Music] [Music] next we're on to the amplifier section archetype Mato catoo has three different amps and they're all unique and they can be used for different applications as well starting at amp number one this is a great clean platform amp as well as an amplifier that can really get great when driven hard and pushed to the edge this is a one-channel amplifier and it's got a nice simpl to ous set of controls so starting off at the far left we have volume this is going to control the amount of volume but also the amount of gain and the intensity of the saturation that's going on so with it at noon sounds like this with it dial back a bit you're going to clean it up even more and you'll get a little bit less volume out of it so I'm just going to push the level a bit to compensate conversely if you push the volume and I'll bring back the level to noon you'll get a bit more drive when really digging in with it pushed all the way sounds like this [Music] Matas wanted this first amplifier to be great for clean and Edge of breakup sounds with lots of hroom as well however as you heard it still sounds great when you push it hard and get it into that more distorted overdriven territory after the volume control we have the bass dial so what I'm going to do is just push the volume a bit to emphasize the effect of this base control um with the Bas at noon sounds like this so when you push the volume you're going to get a lot more low-end sort of Bloom and this Bas dial can be used to control that so let's bring it back a bit and clean up that low [Music] end with it all the way at its minimum value push 3/4s [Music] and then pushed all the [Music] way next we're on to the cut control now this dial controls the amount of high frequencies that will be cut from your signal so with it all the way to the left that means none of them are being taken out and with it all the way to the right you're going to get a more rounded off warmer sound here's how it sounds with the cut control in the Middle with it all the way to the left you'll have a bit more top end and a brighter [Music] sound and conversely all the way to the right it's going to be a bit darker so now I'm just going to push the volume all the way up as well as the base and the cut is now all the way up this is going to be a really full thick almost fuzzy warmer [Music] sound however if I brought that cut all the way back it's going to be a lot brighter and you'll get more of that high frequency [Music] Sizzle next we're on to the master control as is the case with most amplifiers the more you push this the more the low end will Bloom you'll obviously get a bit more level and you'll also get a bit more saturation as well so with a master control at noon it sounds like this [Applause] let's bring back the master to a quarter and then I'm going to just boost the level to compensate for that loss in level now let's boost the master to 3/4s bring back the [Music] [Applause] [Music] level and here's how it sounds with the master control all the way [Music] up and then finally we're on to the level control so this will just allow you to get that Final Touch in volume because you may have pushed the master and therefore need to bring back down the level or vice versa so I'm just going to play a cord and show you the scope of this level control really quickly and just to round this amplifier off you also have a power switch if you wanted to bypass the amplifier as well now on to amplifier number two this is a beautiful clean amplifier that has tons of head room but is also a really great platform for Drive pedals in the pre effects as well and starting at the far left of the amplifier we have the mode selector switch we have three modes here we have normal thick and thicker each of these modes refer to a different frequency quency that the treble control will enhance and we'll demo this a bit later on when we get to the treble control for now let's move on to the gain dial with the gain dial set at noon it sounds like [Music] this so pushing this a bit you're going to get a bit more ump and obviously a bit more level as well as a tiny bit more saturation because we're pushing the amp a bit [Music] harder [Music] let's push it all the [Music] way now let's bring it back to around a quarter of the way and as well as that I'm just going to boost the output due to the drop in [Music] level and then that cleans up really nicely when you dial it back moving on to the base control in a similar fashion to amp one this can be used to attenuate some of those low frequencies when driving the amp a bit harder so what I'm going to do is just bring the gain up all the way and show you how this Bas control sounds at noon [Music] first if I bring it back to around a quart of the [Music] way or push it all the way and get a lot of a thicker richer sound in the low [Music] end similarly this is going to apply to the mids so with the mids at noon sounds like [Music] this let's bring him back let's scoop them all the way [Music] maybe or push them quite [Music] hard and push the meds all the way up [Music] now we're on to the treble control so first here is the treble control at midday at noon nice and [Music] flat let's bring it [Music] back let's push it up a [Music] bit and then boost it all the way to the top really bright really [Music] articulate and this would be a good opportunity to show you the different modes of the amplifier of the F left with toggle switch so if I play a chord I'm going to toggle between normal and thick mode and you should hear the slight tonal change as I go between those two [Music] modes back to normal [Music] mode and about a [Music] thick so now we've got a slightly different character because we're enhancing a different frequency with that treble knob now I'm going to go between thick and thicker in the same way so now we're in thicker you can hear there's a bit more high frequency information [Music] there back to [Music] thick and about thicker [Music] and as you can hear there we've got an even further change in character in this new thicker mode next let's move on to the present style so as is the case with presents in most amplifiers this is going to be an even higher band of frequencies that we can control just adding that presence and air on top of your guitar tone so with it set at noon sounds like this let's bring back the presence so it's going to get a bit darker [Music] now let's boost it nice and [Music] bright and then finally we're on to the master control as was the case with AMP one this will just allow you to push the amp that bit further on top of the gain dial and just get a bit more from the amplifier if you want that extra bit of umph so with a master at noon sounds like [Music] this let's push it a bit and bring back the output [Music] conversely bring it back as well and push the output to comp and in [Music] level and as you can hear that there's tons of headro when you bring back that Master as well and then finally we end up on the output dial so this will just be an overall output control for this amplifier again I'm just going to play a chord so you can hear the scope of this control from low to [Music] high and just to round this amplifier off again we have a power toggle switch if you wanted to bypass it so amp number two is a great sounding amplifier on its own however it really comes alive when used in combination with those pree effects as well now we're on to amplifier number three this is an exceptional amplifier for mid to high gain sounds and the compression that naturally comes with this higher gain territory makes it a lot of fun to play through let's start at the far left of amplifier number three and the first control we have is a bright switch so when you engage this it can be used to add that extra layer of clarity and top end to your guitar tone with all of the dials set at noon and the bright switch disengaged here's how it sounds [Music] and here's with the bright switch [Music] engaged then we move on to the gain dial as I mentioned earlier this amp is perfect for Mid gain to higher gain tones and the gain dial can be used to go anywhere between those two levels so with it at noon it sounds like this [Music] with it brought back a bit you're going to get more into that clean breakup territory bit more of a mild overdrive sound and due to the cleaner nature of the sound as a result of dropping this game Dial I'm also just going to push the output to compensate for the level loss so really cleans up nicely if you dial that back let let's push it to 3/4 and I'll bring the output back to [Music] noon now I've just pushed the gain all the way to its maximum value and you're going to get the full extent of the Distortion that this amp can provide but for context I'm using a single coil equipped guitar if you're using a guitar with humbuckers you could get even more Distortion out of this amp so here's how it sounds [Music] now moving on we've got a base middle and treble EQ section here's how it sounds with all three of those [Music] flat first first with the base control I'm going to bring it [Music] back bring it all the way off so you get that full High Pass [Music] sound and now I'm going to push the Bas stal a [Music] bit [Music] now with bass all the way [Music] up now I'm just going to cut the mids and we'll get that more classic scooped distorted sound and I'm also going to push the gain a bit as well [Music] now let's push the [Music] mid all the way [Music] up and just for the sake of demonstration all the way out so these are really Dynamic and Powerful EQ controls as you can hear let's now bring back the treble and make it slightly [Music] warmer all the way [Music] off [Music] let's push the treble a [Music] bit and push treble all the [Music] way so I'm going to go for a brighter more aggressive Ive High Gain sound so let's push the treble scoop the mids leave the base where it is push the gain a bit and bring in the bright [Music] switch now let's do a softer more mid heavy distorted sound so mid's all the way up bring the treble back I'm going to boost the base a bit and take off the bright switch maybe push the gain a bit as [Music] well next we move on to the shift control this is a switch that can allow you to have just a bit less mids if you pop it in so here's with the shift control [Music] disengaged and here's with the shift control [Music] engaged so this shift switch can be really great at just nailing that scooped distorted sound if that's what you're going for so let's just dial that in real quick let's boost the gain and the bright let's bring back the base and the mids and we'll also push the treble and bring in this shift [Music] switch then we're on to the master control as is the case with the previous two amplifiers pushing this is just going to give the amp a bit more life and energy let those low frequencies boom give it a bit more saturation as well so with a master at noon sounds like [Music] this I'll bring back the master and push the output to compensate for the level [Music] loss and now let's push the master almost almost all the way and bring back the output [Music] slightly then we're on to the presence control this again is just going to add a bit more topend Sheen and Clarity to your guitar tone so with Presence at noon here's how it [Music] sounds pushing the presence it's going to sound like [Music] this let's bring it back so you get a more darker quality [Music] overall and then finally we're on to the output control so once again this is going to be an overall level for amplifier number three I'll play a chord just so you can hear the scope of that and then at the far right of this amplifier we also have a power button if you wanted to bypass it as well amplifier 3 then is great for crafting mid gain to higher gain sounds both for rhythm and lead guitar playing and with the added bright and shift switches you can really dial in your tone to the nth degree to show these amps in a musical context let's take a look at some parts from the track that I wrote using this plugin I used all three of these amplifiers when making the track and for amplifier number one I'm going to show you the intro arpeggios with all of the effects in so you can hear the amp in all of its [Music] Glory in terms of amplifier number two I dialed this in with an edge of breakup pushed clean sound but in combination with the pree effects created a more driven pushed sound and with all of the post effects dialed in it allowed for a really nice expressive and dynamic lead [Music] [Applause] sound for amplifier number three I wanted a more aggressive higher gain sustained saturated lead tone so I dialed in a fair amount of gain and also use some of the pre effects for even more saturation I then added in some of the delay and Reverb in the post effects and this just created a really nice articulate lead sound and here's how that all sounds when put [Music] together [Music] [Applause] [Music] it's clear then that these three amplifiers in archetype mat catoo offer a vast array of tonal possibilities and on top of that they're also great fun to play through as well now we're on to the cab page as is the case with our other plugins this is split into two main halves on the far left of the plug-in window you'll see that we have a choice of microphone which we can cycle through with these arrows above it a drop- down menu for the same mic options where you can also load a custom impulse response if you want and we can also bypass this microphone impulse response section below that we have four dials each corresponding to a different parameter for this mking up of a cab first we have the position control and as you move that dial you'll see the microphone moving on the speaker as well we also have distance and this is going to determine how far away the virtual mic would be from the speaker we then have a level for this microphone which we can turn up or down and as well as that also a pan so you can pan this left or right in the stereo field below that we've then got a phase switch if you want to flip the phase of that particular impulse response this is then mirrored on the far right with an identical set of parameters engaging that we can choose a different mic a different position distance or pan to the one on the left and we could then invert the phase if we needed to this allows you to get stereo marking combinations from any of the cabs in archit type matato so let's hear how these parameters affect the sound I've just reset to the default setting and currently with just the one mic engaged it sounds like [Music] this let's move the position all the way to the inside of the cone and now we'll move it all the way to the outside [Music] let's Center that for now and put it at 0. five and now we'll do the same thing with the distance so with the distance at zero that's going to be right up pressed up against the speaker let's move it [Music] halfway and then the furthest distance [Music] away so for this particular microphone I'm going to put the position a bit closer to the center of the speaker cone and also put it slightly further away so a 57 microphone with this particular setting for the parameters sounds like [Music] this now I'm going to engage a second microphone so I'm going to go over to the right hand side of the plugin select the engage or bypass button and now I'm going to select a ribbon 160 microphone and I'm also going to solo it by bypassing the previous microphone so now all you're hearing is the ribbon 160 model with the following parameters and it sounds like [Music] this so this is naturally a bit warmer than the dynamic 57 and we're going to change the positions slightly so I'm going to put this further out make it even warmer uh keep the distance where it is have all of that low end and the microphone level I'm going to keep at zero DB and before I get to panning here's how that sounds down the [Music] middle however as we have two microphones on the go it might be nice to pan one hard left and one hard right so with the ribbon 160 using this pan control I'm going to pan this 50 right or hard right and then engage the dynamic 57 and pan it 50 left so now you'll hear the 57 in the left hand speaker and the ribbon in the rightand [Music] speaker so by the time you've gone through the pre effects and the amp page you can now have Studio level control over all of the parameters in this cab page and really fine you in your sound and before we move on from the cab page at the bottom you will see the heads and cabinets of each of the three amplifiers if you select this link button you'll see now that the amp heads are unlinks from the cabinet So currently we're on AMP one and cab 1 we can now select cab 2 to be used with AMP one maybe amp 3 to be used with cab 1 or amp 2 to be used with cab 3 or any combination that you would like for the main part of the track I was on AMP 2 and cab 2 I didn't feel the need to change them because they match really well anyway but the only change I made was adding in the condenser 184 as a second mic and changing the positions of each from 0.5 slightly so the dynamic 57 is slightly towards the center of the cone just for a bit more brightness but conversely the condenser 104 is further towards the outside and that just created a balanced and full guitar tone so here's the 57 mic on the cabinet by itself and I've also bypassed the post effects so you can really hear what's going [Music] on now here's the condenser 184 in the same [Music] way and now here's both of them simultaneously [Music] next we move on to the EQ section in archetype matato we have a nine-band Graphic EQ and on top of that we have a greater level of flexibility with a high pass filter and a low pass filter as well at the far left you'll see we have a toggle switch to either engage or bypass this EQ section and above that we have the highpass filter at its lowest value it's set at 20 HZ so anything below 20 HZ is getting rolled off we can raise this all the way up to 500 HZ and that will take more of the low end frequencies away so with it set at its minimum value at 20 HZ sounds like [Music] this now let's bring it around halfway roll it off all the way to 500 HZ and then by double clicking it I brought it all the way back down to 20 moving on from that next to this highpass filter we have each of the bands of frequencies that we can either raise or lower in DB and you'll see if I raise it even slightly that's already gone up 3 DB so we have up to 12 or minus 12 DB depending on which frequency band you choose to alter and this is quite a big difference so you can really have big broad Strokes with this EQ and dial it in how you want to demonstrate this EQ section I'm going to dial in a quick oldtime lowii radio type guitar sound using the high pass filter and all of the nine graphic bands here and just for reference here's where the sound is currently so we still got quite a lot of low end in there you us the high pass filter I might set this all the way up to 500 HZ and that gets rid of all that low-end information so up to 500 HZ I can then see what this 1 khz fader does so if I boost that it then gets even more nasly and midrangey which is what I'm going for here I then might want to take off some of the absolute top end at 16k cuz that's going to be really really bright and almost a bit high five for the sound I'm going for I'll then contextualize this by creating a bit of a slope so I'll take off a bit of eight and four and maybe boost two so that it goes in a natural kind of gradient up to that 1K here's how it [Music] sounds obviously this is quite an extreme case of using the EQ to shape your sound as it's very Vivid and drastic in nature but typically this EQ section can be used to make small adjustments and fine-tune the overall EQ of your guitar tone and just to contextualize this I've got a preset here for one of the parts that I used in the track at the intro of this video and here's how it sounds with the EQ [Music] bypassed visually you'll see that I've used the EQ to boost the clarity and top end of the tone with the 8 and 16k faders boosted by three or four DB each I've also used it to cut some of the mids as they were just getting a bit in the way with the dissonant voicings in the part and here's how it sounds with the EQ [Music] engaged and that was a quick example of how you can use this EQ section in archetype matato to make a more subtle change to your guitar [Music] tone Now we move on to the post eff section in archetype matus asato we have two units in this post effect section the first of them being a tape Echo and the second being a Reverb which can either be a hole or a plate first let's have a look at the tape Echo this unit can be dialed in to achieve quick slapback style delays all the way to warm long luscious ambient delays at the far left of the unit you'll see the Striking Vu meter showing in real time the signal flowing through the device so just to show you this in practice I'll turn it on and you'll see that Vu meter working there below the Vu meter we have a digital display showing your delay time in either milliseconds or as a note value depending on the sync mode which we'll get to in a minute we also have the tempo at which the sync is set to above that we then have the mode selector and this corresponds to the tape heads that are going to be reading the signal and the lights above showing the active heads correspond to the relevant heads that are reading the signal going through it so in mode one of the mode selector you'll see that just head three is engaged so just one tape head will be reading the signal that sounds like this in mode two you'll now see that we have heads one and three reading the signal and that sounds like [Music] this in mode three we have heads two and three reading the [Music] signal and in mode four all three heads are reading the [Music] signal this allows you to get really creative in dialing in these delay repeats to suit the sound you're going for below this we then have the sync mode so when it's set to free this means that you can manually set the time of the repeats in milliseconds here it's set to 500 milliseconds and it sounds like [Music] this maybe we wanted a longer delay time so let's raise this up to 1 and a half th000 milliseconds [Music] alternatively you may be using a daww so setting the sync mode to daww will then correlate the delay repeats to a note division So currently we're set to a quarter note and with the time dial here you can set the note division of which you want your delay to repeat at so with a quarter note set at 120 BPM in your Daw it sounds like [Music] this alternatively you could set it to a dotted eth and it sounds like [Music] this and the third mode for sync is tap so moving that onto tap we can now tap in the tempo that we want our delay repeats to occur so if I'm in the mode where it's just one active head read reading the signal and I tap in a Tempo it will sound like this however if I select a mode with multiple heads for instance mode four with all three heads engaged using the tap Tempo button I can determine the delay times of the three heads with three Taps of the button moving on we get to the dials in this DeLay So at the top left we have a time this corresponds to the frequency of the delay repeats so in free mode at 500 milliseconds that's going to be the rate at which the delays [Music] occur alternatively I could raise this to 922 milliseconds [Music] it's just worth noting that this time parameter does depend on the sync mode that you've got set so in Daw mode with the time parameter set at this position will be at a quarter note if we moved it you'll see in the digital display the delay time changing accordingly and this is the same when in tap mode as well a cool feature about this tape delay unit is that if you play with the time control in real time it would change the pitch of the delay repeats just as a physical tape delay unit would for example if I play a chord and then tweak the delay time in real [Music] time you can then hear it affecting the pitch of the delays in real time this feature is really fun to play around with and you could also choose to assign this to an expression pedal or automate it within a Daw next we move on to the feedback control in simple terms this is the amount of time that your delays repeat for so with a shorter feedback time you're going to have a fewer number of repeats like [Music] so however if you raise this you'll have a longer number feedback repeats and you'll have a longer [Music] tail after that we then have the tape mod dial this is going to determine the amount of modulation applied to the delay signal so with it set in the middle you're going to get a bit of pitch modulation and it sounds like this with tape mod set at its minimum value this will be a very subtle effect and you won't hear much modulation at [Music] all however if you really push this I'm going to put it all the way up you'll hear this pitch modulation [Music] exaggerated [Music] next to this we then have the mix style and this allows you to control the dry and wet mix of your guitar and the delay signal with mix set at noon it sounds like this with it brought back a [Music] bit and with mix all the way up you're going to hear way more of those delay repeats as opposed to your dry guitar on the next row of parameters we have tape drive and this is going to apply tape saturation to your delay repeats with the set at noon it sounds like [Music] this with it brought back you'll get slightly cleaner delay [Music] repeats and with tape drive boosted you'll get very saturated and distorted sounding delay [Music] repeats next to this we then have Bass and treble these are going to affect the bass and treble of your delay repeats not your dry guitar signal so with both of them at midday they sound like this let's now bring back the [Music] base boost the base all the way up [Music] let's bring Bas back to noon take all the treble out of the delay repeats and then boost treble all the [Music] way so what we could do if we wanted a very subtle delay we could take all of the low end out by taking the base control down and then also all of the top so you get rid of that sharp pick attack and bring the treble down as [Music] well and then finally we have the width control this is going to add a stereo width and image to your delay repeats when it's all the way at its minimum value it will sum all of the St information to Mono so it just comes out as a mono delay signal however as you increase it your delay repeats are going to feel wider and wider in the stereo field with width set at midday sounds like [Music] this now I'll take the width all the way down so now it will be a mono delay signal [Music] and now I'll set width all the way up so the delays are nice and [Music] wide and then finally at the far right of the delay unit we have a power button below mat's logo where you can bypass the unit if you wish in my track I utilize the delay to add space and Ambiance to everything in the track almost but especially the lead guitar sound so here is the higher gain lead tone without any of the delay [Music] applied [Music] and now here's the same thing with the delay added [Music] in so this tape delay unit is an extremely expressive and dynamic part of archetype Mata Cato and in that example I just played you could hear how it added width and Ambience and loads of texture to what I was playing and because of this I'd really encourage you to dive deep and go into all of the parameters and explore what this unit has to offer next in the post effects is the Reverb unit this has two main modes haul and plate without the Reverb effect added in my guitar sounds like this and if I Engage The Reverb and have it in plate mode with these settings sounds like [Music] this in Hall mode sounds like [Music] this and these are the two main characters that this Reverb unit has to offer following on from that we then have different parameters to further fine-tune this Reverb so starting with pre- delay this is the time between your initial guitar signal and the first reflection of the Reverb if we go back to Plate mode and set this at its minimum value it sounds like [Music] this and you can hear there that the Reverb acts instantly after you play if we set this [Music] halfway you can hear that time difference between your initial guitar signal and the reflections of the Reverb all the way up sounds like this [Music] and as you'll notice as I change this pre- delay you can see it in milliseconds with this digital display that shows all of the other parameters as well so now in Hall mode here's the shortest pre- delay [Music] time here it is at around 91 [Music] milliseconds and then all the way up at 200 [Music] milliseconds next moving on to Decay this is going to be the length of time that your Reverb tail goes on for so with it set at its minimum value in plate mode it sounds like [Music] this so at its minimum value it will have that small room type sound and then with the Decay set halfway in plate mode sounds like [Music] this [Music] and now if I set decay all the way up it's got an almost infinite Decay to it and you'll see from the digital display that the Decay is around 60 seconds and that is almost infinite feeling that's a very long time for a Reverb tail [Music] next here is the minimum decay in Hall [Music] mode set the Decay to halfway up [Music] and now with an almost infinite [Music] decay while using this almost infinite Decay feature it'll be a good time to demonstrate the low and high pass filters so these two orange faders refer to those if I raised this left one that will cut off more of the lower frequencies this is the highpass filter conversely if I did the same thing with the right hand fader that will cut off more of the high frequencies and this is the low pass filter so now I'm going to play a chord and with this long Decay feature on the Reverb I'm going to play around with these low and high pass filters so you can hear how they affect the Reverb [Music] sound so these high and low pass filters are really flexible tool in shaping the tone of your Reverb around your guitar signal next we're on to the mix control and this allows you to control the blend of your dry guitar signal and your wet Reverb with the mix set all the way at the bottom you're going to have no Reverb it's just going to be 100% dry guitar signal and it sounds like this and in plate mode if I raise this to halfway you'll get a 50/50 blend of [Music] each and with the mix set at 100% you're going only hear the Reverb and none of the draw guitar [Music] signal [Music] now in Hall mode with the mix set at 50% here's how it [Music] sounds and now in the whole setting here's the mix at 100% [Music] and then finally at the bottom right of the Reverb unit again you've got a power button where you can bypass it or engage it going back to the track example in the higher gain lead sound I also use the Reverb unit to add further space and dimension to that tone here's how it sounds without the Reverb engaged [Music] and here's the same thing with a Reverb [Music] engaged and now to wrap up this post effect section here is the same example with the delay and Reverb both engaged [Music] so this post effect section then can be used to dial in shter decayed slapback style wet effects all the way to long drawn out luscious soundscapes you can hear that Matas uses these and everything in between in his own playing and now you can as well okay so now we're into Global features let's take a look at some of the settings and options that apply to this plugin across the board so the first thing you may notice is a slight visual difference to the user interface however this change to the UI has made it way more intuitive and improve the overall usability it's worth noting that in this video I'm using the beta version of this plugin however the production version of the plugin May differ slightly right so let's move on at the top left of the plugin we have the input control and this is used to set the level at which your instrument hits the plugin so for example if your guitar has a lower output you could raise this input to compensate or on the flip side if your instrument had a higher and hotter output you could bring that down and make sure that you're not clipping the input of the plugin next we have the Noise Gate and this can be either engaged or bypassed with the switch at the top when engaged you can choose the sensitivity and the threshold of the Noise Gate by default it's set to minus8 80 DB but you can increase that all the way up to Zer DB if you need to cut out more noise from your signal next to the Noise Gate we have the transpose feature this can be used to raise or lower the pitch of your guitar by 12 semitones currently my guitar sounds like [Music] this now I'm just going to bring it down one [Music] semitone [Music] I could bring it down even further minus [Music] 5 or alternatively you could raise it all the way up 12 semmit tones an octave above your guitar's natural [Music] pitch next to this we then have the input type and as we're running just a guitar into the plugin and we're only using one input for the audio rout this is set to a mono input however if your audio device was using two inputs and you'd set that in the audio settings you could use this in Stereo and you just set that switch to a stereo input this will allow you to process your stereo input source without losing any of that stereo image to the right of that we then have the preset menu with the two arrows above the preset name you can scroll through different presets and by selecting the box with the preset name in it you GRE to with the drop down menu of the factory presets and your user saved presets as well you can also search for presets in a file directory by selecting the icon that looks like a magnifying glass at the far right of this preset menu as well Above This preset name box you can choose to save the current preset as a particular name all you do is type it in and select save if you select the three dots next to this you then greeted with a reset button to reset the current preset to the saved version of that preset and you can also import a preset by selecting import and choosing it from your computer's file directory and to revert to the previous options you just select the X next to import next we move on to the doubler this can be engaged by selecting the switch next to dubler and you'll see that it's now set at 6 milliseconds to demonstrate the effect that this doubler has I'm first going to play with it bypassed and then pop it in so you can hear how it sounds in stereo and here's how it sounds with a double set to 6 [Music] milliseconds now I'm going to play with a double a set to its most extreme setting at 20 [Music] milliseconds next we move on to the output control this is going to control the overall output of the plug-in and you can use this to ensure that the signal coming from the plugin is at a healthy level and that the signal isn't clipping so that's this top row of global features let's move on at the bottom left of the plug-in window we have the tuner selecting this it brings up the tuner and at the top of the tuner you'll see that we have an icon allowing us to have an audible tuner or a muted tuner at the bottom left you'll see we have an option to display sense or Hertz above the note when tuning we now have a toggle switch that allows you to show the live tuner in the footer of the plug-in window so when closing the tuner window at the bottom left you can see the pitch and tuning of your instrument and then finally at the bottom right of the tuner you can select a specific frequency value to tune to next to tuner we have the midi mappings window this midi mappings window shows all of the currently assigned midi information to the plugin and you can also assign new midi mappings here as well next to this we have the option to tap in a tempo for the Plugin or alternatively you can click the BPM and type in a value yourself next we have the metronome When selecting this you're greeted with a number of features at the top left you've got the overall volume of the metronome you've got the drop- down menu for the time signature that you want the metronome to operate in you've also got a drop down menu for the selection of sounds that you want the metronome to make with the option to mute or pan the metronome as well below that you then have a large display of the current BPM that the metronome set to which you can alter with the arrows or by typing in a value on top of that you can then tap in a BPM if you wish and and then you've got a drop- down menu for the rhythmic subdivision of this BPM When selecting the play button you've then got a visual indication of the metronome below and you can choose to have these audible or accented on the main view of the plug-in you can choose to play the metronome with this play icon next to the word metronome next to this we then have the audio settings of the plugin here you can choose use your audio device typee your audio input and output device as well as any specific inputs and outputs that you're using below that you've then got your choice of sample rate as well as your audio buffer size there's also the option to choose your midi input devices if you want to use midi with the plugin and finally at the bottom right of the plug-in window you have two arrows allowing you to change the window size of the plugin so that's it for the global features as well as the changes to the overall UI so now let's take a look at a few presets that I've designed using archetype matus asato this preset is called [Music] arpeggios [Music] this next preset is called chunky [Music] rhythm [Music] this preset is called clean cord and [Music] Melody this preset is called crunch [Music] lead this preset is called higher gain lead [Music] [Applause] [Music] this next preset is called Old Radio [Music] this next preset it's called wet chord and Melody [Music] this next preset is called wet Rhythm [Music] one this next preset is called wet Rhythm 2 [Music] this next preset is called wild tape [Music] so that was a deep dive into archetype Matas asato it's an incredibly flexible Suite of vintage and boutique Gear with Faithfully recreated mat's favorite sounds with tons of scope to get creative with your own tones to get a free trial of archetype Matas ASO as well as all of our other plugins head on over to noral dp.com all there's left to say is I John Conan thanks for [Music] [Applause] [Music] watching

Channel: Neural DSP

Views: 32,754

Keywords: Neural, Neural DSP, Plugin, VST, Quad Cortex, Archetype, Archetype Petrucci, Archetype Tim Henson, Soldano, SLO-100, Archetype Gojira, Archetype Cory Wong, Fortin, Fortin Cali Suite, Omega Ampworks Granophyre, Archetype Abasi, Archetype Nolly, Parallax, Archetype Plini, Fortin NTS Suite, Fortin Nameless Suite, Darkglass Ultra

Id: mEt2Ft3dTrI

Length: 85min 50sec (5150 seconds)

Published: Thu Oct 05 2023