Gift of Tone 2023 FINAL - Neal Schon!

Cooper Carter said:
Controlling the level of a series delay or reverb via MIX will pull tails down wholesale and can sound abrupt and unnatural. Using INPUT GAIN allows you to "send" signal to the effects at will while maintaining natural decay no matter your input level.
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Great insight! Really appreciate this info.

@Cooper Carter, thank you (and all the others) for bringing this to the fractal world!

A few questions, is this GoT supposed to be paired with the 4x12 TV Mix #1 upon loading or is another cab intended? Also, if the creator of the patch doesn't include a cabinet for ea slot, is my FM9 automatically putting one in the 2nd slot? Just wondering why 2 cabs would be included for Neal's GoT (FM9) and one of them (1x12 Supremo Ext 160 B AB) is muted for all scenes.

Also, very interesting to see his Cab low cut sitting at 36Hz. Would have thought on big stages that much bass would mud up the sound.

Again, MUCH APPRECIATED!!
 
I never realized how basic his tone was, but this does seem to match the tones on some of his songs.



For me, the Mr. Gilmour or Dee Cee 30 presets would supersede this preset, I need a bit more gain and time effects to hide my flaws as a player, lol. But having options is a good thing. Thanks for the freeset!
 
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So does Neal really use the strato cloud reverb on all scenes to bring in and out or does he swap out reverbs live as well?
 
PSea said:
Great insight! Really appreciate this info.

@Cooper Carter, thank you (and all the others) for bringing this to the fractal world!

A few questions, is this GoT supposed to be paired with the 4x12 TV Mix #1 upon loading or is another cab intended? Also, if the creator of the patch doesn't include a cabinet for ea slot, is my FM9 automatically putting one in the 2nd slot? Just wondering why 2 cabs would be included for Neal's GoT (FM9) and one of them (1x12 Supremo Ext 160 B AB) is muted for all scenes.

Also, very interesting to see his Cab low cut sitting at 36Hz. Would have thought on big stages that much bass would mud up the sound.

Again, MUCH APPRECIATED!!
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If I had to guess, Neal has his own IR and Cooper found the TV Mix #1 the closest match.
 
GBM said:
Fantastic stuff!!!
Anyone having noise issues with scene 4? I get a lot of hissing and noise when using.
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Yes - lots of noise on s4. Try reducing gain - esp with fuzz face. The drive block has four different types, one on each channel (A, B ,C, D) - try those and you will see that lower gain cleans up some to all of that noise. Reducing gain in the Drive block cleared it up for me.
Good luck.
 
wamoore84 said:
If I had to guess, Neal has his own IR and Cooper found the TV Mix #1 the closest match.
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No custom IR. Tonally, this is the exact preset Neal uses live. TV Mix#1 across all scenes.

cingram said:
So does Neal really use the strato cloud reverb on all scenes to bring in and out or does he swap out reverbs live as well?
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He really uses the strato across all the scenes.

Dave Merrill said:
The size places think he'd play probably need negative reverb anyway...
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Arena & football stadium environments can sometimes mean less reverb is needed, yes. But we'll often address that not by lowering the mix but instead by low cutting the reverb itself.

Baseball stadiums, on the other hand, might need more reverb, especially in the higher end of the spectrum.

Consider this: depending on the venue layout, a large outdoor venue can be almost completely lacking in what we typically consider early reflections, and therefore can be perceived as one of the drier listening environments there is.
 
Cooper Carter said:
No custom IR. Tonally, this is the exact preset Neal uses live. TV Mix#1 across all scenes.


He really uses the strato across all the scenes.


Arena & football stadium environments can sometimes mean less reverb is needed, yes. But we'll often address that not by lowering the mix but instead by low cutting the reverb itself.

Baseball stadiums, on the other hand, might need more reverb, especially in the higher end of the spectrum.

Consider this: depending on the venue layout, a large outdoor venue can be almost completely lacking in what we typically consider early reflections, and therefore can be perceived as one of the drier listening environments there is.
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Good info! Thanks!
 
State of Epicicity said:
One bizarre moment really defines Schon in my mind.

What always surprised me most about him was the 900 hour solo section of Stars by Hear-n-Aid. All of these virtuousos were trading measures, and it was Schon's section that actually hit me. I thought, "this is somehow much more awesome, tougher, and more badass." Eloquent description, I know. It was just his attitude in the guitar coming through with pure feel and fire, and every time I've heard it I felt like I could see a rare direct comparison of what makes him special as a player. Not to deride any of the other players at all, but consider this, he wasn't pushing to make his band dark or tough or metal, but, playing with a gaggle of metalheads, he truly sounded more metal than any of them.

I think we all cannot help but to respect the hell out of his musicianship, taste, writing, and phrasing, but that one little section of that bizarre collaboration is what defines him to me, in the best possible way, even if it has nothing to do with his musical career.

So anyway I'm beyond excited to get a small glimpse into his current thinking about tone, and I'm not surprised if it's a simple preset. Tone is all in the mind. To paraphrase what Matt put so eloquently, it takes more than the gear to sound like this motherf**ker.
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That was essentially the heavy metal equivalent of We Are The World.

The whole thing was put together by Vivian Campbell and Jimmy Bain from Dio's band.

There is an interview I saw a while back on the whole thing. It was pretty cool.

I was so enthralled with this when it came out. Somewhere have the original on vinyl.

So many great players on there.
 
unix-guy said:
That was essentially the heavy metal equivalent of We Are The World.

The whole thing was put together by Vivian Campbell and Jimmy Bain from Dio's band.

There is an interview I saw a while back on the whole thing. It was pretty cool.

I was so enthralled with this when it came out. Somewhere have the original on vinyl.

So many great players on there.
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Yeah, I know. Bizarre and awesome!
 
SJB said:
Yes - lots of noise on s4. Try reducing gain - esp with fuzz face. The drive block has four different types, one on each channel (A, B ,C, D) - try those and you will see that lower gain cleans up some to all of that noise. Reducing gain in the Drive block cleared it up for me.
Good luck.
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Appreciate it; glad its not just me with the fuzz face; understood and have done so as soon as it was squealing in my ears. interesting though that when CC's demo with the same settings, it didn't seem that he had any issue; wondering if there were gate differences or other differences. CC?
 
@GBM
I’m thinking pick ups make a huge difference - some are just hotter than others overall, and some are hotter in specific frequencies that interact differently with presets. Seems like I am always making adjustments for the eclectic collection of pick ups in my guitars - Seymour Duncan’s, Jim Wagners, a couple with Carvin Allan Holdsworths and of course oddballs from PRS - none of them sound the same (except within type), but all sound great when I tune the presets to them.
 
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