Best "Kitchen SInk" all-in-one presets to get through most gigs? Try this....

grandinq said:
I’m not near my Axe FX at the moment, but last week at band rehearsal I noticed that my Band Commander preset could get me pretty much through anything. I have some scenes that are gradual degrees of gain and then have Klon drive available for extra crunch or leads. I am finding it to be the most versatile amp.
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Would you share your Band Commander preset?
 
Arni61 said:
Ok thanks.
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I was just reviewing my Band Commander preset and I noticed the initial settings were all based off of the @austinbuddy Live Gold preset of the Band Commander, so I can't share that as it's too close to the commercial preset. My principle in creating the scenes was to gradually build up degrees of grit and then include a Klon option, so I could go from quite pristine clean to very crunchy.
 
giantslayer said:
The Flange, Pitch, and Chorus are feeding into everything downstream. Not necessarily a bad thing, but not separate as it sounds like you were going for.
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The Mix is set to 100% and they're not set to thru, so they are running in parallel just like the delay would. I have tried it both ways and to me this works better. My main preset is attached if you want to check it out, the delay is attached to an Exp pedal to roll it in when I want, and how much I want.
 

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Rich5150 said:
The Mix is set to 100% and they're not set to thru, so they are running in parallel just like the delay would. I have tried it both ways and to me this works better. My main preset is attached if you want to check it out, the delay is attached to an Exp pedal to roll it in when I want, and how much I want.
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Let’s look at the Flanger as an example on your patch. It is initially running in parallel with a dry signal on the 3rd row, then on the 4th row it gets mixed in with the dry signal. If you have your flanger and pitch on at the same time, the pitch is getting that mix of original signal and flanger. That might sound great and you don’t need to change it if it does, but if you want the effects truly separate, you would need to add a third rail to your grid for only wet signals. Here is a quick and dirty drawing:IMG_5206.jpeg
 
giantslayer said:
Let’s look at the Flanger as an example on your patch. It is initially running in parallel with a dry signal on the 3rd row, then on the 4th row it gets mixed in with the dry signal. If you have your flanger and pitch on at the same time, the pitch is getting that mix of original signal and flanger. That might sound great and you don’t need to change it if it does, but if you want the effects truly separate, you would need to add a third rail to your grid for only wet signals. Here is a quick and dirty drawing:
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i never run them at the same time, so i don't worry about it and if i do run the harmonizer and one of the others at the same time its negligible to me. Ive spent the past day trying your routing series and mine, and for me how I've got it set is how it works for me I've been doing it that way since I've had the II.
 
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Rich5150 said:
i never run them at the same time, so i don't worry about it and if i do run the harmonizer and one of the others at the same time its negligible to me. Ive spent the past day trying your routing series and mine, and for me how I've got it set is how it works for me I've been doing it that way since I've had the II.
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It would only make a difference if you were using multiple of those effects at the same time.

For delays and subtle reverbs, I like doing exactly what you are doing: keep my main signal intact and run the effect to the side. People have pointed out how to achieve the same results with the mix knob but I find it simpler to do it the way you’re doing it.
 
giantslayer said:
It would only make a difference if you were using multiple of those effects at the same time.

For delays and subtle reverbs, I like doing exactly what you are doing: keep my main signal intact and run the effect to the side. People have pointed out how to achieve the same results with the mix knob but I find it simpler to do it the way you’re doing it.
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To be honest, I use effects rarely the chorus is on the clean always, my most used is delay and that’s tied to a exp pedal so I can get as little or as much as I want. Anything else is just a flavor.
 
Wasn’t the Austin Buddy Bogner preset one of the Christmas ones or whatever that was? I have it from the naked amps pack and I use it for 90% of my love stuff.
 
grandinq said:
I was just reviewing my Band Commander preset and I noticed the initial settings were all based off of the @austinbuddy Live Gold preset of the Band Commander, so I can't share that as it's too close to the commercial preset. My principle in creating the scenes was to gradually build up degrees of grit and then include a Klon option, so I could go from quite pristine clean to very crunchy.
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Sorry, but there is no Band Commander Preset in Austin Buddy Live Gold pack
 
Here's mine....

It's set up for two groups of 4 scenes - one group switches between Bassguy Bass and Bludojai, the other between Bassguy Normal and Bludojai.

Two externals switches handle the Bludojai's channels A/B/C, which go from barely dirty to kinda dirty to dirty.

A control switch determines whether the lead scenes (^Cln^ and ^Drt^) have delay applied.

There are momentary switches to engage a 'delay accent' (delay runaway) and a 'modulation accent' (triggered panning flange).

There are a pair of switches hooked to the mid boost, each giving a fairly solid amount of boost on its own, and a ridiculous amount of boost when standing on both, which is great for getting a note to leap off into feedback.

One CC pedal controls whether you get rotary, dry, or chorus on your sound. The other two do main volume and wah.
 
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steadystate said:
I've never understood the desire for a "kitchen sink" preset. I see several disadvantages. What's the upside?
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I guess it comes down to how a person is used to working, and if they are trying to get a close match for the sound of each song, or if they're trying to get "their sound" for them. I always leaned toward the latter.

Not all of our covers warranted slavish copying of the record, and in any case, with the equipment at hand, it wasn't always possible. Our covers were always done with some "artistic license" due to the limitations of the equipment back in the day, and use of the gig as a means of artistic expression rather than being a "live juke box" for the couple dozen drunks who weren't listening to us anyway.

Our original tunes were more often given individual presets for effects. Amp tones were what they were, given they were analog, and they tended to reflect "my sound" rather than (insert artist here)'s sound, even on covers. A good clean sound, crunchy sound, and searing lead sound was hard enough to achieve with the stuff I had then, due to budgetary constrictions.

Given how little we were paid, that we showed up on time and ready to play, and they got songs that sounded good and were well rehearsed is a testament to our work ethic....
 
grandinq said:
I’m not near my Axe FX at the moment, but last week at band rehearsal I noticed that my Band Commander preset could get me pretty much through anything. I have some scenes that are gradual degrees of gain and then have Klon drive available for extra crunch or leads. I am finding it to be the most versatile amp.
Click to expand...
A 1966 Fender Bandmaster was my very first amp when I started. Before there was much of anything else, all I needed was a Muff and Univibe. Once I got my first plexi, I was able to add a Tone Bender and an Echorec. Those are two amps and chains that were able to do most of the songs we played. Before the end of the 20th C, had also added a Tube Screamer and a Klon. Been covering the same songs for 51 years, lol. Over all this time , picked up uncounted (literally) amps and too-many-to-count pedals - until I found the Axe FX.

So now, everything comes full circle. I dial in the original few devices and pedals models in their respective blocks, and either the black or silver Fender or a Marshall in the amp block. I use my volume and tone knobs to control drive, and it covers almost everything. There’s always a one-off… Pink Floyd for example.
 
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