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
From the top of my head.

Dick Dale used an early sixties, blond, Fender Dual Showman.
the amp was designed for him by Leo Fender. DD used to blow up amps and speakers.
The speakercab is a 2x15 closed back loaded with 2 jbl D130F.
reverb is a Fender outboard reverb 6G15 . (I don’t know if this is already modeled in the axefx3.)
this reverb uses a power tube to drive the spring tank. ( originally a 6k6 tube. The reissue uses a 6v6)
the reverb comes between the guitar and amp!

also DD his guitar was not wired like a normal strat.

as far as i know, the blond an brown Fender amps are not as mid scooped as, the later made, blackface amps.
 
Dick Dale also played with the guitar strung upside down, so the high E was on the top. That means the angle of the bridge pickup was essentially reversed with the treble side further forward and the bass side further back. It gave his low strings that much more twang and bite with that pup. Hendrix playing right hand strats upside down (but strung normal for a lefty) had the same effect on the bridge pickup as well. Albert King (also a lefty) played strung upside down on his Flying V's too.
 
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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 point is the interchangeability of the word “Tone” & “Sound”....as with “tremolo” and “vibrato” however wrong

When Ted played his rig ...the sound changed ...subjectively ...yet it’s perfectly understood if one said the tone changed....however wrong

The tone technically has not changed ...hence my agreement.
 
I think one of the better examples of "Tone is the fingers" is Mark Knopfler: He has played Vintage Strats, the schecters, Pensa Suhr with EMGs and (since he went solo) mostly with Les Pauls (and of course a lot of different amplifiers) and you can always recognize him with a few notes even when he doesn't sound the same. Even for that comic video with Gary Moore, David Gilmour, etc... he played with Gilmour's rig and Gilmour's tech said it just sounded like Mark Knopfler.
 
Not to beat a dead horse, but I thought I'd share my results with Leon's test. I mostly did this for my edification because just like a good number of you, when I use someone else's preset I always think to myself, "That sounds nothing like what I was hearing!"

Contrary to Mud's results I seem to have matched Leon's track quite closely, all things considered (guitar, pickups, fingers). First Clip is the processed track, second is a reamp of the DI, and third is my own crappy playing. I'm using a PRS Custom 22 with a SD Black Winter in the bridge. While there are differences, they are a lot less than I would have imagined.
 
Dick Dale also played with the guitar strung upside down, so the high E was on the top. That means the angle of the bridge pickup was essentially reversed with the treble side further forward and the bass side further back. It gave his low strings that much more twang and bite with that pup. Hendrix playing right hand strats upside down (but strung normal for a lefty) had the same effect on the bridge pickup as well. Albert King (also a lefty) played strung upside down on his Flying V's too.
Yep I know these details, but even not going so far you can have a surf sound without too much difficulty. The spring reverb are good in the axe compared to other modelers, but maybe there is a little thing that still missing. Some guys seems to not use a spring reverb at all but a big reverb and the spirit is there . I usually do punk and metal with jaguar’s but it was fun to go back in the origin of this guitar
 
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.

100% agreed, which is why I can't take gear demos by more-than-capable players seriously. While I wouldn't quite put Ted in this particular league, there's a threshold between playing the gear and letting the gear play you. In the Ed/Ted scenario, Ted would pick up Ed's guitar and play it like Ted would play his own, Satchel and the other guys would pick up his guitar into his rig, play a couple notes and then say "Ah, he must be digging in more here to get that tone" because they've got those songs studied inside and out and know every tonal aspect of them, mixed with the knowledge of knowing how to make a guitar do what they want.

I suppose it's the difference between plugging into something and letting it arbitrarily tell you where to go, or realizing what it has to offer and working within that to get what you want out of it.
 
I think one of the better examples of "Tone is the fingers" is Mark Knopfler: He has played Vintage Strats, the schecters, Pensa Suhr with EMGs and (since he went solo) mostly with Les Pauls (and of course a lot of different amplifiers) and you can always recognize him with a few notes even when he doesn't sound the same. Even for that comic video with Gary Moore, David Gilmour, etc... he played with Gilmour's rig and Gilmour's tech said it just sounded like Mark Knopfler.

To be fair, that's the equivalent of a human sitting on God's throne and thinking they could create the Universe. :D
 
Not to beat a dead horse, but I thought I'd share my results with Leon's test. I mostly did this for my edification because just like a good number of you, when I use someone else's preset I always think to myself, "That sounds nothing like what I was hearing!"

Contrary to Mud's results I seem to have matched Leon's track quite closely, all things considered (guitar, pickups, fingers). First Clip is the processed track, second is a reamp of the DI, and third is my own crappy playing. I'm using a PRS Custom 22 with a SD Black Winter in the bridge. While there are differences, they are a lot less than I would have imagined.

Glad you put the re-amp in there as I think that's the key to the challenge users have trying others' presets and thinking it doesn't sound as good for them, and that they must be doing something wrong setting up the preset etc. Someone elses DI reamp'd in my Axefx running their preset proves my Axefx can produce the sound I want to emulate. Seems simple, but psycologically, it sets one back on the right track. In your case, you matched it well on your own (clip 3), but, almost universally, in the many posts I've seen from modelling users expressing difficulty getting the same tone from another's preset, it seems the person is skeptical that the preset is really working the same way on their own system - the re-amp'd di breaks that spell (or I think it almost always would if the di can be available and time is taken to do the test).
 
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Glad you put the re-amp in there as I think that's the key to the challenge users have trying others' presets and thinking it doesn't sound as good for them, and that they must be doing something wrong setting up the preset etc. Someone elses DI reamp'd in my Axefx running their preset proves my Axefx can produce the sound I want to emulate. Seems simple, but psycologically, it sets one back on the right track. In your case, you matched it well on your own (clip 3), but, almost universally, the many posts I've seen from modelling users expressing difficulty getting the same tone from another's preset, are skeptical that the preset is really working the same way on their own system - the re-amp'd di breaks that spell (or I think it almost always would if the di were available and time is taken to do the test).

I agree completely. I struggled with this tremendously when I entered the Fractal world years ago with my AX8. Funnily enough, it was Leon's videos and presets I would compare myself to and be hugely frustrated that I would perceive the sound as totally different. I've noticed that for myself I perceive tone very differently from when I'm listening to it played back vs. playing with a guitar in my hands. I eventually started using the looper and trying to emulate the playing of whoever's preset it was that I was using to compare, rather than comparing while I'm playing. Even if it didn't sound the same, it was always still close enough that I started to be able to tell that, yes, I am using the same preset and that preset is working correctly and my axe isn't broken.

That being said, I always enjoy presets that I've created more than ones that have been created by other people. Not that any of those presets are bad, but I feel like what I dial in matches what I hear while I've got a guitar in my hands more closely to what is being recorded when I create a preset for myself.
 
Yeah, how’s that work? Is Dweezil Zappa, Steve Vai, and Keith Urban going to have to ship their amps over to NH to have them verified? :oops:
And thordenthal 😅 (actually doing a new meshuggah album with a 5150 III 😌)
Maybe that’s not obliged to have the amps etc ... but if most of them are rent etc ... not easy
 
For anyone who wants it; preset, DI and audio of DI processed by preset. I also attached a copy of my system backup if anyone wants to go there.
That’s great, thanks a lot for sharing.

I have a question... how you (all of you guys) manage to get that kind of DI signal level... I play mostly with single coils, but the signal is so weak that the noise is very hard to manage when reamping or using plug-ins.

mis any way I can get a stronger direct signal when recording with usb?
 
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