Quote from: Draken on Today at 03:13 AMKinda odd this happened two days after Chino's birthday. I really want to hear what the band has to say about it.

I had a very similar sentiment I mentioned it elsewhere saying Imagine Chino waking up right after his birthday to this with the "Worst Birthday ever!" gif

Quote from: Deftones-argentina on Jun 22, 2026, 11:14 PM

Quote from: Drop-Dead on Jun 22, 2026, 11:12 PM

Quote from: nr4k on Jun 22, 2026, 11:07 PMDoes "official release plans" imply that they are planning on officially releasing Eros?

I never expected back in 2000 to see 'Nightboat' get released on an official album.

Still hoping for Sweetest perfection non-shitty sounding version, I feel you


OK, I'll start; Candy is a top 10 deftones song

;

Brendaaaaaa <3

RIP Tracker

There's three versions of Smile in the "otherdemos" folder:

One is the same from Chino's youtube upload;
The second one is a different mix, but sounds unfinished also;
And the last one is "dallas with luke", and I have no idea who's him, he's very off beat also lmao

Here's something I put together last year, I trawled youtube for any and all footage of the Ireland 2006 shows (which predictably have awful pre-smartphone era audio quality) and synced whatever was available with the currently existing bootleg audio. I've only done 8th July 2006, I haven't yet done the 7th July show.

Hi there - guitar pedal nerd and huge Stef fan here; saw this post and figured I'd make an account on the forum since it seems there's a couple fellow guitar gear nerds here. Also, keep in mind that I'm not an insider and this stuff is my opinion/guesswork, not verified fact, though I do generally know what I'm talking about some of the time (and I was at Tone Tailors when Bob Bradshaw was re-doing Stef's rig in 2018, though I didn't touch it or anything).

Stef uses (used?) the FZ-2 in its "Boost" mode almost exclusively, for two purposes:

• Driving the input of his preamp (an ADA MP-1 on Adrenaline/ATF; a Marshall JMP-1 on White Pony/Deftones/SNW).
• EQ shaping.

For the most part I can't really point out a specific section of a Deftones song and be like "This is FZ-2!" because it's just a general part of his tone shaping, not an "effect." There are precisely two exceptions to this that I believe are pure FZ-2: the intro to "7 Words" and the intro/pre-verse(?) parts in "Street Carp." These are almost certainly just the FZ-2 into a clean tone, in boost mode, with the gain dimed and some telephone-esque bandpass filtering.

I think one possible use of the FZ-2 in Fuzz 1 mode is the chorus of "Xerxes," as a supplemental "thickener" track that's panned very slightly to the right. I seem to recall once hearing a bit of Fuzz 2 mode somewhere, but I'm struggling to recall exactly where. In general though, I don't think he used/uses the fuzz modes much if at all. Pretty much all of his fuzzed-out tones are very obviously a Z.Vex Fuzz Factory (it has a very distinct, identifiable sound).

The EQ on the FZ-2 is pretty unique in that it's not the typical Baxandall EQ that most pedals with Bass/Treble controls have. It's actually two distinct active EQ circuits - one a gyrator (the Bass control) and the other a shelving filter (Treble). The Bass control is a half-octave peak/notch bell filter centered at 100hz with +- 12dB of gain. The Treble control cutoff frequency is around 3.2khz with a wide ramp reaching as low as 200hz, also with +- 12dB of gain. Most interesting is the phase shifting characteristics of these EQ controls. The Bass control has a very steep phase shift that has a positive peak at 75hz and a negative valley at 150hz (above 50%; inverse for below 50%), giving it a more "chewy" feel as it's turned up but also preventing low-end muddiness by decoupling the low end from the midrange. The Treble control has a positive phase "hump" centered around 1.5khz (above 50%; inverse for below 50%) that gives it a very "forward" and attack-heavy feel when turned up but also preventing the typical "swarm of bees" harshness in mid-scooped tones by effectively "lagging" the high end behind the midrange. As a result, when both are boosted you get a very harmonically resonant tone that tends to "fight itself" less (particularly in the low end and "presence" range and also helps "push forward" mid-scooped tones that would normally get buried in a mix.

You can play around with the tone circuit here to get an idea.

I think this EQ is a lot of the reason why Stef sounds the way he does. The wide range of the Treble control combined with the Boost mode driving the input gives Stef's heavy riffing tone that articulate and cutting tone but without getting too harsh or ice-pick-y, and the narrow Bass boost gives it a thick punch without over-competing with Chi or getting boomy. A good way to hear this by comparison is to go listen to "Bury Me" by Smashing Pumpkins (from Gish; an IMO quintessential ADA MP-1 tone) and then listen to "Lhabia" from ATF, specifically focusing on the punch and pick attack of the chugged/palm-muted bits and not the actual guitar tone/sound. Notice how "Lhabia" has a more defined attack on the top end and bit of "gut-punch" from a speaker moving air than "Bury Me" does? That's the FZ-2 EQ making a difference.

Adrenaline's guitar tone is over-shaped by (IMO) bad mic placement and room acoustics for (what sounds like) Celestion G12T-75 speakers, so it's less readily apparent (the aforementioned "7 Words" example notwithstanding). I get the impression he was using some more aggressive settings - specifically, a healthy chunk of Bass boost and a moderate Treble boost - and this was EQ'd back out at the board when mixing. I'm not sure if a raw guitar stem from this session is out there, but if one sees the light of day I bet we'll find it's a very raw and harsh tone with a steep mid scoop from 150hz to 600hz, softening to 5khz, and then a high-end roll-off at 6khz+ with a steep low-end roll-off from 80hz on down. And then I bet we'll find that comparing it to the album version shows the mixed version had a highpass filter on it set to around 150-200hz and a pretty narrow-Q mid boost somewhere around 300hz or so (right where the G12T-75s also have a dip in frequency response; just sayin').

White Pony's use is more subtle, and I think he may have double-tracked with some opposing settings on the Treble knob: one with a slight boost to add edge (but much less than that on ATF), and one with a pretty heavy cut to make it effectively act as a mid boost, and then blended them together to taste. I think this is why there's some differences in his heavy riffing tone across the songs, particularly in the high end and low-mids - different amounts of each track blended in. However, if you ever play a JMP-1 by itself you'll quickly realize how not-White Pony it sounds on its own (the JMP-1 has a very different and distinct sound for all that it was intended to be a "rack JCM 800") and I think the FZ-2 is a big part as to why. In general though, I believe the biggest difference in his use on this album is he was more conservative with his high end boosting and he used much less Gain/input driving as the JMP-1 can get quite fuzzy at high gain settings (and I think he literally maxed his gain setting on most presets). There's also significantly more Chino, so there's that.

The self-titled album's tone is, I'm 90% certain, the FZ-2 EQ cranked with the boost gain basically off and the output level pushing around 2 o'clock or so. Pretty much all of Stef's tone on that record has a noticeable high-end boost around 5khz and a big ol' punch of 120-130hz with a wide mid scoop weighted more towards low-mids - and that's precisely what the EQ curve of the FZ-2 is when you boost both knobs. I bet if you got raw single tracks of Stef's guitar from Adrenaline and Deftones, and added a ton of short-decay room reverb to the latter, they'd sound very similar.

On SNW there's much less FZ-2 shaping going on I think, and most of it was used in a similar fashion to White Pony. "Rats!Rats!Rats!" is a notable exception, which features that same "boost both" tone used on Deftones. As I mentioned earlier, "Xerxes" is the one place I think a fuzz mode was used (specifically Fuzz 1). Outside of that I think Stef just quite plainly didn't play much on this record, and most of the tonal differences are simply due to there being more Chino in the mix than usual.

I think Diamond Eyes was his last real use of the FZ-2, and it's very prevalent on that record in the "boost both" usage. In fact, I think this record - and in particular "Rocket Skates" - is the best example of exactly what the FZ-2's EQ can do. Despite a very heavily mid-scooped tone and hard left-right panning, Stef's guitar is front-and-center in the mix when normally a tone like that would immediately get buried under cymbal wash and bass. It's also one of his most articulate-sounding performances, with razor-sharp pick attack under palm muting.

From Koi No Yokan on he's used an Axe FX II. Interestingly, I have his patches from Koi No Yokan as well as the exact same model Axe FX II unit with the exact same firmware version (though ironically this one was used by Sevendust - a story for another day, perhaps) and he seems to be using parametric EQs to emulate the same sort of EQ shaping the FZ-2 does. For example, here's his PEQ settings for his direct-to-board tone for "Swerve City":

• A flat shelf EQ at 183.3hz with 1.35dB of gain.
• A flat shelf EQ at 8.345khz with -2.55dB of gain.
• A notch EQ at 307hz, 0.621Q, with -0.50 of gain.
• A shelf EQ at 1.952khz, 0.515Q, with 1.1dB of gain.
• A notch EQ at 561.6hz, 0.707Q, with -0.05dB of gain (inaudible, but the non-default frequency and Q settings implies he was playing with that frequency at some point).

He also has a Tube Screamer model at the front. This creates an EQ curve with a similar shape as the general EQ curve of the "boost both" FZ-2 EQ stack, but it's not quite right either (most notably in the sub-100hz range). It also doesn't emulate the phase shifting of the FZ-2, and I think that's more important than you'd think. In fact, I wonder if this is a big part of why Stef has never been truly happy with his attempts at a digital rig in a live setting despite being fine with it when recording - he's just not cutting through the mix in the same way. If I ever got the chance to talk to Stef I'd tell him to try turning off the EQs and Tube Screamer in the Axe FX and put his FZ-2 in front of it like he did with his MP-1 and JMP-1, and/or tell him I could probably help him get a bit closer with his EQ settings - and also ask him if I can have one of his spare non-reverse-headstock SC-607s to complete my Stef Carpenter guitar collection, pretty please with a sugar-free cherry on top.

Also, while actual Boss FZ-2 pedals are ludicrously expensive (the pedal market is stupid), the Behringer SF300 Super Fuzz is a near-identical clone of it (literally the only difference is that it uses surface-mount components so it has less noise - people who say "they sound different" are hearing with their eyes) and you can buy one for around $30. The housing is plastic and a bit shit, but I've had one on my board for the last two years of gigging and haven't had any issues.

Anyway, that was more than anyone probably has cared or will ever care about Stef's FZ-2, so sorry for the wall o' text. I just really like nerding out about guitar gear and as I once mentioned in a Reddit post I think Stef is a massively underrated guitarist who is actually extremely skilled and meticulous about his playing and tone.

Quote from: SenAM on Apr 02, 2026, 04:05 PMHere they are! The lossless files from that screenshot: https://mega.nz/folder/WxZwAIID#-bBqn86_S3f4OcQbgjL3zg

Appreciated!
Came here back in Sept when these came out but couldn't login. Good thing is I could recover my account, I just had the .mp3 files

Quote from: Draken on Today at 04:52 PM

Quote from: Troa on Today at 05:47 AM

Quote from: Troa on Today at 02:17 AM

Quote from: sober_sane on Today at 12:51 AM

Quote from: Moana91 on Jun 22, 2026, 11:45 PMOk so that "bounce" version is not "official"

I might be wrong though, since the guy who made this spreadsheet seems to know more than me.
https://docs.google.com/spreadsheets/d/16wzspV6U33C0DZ1Q-jwBl4onRU_7E6aMl5_MhfVKqAs/edit?gid=1473530692#gid=1473530692

Hello, owner of the spreadsheet here

Currently adding descriptions to each track so people will know what the differences are between each version.

In terms of the bounce files, they are legit. They are from a session folder which hasn't been leaked yet but will be later today or tomorrow. This will be the final leak

In terms of the difference, DESTINY MS Bounce Regular is a further developed version than destiny_ruffvocals2007 containing the completed instrumental with more finished vocals and backing vocals during the chorus from Mike Shinoda of Linkin Park.

DESTINY MS Bounce Shorter is basically the same as the previous version but with altered structure, containing no bridge after each chorus.

Hey, the tracker got DMCA'd, so I'm unsure what I want to do.

For now, if there's something specific any of you folks need that was on the tracker, just send me a message and I will send it to you

That spreadsheet was awesome btw, TY. I was finally able to hear that fucking Crest snippet everyone was talking about. It should've been on the album, I remember a lot of ppl said that here. Is that all that we have for Crest was that snippet? and forgive me if I'm wrong but that was taken from taken from mixlr?

Yeah it's s snippet from mixlr... I'm holding out hope for a full version someday. Been waiting a decade for that!

Quote from: sharinglungs on Today at 07:09 PM

Quote from: Spruance on Today at 07:01 PMAre the Ohms songs demos or rough mixes? Some of them sound like the album vocals

Different mixes it seems.

Some different mixes, some rough vocals, some alternate takes

Quote from: defTHE1s on Today at 02:48 PM

Quote from: Draken on Today at 03:13 AMKinda odd this happened two days after Chino's birthday. I really want to hear what the band has to say about it.

my theory is that he was also under this move, like that time with Smile

This is most certainly not from the band