FM3 Firmware Version 4.00

When I change the scene during a performance (in case of a different type of reverb),
I hear a tearing noise for a moment. Is there a solution? Or am I doing something wrong?
ex)hall rev > plate rev
 
Not sure why he even made that vid. He's right...at around the 6:15 mark he says that people are gonna comment about how bad it sounds.
Yep.
And he definitely is a guy who gets GREAT tones out of this unit. Including with a Recto.
One of his earlier vids he makes the recto sound great.

I'm just not sure why he would want to make this video which sounds fizzy, unfocused...and overall crappy.

It's almost like he wanted to showcase just how bad it could sound. Way out of character for this guy. He's a master of this unit.

 
Recto's are the Vegemite of the high gain amp world.

The Cygnus Recto's are in the "I can't believe it's not Vegemite!" category now.

I didn't "get" the whole Recto thing until I heard this for the first time.



Yup. Pretty sure Ty is on record as saying he hates/hated Mesas, too.
As iconic as that tone has become Ty has stated it was hard for him to
like the Recto. :)

Doesn't Dogman have some Marshall blended in with the Recto? If so,
I kind of wonder how much.

I have a Dual Rec Trem-O-Verb and you can make it sound awful, and glorious.
My fave tones in the amp are those that Rectos are not known for. One of the best
amps ever made, in my opinion. 🖕🖕
 
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To be fair, the idea/concept of something sounding "great" is subjective. This notion will vary from person to person.

I completely understand it wasn't for you but on the other hand, other people may find it great.
That's very true.
But that wasn't a good sound. Did you think it was "great"?

I think this vid he did was much more useful for the rectifier amp model:
 
Yup. Pretty sure Ty is on record as saying he hates/hated Mesas, too.
As iconic as that tone has become Ty has stated it was hard for him to
like the Recto. :)
Howdy folks,
I joined the Fractal family last Wednesday, 07/14/2021. A red-letter day for sure!

I love King's X. I was working at a CD store when Dogman came out and I was stunned by the huge changes from their previous albums. It was so stripped down and brutal, it probably spent the longest time in my car over anything else and is still my go-to album when I just want to get my a** kicked.

Living in NC, and trying to make a start as a musicians in the Raleigh area, my friends and I were super excited by Ty landing an endorsement with the late Ken Hoover's Zion guitars (based out of nearby Greensboro, NC). It was neat. Just about everyone I know has their own Zion stories. I've got a pretty darn good one myself that I could share in the Guitars forum (the guitar in my av is a very special Zion that landed in my Dad's collection and, thirty-odd years later, in mine. Don't worry, Dad's ok and enjoying my MIM Tele with Lindy Fralins in it; so he's happy.)

One of my buddies' friends worked at Zion, and my friend asked them a ton of questions surrounding this gear pairing (the Ty Tabor Zion and the Dual Rec.) and one small tidbit we learned was just how frustrated Ty was trying to get the Recto and the Joe Barden pickups in that Zion to play well together. The gist of what we heard seemed to be there was just a very tiny sweet-spot in the pickup heights that "worked" for Ty with this amp.

I've never read about Marshalls being mixed into Dogman. Given the incredibly raw nature of the mix I would expect one to stand out, but if it's there I couldn't say. What we do know is the next album, Ear Candy, was mostly Marshall (30th Anniversary?) Seems like Ty couldn't wait to switch.

To be totally honest, Ear Candy is about where King's X and I lose touch. Tape Head had some great tunes but I think the guitars sound terrible. The ART and the PODs of that era do nothing for me. After that it... doesn't seem get a lot better (to my ears).

And a little lol - Just realized that's Leon posting about my favorite band (I'm very new here, making my first post). Totally makes sense because I watched and re-watched a bunch of Leon's vids as I was psyching myself up to buy an FM3 and was curious about him playing Drop-D tuning so often. Thanks, Leon, for helping me dive into my FM3 on day one.)

Sorry, not trying to derail the thread! Just really glad to finally be here.

E: typos
 
Howdy folks,
I joined the Fractal family last Wednesday, 07/14/2021. A red-letter day for sure!

I love King's X. I was working at a CD store when Dogman came out and I was stunned by the huge changes from their previous albums. It was so stripped down and brutal, it probably spent the longest time in my car over anything else and is still my go-to album when I just want to get my a** kicked.

Living in NC, and trying to make a start as a musicians in the Raleigh area, my friends and I were super excited by Ty landing an endorsement with the late Ken Hoover's Zion guitars (based out of nearby Greensboro, NC). It was neat. Just about everyone I know has their own Zion stories. I've got a pretty darn good one myself that I could share in the Guitars forum (the guitar in my av is a very special Zion that landed in my Dad's collection and, thirty-odd years later, in mine. Don't worry, Dad's ok and enjoying my MIM Tele with Lindy Fralins in it; so he's happy.)

One of my buddies' friends worked at Zion, and my friend asked them a ton of questions surrounding this gear pairing (the Ty Tabor Zion and the Dual Rec.) and one small tidbit we learned was just how frustrated Ty was trying to get the Recto and the Joe Barden pickups in that Zion to play well together. The gist of what we heard seemed to be there was just a very tiny sweet-spot in the pickup heights that "worked" for Ty with this amp.

I've never read about Marshalls being mixed into Dogman. Given the incredibly raw nature of the mix I would expect one to stand out, but if it's there I couldn't say. What we do know is the next album, Ear Candy, was mostly Marshall (30th Anniversary?) Seems like Ty couldn't wait to switch.

To be totally honest, Ear Candy is about where King's X and I lose touch. Tape Head had some great tunes but I think the guitars sound terrible. The ART and the PODs of that era do nothing for me. After that it... doesn't seem get a lot better (to my ears).

And a little lol - Just realized that's Leon posting about my favorite band (I'm very new here, making my first post). Totally makes sense because I watched and re-watched a bunch of Leon's vids as I was psyching myself up to buy an FM3 and was curious about him playing Drop-D tuning so often. Thanks, Leon, for helping me dive into my FM3 on day one.)

Sorry, not trying to derail the thread! Just really glad to finally be here.

E: typos

Epic first post. Welcome home!!! :)
 
Small world. I was also working in music retail when Dogman came out. It was a
combo instrument, merch, and music sales store in a small town where I also
gave lessons, and while I played in bands and tried to show up for college. ;)

My roommate at the time was the late Kevin McCreery who later went on to play
with Tantric and Uncle Kracker (among a litany of other acts). We would listen
to Dogman together and had the same feeling. The guys in the band were obviously
pissed off (which Ty has corroborated in interviews). He has said it was a "dark"
time and they were all struggling in life. It's definitely reflected on that album. That and
the fact that Ty was tired of his "tone" and wanted to change it up, but then hated
everything else he tried, including the Recto. Know the feeling!! :)

Not quite sure on this but I think Brendan O'Brien and the other guys in the band
convinced Ty that the sounds he was getting were not so bad. I think he still hates that
tone, because he never cites it as being one of his favourite periods tonally with King's X.

Crazy how his fans and the audience can say it is one his best and he still wants to
vomit in his mouth when he hears it.
 
Here's the interview where Ty mentions using Marshalls and Mesas on the Dogman album.






"....... I was in the middle of a transition right when Brendan [O’Brien] came to us and said, “Do you want to do a record together?” We were like, “Of course!” We were very excited, because he was basically working with only multi-platinum people. I was all excited about it, but right before it, I had quit using the gear that I had been using for years, and switched to Mesa Boogies and Marshalls. I hadn’t tweaked it yet, so when I got in there with Brendan, we didn’t spend any time on guitar tones – hardly at all. We just kind of cranked it up, put some mics on it, and went. Brendan tweaked it to where he was happy with it, and I trusted him with it. But we had done some demos for the ‘Dogman’ record – which we actually released [2005’s ‘Dogman Demos’ via www.molkenmusic.com] – some of the playing we thought we played better on the demos, when we weren’t too worried about it. On that, that was the very first recording I did with the new amps. You can sort of compare it with what Brendan did – he brightened them up a bit and made them a little more edgy sounding. But when it came to Michael, we were using gear that I’m used to using, and Michael’s a ‘tweak freak’ – he wants to make it sound better than the last thing he did every time. We tried all different kinds of stuff – different mics, different whatever. Most of the tweaking was done with this unit that Michael designed – it effects the signal before it gets into the amp in a lot of different ways. Not necessarily just volume. It’s a very cool unit – no matter what we did, we ran it through that thing. So working with him, it was a lot more spending time on it and having fun getting good tones."
 
Woah. Thanks for the info but more important: Thanks for linking me to "Dogman Demos." I might be the first kid on my block to get it (um I was really busy in 2005?)
Cool beans! I'll bow out of this thread and see you guys around the forums. Thanks for the warm welcome, LN.

Edit: WOW. They already had the album, essentially. O'Brien cranked the MEAN up, but the tunes were brutal and pared down already. Amazing.
 
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That's very true.
But that wasn't a good sound. Did you think it was "great"?

I think this vid he did was much more useful for the rectifier amp model:

I completely agree with you, and this is not a sin. Maybe Leon need more time to learn cygnus?. For me is a great player, and a good person. I made all of his videos presets in ares firmware and I wait for more with cygnus.
 
Forgive the slight derail but I want to tell my Kings X story. They went to college together in my home town and they were called The Edge and then later changed the band name to Sneak Preview and my bass player still has board tapes of some of their first gigs. I remember being in a music store as a teen and talking to Dug, he's so cool! When they moved to Texas and changed the name to Kings X they would still come back and play shows where I live and we would get to be their opening band. When we went on the road and played Houston we opened for Manowar and Dug was right next to me watching them and he held out his hand and it was full of earplugs so I took a couple, it was so loud! Anyway, Ty was playing the Labs series L5 amps when we played with them and it always sounded massive!
 
It's me or the 2290 delay isn't working since Cygnus ?
I've try a lot of things and no delay at all.
I use the Mono BBD. It sound good but I love the 2290.

Need help : Since Cygnus, I've spent hours searching on internet, manual etc (But English is not ma native language), and I can't find how to change a parameter of the same amp between scenes.
Ex : Scene 1 is one amp and scene 2, the same amp but with more mids without using the same amp in the B Amp Bank.
I left click on the mids, set min at 3 and max at 7 and can't find how to use max on the scene 2, it stay at min by default..
I manage to do it on Ares but can't remember or find a way to do it (Not the Cygnus fault by the way).
 
Need help : Since Cygnus, I've spent hours searching on internet, manual etc (But English is not ma native language), and I can't find how to change a parameter of the same amp between scenes.
Ex : Scene 1 is one amp and scene 2, the same amp but with more mids without using the same amp in the B Amp Bank.
I left click on the mids, set min at 3 and max at 7 and can't find how to use max on the scene 2, it stay at min by default..
I manage to do it on Ares but can't remember or find a way to do it (Not the Cygnus fault by the way).
Change the channel on the amp block and copy one channel to the other and then tweak it. Use one channel in one scene, another channel in the other scene.

Or use a scene controller to control the parameter.
 
Once upon a time possibly before some were even a twinkle in their Daddy’s eye the Mesa Dual Rectifier was the only Amp to do what it did all by itself. Other amps tried and failed without pedals and more gain. I was impressed!

Lifted from the Mesa website:

“It’s been more than 25 years, two generations of guitarists and several musical trend-cycles since the Dual Rectifier® first unleashed its crushing wall of gain on radio. In that time many have mimicked, modeled, dissected and plagiarized it, but it remains firmly planted at the center of heavy music; a Rock icon.”
 
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