Carbon Copy & Scott's EQ idea spin-off: Pi Fuzzed Brownface

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DonPetersen

Fractal Fanatic
basically it's a Pi Fuzz + Brownface patch with a parallel delay.

the three filters (1 PEQ, 2 filters) in the delay chain mimic the behaviour of a Carbon Copy delay pedal with quite a bit of modulation going on at the lowest setting available in the CC (0.2 Hz)

Scott Peterson's idea to boost an amp model with the frequency of the selected tonestack (and multiples and factors thereof) led to the idea to use a multiple in the Air parameter as well. (I forgot who's idea it was, sorry...)

since this also worked nicely, I tried a factor of the tone stack frequency for the speaker resonance parameter as well.

 

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Your stuff is always cool, Don - thanks.

I've been paying attention to ScottP's thread as well, where he gooses the tone frequency of the amp in the chain with a PEQ bumped a dB or two at that tone frequency. Now you're doing it with the air parm (I think - haven't looked at your patch yet).

What is the motivation behind this tone frequency bump? I've looked around the forum and can't find the theory behind it. Is it random experimentation with a happy result?
 
tlainhart said:
Your stuff is always cool, Don - thanks.

I've been paying attention to ScottP's thread as well, where he gooses the tone frequency of the amp in the chain with a PEQ bumped a dB or two at that tone frequency. Now you're doing it with the air parm (I think - haven't looked at your patch yet).

What is the motivation behind this tone frequency bump? I've looked around the forum and can't find the theory behind it. Is it random experimentation with a happy result?
Click to expand...

DonPetersen said:
thanks, guys! :)



That's definitely a question for Scott. I thinks it's in his thread.
Click to expand...

/thread jack: start

It's a very common and well used mixing technique that I learned long ago - a given fundamental tone and overtones are simply math. Cliff exposes the parameter in the Axe-FX for the center frequency and presence frequency for each amp type in the amp block advanced (or "geek" tab in the editor). I just tried to find a PEQ curve that worked with the way the amp was designed from a sonic frequency standpoint and varied that up with different PEQ blocks that just had the same curve, but varied up the levels of boost. It worked, not too surprisingly, but originally I had it after the amp block. When I put it in front of the amp block, I was blown away with not just how it worked, but how well it worked. I used it live for over a month to play test it in real world circumstances and it proved it's worth to me in reality so I shared my findings/thoughts.

When you mix recorded guitars, or anything really, you do most of your mixing split between two main factors - frequency and levels. Nowadays you can analyze the actual frequency content of a given track with various plug-ins; but Cliff saves us the trouble by exposing those parameters.

/thread jack: end
 
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