Drive block Mix...

unix-guy

unix-guy

Master of RTFM
I'm starting to think the Mix control on the drive block is where the magic lives!

I've spent several hours playing around with values from 30-80%, and it definitely gives a tasty flavor.

I think 40-60% is the sweet spot to me, but depends on the drive model.

Most of my time so far has been with the FAS Boost, but I also tried out the Zen Drive, TS808 Mod and Full OD models. All get some very good, chewy tones!

This has all been with clean-ish amps. Tonight was the Deluxe Verb Normal with Input Trim on about .750 and Drive on about 5... EQ to taste.

Damn... Try it out for yourself!
 
I've had mine set at 50% for years. I first got clued in to that by the SparkleDrive. It had a clean blend knob and I loved it so much I got two.
 
I'm finding this is true for me as well. I haven't had much time to experiment w/ the updated drives to see how they sit so it may change, but there's always been a bit of harshness to many of the drives that I can tame by bringing the mix down.
 
unix-guy said:
Damn... Try it out for yourself!
Click to expand...

I just did, with the SuperOD block, into a real AC30...wow! I set the Mix to 60% and it just sounded so much better.

I'm a bit unclear though as to why this would sound better. If you're using real pedals in a chain, when you engage one of the pedals, let's say an SD-1, you can't control the mix, isn't it at 100%?
 
Toopy14 said:
I'm
a bit unclear though as to why this would sound better. If you're using real pedals in a chain, when you engage one of the pedals, let's say an SD-1, you can't control the mix, isn't it at 100%?
Click to expand...
Some pros with their advanced routing loops or Cornish or Bradshaw systems for their pedals have been able to do this for years. This is one reason I was so stoked to get the AF2, to be able to have this type of routing freedom in a much more budget friendly and compact way.
 
Toopy14 said:
I'm a bit unclear though as to why this would sound better. If you're using real pedals in a chain, when you engage one of the pedals, let's say an SD-1, you can't control the mix, isn't it at 100%?
Click to expand...

Kinda depends on the OD pedal really. I mean, isn't that one of the mythical attributes that supposedly makes the Kl*n sooooo amazeballs, much good, all the mojo, is that the gain control actual mixes in clean signal? Some swear having a clean mix on an OD pedal is where it's at to get to tone nirvana
 
dr bonkers said:
Some pros with their advanced routing loops or Cornish or Bradshaw systems for their pedals have been able to do this for years. This is one reason I was so stoked to get the AF2, to be able to have this type of routing freedom in a much more budget friendly and compact way.
Click to expand...

I'm an Edge fan and his overdrive tones always sound so warm and not over-bearing. His guitar always cuts through, even though the amp. is being over-driven. He's used Bradshaw gear for years. The Bradshaw system with the ability to control the mix of the loops could certainly be one factor in explaining the reason why.

As I mentioned, I was just playing my LPC into my AC30 and as good as the overdrive tone sounds, I could never get the balance just right. I tweaked the Mix down to 65% on the SuperOD and what a difference. My AC30 is slightly over-driven, but the picked notes come through much clearer now.
 
unix-guy said:
I'm starting to think the Mix control on the drive block is where the magic lives!

I've spent several hours playing around with values from 30-80%, and it definitely gives a tasty flavor.

I think 40-60% is the sweet spot to me, but depends on the drive model.

Most of my time so far has been with the FAS Boost, but I also tried out the Zen Drive, TS808 Mod and Full OD models. All get some very good, chewy tones!

This has all been with clean-ish amps. Tonight was the Deluxe Verb Normal with Input Trim on about .750 and Drive on about 5... EQ to taste.

Damn... Try it out for yourself!
Click to expand...
Toopy14 said:
I just did, with the SuperOD block, into a real AC30...wow! I set the Mix to 60% and it just sounded so much better.

I'm a bit unclear though as to why this would sound better. If you're using real pedals in a chain, when you engage one of the pedals, let's say an SD-1, you can't control the mix, isn't it at 100%?
Click to expand...
Yeah... I don't really understand why, but I do know that like it!
 
unix-guy said:
I'm starting to think the Mix control on the drive block is where the magic lives!

I've spent several hours playing around with values from 30-80%, and it definitely gives a tasty flavor.

I think 40-60% is the sweet spot to me, but depends on the drive model.

Most of my time so far has been with the FAS Boost, but I also tried out the Zen Drive, TS808 Mod and Full OD models. All get some very good, chewy tones!

This has all been with clean-ish amps. Tonight was the Deluxe Verb Normal with Input Trim on about .750 and Drive on about 5... EQ to taste.

Damn... Try it out for yourself!
Click to expand...
Never messed with this parameter until now and found out that for some applications it's really great. Fas boost with mix at 80% and gain on max is wonderful. Thanks for sharing! ;)
 
DLC86 said:
Never messed with this parameter until now and found out that for some applications it's really great. Fas boost with mix at 80% and gain on max is wonderful. Thanks for sharing! ;)
Click to expand...
I found the FAS Boost with drive on 10 and mix around 35% using the bridge humbucker got a really interesting feel... I think I had the Tone around 7.
 
unix-guy said:
I found the FAS Boost with drive on 10 and mix around 35% using the bridge humbucker got a really interesting feel... I think I had the Tone around 7.
Click to expand...
I use single coils, maybe that's why I keep it higher, I wouldn't have enough gain at 35% into a clean amp.
I found it works with the muff too at around 85%
 
DLC86 said:
I use single coils, maybe that's why I keep it higher, I wouldn't have enough gain at 35% into a clean amp.
I found it works with the muff too at around 85%
Click to expand...
Yeah... It didn't work well that low on my neck single coil.

Also, once you start getting below say 50% you probably have to bump the Level control to compensate.
 
One of those cool benefits of using virtual pedals. Anything and everything can have a blend control. Always loved that feature on my Voodoo Labs Sparkle Drive. Gave it a bit of a clean punch and attack with some breakup, almost like running a dual amp setup

The blend also works great with the fuzz face model, giving that nice fuzzy edge of breakup with some articulation, like a great Ge fuzz with the volume pot rolled back
 
Compression and drive both benefit from using the mix control. It's a great way to enhance tone and maintain articulation. I also like to run drive pedals (or amp gain tones) in parallel, and mix them together later in the signal chain.
 
Anyone got a good tip for making delay blend with the signal more? I like to use delay more as a reverb effect but I always hear the repeats too clearly. Even with the mix down really low.
 
AtomicBlaze said:
Anyone got a good tip for making delay blend with the signal more?
Click to expand...
In some circumstances, I want the character of the delay to be on equal footing with my straight signal. However, most of the time, I use delay to create a more gentle organic reflection of my straight tone. In order to manage my delay settings, there are a few factors that I adjust.

Mix
  • I usually start with the mix around 50% and then "season to taste". In order to have live control, I always assign this a modulation foot controller so I can dial the mix in real time.
  • To automate this process, you can use a ducking delay, which is very useful for solo patches. There are times when I want a delay to be in the mix, but I want it to stay out of my way when I'm playing complex passages. Ducking is a nice approach to keeping delay from cluttering a great solo. It also allows the delay to bloom in the mix, to create nice delay tails at the end of phrases.

Regeneration / Repeats
  • I use delay a lot, but I don't like too many repeats. It can cause a lot of buildup, and you need to really manage your playing to keep it from dominating the sound. Generally, I like one or two repeats.
  • There are songs where the delay is hugely important to the part. For example : "I Ran" by A Flock of Seagulls. You need five repeats to make that part work. The reason this works so nicely is that this section of the song is has a very sparse guitar part, with only ONE chord stab, every other measure, and the delay does the rest. When you switch to the rhythm part, you need to reduce those repeats and back the delay in the the mix. I assign a modulation controller pedal to the mix AND the number of repeats, which allows me to manage the delay throughout the song.
  • For slapback / rockabilly type delay, I only use a single repeat of around 160 ms, and I keep the mix low.

EQ / Delay Type
  • Tape delays (and other analog type delays) naturally have lower fidelity than digital delays. This also tends to help them sit in the mix a little more cleanly. Also, because they lose fidelity with each successive repeat, you can often get away with using more repeats with this type of delay model. As much as I love digital fidelity, the natural character of analog delays is often more musical. The repeats feel softer, and smear nicely over time.
  • Even when using a digital delay model, you can adjust the EQ to keep the repeats from being as "up front" as your straight tone.
  • Another useful trick is to insert an EQ into the delay feedback loop, which lets you create your own response curve.

When I'm creating patches, I always make adjustments to the delay during our tech rehearsals. Delays that sounded great when I was building the patch can sound muddy / cluttered / lost in the mix once the full band is playing. Delay can be an enemy in the band's overall performance precision, even if you carefully tap in your delay times. To my ear, extra repeats (especially high-fidelity repeats) have to be treated carefully in order to avoid defocusing the arrangement.
 
AtomicBlaze said:
Anyone got a good tip for making delay blend with the signal more? I like to use delay more as a reverb effect but I always hear the repeats too clearly. Even with the mix down really low.
Click to expand...
If you use clean amps I suggest you to try it before the amp, be aware that you'll probably need to lower mix and feedback though.
Otherwise if placed after the amp try to cut the highs of the repeats
 
AtomicBlaze said:
Anyone got a good tip for making delay blend with the signal more? I like to use delay more as a reverb effect but I always hear the repeats too clearly. Even with the mix down really low.
Click to expand...
I run delay almost all the time rather than reverb.

I use it in series with a low mix (< 20%) and a low feedback (1-2 repeats... like 12%).

I also mostly using ducking unless I am going for a more washy effect. There is also some EQing cutting both low and high frequencies.
 
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