The Scream 4 has a three-band EQ, called the Cut section (Figure 8.50), which can drastically boost or lower low, mid, and high frequencies.
Figure 8.50. The Cut section equalizer lets you boost or lower low, mid, and high frequencies.
Warning: The Cut section has an 18 dB range, so take care not to blow out your speakers, headphones, or ears when boosting these faders!
To use the Cut section
With your loop playing and a Scream 4 inserted, click the Cut On/Off button to activate the EQ.
Drop or boost the Lo, Mid, and Hi faders to taste.
By default these faders are set at neutral (halfway) and have no effect.
Use a V shape to emulate a dark, Black Sabbath type of guitar sound (Figure 8.51).
Figure 8.51. This EQ setting produces a heavy-sounding guitar.
The Scream 4 Body section allows you to further shape the tone of the distortion through a combination of filters, modeling, envelopes, and cabinet simulation. Think of the Body section as creating a resonating enclosure around the sound, and the controls will make more sense as we explore them.
To use the Body section for resonant filtering
With your track playing and a Scream 4 inserted, click the Body On/Off button to turn on the Body section (Figure 8.52).
Figure 8.52. The Body section lets you further shape the tone of the distortion.
Turn the Reso, Scale, and Auto knobs hard left so you can test them one at a time.
Boost the Reso knob to resonate the Body section's filter.
When the other knobs are set to the left, the Reso knob will have a subtle effect.
Now turn the Scale knob slowly from left to right.
Though at first the Scale knob may seem like a frequency knob, it "shrinks" the enclosure model as you turn the knob clockwisethe smaller the enclosure, the higher the resonant frequency.
Move the Auto knob to the right.
The Auto knob controls the Scream 4's envelope follower, a gate that opens and closes with the volume of an incoming sound. This shape is then applied to a filter for an "auto-wah" effect.
The Type knob gives you five different enclosure shapes to choose from. Try out the different settings and you'll hear how this control can be used for speaker-cabinet simulation.
More About Auto and Scale
The Scale knob affects the sound of the envelope follower. When the Scale knob is set low (large), the envelope follower shifts in the low-frequency range and the effect is subtle. As the Scale value increases and the body size shrinks, the filter shifts up in frequency, creating more of a classic, acid-bass-line type of filter shift. Slightly higher Scale settings will push the Auto filter into the vocal range, creating interesting "talk box" effects. At the highest Scale setting the Auto filter shifts more quickly, and becomes more of an attack effect.
The Auto CV output
You can also use the Scream 4 Auto filter CV output like an amp envelope signal, to control another Scream parameter or another device.
To use the Auto CV output
Create a Redrum drum machine and load the patch /Redrum Drum Kits/Rock Kits/Groovemasters Rock Kit 1 from the Factory Sound Bank.
Write a one-bar drum loop (Figure 8.53).
Figure 8.53. This short drum loop will be used to drive the Scream 4 envelope follower.
Select the Redrum and create a Scream 4.
Reason will insert the Scream 4 between the Redrum and the Mixer.
Click the Damage On/Off button to disable the Damage section of the Scream 4 (Figure 8.54). We're just using the envelope follower for this exercise.
Figure 8.54. Disabling the Damage section won't affect the envelope follower.
Create a SubTractor synth and load the Factory Sound Bank patch /SubTractor patches/Bass/Dodger Bass.
Select the SubTractor and create a Matrix Pattern Sequencer.
This will auto-route the Matrix to control the SubTractor.
Write a one-bar sustained-note loop on the Matrix (Figure 8.55).
Figure 8.55. This Matrix plays a one-bar sustained-note loop (the Tie function is enabled).
From the back panel, run a cable from the Scream 4 Auto CV output to the SubTractor's Filter 1 Freq modulation input (Figure 8.56).
Figure 8.56. The Scream 4 Auto CV output will now control the filter 1 frequency of the SubTractor.
Adjust the SubTractor's Filter 1 Freq CV knob (Figure 8.57).
Figure 8.57. Optimize the current SubTractor patch for the incoming control signal using the CV sensitivity knob.
You should now hear the SubTractor part pulsing along with the drums.
Try muting the drum track in your Mixer to focus in on the bass sound.
Now try optimizing the SubTractor controls to tune this effect with these settings:
On the front panel, set Filter 1 frequency to 16 and resonance to 74. Set Filter Envelope amount to 0. On the back panel, set the Filter 1 Freq CV knob to 1622.
To modulate the drums
Turn on the Scream 4 Body section.
You will hear a phase effect as the type (cabinet simulator) kicks in.
Set the Type knob to B.
Set the Reso knob to maximum and the Scale knob to 42.
Set the Auto knob to 81 (Figure 8.58).
Figure 8.58. Use these Body settings for drum modulation.