Harmonized Lead with two Guitars (80’s Metal Style)

[Fylzie73]

I am trying to find a patch that will output a high gain, harmonized lead sounding like 2 guitars.  Think 80’s Metal like Iron Maiden/Judas Priest/Metallica.

Has anyone made or found a patch like this to share?  I have been poking around in Patchstorage to no avail.

I’d love some guidance on making my own, but I have to admit that I am ham fisted at setting up algorithms.

Many thanks!

[brock]

This one may give you a head start.  The base Program is set up like a unison doubler, but you can (manually) adjust Pitch A & B to say, 3rds & 5ths.  The A HotKnob shifts both pitches together.

https://patchstorage.com/adt-quantize-doubletrack/

For high gain ‘internally’, try swapping out Mod Delay for any one of the distortion algorithms.  I’m sure I’ve built something similar before, but I didn’t find any with a quick scan of PatchStorage.

[oliviawilde168@outlook.com]

brock wrote:

This one may give you a head start. The base Program is set up like a unison doubler, but you can (manually) adjust Pitch A & B to say, 3rds & 5ths. The A HotKnob shifts both pitches together. For high gain ‘internally’, try swapping out Mod Delay for any one of the distortion algorithms. I’m sure I’ve built something similar before, but I didn’t find any with a quick scan of PatchStorage.

Is there anything specific you want to ask or suggest in return?

[brock]

oliviawilde168@outlook.com wrote:

Is there anything specific you want to ask or suggest in return?

Nothing much to ask, but I can suggest a few specifics to flesh out my previous answer.  There are higher gain Distortion choices, but I’d go with Sculpt. If need be, boost it using In & Out Gain controls at the Preset or Program level.

Split Mode with ‘spectral panning effects’ enhances the multiple guitar illusion, along with offset Delay A & B times in Diatonic.  But this will also work in mono, or for input + one guitar harmony.

Core Program:

• Change the Key, Scale, Pitch A & Pitch B to match song harmonies.
• Program, Diatonic & Sculpt Mix all fold in some pick attack from the clean input.
• Adjust the Gate Threshold for balancing sustain vs. compression noise buildup.

QOL Enhancements:

• Control the Pitch Mix with [A] HotKnob, Band Mix with HotKnob, and [P] HotKnob for control over both.
• EXP pedal mapping to tame down the Low & High Drive, while dropping the X-Over frequency.
• This being the ’80’s, EXP also controls the mandatory wah action [Filter Pre, Filter Post, Env Filter Sens] here.

[brock]

… Band Mix with HotKnob …

A victim of the disappearing bracketed B trick.  To clarify:

• Diatonic Pitch Mix, mapped to the HotKnob (A).
• Sculpt Band Mix, mapped to to the (B) HotKnob
• Next, map each HotKnob in turn – (A) and (B) – to the (P) HotKnob.

That will give you easy access to versatile mixing between guitar voices, distortion multi-bands, or both simultaneously.  Balance point for all voices & HotKnobs is at the midpoint (50).

Although it’s intended for single note lines, this Program is very forgiving of power chords, and many double-stop note combinations.

[Author]

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