I tend to get slambasted (yea, I made that up) for threads like this; but I need to post this because, well, I'm a sucker for punishment I guess.
Here's some quotes, a link and a post from a different thread to set the context:
I finally tried that 'trick' because of (that) thread; and man that's pretty powerful and good. Makes almost anything sit better in a mix. Sort of eye - and ear - opening. Does something very different than any static setting (low pass in the advanced amp block for instance, or just turning down the bass in the amp block or just a high pass without the expression envelope controlling it). Amazing.
You can then turn up the bass in the amp sim, not monkey at all with the advanced tab and it really changes the texture of what you can do in a very powerful yet almost transparent way.
You learn something every day. I've tried it on almost all the different presets I use and have to say I am tempted to run it on all of them; though for different reasons. It just seems to 'unclutter' what you hear.
Just another example of how the Axe-FX is better than reality. You can't do things like this - live and in real time - with an analog physical amp.
Thanks for yet another - very powerful - tool in the tool box.
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I recall that 'trick' being posted, but I didn't try it. My tones were 'tight' enough IMHO, and I had all sorts of tools at my disposal in my tool box that I already knew and understood to deal with all sorts of EQ things that I'd ever need to address.
In an AC-30 thread, the above was all posted about removing low end using the AC-30TB amp block with humbuckers. Now, my guitars are both single coil and humbuckers (H/S/S) and that's always been an issue for me; I optimize for one or the other and just get on with it.
Back in the day, I used to have a 'secret weapon' called the "Smooth&Slim" from Gil Ayan. He's a well known tone Meister on the Web and essentially the box was a high pass passive filter that you put before Rivera and Fender amps to allow you to turn up the bass on the amp and not flub out. Pretty simple. The Axe-FX has that 'built-in' to the advanced page of the amp block between the preamp and poweramp (low-cut in the advanced tab) or you could easily do a high-pass filter block before the amp to actually replicate the S&S, if you like. Pretty nifty.
Well, if you try Cliff's 'trick' and put it in front of NOT just high-gainers, but in front of Fender type amps (and obviously Vox too, since that was the topic of the other thread) it does the same 'trick' but it changes the texture of the final tone in a very unique way due to the dynamic nature of the envelope controlling the high pass. It's mesmerizing the more you monkey with the amp block after adding it. It allows you to use a H/S/S guitar in all positions without any sort of low end flub when using the Humbuckers; that's incredible. Due to the dynamic (and almost transparent; in that there is no sonic artifacts you can hear using the filter) way it works; you can turn UP the bass in the amp block, skip the static low cut parameter in the advanced amp block, and end up with a similar but more (IMHO) useful and natural end tone/timbre.
Try that trick. Drop it in front of your amp block; and then simply remove any sort of 'low cut' you were using in the amp block and turn UP the bass on the amp EQ. You add warmth, depth and.... THUMP... without any mud almost at all. And it works not just on the high-gainers, but on the mid-gain and low/no-gain amp blocks as well.
It's obviously not essential to use it; but it is indeed yet another very natural and very powerful tool in the tool box to use when and if you need it.
And that, IMHO, is yet another example of why the Axe-FX is better than reality. You just cannot do this with a physical analog amp, cab and guitar. You'd need sophisticated routing and all sorts of processing and tricks. With the Axe-FX, simply create it, drop it in (takes all of 10 seconds with the Beta editor) then copy it to your effects library and you can drop it in your presets at will to try out.
It's so very cool.
Here's some quotes, a link and a post from a different thread to set the context:
javajunkie said:
I finally tried that 'trick' because of (that) thread; and man that's pretty powerful and good. Makes almost anything sit better in a mix. Sort of eye - and ear - opening. Does something very different than any static setting (low pass in the advanced amp block for instance, or just turning down the bass in the amp block or just a high pass without the expression envelope controlling it). Amazing.
You can then turn up the bass in the amp sim, not monkey at all with the advanced tab and it really changes the texture of what you can do in a very powerful yet almost transparent way.
You learn something every day. I've tried it on almost all the different presets I use and have to say I am tempted to run it on all of them; though for different reasons. It just seems to 'unclutter' what you hear.
Just another example of how the Axe-FX is better than reality. You can't do things like this - live and in real time - with an analog physical amp.
Thanks for yet another - very powerful - tool in the tool box.
----------------------------------------------------------------------------------------------------------------------------------------------------------------
I recall that 'trick' being posted, but I didn't try it. My tones were 'tight' enough IMHO, and I had all sorts of tools at my disposal in my tool box that I already knew and understood to deal with all sorts of EQ things that I'd ever need to address.
In an AC-30 thread, the above was all posted about removing low end using the AC-30TB amp block with humbuckers. Now, my guitars are both single coil and humbuckers (H/S/S) and that's always been an issue for me; I optimize for one or the other and just get on with it.
Back in the day, I used to have a 'secret weapon' called the "Smooth&Slim" from Gil Ayan. He's a well known tone Meister on the Web and essentially the box was a high pass passive filter that you put before Rivera and Fender amps to allow you to turn up the bass on the amp and not flub out. Pretty simple. The Axe-FX has that 'built-in' to the advanced page of the amp block between the preamp and poweramp (low-cut in the advanced tab) or you could easily do a high-pass filter block before the amp to actually replicate the S&S, if you like. Pretty nifty.
Well, if you try Cliff's 'trick' and put it in front of NOT just high-gainers, but in front of Fender type amps (and obviously Vox too, since that was the topic of the other thread) it does the same 'trick' but it changes the texture of the final tone in a very unique way due to the dynamic nature of the envelope controlling the high pass. It's mesmerizing the more you monkey with the amp block after adding it. It allows you to use a H/S/S guitar in all positions without any sort of low end flub when using the Humbuckers; that's incredible. Due to the dynamic (and almost transparent; in that there is no sonic artifacts you can hear using the filter) way it works; you can turn UP the bass in the amp block, skip the static low cut parameter in the advanced amp block, and end up with a similar but more (IMHO) useful and natural end tone/timbre.
Try that trick. Drop it in front of your amp block; and then simply remove any sort of 'low cut' you were using in the amp block and turn UP the bass on the amp EQ. You add warmth, depth and.... THUMP... without any mud almost at all. And it works not just on the high-gainers, but on the mid-gain and low/no-gain amp blocks as well.
It's obviously not essential to use it; but it is indeed yet another very natural and very powerful tool in the tool box to use when and if you need it.
And that, IMHO, is yet another example of why the Axe-FX is better than reality. You just cannot do this with a physical analog amp, cab and guitar. You'd need sophisticated routing and all sorts of processing and tricks. With the Axe-FX, simply create it, drop it in (takes all of 10 seconds with the Beta editor) then copy it to your effects library and you can drop it in your presets at will to try out.
It's so very cool.
