Axe-Fx III 16.00 Beta 11 "Cygnus" Firmware - Public Beta #8

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I love this song 😌
Yes I tried with the spring reverbs, I choose the middle size one . I have tried some fender and the vox ac30 too but finished with the twin .
i don’t remember which amp is the typical one for this genre. I need to do some research . I like what dick Dale do too . If some of you play some surf and got some tips with the axe ... that’s always cool to try other music genres, it’s good for the mind
 
I have always thought the feel of different players has a lot to do with their sense of time. I think that’s one of the magic qualities of Eddie Van Halen and why a lot of people struggle to play his stuff convincingly because his odd sense of time was like magic pixie dust. Very small variations, and you may not even hear it, but you can certainly feel it... It’s not perfect time mind you, it’s wrong in all the right ways.
I have heard a lot of players playing all the right notes, but I really wouldn’t want to listen to it.

I think that’s why so many of us like Leon Todd. There may be better “technical players”, but his sense of time, and his physicality, makes him WAY more interesting to listen to.

...what do you even call that?... Talent??

this. Rhythm, timing, groove... that’s where it’s all the magic
 


Guitar tones from Cygnus beta - 59 Plexi.

For a friend starting a new company up called "Think-Build-Test"

Enjoy

Guitars sound great and you've got a nice groove going!

If I may put on my sound person hat for a moment, I have two constructive thoughts/impressions for the overall mix:
  • The hi hat and cymbals sound weird, like an mp3 where the quality settings are too low and the high frequencies are garbled.
  • Low end may be a little too strong. I don't think the guitar is contributing to that. It's the kick and bass (moreso the kick).
 
Now that I've played around with the settings a little more, here's what I've found:
1. I'm using a lot more speaker compression than before. It's adding something it didn't do before and it is definitely a missing piece to my tone. I had 0.67 on my big Marshall Plexi tone last time I messed with it. I've got 2.90 right now.
2. For Speaker Compression level, as you turn it up, it pushes down chords and allows single notes to really sing out. Switching between the two helped me dial that in.
3. For time constant, I found it is helpful to play chords slowly enough to hear each string separately (and dig in a little bit). Also helps to play staccato palm mutes and mix those up with letting it ring out. (I settled on 3819.8ms on mine.)
Playing live with it last Sunday, I realized I had gotten a little too exited with this new toy and overdid the compression. I've re-dialed in my Plexi with 2.43 speaker dynamics and 2843 time constant. The higher time constant contributes to a heavier feel.

I also switched out the JTM-45 for the Dirty Shirley, which was a direct result of reading a previous beta thread where everyone was raving about that amp. The Dirty Shirley has enough of what I liked about the JTM-45 while also fixing what I don't like on the JTM-45. For the Dirty Shirley, I'm now at 1.46 speaker dynamics and 1032 time constant. I wanted a more percussive tone that felt quick and nimble, so the lower time constant here is what makes that work.
 
Guitars sound great and you've got a nice groove going!

If I may put on my sound person hat for a moment, I have two constructive thoughts/impressions for the overall mix:
  • The hi hat and cymbals sound weird, like an mp3 where the quality settings are too low and the high frequencies are garbled.
  • Low end may be a little too strong. I don't think the guitar is contributing to that. It's the kick and bass (moreso the kick).
Straight outta TT Superior 3, and I always thought the cymbals were too hot. Appreciate the kind words.
Work in progress as always. :)
 
Exactly. I think that we are all at the same page. The issue is with the categorical sentence "The tone is at your fingers", because that is incorrect. Fingers just contribute to a percentage of the tone. A percentage that is more accused in some players with peculiar execution styles than in others with more standard execution.

Sometimes it is not easy to perceive these nuances that are product of the execution, so we complain when our presets or gear do not sound like what we expect. But the more we tweak the Axe-FX doing accurate A/B comparisons, the more our ear is trained. e.g.: I've spent many years pursuing specific Gilmour and Blackmore tones, and the closer I get to the "gear-based" tone, the more I learn about how to imitate their style on a more refined level, to get the "fingers-based" tone. We are privileged to be users of the Axe-FX

I agree! ...

However ....the use is kinda similar to the use of “tremolo” & “vibrato” today. Definitely not the same thing but still used interchangeably or misused unintentionally.....maybe more the latter.

However the “figure of speechy” per se of the use of “The tone is in the fingers” ...overall ...is what is understood.

I remember an interview decades ago with EVH guitar tech setting up EVH gear for a show & him recalling Ted Nugent (who was part of the line up) asking to try the gear. He said no problem!

The tech related Ted ...sounding like Ted. Lol
 
J'adore cette chanson 😌
Oui j'ai essayé avec les reverbs à ressort, j'ai choisi celle de taille moyenne. J'ai essayé des fender et le vox ac30 aussi mais j'ai fini avec le twin.
je ne me souviens pas quel ampli est le plus typique de ce genre. J'ai besoin de faire des recherches. J'aime aussi ce que fait Dick Dale. Si certains d'entre vous jouent un peu de surf et ont des conseils avec la hache ... c'est toujours cool d'essayer d'autres genres musicaux, c'est bon pour l'esprit
Regardez ce lien peut vous intéresser
https://forum.fractalaudio.com/threads/shadows-presets.151730/
 
I agree! ...

However ....the use is kinda similar to the use of “tremolo” & “vibrato” today. Definitely not the same thing but still used interchangeably or misused unintentionally.....maybe more the latter.

However the “figure of speechy” per se of the use of “The tone is in the fingers” ...overall ...is what is understood.

I remember an interview decades ago with EVH guitar tech setting up EVH gear for a show & him recalling Ted Nugent (who was part of the line up) asking to try the gear. He said no problem!

The tech related Ted ...sounding like Ted. Lol

The thing is Mark Abrahamian, Satchel or Al Estrada will sound like Ed through Ed's rig. No offense against Ted, he did write a couple of good songs, but he is most definitely not in the same league as EVH when it comes to guitar technique.

To draw a formula 1 comparison: If you put an F1 pro into a Fiat Cinquecento, he will drive a respectable lap at Monza while a normal person would yield a result far less impressive with that same car. Put the pro in an F1 car and you'll see blazingly fast laps, while the normal person would probably crash the formula before finishing the lap.

Also, only pros can differentiate between formulas of different makers, as only they have the capabilites to drive them correctly in the first place.

Same goes for guitar amps. If the technique is not up to the task, don't even bother getting into the tonal nuances. Practice more and you'll see much better results than when you're tweaking presets or amp settings endlessly.

Now, if you can play and your technique is good enough (you might need a whole lot less technique for Hank Marvin compared to Tosin Abasi etc.), it makes sense to discuss the intricacies of amp tones, just as it makes sense for the F1 pro to discuss the brake balance or the finer transmission settings.
 
The thing is Mark Abrahamian, Satchel or Al Estrada will sound like Ed through Ed's rig. No offense against Ted, he did write a couple of good songs, but he is most definitely not in the same league as EVH when it comes to guitar technique.

To draw a formula 1 comparison: If you put an F1 pro into a Fiat Cinquecento, he will drive a respectable lap at Monza while a normal person would yield a result far less impressive with that same car. Put the pro in an F1 car and you'll see blazingly fast laps, while the normal person would probably crash the formula before finishing the lap.

Also, only pros can differentiate between formulas of different makers, as only they have the capabilites to drive them correctly in the first place.

Same goes for guitar amps. If the technique is not up to the task, don't even bother getting into the tonal nuances. Practice more and you'll see much better results than when you're tweaking presets or amp settings endlessly.

Now, if you can play and your technique is good enough (you might need a whole lot less technique for hank williams compared to tosin abasi etc.), it makes sense to discuss the intricacies of amp tones, just as it makes sense for the F1 pro to discuss the brake balance or the finer transmission settings.

I mean, Nuno said the same thing about when he was able to play EVH rig in person and he certainly has the chops.

It's a tired phrase, but there's more than a little bit of truth in it.
 
I mean, Nuno said the same thing about when he was able to play EVH rig in person and he certainly has the chops.

It's a tired phrase, but there's more than a little bit of truth in it.
I should have specified it a bit more: The three guys I mentioned above have spent an inordinate amount of time to nail EVH's technique to a T. Nuno, while a fan of EVH, was probably more into defining and improving his own technique.

EVH sounds like EVH through his own rig, but give him a Fender Twin with a stompbox and I bet he won't get that same Plexi tone he's known for.

I mean even the 1984 EVH doesn't sound like VH1 EVH, or the OU812 EVH. His technique didn't change, his rig did.
 
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