Any P&W users on here?

I play P&W every other weekend.
I use clean amps with a variety of different drives to get my sound. I use the cleanest tone possible which is a Dumble at the moment. I use a lot of Delays, short delays, long delays, dotted 8th delays, and wash delays for ambient stuff. I'm always about 92% cpu.

My drives always seem to change from week to week some times. Someone suggest using a FET boost in front of the amp, so for my first drive I use it now, it sounds awesome. I think my other Drive is a BB pre or zen master.

For P&W I don't think that there is a better tool the the Axe. If I really want to nail a particular tone, its in there. I would thank Cliff every day if I could, But I don't want to be on anyone's stalker list.
 
Phostenix said:
Sidenote: One of the first things I changed on the board when I started doing sound was to change the in-ear mixes to pre-processing so the players can't hear the changes I make. It's distracting to them & there were times when I would boost the mids of the lead guitarist & he would then go turn down the mids on his amp. :)
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This is a great point. I have been playing worship with my church for over 10 years, and this is how we run things. I do not want to be distracted by any changes that the soundguy makes to my signal. I'm cool with them doing what needs to be done out front, but if it changes what I'm hearing in my monitors, it can really screw me up.

Always keep in mind that your role is to help facilitate worship, not to create a performance. It's what makes P&W different from every other "gig". My advice is to free yourself from the things you can't control & focus on serving the people of your church with the musical abilities God has given you. You're there to bless them. Go do that. :)
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This is another great point. One of the major benefits of the Axe setup is in the simplicity of the scene approach. I came from a multichannel tube amp with a board full of overdrives, delays, and reverbs where going from spacey, ambient pad tones to distorted lead tones involved hitting 4-5 different pedals. Now, I can do the same scene change with a single, seamless scene change. Making the change and learning the new gear hasn't been simple, but I think that it will enable me to be more focused on playing and worshipping than doing gear stuff.
 
I play P&W two Sundays a month. I've bounced between the AC15TB, AC30TB, Matchbox 30 and AC-20 models. Thinking I'm on the AC-20 model now. I also use one VibroVerb preset for a clean 'forever' reverb sound I use to fill dead space. For that purpose, I just like the warmth and smoothness of the VibroVerb model. I'm running the new ultra-res OH_112_DLX_J12-PR_SP cab. What really brought my tone into happy land was installing a pair of TV Jones Classics in my Warmoth VIP. I'm FOH only and use Beyer 880s with the IEM system. If it is acceptable to wear cans, I highly recommend the Beyers over buds. I have a pair of $1100 JH Audios. The Beyers are way better and the buds are collecting dust.
 
scottburrow said:
My drives always seem to change from week to week some times. Someone suggest using a FET boost in front of the amp, so for my first drive I use it now, it sounds awesome. I think my other Drive is a BB pre or zen master.
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I still haven't quite figured out the drive block. I have had more luck using scene controllers to adjust the gain levels on the amp.
 
Phillip_H said:
I still haven't quite figured out the drive block. I have had more luck using scene controllers to adjust the gain levels on the amp.
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That works too. Scene controllers is new and I really haven't dug into them yet, but I will. There are so many ways to do it, and that's the beauty of it.

For me Drives work really well. We have a Radio shack Electronics kit inside the drive block, you can create almost anything. Look for Yeks Effects thread, there are a bunch of drives people have built. just throw them in your Axe-edit effects folder under drives and play around.
 
I do P&W also. About four years in of Ultra then Axe II. All in-ears on stage...strange at first. Patches are simple, Vox, Fenders, some light OD
Marshalls. Do a few pads for background ambience. Mainly keep a low profile and serve the music over ego.
 
I play P&W every weekend. Everything from Tomlin, Jesus Culture, Hillsong, Elevation Worship, etc... The Matchless DC30 sounds great with a tele and pretty much any UltraRes Slvr IR. More recently..I've been playing the Bassman through the V30 Ultra Res IR with a Les Paul. Sounds awesome! Use a TS808Mod w/Level up to 7 and Drive down to about 2-3ish. You pretty much have all you need for gain. I run direct FOH w/in ears. Works perfect! My main delay is usually a Stereo Tape Delay..and I vary the time sig/mix/feedback depending on the song..or I use an EXP Pedal to adjust the delay depending on the part of the song. Just keeps me from having to mess with another scene.

As a side note...I also play acoustic depending on the song. I took the easy road to get a good acoustic EQ. I basically took the EQ on the board for my acoustic and matched the settings in a PEQ block. It sounds identical to the board's settings. If I know I have a song that needs acoustic, then I put the PEQ block in a preset and create a scene that bypasses everything but that PEQ block. Now I can run my acoustic through the Axe FX with a completely different EQ than my Elec with one click of a button..and the sound guy gets to use the same stereo inputs. Extremely easy..but I'd assume this only works if you're actually swapping from Acoustic to Elec and vice versa. Feel free to message me if ya need any help or want to trade patches.
 
ethomas1013 said:
I also change my patches weekly, and use different guitars from week to week. So the patch/amp model used really depends on the guitar and the songs each week. I make no attempt to sound just like the original recordings, other than using the dotted 8th delays when necessary.

Last Sunday I used the DC30, FTR37, AC20, and Rectoverb amp models. This week calls for acoustic guitar on one song so I'll use the PRS Hollowbody with a patch set up with two signal chains - one for the piezo and the other for the magnetic pickups using the Euro Blue amp model.

The AxeII rules for maximum versatility when going direct!
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Exactly my situation. My choice of guitar and patches changes weekly depending on what we're doing. This past week I used the Brit Brown, Div 13, and the Carr. This week we're doing one done to the tune of Where the Streets Have No Names so it's the Strat and a Morgan patch among others.
 
Phillip_H said:
I'm playing this weekend, and I'm kinda nervous about going ampless for the first time.
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Don't worry you'll be fine.





Till the sound guy forgets to unmute your channel after the sermon MUHAHAHAHA.

(I wish I was kidding)
 
fret said:
Don't worry you'll be fine.





Till the sound guy forgets to unmute your channel after the sermon MUHAHAHAHA.

(I wish I was kidding)
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I did that recently. Single coil hum during prayer at the end of the opening worship set, so I muted just the one guitar. Forgot to unmute that channel when I unmuted the group after the sermon. Moral of the story: Don't bring those noisy single coils to worship. :lol I bought a set of Zexcoil pickups for that guitar. Problem solved. :)

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I have my 2 main guitars loaded with D'Allen Johnny Blades which are dual blades and "noiseless" but have all the articulation of single coils.




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ymypy3ub.jpg
 
Phostenix said:
Moral of the story: Don't bring those noisy single coils to worship. :lol I bought a set of Zexcoil pickups for that guitar. Problem solved. :)
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Moral of the story: use the noise gate in all of you AxeFX patches. Replacing you single coils with a noiseless single coil is a sin, LOL!
 
Speaking of sound guys... when I'm not playing I go in and sit through rehearsal just in case the sound guy needs a pointer or two. A few weeks ago they had made it through a couple songs before I politely pointed out (to the multiple sound guys) that there was no bass in the mains. The problem? The master volume on the bass player's POD was turned down. Moral of the story: Pray hard for your sound guys to use their ears, not their eyes.
 
Noiseless single coils? None for me, thanks. I have 3 electrics right now and they all have Lollar P90s. Might seem redundant, but they all sound very different.

I hate using noise gates. I hate how they inevitably squash sustain and note bloom. Just not worth it to me. I just sweep back on the volume controller or the volume control on the guitar to lose the noise.
 
Phillip_H said:
Noiseless single coils? None for me, thanks. I have 3 electrics right now and they all have Lollar P90s. Might seem redundant, but they all sound very different.

I hate using noise gates. I hate how they inevitably squash sustain and note bloom. Just not worth it to me. I just sweep back on the volume controller or the volume control on the guitar to lose the noise.
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Me too. I always have a volume pedal in my church patches for swells, and I just hit the pedal as I'm leaving the stage. I do occasionally use a little noise gate with my Strat, but only if it's bright and gainy. My Gretsch has no need for it.
 
Looks like you got plenty of good info in here. Just chiming in since I'm on a bi-weekly rotation at my church on our P&W team.

Mansfield Bible Church

EDIT: A couple things I will mention is that since we play to a click, I dial in my delays down to the exact ms so they snap in perfectly (as long as I play well). So, when programming tones, I'll find the exact BPM of the song and decide which type of delay/note value, I plug it into the following site, which accurately calculates the exact ms you need. Delay Time Calculator | TheWhippinpost

I've tried other sites, but this is one of the ones that accurately converts.

I'm also a huge user of scenes for each song.

The last thing is I try to keep my patches uniform since I have spillover enabled for reverb and delay. I'll put my delay block as the very last block all the way to the right, and reverb just before. I also am very mindful of not switching FROM a patch with a tape delay TO a patch with any other type of delay b/c there is a fast forwarding sound that the patch makes if you change patches while the delay is still spilling over.
 
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nojyeloot said:
Looks like you got plenty of good info in here. Just chiming in since I'm on a bi-weekly rotation at my church on our P&W team.

Mansfield Bible Church

EDIT: A couple things I will mention is that since we play to a click, I dial in my delays down to the exact ms so they snap in perfectly (as long as I play well). So, when programming tones, I'll find the exact BPM of the song and decide which type of delay/note value, I plug it into the following site, which accurately calculates the exact ms you need. Delay Time Calculator | TheWhippinpost
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There's a better way my friend. Use the musical note value to determine your delay and save your preset with the song tempo. So if you would normally use the same "amp/cab" but you are playing three songs that morning. Copy the preset three times, then save them with the song specific tempo, so they are personalized for the 3 songs.

You can set up any time based effect block to adhere to musical note based time reference. You know, from your website tempo converter, that a quarter note is 500ms when the song tempo is 120 BPM, and the holy grail dotted eighth is 333ms. But you should just set your delay block to a quarter note or dotted eighth (instead of milliseconds), and then set the preset tempo to 120bpm.

Now, you can use that preset for any song that requires quarter note and dotted eighth and can use the amp/cab you are using in the preset, simply by hitting the tempo button, using the dial to scroll to a new tempo, and then save the preset again.

As I mentioned, any time based effect in the Axe FX will do this - such as the chorus rate, flanger, phaser, etc. You'll get consistent results because those sweeps will always be "right" no matter what song you use them in, provided you save the tempo in the preset ahead of time.

And if you do happen to play a song "live" without a click, you can tap quarter notes into your foot controller, and all of your time based effects that you've set to musical values, rather than to milliseconds, will fall in line with the tempo you have tapped.
 
^TYVM!

I was familiar with the musical note value, but was NOT familiar with where the parameter was to enter the song's tempo/bpm. Initially I tried things this way (2 years ago) and never revisited b/c my aforementioned technique worked (though it's more labor intensive. I'm going to try this for my next set. Really appreciate it.

:encouragement:

PS - already had a tap tempo set up, but I still like your way better.
 
Glad I could help. One that you might want to experiment with is set the preset tempo first and save it. Now play along with the loop you will be using, change the note value on delays, and chorus to see how the repeats or flutter with drop into the holes of the song. Stuff like vibrato, rotary, or even chorus with a fast speed can sound really musical with 16th, 32nd, or even triplet values. So, again, set and save the preset tempo and then strum a chord and change the musical note value for that effect.

Im going to get this wrong, as I'm at work, but one thing you want to be careful of is there is a setting that the axe fx will follow a global tempo and not a preset tempo. You definitely want your presets to control tempo, not global.....

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Adman103 said:
Me too. I always have a volume pedal in my church patches for swells, and I just hit the pedal as I'm leaving the stage. I do occasionally use a little noise gate with my Strat, but only if it's bright and gainy. My Gretsch has no need for it.
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Yep, same here. I always have a volume block in my chain after the cabinet and before the reverb and delay. Volume swells with the reverb and delay intact, and always turn the volume down as I'm leaving the stage.

But I also put a little noise gate in my patches. If you set it up right, it will not squash the sustain and note bloom.
 
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