build twin-sound presets or stick with preset switching?

The sounds between FW3.02/.03 are identical. There are definitely fewer bugs in 3.03 compared to 3.02

I forgot to post the new version of the preset. Will do it, when I am back at the computer
 
I personally like it better as it's just more of the amp tone and not adding a different flavor from a drive.
 
Yeah the HBE V2 with the saturation switch set to ideal is gain for days, no need for a drive block unless you want to tighten it up bit with maybe the FAS Boost
 
I took an idea from Scott Burrow and have a boost setup on a monentary switch in most of my presets which is really cool, a step on it when you need it scenario that I really like.
 
I/A is instant access. They are right, there are many ways to get more drived that I have not even begun to explore in the patch above.

Scene controllers is one such thing, external switches used as controllers in the amp block is another. There are many ways.
 
MaJicK said:
Yep i'm with ya different gain stages of the same amp yes ? I was talking about a filter block for clean boost
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Exactly! the filter block works great for a clean boost as does a GEQ or PEQ with the sliders set flat and the gain moved to the desired amount of boost!
 
Alan Benjamin said:
Thanks a lot for the detailed follow-up. I'll definitely give this a shot (as soon as I'm past scrambling to prepare for tomorrow night's rehearsal) and let you know how it goes.

In my particular case, I'm only trying to cover my own recorded tones--most of which fall into the three categories I mentioned earlier plus a big volume-pedal swell sound (typically based on my chorused clean sound with different EQ and added compression and delay)--so I'm really hoping to be able to come up with at least one basic preset I can use for the other three sounds (that can be modified a little to taste per song, guitar, etc.). For the sake of clarity, perhaps I'll try linking up one good example of each tone when I get a chance too, as I suppose this can only help.

All the best and thanks again,

Alan
Click to expand...

I have very good luck doing what Andy Timmons and Larry Carlton both do a version of: base your sound on a clean amp that overdrives well and then back off of the input and use drive blocks. AT often uses a clean channel and a drive pedal to push the amp into crunch and distortion. Carlton puts his volume pot around 7 or 8 and turns his amp to "almost breaking up" and then turns the knob up and increases pick attack when he wants dirty and rolls off the volume and lightens up for clean.

I made a very convincing Timmons patch using the clean channel of the Lonestar amp with a BB drive block in front of it. One scene turns off the drive and turns on chorus and the other sings beautifully with the drive on.

It's like the 70s when amps needed some tube screamer or a boost because gain stages weren't as hot as they are in modern amps.

Between that and presets you should be able to do anything from your example.

Hope that helps.
 
Wow, several posts just while I was writing mine. Just goes to show how many ways to skin a cat there are with the Fractal stuff!
 
Smittefar said:
Here is the updated preset
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Had a few minutes to load up the preset and quickly run through the sounds. The tones sound really nice (very much like your audio sample, of course) and it's a great example of the type of variation I was looking for in a single preset. As soon as time permits, I plan to study the preset and how each scene is put together--and I'm sure I'll learn a lot from that experience too. Thanks so much, once again, for your efforts here, Smittefar!

All the best,


Alan
 
Archiver said:
I have very good luck doing what Andy Timmons and Larry Carlton both do a version of: base your sound on a clean amp that overdrives well and then back off of the input and use drive blocks. AT often uses a clean channel and a drive pedal to push the amp into crunch and distortion. Carlton puts his volume pot around 7 or 8 and turns his amp to "almost breaking up" and then turns the knob up and increases pick attack when he wants dirty and rolls off the volume and lightens up for clean.

I made a very convincing Timmons patch using the clean channel of the Lonestar amp with a BB drive block in front of it. One scene turns off the drive and turns on chorus and the other sings beautifully with the drive on.

It's like the 70s when amps needed some tube screamer or a boost because gain stages weren't as hot as they are in modern amps.

Between that and presets you should be able to do anything from your example.

Hope that helps.
Click to expand...
Appreciate this advice as well! Out of curiosity, are these strategies based on real amp setups or FAS modeling? (I'm sure the same basic approach would work in a compatible fashion between both, but I'd be curious to know.)

Cheers,


Alan
 
Hi again,

BTW, if there's any interest, I'm happy to post the latest (three) banks of presets from the library I build for last night's band rehearsal. (I'll probably need to write up some notes to explain the preset-switching logic done in each via footswitch assignment, though, in order for that piece to make any sense.) It's all a work-in-progress, but about half the presets sounded pretty great already in context--and, while a lot are just tweaked factory presets, I'm thinking there may some other folks who might find them useful too (if only for further tweaking).

All the best,


Alan
 
Hi again,

Even though it seems like there isn't really any interest in the preset banks themselves, I thought I'd share the attached reference diagram and explain how I decided to layout my three banks of presets--in case this general approach may be of value to anyone else who is looking to go the preset-switching route (within songs) like I am for the time being.

The basic approach consists of:
  1. Organize banks based on the electric guitar I'm using for each tune.
  2. For tunes that use more than one preset (sound), organize the primary pair of presets with the cleaner sound on bottom and the heavier one immediately above and use the first footswitch position to toggle back and forth between the two presets (so I don't have to move my foot from the first footswitch for this purpose).
  3. Reserve preset location 4 for any additional lead preset I need (in addition to the primary pair of presets mentioned above) and add a corresponding "P4" button to any preset that precedes my needing to access this lead preset. Program footswitches in this lead preset to return to the next preset used in each corresponding tune, in the order they appear in the bank.
  4. Reserve preset location 8 for any volume-swell preset I need in the bank. Add a corresponding "P8" to footswitch 4 of any normal preset that directly precedes this swell sound and add preset-switching footswitch control (to the first footswitch) to go to the next preset I need to use, if applicable.
  5. Create a reference document (the attachment in this message) that shows the entire layout and adds a reference for the starting preset I need for each tune.
Please note that the goal of this approach is consistency and ensuring the ability to maintain full preset-switching within each tune (and, in one case between two adjacent tunes) without ever having to step on the F1 to enter preset-selection mode while playing.

I'm not sure if anyone else is doing something similar, but I figured sharing this strategy might be helpful. (I certainly hope so.)

Take care and thanks again for all the helpful feedback,


Alan

P.S. I still may migrate back toward a single-preset-per-tune approach at some point, but this is definitely my working strategy for the time being.
 

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  • AX8 presets for Advent block diagram v1-00.pdf
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