# Secrets of the Score-Charlie Clouser and JIGSAW



## charlieclouser

Hey kids. Recently I was interviewed / screen-casted for Paul Goldowitz's excellent website GoldoSyncReport.com and I went through (in excruciating detail) a couple of cues from the eighth (!) movie in the SAW horror franchise, JIGSAW, which hits theaters (and IMAX!) on October 27th. No slaves, no VEPro, just Logic X and 250 instances of EXS-24 in glorious 4k.

I go through a lot of the sounds used to build up one of the ambient, murky cues, and then break down the elements in the notorious "Hello Zepp" theme that occurs in all of the films. Might be interesting to some of you guys.... Here's the links to the two videos:


----------



## mouse

Just finished watching it. Awesome stuff thanks Charlie!


----------



## AdamKmusic

Nice will be watching this when I’m home!


----------



## Sekkle

That was really inspiring thanks Charlie!

I love all the original sounds you had and the New York subway tone is just awesome. Makes me want to go do some field recording and find some new sounds! 

I think varispeeding sounds like the old Akai's is still to this day one of the most powerful sound design techniques. Both that and reversing are some of the simplest and oldest ways to manipulate sound but they manage to maintain organic integrity which allows for things to sound otherwordly yet natural and familiar somehow. I've had some really interesting results recording at high sample rates with extended frequency response microphones as you can make things sound in hi-res when varispeeding them down. 

Awesome stuff I hope you some more of these type walkthroughs in the future.


----------



## germancomponist

charlieclouser said:


> ... No slaves, no VEPro, just Logic X and 250 instances of EXS-24 in glorious 4k.



Ha! Very cool!


----------



## synthpunk

EXS-24 Ninja this one is.

Only wish we might have seen a few more soft synths in there as well.


----------



## FGBR

Nice, that was great, thanks for posting. 

I'd say my main take away is the value of having (or rather creating) your own unique sonic palette. 

(And thanks as well for all the other helpful and inspiring posts you contribute to the forum.)


----------



## Mornats

I really enjoyed watching those two videos, thanks for sharing them. I loved the combination of the two synth bass lines and how one snuck in between the rhythm of the other. That gives me some ideas to try out for my next track.


----------



## Killiard

Amazing! Great to have an insight into how you work. Thanks!


----------



## Replicant

Those train brakes sound absolutely terrifying. Great video and thanks for sharing!


----------



## synthpunk

Charlie can you please share how you capture your field recording type sounds for sound design? Cheers


----------



## Mornats

It looked like Charlie had a Zoom H4N in his hand when recording the bowed contraption.


----------



## charlieclouser

synthpunk said:


> Charlie can you please share how you capture your field recording type sounds for sound design? Cheers



That subway brakes squealing was recorded in 1982 or so, on cassette tape, with the built-in mics on a Sony recording walkman - auto-gain-control recording, "metal" tape formula - I was cutting edge! 

More recently (ten years ago maybe?) when portable digital field recorders started to show up en masse I got a Sony SD recorder that has a pair of X-Y mics on it and a big furry wind screen that looks like those Rycote deals. Sounds great. I've even recorded drum parts with it. I just listen to playback of a rough version of a cue (or even just a cool song from iTunes) on my iPhone and record what I'm playing on the SD recorder - drop the wav files into Ableton to quantize and sync them up with what I'm doing back in the lab, and... done. I'm all for low-stress setups.

When I got it the Sony SD recorder it was maybe $500 but since then that market has exploded alongside GoPro cameras etc. so now you can get great ones by Zoom and Tascam for a couple hundred bucks. Of course, you can just record stuff on your iPhone these days, and there's some cool external mic setups for your phone by Blue and others but I haven't tried any of those.

I never really paid too much attention to how good or bad the quality was - I wouldn't carry around external mics or cables or all that jazz. One cool feature some of the portables have that an iPhone doesn't is "dual gain" recording. They'll record a stereo pair at one gain setting, while simultaneously recording another stereo pair from the same mics but at 12db down - this way if you're in the junk yard banging on scrap metal and the main pair goes into clipping you can use the 12db down pair and hopefully it didn't clip. Cool feature. Most of them have auto-gain-control and limiters built-in also.


----------



## charlieclouser

Mornats said:


> It looked like Charlie had a Zoom H4N in his hand when recording the bowed contraption.



Yeah that Zoom belonged to Paul who shot the video. that was just so we'd get audio that wasn't from the iPhone mic. The cameras he used were a silver GoPro and two phones. I recorded the audio output of my Logic rig in ProTools as a stereo file on my second rig, recorded the screen of Logic using QuickTime Player on the Logic machine (with no audio as I couldn't figure out SoundFlower or some sort of loop-back deal), and I was wearing a lav mic that went into the Zoom. Then Paul synced up all of those sources on his editing rig.


----------



## Mornats

It's pretty amazing what you can do with fairly cheap tech these days isn't it? I've got a Zoom H1N that I may take out one day and grab some sounds with. You've inspired me


----------



## jononotbono

Your contributions to VI-C are immense! Thanks so much! Can’t wait to watch the Jigsaw!


----------



## charlieclouser

FGBR said:


> I'd say my main take away is the value of having (or rather creating) your own unique sonic palette.



Yup. One train of thought that's always guided me a little is my "anti-Big-Fish" theory: If a style of music can be easily encapsulated / simulated in the context of a sample library of "construction kits" that you can buy for $99 on the Big Fish Audio website, then that's a style I should try to avoid. By revealing itself to be easily reverse-engineered, such a style is therefore no longer something I think of as all that innovative, interesting, or difficult to achieve. Plus every punter on earth will be churning out library tracks that sound 85% as good as the original source that was the inspiration for all those sample libraries. Not to say that I don't buy tons of cheap, derivative sample library content - but I generally throw about 90% of any library away after fishing through it all and keeping the six good drum hits and four loops that I might be able to mess with enough to fit them in with my other sounds.

When the retro-synth-wave craze hit a couple of years ago, with Stranger Things and Mr. Robot and all that, it took about three months before the sample library sites were absolutely awash in this type of content - pre-packaged and ready to rock. Same thing with "inception braams", "epic trailer drums", etc. etc. etc. ad infinitum. A lot of that content is quite well-produced and useable - drop some 16-bar loops into Ableton, overdub a few lines, and in an hour you've got a tense documentary score suitable for the Vice TV channel. But nobody is coming to me for that type of music, and it's not "morally satisfying" to me to use that kind of content anyway. So I'll buy that Boom Library "cinematic metals" library on special for $99 from VSTBuzz or whatever, just because with a name like "cinematic metals" there HAS to be something good in there, and then immediately load it up in AudioFinder, audition every one of the 4,000 wav files and delete them as I go. No backups, no second chances - just "spacebar, delete, spacebar, delete, spacebar, oooh I'll keep that one, spacebar, delete" all day long. Then 6gb of download becomes 100mb of stuff I might be able to use without being too embarrassed.

But I'm not really trying to be a factory that churns out oceans of content for every musical genre, applicable to the full spectrum of styles - I just enjoy the process of manually trying to shoe-horn a bunch of interesting sounds into something that resembles music. It's a bit of a happy accident that some of what I do is sort of applicable for a tiny niche of film and television productions.


----------



## Brendon Williams

Loved this, thanks for sharing!


----------



## Daniel James

That synth part you were 'air playing' in part one was awesome. If you don't mind me asking, what did you make that with? it had an awesome tone to it (as does all your synth work tbh)

Cheers for sharing mate.

-DJ


----------



## charlieclouser

Daniel James said:


> That synth part you were 'air playing' in part one was awesome. If you don't mind me asking, what did you make that with? it had an awesome tone to it (as does all your synth work tbh)
> 
> Cheers for sharing mate.
> 
> -DJ



Even though I was air-playing (cringe) all over the place in those videos, the only actual synth part was that little industrial / EBM synth bass part for about 16 bars, and that was ES2 doing the main hammering part with some ZebraHZ with its arpeggiator / step sequencer running behind it. The ES2 is the main, legible part and the ZebraHZ is the more dirty and continuous thing behind it that sticks out into the gaps in the ES2 part.


----------



## Daniel James

charlieclouser said:


> Even though I was air-playing (cringe) all over the place in those videos, the only actual synth part was that little industrial / EBM synth bass part for about 16 bars, and that was ES2 doing the main hammering part with some ZebraHZ with its arpeggiator / step sequencer running behind it. The ES2 is the main, legible part and the ZebraHZ is the more dirty and continuous thing behind it that sticks out into the gaps in the ES2 part.



Legend! thank you. Sorry I only saw you answered this in part 2.

-DJ


----------



## joed

Thanks for sharing these. They were very interesting and fun to watch.


----------



## Sekkle

charlieclouser said:


> One train of thought that's always guided me a little is my "anti-Big-Fish" theory: If a style of music can be easily encapsulated / simulated in the context of a sample library of "construction kits" that you can buy for $99 on the Big Fish Audio website, then that's a style I should try to avoid. By revealing itself to be easily reverse-engineered, such a style is therefore no longer something I think of as all that innovative, interesting, or difficult to achieve. Plus every punter on earth will be churning out library tracks that sound 85% as good as the original source that was the inspiration for all those sample libraries.



This is a real gem of wisdom right here.


----------



## germancomponist

charlieclouser said:


> ... When the retro-synth-wave craze hit a couple of years ago, with Stranger Things and Mr. Robot and all that, it took about three months before the sample library sites were absolutely awash in this type of content - pre-packaged and ready to rock. Same thing with "inception braams", "epic trailer drums", etc. etc. etc. ad infinitum. A lot of that content is quite well-produced and useable - drop some 16-bar loops into Ableton, overdub a few lines, and in an hour you've got a tense documentary score suitable for the Vice TV channel. But nobody is coming to me for that type of music, and it's not "morally satisfying" to me to use that kind of content anyway. So I'll buy that Boom Library "cinematic metals" library on special for $99 from VSTBuzz or whatever, just because with a name like "cinematic metals" there HAS to be something good in there, and then immediately load it up in AudioFinder, audition every one of the 4,000 wav files and delete them as I go. No backups, no second chances - just "spacebar, delete, spacebar, delete, spacebar, oooh I'll keep that one, spacebar, delete" all day long. Then 6gb of download becomes 100mb of stuff I might be able to use without being too embarrassed. ...



Yeah! This!


----------



## garyhiebner

Awesome! Thanks for the share @charlieclouser. Out of interest how long does it take your 256 Logic template to load up?


----------



## J-M

Thanks for sharing your knowledge, Charlie!


----------



## germancomponist

What I like is that/how Charlie show us, that we do not need the last plugs/libs to produce a best sounding score. Be creative with all what you have! Very sympathetic and accurate my way of thinking. This was and is always also my way.
Thank you Charlie!


----------



## resound

Thanks for doing this. I need to go make some field recordings.


----------



## FredW

Thank you for showing your compositions and custom sound palette. High amount of file management to keep track of all those instruments and audio files used in the franchise I assume.

Great work and sick bassline, put a donk on it!?


----------



## charlieclouser

Put a DONK on it!


----------



## synthpunk

Funny Charlie, I been here since 2013 and just realized what your avatar it!


----------



## charlieclouser

germancomponist said:


> What I like is that/how Charlie show us, that we do not need the last plugs/libs to produce a best sounding score. Be creative with all what you have! Very sympathetic and accurate my way of thinking. This was and is always also my way.
> Thank you Charlie!



You're quite welcome. I actually DO have most of the fancy libraries, and I do pick bits and pieces that I like from them, but a lot of the time when I try to build a cue from those sounds it just sounds "normal" and "ordinary" and I quickly lose interest. When I'm trying to get those chugging ostinato strings, then, sure.... I need a wide variety of string libraries so that I can find the ones with the kind of attack and "chunk" that I want to hear, and I combine and layer them in various ways to sculpt the sound to my liking. But things like the sustained strings and high staccato melody in the Hello Zepp cue are made from a live string quartet layered with an old Kirk Hunter "chamber strings" library that was originally for the Akai S-1000 and is maybe 20 years old. It just had the sound I liked. I've tried out many other libraries like CSS and Spitfire in that cue, thinking I could improve upon the sound, but I always wind up going back to the original combo of live + Kirk Hunter. 

As for the plugins, it's kind of hard to see in those videos but for the most part I am just using Logic's stock eq and compressor on every channel, with Space Designer's "Piano Hall 2.3 sec" preset as my only reverb, and Waves L3-LL as a limiter on the stems. That's pretty much it. Once in a while I will use a UAD plugin like Ocean Way Studios for strings reverb, or some sort of saturator to add bite on the short strings, but this is not all the time.


----------



## synthpunk

Good reminder from Charlie to the kids that despite all the synth plug-ins out their Logic ES2 is still a great one as well and perhaps has the best stereo spread.


----------



## Mornats

I've been playing around with a different route recently. I've taken Rhapsody Orchestral Colours and have put them through the Guitar Rig presets that came with Photosynthesis Vol. 1 then put Tantra on it. A single sustained note has now become a pulsing synth-style line. I've only just started playing with that and I want to see if I can bring up some of the more organic original sound back into the mix. It's kinda fun mangling sounds isn't it?


----------



## charlieclouser

Tantra is one of my favorite new plugins. I did use it on a few cues for Jigsaw to provide trance-gate type effects. Very cool little plugin.


----------



## petejonesmusic

Hey Charlie,
Wondering how you approach your workflow for getting your ableton files into your Logic session (all named so thoroughly as well!). Do you just have 1 rewire return in logic then just bounce it into audio as you go or is there some more complicated routing involved?

Thanks heaps!

Pete.


----------



## dog1978

Great videos, very inspiring. Thanks!


----------



## charlieclouser

petejonesmusic said:


> Hey Charlie,
> Wondering how you approach your workflow for getting your ableton files into your Logic session (all named so thoroughly as well!). Do you just have 1 rewire return in logic then just bounce it into audio as you go or is there some more complicated routing involved?
> 
> Thanks heaps!
> 
> Pete.



My Ableton workflow is about the same as it's been for the last fifteen years or so. Despite improvements to both Logic and Ableton, which would probably let me do things faster / better, I just keep doing it this way because I don't have to think or set up complex ReWire routings, etc.

- I have only a single stereo ReWire return from Ableton into Logic, and it's routed directly to Logic's stereo output 1+2, going "around" all of my stem sub masters, limiters, etc. so that the ReWire channels appear at Logic's stereo output at unity gain (faders all at 0db) and with no effects or processing.

- When I want to bounce Ableton material, in Logic I de-select any Regions in the Main Window, and then use Object Solo (aka Region Solo) with nothing selected, to, in effect, "solo nothing". This way all audio pathways are open but it's as though all Regions in the Main Window are muted or have been deleted.

- Then I set a Cycle Range in Logic that is rounded by bar lines, so that an exact number of bars is defined. This prevents me from winding up with oddly-sized audio files. 

- I set the Cycle Range to begin one whole bar before the desired audio starts in Ableton, and to end one bar after the audio (and any effect tails) ends in Ableton. This prevents my bounces from trying to start exactly on the first kick drum hit or whatever, and avoids any clicks or weirdness at the top of the resulting bounced files.

- Then I just hit "Bounce" in Logic, usually bouncing in real-time so I can hear the results (unless I'm in a big hurry), and when the resulting file appears in Logic's audio file pool, I drag it to an empty audio track in the Main Window and position it so that it starts at the left-most boundary of the Cycle Range. I have a key command that's whatever they're calling "Pickup Clock and Move By Rounded SPL" these days, so I usually use that to move the audio to where it needs to be.

There are two different approaches to how I bounce audio from Ableton:

- If the cue is all at one tempo, and I don't have any automation of effects inside Ableton, then sometimes, in order to save time, I make a "construction kit" layout, where each piece of audio in Ableton occurs for exactly four or eight bars or whatever, butted up against each other, one after the other (but usually still on separate Ableton tracks for clarity), and then I bounce the whole collection as one Logic audio file with a name like "SAW8-3m23-elements". Then, once the file is in Logic, I chop it up into pieces using the option-scissors trick that divides a long region into equally-sized pieces, and distribute them onto different audio tracks. Even if a piece of audio is only a one-bar loop, I'll repeat it in Ableton so that each piece of audio is the same length - this way I can use the option-scissors trick without needing to clean anything up. This method works well when I have a ton of percussion elements that are essentially loops that do their thing in a few bars, as opposed to song-length performances involving lots of edits or effects automation. Then I just do all the complex editing in Logic. This is just a quick way to bring over a ton of stuff that I haven't decided exactly what to do with yet.

- If the cue has tempo / meter changes, or I'm doing song-length automation of effects inside Ableton, or I'm editing tons of drum parts into a complex arrangement inside Ableton, then I need to bounce each element separately by soloing each track in Ableton before bouncing them one at a time. This can get time consuming to sit through a six-minute cue twenty times, so often I will do "offline bounce" to speed up the process. The resulting handful of audio files then get distributed to empty audio tracks in Logic.

I usually don't combine multiple tracks in Ableton into a single bounced element, unless I'm absolutely sure of the layering and mixing between those elements, or have built a stack of guitar slams or whatever. When I'm working in Ableton it's generally in the beginning stages of the cue, so I'm probably not sure how I want to combine those elements and I prefer to mix and process in Logic as the cue gets closer to being finished. 

I then save the Ableton project and tell it to move all audio to the local saved project's folder, which lives inside the Logic Project folder for that cue, so I can always go back to the Ableton session to re-bounce, change or add elements, etc. I can also easily load up Ableton projects that are ten or more years old and everything's there, even if I've moved, renamed, or re-arranged my source sample library folders.

During the process of finishing a cue I often have to go back to Ableton and change some effects automation and re-bounce some files, add some new bits, etc. But I don't like the idea of needing Ableton to be running in the background in order for a cue to play correctly - that's why I just do my thing over there and bounce it out. That way, if there's any issue with CPU, or Ableton or ReWire acting up, it doesn't matter because all of the audio for a cue has been bounced into Logic.


----------



## D-Mott

Hey Charlie,

I just have a couple of questions about your work. I think the sound of SAW is awesome because it really paints the colours and the world this series is based in. Not only that, but it has a theme, and for me when I go to the movies it's something that's important to me and makes the movie more unique and memorable. I recently saw Blade Runner 2049 and that had the same vibe going on. The music coloured the scenes really well i thought. 


I watched your videos and it got me thinking - *Before you make a sound to go into your compositions, do you have that sound in your head, or do you just experiment and see what happens when you mess with your recorded sources?


- For the Hello Zepp song, did you have that melody idea in your head or was that just playing around too?

- When you went and recorded that subway train, did you know it would make those kind of sounds when pitched down, or did you originally think it was a creepy sound in the first place and you just wanted to capture it for your Saw compositions?


- When you were first chosen to write for the movie SAW, did you have an idea of what this movie would sound like as well as the sound design? Also was this a lot of trail and error for you or was it pretty straight forward?
*
I guess I am asking all this because you seem to have a lot of recorded sounds and they fit perfectly in your compositions. I was thinking that wow, does he just have all these sound ideas in his head and he knows what to record to get it? haha. I am the type of person that writes but I never really have a melody or any sort of sound design in my head and that can make you a little overwhelmed at times of the possibilities you can do with sound.

Cheers!
*
*


----------



## charlieclouser

D-Mott said:


> *1 - Before you make a sound to go into your compositions, do you have that sound in your head, or do you just experiment and see what happens when you mess with your recorded sources?
> 
> 
> 2 - For the Hello Zepp song, did you have that melody idea in your head or was that just playing around too?
> 
> 3 - When you went and recorded that subway train, did you know it would make those kind of sounds when pitched down, or did you originally think it was a creepy sound in the first place and you just wanted to capture it for your Saw compositions?
> 
> 
> 4 - When you were first chosen to write for the movie SAW, did you have an idea of what this movie would sound like as well as the sound design? Also was this a lot of trail and error for you or was it pretty straight forward?*



1 - When it comes to sound design, I generally follow my ideas as opposed to trying to ruthlessly pursue them. By that I mean that I'll think, "I want that sine-wave-distorting-through-a-blown-speaker sound I heard in Terminator 4", then start fiddling with synths, samples, and effects, and I might get sidetracked when I hear something in that general category but that doesn't exactly match what I started out wanting. So I'll record or build a bunch of sounds based on that side track, and maybe never even get to the thing I originally started out trying to do. If I didn't do that, and just kept pressing on trying to make that first sound I wanted, I might miss out on lots of cool sounds that were accidentally discovered along the way. 

2 - For Hello Zepp I knew that I wanted to use a strident, small string quartet sound, playing a simple, repetitive pattern that could change and evolve, and I knew I needed two main sections plus a couple of melodic breaks. So the first thing I put up was the hammered dulcimer part, which took all of two seconds and actually contained the same three-note progression that's in the string part. So the idea had germinated already. Then I put up a string quartet sound and just started playing around with that basic three note progression, and it all came together very quickly. So I knew ahead of time what the FORM should be, but not the CONTENT. As I messed around, staying true to my idea of the form, the content revealed itself under my fingers.

3 - When I recorded that subway train, I had already been messing around with samplers and tape machines for a few years, even though the technology was crude at the time, but I knew how magical some things could sound when slowed down/ I knew from my limited experience at the time that I should be on the lookout for sounds that had interesting, evolving textures and might respond well to being slowed down. At that time (early 1980's) I was a fan of Peter Gabriel (and his work with the Fairlight sampler) and the albums by David Byrne and Brian Eno (My Life In The Bush Of Ghosts and The Catherine Wheel) - and all of those records had lots of tape and sampler manipulation. At that time I had a terrible Ensoniq Mirage sampler, and I would rent time on a Fairlight system when I could afford it, and I had some tape machines that let me record at one tape speed and then play back at either half, double, or a variable speed. So I knew how cool some of those techniques could sound. I would carry this recording Walkman around with me in NYC and record snippets of sounds whenever I heard something interesting. Most of it was unusable garbage, but once in a while I'd find a gem amongst all that garbage. That subway squeal was one of the gems. In subsequent years, as I got better samplers with more and more memory, I was able to actually achieve many of the ideas I had that were too much for the crappy Ensoniq Mirage - and these days, the sky is the limit when it comes to manipulating and processing samples. With Kontakt, EXS-24, Granite, Omnisphere, Falcon, Iris, and Alchemy... any one of those tools is more advanced than the Fairlight that cost me $30 per hour to use back then.

4 - When I started on the first SAW movie, I knew what categories of sounds I wanted to use, but maybe not exactly which sounds to use. As I said above, I usually respond to sounds as opposed to struggling to achieve one specific thing I have in mind. Regardless of the project, most of my time is spent listening to sounds and trying out musical ideas and saying, "No. No. No. Maybe..... No. No. Yes. No." until I have a pile of "Yes's and Maybes". Then I can take those and start to build my result. Audition a hundred kick drum samples until I find one that doesn't totally suck. Try out a dozen chords until I find one that doesn't sound lame and then try to find a second one. And so on.

That said, after all these years, when I DO have a very specific idea I can usually get there pretty quickly - on those rare occasions that I do have a specific idea. I always think it's more fun to follow the train of ideas as opposed to battling against them.


----------



## D-Mott

Thanks for your very detailed response.


----------



## InLight-Tone

Pure gold, thanks for your time Charlie!


----------



## Jeremy Spencer

Charlie, that was great. Thanks for sharing.


----------



## Josh Richman

charlieclouser said:


> Hey kids. Recently I was interviewed / screen-casted for Paul Goldowitz's excellent website GoldoSyncReport.com and I went through (in excruciating detail) a couple of cues from the eighth (!) movie in the SAW horror franchise, JIGSAW, which hits theaters (and IMAX!) on October 27th. No slaves, no VEPro, just Logic X and 250 instances of EXS-24 in glorious 4k.




https://vintageking.com/blog/2017/10/charlie-clouser/


*Talk a little about your studio set-up. What's your workflow like?*
I do all my main composition, recording, and mixing inside Logic X on a Mac Pro cylinder, and output the results to as many as eight 5.1 stems which are routed via MADI over to a second Mac Pro running Pro Tools HD-Native, which is acting as a basic layback recorder. A third computer, a Mac Mini, is slaved to Logic via MTC and is running Video Slave software that I helped to develop. This takes the video playback load off of the main Logic machine and simplifies things a bit. I use https://vintageking.com/motu-112d (MOTU 112d) and https://vintageking.com/motu-1248 (1248 AVB) interfaces, along with a UAD Octo, on the Logic machine, and Avid MADI and SyncHD interfaces on the Pro Tools stem recorder. I repurposed a couple of older Mac Pro towers as orchestral slaves running Vienna Ensemble Pro, although I use these pretty rarely, and I do a fair bit of sound design and rhythm programming in Ableton Live and Reasonwhich run as ReWire slaves behind Logic. Tons of plugins, as you'd expect, ranging from the amazing UADstuff to more out-there stuff like Sinevibes and Audio Damage.

*What are some essential pieces of gear that you need when scoring a horror movie/television show?*
For me, the essential gear is anything that can really put the hurt on a signal, like my UBK Fatso and lots of guitar pedals, especially the Electro-Harmonix stuff. Their SuperEgo, Freeze, POG2 and Pitch Fork are recent favorites, and I still get a lot of use out of my Zvex pedals, MXR/Dunlop Hendrix fuzz, and of course the green Line6 delays, both pedal and rack.


----------



## dog1978

The video links are not longer available. Is there another link?


----------



## Axl

dog1978 said:


> The video links are not longer available. Is there another link?


https://www.popdisciple.com/podcasts/charlie-clouser 
thai was the closest thing i could find.


----------

