Best way to create this haunty distortion?

[petemoore]

  Feel free to crotique, becrit, or suggest alternatives to these suggestions....
  Sounds like a mix to me. ioW went through a digital thingy is a possibility...
  But I hear speakers, air, microphone[s, some type of phase-play...
  The speakers part is what that sounds like...vibration which is voiced, has limits, sounds like nice speakers.
  And if I were going after that I'd start with 2 amplifiers which can distort nicely, if perfect playing accuracy is not a problem, 1 amp and two takes could theoretically get the same results on two separately tweeked tracks, perhaps 1 amp 1 take could do as well..but that's getting away from this approach.
  Put a touch of delay on one, maybe a hint of reverb, some kind of OD which lets some guitar timbre through, SD-1 or TS or... or.. or..booster does booster does Jfet clipping or or..
  The other side I would put solid 'shuddering' OD tone in it, by 'shuddering' I mean nice pronounced/controlled speaker cabinet resonance...by that I mean sit there and tweek out the entire signal chain.
  For that I'd do the usual, starting at the speaker first, pickup second, of course a selected amplifier..selected from the best amps I can find around here [that'd be my 5W recto or 18w], shouldn't be too hard because I already have that coming through ABlue speaker in pine box or reflex.
  Both HB's into Signal Splitter = A and B outputs:
  {A} Dynacomp, BJTBooster, FF, Echo Park A input. Hard comp, FF gain/input 'medium' grind.
  {B}  Omega, Supreaux, CMOS '3 legs', Minibooster w/tone controls, Echo Park input B.
  EP output A to 18w > Wharfdale ceramic [or TT A.Hempcone] 12'' pine reflex.
  EP output B to 5w > Alnico Blue Box.
1 Turn one amp off and work the dials on the other side...reverse/repeat.
  Tune the amps together some more, maybe repeat step 1.
  Put a mic on an amp, listen through headphones or go for the position I like, do a 'take/playback/analysis...try /compare 2nd take to compare to 1rst take..adjust...everything pertinent, including mixer/record inputs. Reverse/repeat for other mic/other side ie...second record mic to track.
  Start mixing in on channels 1 and 2, take notes, re-adust/repeat but on channels 3 and 4, compare and analyze, go back to the volume/tone controls on the guitar...lol !
  could be the echo is in the final mix though. Could be lots of various things I wouldn't normally try.
  Mixdown...can't forget mixdown !
  Also, there are 'relevant to crunch' sub-guitar frequencies in the example, though most of it sounds like drum and guitar-produced harmonics to me.

[nelson]

I thought it was just a nice haunty reverb - that's what it sounds like live.

[shredgd]

I don't hear any phasing on that. I hear a double-tracked fuzzy guitar. Possibly rolling the tone control down on the guitar. You can probably get that tone straight out of a gainy amp, but a Rat or Big Muff, with the tone/filter rollling off the treble will sound like that.

And make sure you have your twin sibling playing the same setup and same riff at the same time, but across the room. Then it will sound like that.

Roger

That's it. It is clearly a fuzz-type distortion, played twice and heavily panned. No fancy phasers, just "stereo"!

Please don't take this the wrong way. It is said in the humblest and most friendly of tones. I apologize for slightly veering off topic as well.

I see so many posts in forums like this (moreso in recording-related forums) where someone is asking about how to get a specific sound.

As a guitar tone/pedal addict since the ripe old age of 9, (let's see...that would be...let's just say, well over 25 years now  ) and a recording engineer/producer for 10 less years than that, I'm always amused when I see people over-analyze a sound and start to concoct these amazingly complicated theories as to how a sound was achieved. Then you'll find an interview with the artist/engineer and they say something like "it was just an SM-57 in front of a Marshall, with my Strat plugged into it."

What is really great about these sometimes outlandish hypotheses about how a sound was achieved is that they often inspire people to try out some bizarre concoction to get their own unique sound. I know that this has happened to me many many times. I would do the most unlikely things to try to emulate a sound that I heard on a record, or even  in my head, and it made me get really creative with the tools that I had. I'll even let out one of the coolest secret tricks I ever did: I was obsessed with the concept of guitar synthesizers at one point and I would try to get my guitar to sound like anything but a guitar. One day, while trying to get a sound with a really muted decay, and a pseudo ring modulator effect, I started putting little pieces of cello tape onto my strings, near the pickups. With a little experimentation, I came up with a cool little sound that I've ended up using once or twice for overdubs in the years since. I also got a sitar-ish sound in a similar way.

So while I will definitely admit that there are some sounds/tones that I've gotten on some recordings that were worth documenting because they were so uniquely created, most of the coolest sounds were just a boring guitar through an amp.

Don't stop over-analyzing! You just might come up with a great new sound all your own!

Roger

I 100% agree.

Giulio