Live preset ideas?

elvis said:
Checking a bunch of IRs is a hassle, but it's simply unavoidable. You cannot, in my own experience, choose based on the name of the IR, and get what you think you're going to get. It took me a long time to get away from "I'm used to a Mesa cab with V30s, so that is the IR for me."

Remember, you're choosing cab + microphone(s) + post eq in an IR.
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It took my a while to get over the fact that I found so many IRs unusable- that reflected tried and true amp/cab/mic combinations from my RL experience.
 
Ledvedder said:
Hmm, can you expand on this a bit?
Click to expand...
Sure!

Add a compressor block immediately after your IN 1 block. Select 'Optical Sustainer' from the drop-down compressor type menu. (I typically select Studio FF Compressor for Channel A, and Optical Sustainer for Channel B.)

In Optical Sustainer, right-click the Sustain knob in order to open a modifier screen. Select your Source as a Control Switch (CS 1 is OK). Set your attack at 200 ms, and your release at 800 ms. Exit the modifier screen.

(Be sure you have a free footswitch available with which to include this next step.)

Within FM9-Edit, enter FC Per-Preset. Select one of your pre-presets to be the same control switch you selected in optical sustainer modifier. Select under Tap: Category: Control Switch, Function: Momentary, Control Switch: CS(1-6). Select a name for your per-preset. (I prefer Custom > FEEDBACK.). Remember the Per-Preset # associated with the Control Switch. Exit FC Per-Preset.

In FC Edit, within one of your layouts (I prefer Scenes, because it is readily available there instead of placing it in Presets or Effects layouts), choose one footswitch that will be dedicated for per preset control switches.

Recalling the per-preset # you had chosen for CS, under the dedicated footswitch, select Tap, and select Per Preset from the drop-down menu. Be sure that number corresponds to the per preset you had selected within FC Per-Preset.

To the right side of FC-Edit, under Per-Preset Override, select from the drop down menu the same per-preset number value you selected within FC Per Preset for momentary Control Switch. IIRC, a screen warning will pop up asking "Are you sure?" Click OK to complete.

If you've done the previous correctly, your Scenes layout should contain a Control Switch footswitch that will work for that preset only. If you need to repeat the process, it will be necessary to go back and repeat the build process for each preset that you want to contain an optical sustainer control switch modifier.

The alternative, although I've not tried this myself, is to simply add an optical sustainer, and not add the dedicated footswitch, control switch modifier, nor per preset. The optical sustainer will work on its own, but won't have the same attack/release qualities associated with the control switch modifier. IMHO, the control switch modifier sounds more natural, and rises and decays with harmonic overtones "better" than the optical sustainer itself.
 
My live preset is setup with eight scenes. One scene is a clean JTM 45 that I never use (but it sounds nice). There 7 scenes that all use the 6CA7 plexi set exactly the same with various effect combinations. I use these for everything except lead tones. I get a clean or edge of breakup sound by rolling down the guitar volume. The lead tone is a Cameron CCV 2A with a delay.
 
bleujazz3 said:
Sure!

Add a compressor block immediately after your IN 1 block. Select 'Optical Sustainer' from the drop-down compressor type menu. (I typically select Studio FF Compressor for Channel A, and Optical Sustainer for Channel B.)

In Optical Sustainer, right-click the Sustain knob in order to open a modifier screen. Select your Source as a Control Switch (CS 1 is OK). Set your attack at 200 ms, and your release at 800 ms. Exit the modifier screen.

(Be sure you have a free footswitch available with which to include this next step.)

Within FM9-Edit, enter FC Per-Preset. Select one of your pre-presets to be the same control switch you selected in optical sustainer modifier. Select under Tap: Category: Control Switch, Function: Momentary, Control Switch: CS(1-6). Select a name for your per-preset. (I prefer Custom > FEEDBACK.). Remember the Per-Preset # associated with the Control Switch. Exit FC Per-Preset.

In FC Edit, within one of your layouts (I prefer Scenes, because it is readily available there instead of placing it in Presets or Effects layouts), choose one footswitch that will be dedicated for per preset control switches.

Recalling the per-preset # you had chosen for CS, under the dedicated footswitch, select Tap, and select Per Preset from the drop-down menu. Be sure that number corresponds to the per preset you had selected within FC Per-Preset.

To the right side of FC-Edit, under Per-Preset Override, select from the drop down menu the same per-preset number value you selected within FC Per Preset for momentary Control Switch. IIRC, a screen warning will pop up asking "Are you sure?" Click OK to complete.

If you've done the previous correctly, your Scenes layout should contain a Control Switch footswitch that will work for that preset only. If you need to repeat the process, it will be necessary to go back and repeat the build process for each preset that you want to contain an optical sustainer control switch modifier.

The alternative, although I've not tried this myself, is to simply add an optical sustainer, and not add the dedicated footswitch, control switch modifier, nor per preset. The optical sustainer will work on its own, but won't have the same attack/release qualities associated with the control switch modifier. IMHO, the control switch modifier sounds more natural, and rises and decays with harmonic overtones "better" than the optical sustainer itself.
Click to expand...
Thanks! What exactly does it do?
 
Ledvedder said:
Thanks! What exactly does it do?
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Exactly what you might expect a sustainer effect to do...holds a note in sustain and adds a harmonic overtone which rises and decays naturally. Try it, I think you'll be pleasantly surprised...you could experiment with the attack and release times, but I think the ones quoted work well...you might find that if you increase the compressor output level slightly, it'll also add a touch of boost with your sustain...
 
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bleujazz3 said:
Exactly what you might expect a sustainer effect to do...holds a note in sustain and adds a harmonic overtone which rises and decays naturally. Try it, I think you'll be pleasantly surprised...you could experiment with the attack and release times, but I think the ones quoted work well...you might find that if you increase the compressor output level slightly, it'll also add a touch of boost with your sustain...
Click to expand...
And you're using the control switch to engage/bypass the block?
 
Ledvedder said:
And you're using the control switch to engage/bypass the block?
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As a momentary "on" switch for the sustainer re: my drive and lead scenes. The control switch engages the sustainer, and it also rises and decays naturally as you keep the switch on. Kinda like revving your car's gas pedal to increase RPMs momentarily.
 
Johan Allard said:
I do the same but in a different order:

1. Rhythm
2. Rhythm w Boost
3. Clean
4. Lead
5. Lead w Effect (mostly Phaser)

I play mostly classic rock so my main preset has a mid gain Dirty Shirley as the Rhythm and Lead tones.
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This layout works across all type of gigs.
 
Sixstring said:
I like the less is more approach! get a good fundamental tone sprinkle lightly with effects and play it.
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Less is definitely more. I’ve been using Fractal since 2009. It’s been so tempting to delve into all the Amps, Cabs and FX blocks. When I have spare time I try out ideas people like Cooper Carter and Leon Todd, try out Amps that I’d never own in the physical world, and experiment with FX new firmware features. However for live playing it’s important to keep things simple. It’s easier on band mates’ and audiences’ ears not to have the sound jumping around. It’s easier to maintain your presets if they are consistent In layout and content.

We play pop covers, so I need a wide range of sounds, including and acoustic guitar simulation. Before the introduction of the Set List feature I had got my live configuration down to one preset, with five scenes covering Clean, Edge, Crunch, Lead, and Acoustic. I chose five originally because there were five useable buttons along the bottom row of the floor board. (I’ve been through FCB1010, MFC, and now FC12). The top row is for the FX I might want to switch in: Chorus, Drive, Clean Boost, etc. To save buttons Tuner is heel down on my volume pedal.

Deciding on Amps used to be a long process, complicated because early modelling on the Ultra was nowhere near as good as it is now. By the time of the AxeFX III I was able to pick three amps that I liked in real life Vibroverb, Two Rock, and Dumble. Over a couple of weeks I whittled down to the one which bests suits my playing, and could be configured to give the range of sounds I want. That’s the Vibroverb.

It was a similar process with Cabs. I tried the different speaker types which are typically used with the Vibroverb, picked one, and stuck with it.
 
Roland said:
Less is definitely more. I’ve been using Fractal since 2009. It’s been so tempting to delve into all the Amps, Cabs and FX blocks. When I have spare time I try out ideas people like Cooper Carter and Leon Todd, try out Amps that I’d never own in the physical world, and experiment with FX new firmware features. However for live playing it’s important to keep things simple. It’s easier on band mates’ and audiences’ ears not to have the sound jumping around. It’s easier to maintain your presets if they are consistent In layout and content.

We play pop covers, so I need a wide range of sounds, including and acoustic guitar simulation. Before the introduction of the Set List feature I had got my live configuration down to one preset, with five scenes covering Clean, Edge, Crunch, Lead, and Acoustic. I chose five originally because there were five useable buttons along the bottom row of the floor board. (I’ve been through FCB1010, MFC, and now FC12). The top row is for the FX I might want to switch in: Chorus, Drive, Clean Boost, etc. To save buttons Tuner is heel down on my volume pedal.

Deciding on Amps used to be a long process, complicated because early modelling on the Ultra was nowhere near as good as it is now. By the time of the AxeFX III I was able to pick three amps that I liked in real life Vibroverb, Two Rock, and Dumble. Over a couple of weeks I whittled down to the one which bests suits my playing, and could be configured to give the range of sounds I want. That’s the Vibroverb.

It was a similar process with Cabs. I tried the different speaker types which are typically used with the Vibroverb, picked one, and stuck with it.
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Why didn't I think of heel down on my volume pedal for volume? That's a brilliant idea!

Which drive pedals do you use for your edge, crunch, and lead tones with the Vibroverb?
 
+1 for keeping it simple. Less is definitely more when the volume is up and you're going through a PA.

I have found the "Leon's Live" preset to be really helpful for dialing in live sounds. Just save the blocks and then add them after you dial in your favorite amp and cab settings.

This video from Matthew Dale has also been helpful for me. I've known about EQ notching from my recording projects, but never thought to do it on my Fractal unit. Makes perfect sense to get the low and high cut dialed in, plus notch down some of the harsher frequencies. And the video references the Fletcher-Munson effect, providing some strategies for how to deal with that.


I just played a gig this past weekend with a friend that I convinced to get an FM3. He loved the Friedman preset so we dialed in his favorite cab and set a PEQ after the cab block that is essentially the block from "Leon's Live" and people were really impressed with his tone.
 
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This is my approach. I use this for the vast majority of my live gigs and it has been worked out through a PA system at fairly high volume. Lately I have a version with a few tweaks for heavier music (Brit Silver is replaced with a Diezel v4 and I have a virtual capo for one song).

Here is is on the Axechange: https://axechange.fractalaudio.com/detail.php?preset=10201
Here is the file with the scenes layout that I use in the video: https://jacksguitartrax.com/free-presets/
I'm also a fan of the Leon Todd TV Mix 7 IR: https://axechange.fractalaudio.com/detail.php?cab=687

 
Mark Wein said:
This is my approach. I use this for the vast majority of my live gigs and it has been worked out through a PA system at fairly high volume. Lately I have a version with a few tweaks for heavier music (Brit Silver is replaced with a Diezel v4 and I have a virtual capo for one song).

Here is is on the Axechange: https://axechange.fractalaudio.com/detail.php?preset=10201
Here is the file with the scenes layout that I use in the video: https://jacksguitartrax.com/free-presets/
I'm also a fan of the Leon Todd TV Mix 7 IR: https://axechange.fractalaudio.com/detail.php?cab=687

Click to expand...

Yep, I've been demoing your kitchen sink preset. Good stuff!
 
Ledvedder said:
Which drive pedals do you use for your edge, crunch, and lead tones with the Vibroverb?
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None for the base settings. I have four channels with different gain levels, and compensating EQ and volume values.

However I do switch in Drive pedals for extra gain in some solos: TS-Mod (two different settings), FASBoost, and Valve Screamer.
 
In my main fm 3 preset I have
  • clean : 69 bassguy channel A
  • breakup : 69 Bassguy channel B (but gonna make it A)
  • crunch : HBE channel c
  • distortion : HBE CH.c
  • Lead : HBE ch c
  • crunch lead : Chan c
  • break up lead : ch B
  • clean lead : ch A

In - wha - comp - drive - amp - cab - chorus - delay - reverb.

The crunch to lead is made with the same amp channel using scene controllers to change parameters like gain, bass etc

I also add a pitch controller on the input trim, going from 1 to 1.5 as go higher on the neck.

all run through the same 2 cabs.

I also have a boost switch on cs2 activating the « Jose mod » on all amps. I set it about 2. It doesn’t not really change the tone and give a great boost if I need too.

I need to try again it again at rehearsal this weekend and maybe I will share it.
 
Joshua_L said:
In my main fm 3 preset I have
  • clean : 69 bassguy channel A
  • breakup : 69 Bassguy channel B (but gonna make it A)
  • crunch : HBE channel c
  • distortion : HBE CH.c
  • Lead : HBE ch c
  • crunch lead : Chan c
  • break up lead : ch B
  • clean lead : ch A

In - wha - comp - drive - amp - cab - chorus - delay - reverb.

The crunch to lead is made with the same amp channel using scene controllers to change parameters like gain, bass etc

I also add a pitch controller on the input trim, going from 1 to 1.5 as go higher on the neck.

all run through the same 2 cabs.

I also have a boost switch on cs2 activating the « Jose mod » on all amps. I set it about 2. It doesn’t not really change the tone and give a great boost if I need too.

I need to try again it again at rehearsal this weekend and maybe I will share it.
Click to expand...
Thanks, I'd love to check it out.
 
Joshua_L said:
In my main fm 3 preset I have
  • clean : 69 bassguy channel A
  • breakup : 69 Bassguy channel B (but gonna make it A)
  • crunch : HBE channel c
  • distortion : HBE CH.c
  • Lead : HBE ch c
  • crunch lead : Chan c
  • break up lead : ch B
  • clean lead : ch A

In - wha - comp - drive - amp - cab - chorus - delay - reverb.

The crunch to lead is made with the same amp channel using scene controllers to change parameters like gain, bass etc

I also add a pitch controller on the input trim, going from 1 to 1.5 as go higher on the neck.

all run through the same 2 cabs.

I also have a boost switch on cs2 activating the « Jose mod » on all amps. I set it about 2. It doesn’t not really change the tone and give a great boost if I need too.

I need to try again it again at rehearsal this weekend and maybe I will share it.
Click to expand...

Ledvedder said:
Thanks, I'd love to check it out.
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Me too. It's fascinating and really helpful to see how other people set up their live presets.
 
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