Stratoblaster
Fractal Fanatic
Interesting to see the varied responses; definitely a cool, useful tool for the toolbox should one need it.
Have you tried the other two parameters, time constant and compliance? Time constant controls how slow/heavy the speaker feels, and compliance controls stiff vs broken in feel.1.5 - 2 in almost every patch, but admit that I did not even think about retweaking this value since at least one year.
Not yet ! Thanks for the hintsHave you tried the other two parameters, time constant and compliance? Time constant controls how slow/heavy the speaker feels, and compliance controls stiff vs broken in feel.
So, tell me more about this getting -- "the feel where I want it" -- thing.I use it often and find it to be a very useful tool to get the feel where I want it.
So, tell me more about this getting -- "the feel where I want it" -- thing.
I fascinates me...
-- I completely missed that Speaker Compression was used to add the expected amount of Speaker Compression back into a High Volume amp tone. Particularly when that tone was being done at lower speaker volumes -- or through an FRFR cab with almost no speaker compression of its own.
So much to still learn...
Feel is about more than just your fingers: feel is the feedback your other senses experience and your brain putting it all together.So, tell me more about this getting -- "the feel where I want it" -- thing.
I fascinates me...
"Feel" really comes into play when you're playing loud. When your guitar is swimming in the sound from the amp. Resonating with it and reacting to it. The whole room reacts to what you're doing. With a good amp, differences in your attack, and even in your fretting, affect what's happening. The strings start to feel squishy. Like you're squeezing out the notes.So, tell me more about this getting -- "the feel where I want it" -- thing.
I fascinates me...
Certain nodes in the room are prone to catching the strings and helping feedback, too. I was, back in the day, really good at feeling the vibrations at those locations, to the point I could get near it and lean a bit and catch the wave. There is a good example, at the end of this track, of me leaning one way, then another, and making the feedback jump harmonics:"Feel" really comes into play when you're playing loud. When your guitar is swimming in the sound from the amp. Resonating with it and reacting to it. The whole room reacts to what you're doing. With a good amp, differences in your attack, and even in your fretting, affect what's happening. The strings start to feel squishy. Like you're squeezing out the notes.
When you're playing at gig levels, you hear and feel things that are undetectable at moderate volume.
Certain nodes in the room are prone to catching the strings and helping feedback, too. I was, back in the day, really good at feeling the vibrations at those locations, to the point I could get near it and lean a bit and catch the wave. There is a good example, at the end of this track, of me leaning one way, then another, and making the feedback jump harmonics:
Certain nodes in the room are prone to catching the strings and helping feedback, too. I was, back in the day, really good at feeling the vibrations at those locations, to the point I could get near it and lean a bit and catch the wave. There is a good example, at the end of this track, of me leaning one way, then another, and making the feedback jump harmonics:
Damn, the end of that track was just badass.
A bit Sabbath-y... Except the vocal harmonies
Nice playing! Great use of feedback.
I generally leave it at zero myself, or maybe for some cleans add a small touch <1.0.
I never use it. If I need more compression (very rarely) there are several others that sound better.
When you're playing at gig levels, you hear and feel things that are undetectable at moderate volume.