SinglecutGuy
Inspired
Sorry, I meant the ideology behind it
Sorry, I meant the ideology behind it
He doesn't want ghost notes so he changes the settings to prevent themSorry, I meant the ideology behind it
Reiterating the original post I quoted doesn't exactly qualify as elaboratingHe doesn't want ghost notes so he changes the settings to prevent them
Did you read the wiki link TSJMajesty posted? It elaborates about as good as it gets...quotes from Cliff.Reiterating the original post I quoted doesn't exactly qualify as elaborating
I didn't, but I will.Did you read the wiki link TSJMajesty posted? It elaborates about as good as it gets...quotes from Cliff.
https://wiki.fractalaudio.com/wiki/index.php?title=Amp_block#Power_Supply
As always, you 'elaborate' well.They're these notes that occur in real amps where, especially if I play on upper frets on wound strings, these low notes form way below what you're playing, and they have nothing do harmonically with the note you're actually hitting, so it's like a dissonant mess in the bass that you didn't ask for. I can't stand the phenomenon.
This is a real thing with some amps, particularly some Plexis. Part of Cliff's philosophy in his design is to recreate exact copies of the amps, with every electrical weirdness, so that you really are not hearing a cleaned up version, if you will. The great thing is, he also gives you the tools to make your own cleaned up version.
He and others like the original character of the amps, with those aspects like ghost notes, and buzz, e.g., so it's just a matter of preference, and it's incredible to be able to try both ways.
As always, you 'elaborate' well.
The BOSS GT-6/8/10/100/1000 units had gapless switching down to a science even in the early 2000s. I think this really had to do with the fact that they are pedal company first. Every change of a preset (or their take on "scenes") is as instantaneous as stomping a BOSS pedal, no matter how many changes happen internally. The trade off was always quality of amp and drive pedal modelling. My view was always "Fractal" for recording, "BOSS" for the gig, since a lot of my band's songs need instant switching from clean to high gain. Also, the BOSS GT-1000 limits you to 2 preamp blocks, which is generally sufficient. If this change can be ported to the FM3 or FM9 that would be 4 and 8 amp channels respectively.
That's fair. I switch between clean and high gain a lot in my cover band. It was more noticeable when I was switching presets on my AX8. With my Axe FX II and my Axe FX III, I mainly operate in a "kitchen-sink" preset. There was definitely a gap between amp channel switches, but with reverb and delay active, it wasn't noticeable in a mix, IMO. I got the timing down pretty good. Every now and then, it would take longer for some reason, but I think that's more of a MIDI or FC thing (was worse with the MFC101 on my Axe FX II).
So your post grabs my attention. I’ve always considered the “wolf tones” you describe to be a pickup/string relationship: pickup too close to strings, usually with the stronger magnets of single-coil pickups. This can be exacerbated when playing lower strings higher up the neck, as this typically forces the string down closer to the pickup (esp. neck pickup) due to neck angle. I’m wondering if amp/cabs that are more capable of low-freq response increase hearing this problem, and if the “real” solution might be pickup-height adjustment.They're these notes that occur in real amps where, especially if I play on upper frets on wound strings, these low notes form way below what you're playing, and they have nothing do harmonically with the note you're actually hitting, so it's like a dissonant mess in the bass that you didn't ask for. I can't stand the phenomenon.
This is a real thing with some amps, particularly some Plexis. Part of Cliff's philosophy in his design is to recreate exact copies of the amps, with every electrical weirdness, so that you really are not hearing a cleaned up version, if you will. The great thing is, he also gives you the tools to make your own cleaned up version.
He and others like the original character of the amps, with those aspects like ghost notes, and buzz, e.g., so it's just a matter of preference, and it's incredible to be able to try both ways.
If gaps weren't bothering you before, their absence now will likely also not bother you.Relatively New to Fractal myself and Some patches that ive built with different scenes and channels, and ive never noticed any annoying gaps when switching
Hmm maybe it is about sound quality and the size of the code . A mp3 don’t have the same size than a wav.
I usually try to solve problems at their source. If your guitar set-up is the culprit, using LF blocking or EQ to mask it doesn’t cure anything — it just hides it well enough to not be a problem. I don’t like BandAids.
