My first question is actually related to that. This anime has been such a huge, huge thing to work on. Kensuke Ushio: Thank you for having me, and for saying that. The Chainsaw Man anime has been pretty amazing so far. We had the chance to interview Ushio about how he got connected to the production, using AI to create brand new sounds, and even cutting up and distorting music to match the violence of a chainsaw!Ĭrunchyroll: Thank you so much for joining us again, for, I think the fourth interview we've done together. It makes total sense, then, that he was chosen to compose the soundtrack for the anime adaptation of the deeply experimental and fresh Chainsaw Man. He has deconstructed Bach compositions, used watercolor painting on sheet music, and merged traditional Japanese biwa music with EDM. These are my current favorite pedals - by this time tomorrow the whole set-up could change though, because you know all I need is that one pedal that will make all this difference.I just know it's out there somewhere images/icons/wink.Kensuke Ushio isn't a typical anime soundtrack composer. For some reason that amp works great with a bunch of pedals in front of it. If I'm using pedals to record I go into a blackface Delux Reverb (which would be my "desert island amp") into a 2 x 12 cab with Celestion greenbacks. In the studio the SHO can make the sound a bit brittle though. For my live set up I also use the ZVex SHO always on to give the signal a boost before it hits the pedals/amp. This includes a pretty nice octavia sound. For whacked out 'over-the-top fuzz' I love the Prescription Electronics "Face Lift". For OD but with more edge I use the Black Cat "OD1". I guess I'm looking for the best of both worlds.Īctually, the best guitar sounds I've gotten are using two mics on two amps.Īnyhoo, I'm rambling, and I'm sure this topic has been covered ad nauseum here before, but why not throw it around again?ĭepends on the type of distortion you're after but this is the setup that works for me:įor a sweet TS9 OD sound but with more flexibility I like the Homebrew Electronics "Power Screamer" (Dopey name but great sound). I used an nt1a on the amp a few feet away yesterday and liked the result, although I missed a meatiness of a 57 against the cab, the highs kind of rolled off. I don't know if it's phase or what, but sometimes it feels like the mics get in the way of each other sort of like using rosemary to cover up the inefficiencies of basil, then some oregano to take the edge off the rosemary, and some parsely to cover up. I have actually not had great results micing an amp in two or more places. So, what kind of stompboxes do you use, and what kind of mics/placement do you use? (I know my ears are the only true guide, but who doesn't love to talk gear?) I guess I have kind of a bias against the pod, using amp simulators feels to me like getting around using your ears and mic placement, although like I said before that's more prejudice on my part than it is reality. I'm thinking a stompbox would be the best way to go. I like the natural distortion of the fender, but I'd like something else in my aresenal. ( I don't really like it, I'm more into stompboxes, but that could be just prejudice on my part) I have a tele, a fender super, a polytone mini-brute, and a digitech effects unit that's 5 or 6 years old.
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