jeppekristoffer
Power User
The only sound you could hear was the sole of your shoe making contact with the top of the switch. So wear soft soles and you're pretty much silent.
Great!
Thanks!
The only sound you could hear was the sole of your shoe making contact with the top of the switch. So wear soft soles and you're pretty much silent.
Did they say when the MFC-101 Mark III was going to be available?
No, nothing specifically.
These a for the MK-lll or is this going to replace out Ethernet cable on the older MFC 101'sHere's the prize that I won (I never win anything but wow). These are the adapters that will be used for the MFC 101 mark 3.
Man, what did you do, take notes?Here are snippets from Cliff's Amp block presentation...
As I understand it, the latter.These a for the MK-lll or is this going to replace out Ethernet cable on the older MFC 101's
Here are snippets from Cliff's Amp block presentation as I remember them. In no particular order.
This is just part of it. And I'm leaving out the scientific theoretical bits.
IR: most important sound component. And the whole capturing chain is important, including preamps etc. Lesson learned while recording the Producer Pack IRs.
Preamp distortion: sounds tight, focussed, but not dynamic.
Power amp distortion: sounds loose, spongy.
Master Volume: most important amp control for tone. You have to find the sweet spot. Stock preset are set to sweet spots, based on the guitar used and Cliff's own opinion. Start at 3 and increase until desired compression is reached. Do not use it for volume. Don't turn it up too much (unless it's a non MV amp).
If an amp has Input Drive and Overdrive, use the first for tone shaping. Use Overdrive as a flat gain control.
Presence/Depth: tone controls for power amp.
Bright cap is used on real amps to equalize guitars with weak pickup loads. Treble increases as Drive is decreased. Increase its value for more mids = more gain.
Saturation: it's the José Arredondo mod on real amps, consisting of rearranged electrical components (diodes). Resulting in less power amp smoothing and therefore more mean distortion.
FAT: shifts the tone stack graph. This for example decreases the dip of the mids which occurs in many tonestacks.
Comp: simulates the cathode follower that Marshall added to amps.
Input trim: related to an amp with two inputs (lo and hi). The model of such amps always is based on the hi input. To simulate the low input set trim at 0.500.
Boost: is the same as setting Input Trim at 4.
Cut: is a high pass filter at the input, for tighter bass.
Dynamics: something which real amps can't do. Controls compression.
Dynamic Presence and Depth: something which real amps also can't do. These are distortion-dependent treble and bass filters (require distortion).
Character: same as Dynamic Presence and Depth, but the frequency is adjustable.
Definition is a tilt EQ like the one you can select in the Filter block, at the input. It's a treble boost / cut.
Pick attack: adjusts the initial attack.
Thunk: simulates the low-freq. reinforcement of a guitar body near a cabinet.
Transformer Match: controls power amp clipping. Similar to adjusting MV and to mismatching an amp and speaker. Decrease it to make the sound broader.
Transformer Drive: affects the bass freq.
Bias: controls overlap of crossover distortion. Lower bias is more crossover distortion. Can be heard as fizz. It's sometimes desirable. Most amps are biased cold but are often modded to higher values.
Old amps have ghost notes, those tones you hear beneath the note you're letting ring. Crank up SAG Supply in a Plexi to hear them. Switch Power Supply to DC to get rid of them.
Boss HM2 pedal will be modeled.
These a for the MK-lll or is this going to replace out Ethernet cable on the older MFC 101's