Gift of Tone #5: CHRIS TRAYNOR

Funny these guys are using the Axe but still have the cabs on stage. Stages don’t look right without the cabs lol.

It's the best of both worlds, for me. I'm totally fine playing through monitors in the studio, but for live or even just couch noodling I prefer a regular guitar cab. Just turn the knobs like you would a regular amp, no worrying about an IR and you're good to go!
 
This community is so great. It's such a gift having artists share the presets they use when performing and/or recording. Same to all the other forum members that do the same! Cheers!
 
Can someone do me a huge favor and post the screenshots from this preset? Big fan of the band, but I use an Axe Fx IIXL. I'd like to see what amps and settings he's using and there's no way to load the preset in Axe Edit III offline obviously. Thanks in advance
 
Can someone do me a huge favor and post the screenshots from this preset? Big fan of the band, but I use an Axe Fx IIXL. I'd like to see what amps and settings he's using and there's no way to load the preset in Axe Edit III offline obviously. Thanks in advance
you can view them with FracTool
 
Thanks for sharing! Question though... does he really play live with the Plex delay that wet? It's completely washed out on my system with that block engaged.
 
Thanks for sharing! Question though... does he really play live with the Plex delay that wet? It's completely washed out on my system with that block engaged.
Yeah, the plex delay seems super juicy. I also think the distorted tones are pretty bassy. Had to apply a lot of low cut to them to make them more punchy
 
Can someone please confirm if this is a bug? In the first scene, engaging the first drive block kills almost all the sound, and the volume and level are in normal ranges.

@Cooper Carter can you replicate this?

Not a bug. The Eternal Love in that preset was modified by changing the diodes to 1N270As and turning the Dry Level to zero.. This reduces the output level of the block dramatically. Don't know if that's a mistake in the preset or due to a translation error or what.
 
Can someone please confirm if this is a bug? In the first scene, engaging the first drive block kills almost all the sound, and the volume and level are in normal ranges.

@Cooper Carter can you replicate this?
I have not tried this preset yet so this is just a guess, but could this be replicating the kill switch on his guitar that he discusses in the video?
 
I don't think it was intentional, I think it's just misconfigured as Cliff stated. Either way, an easier/better way to implement the kill is by bypassing the Out block.
I don't think it was intentional, I think it's just misconfigured as Cliff stated. Either way, an easier/better way to implement the kill is by bypassing the Out block.

Intentional, and not a bug. I just reconfirmed on my unit and with Chris. The Eternal Love drive block is set where Chris dialed it.

Don't use it on the clean. It's for the Dirty scene for "some solo juice and to brown it out."

He digs the ET with that diode and without the dry because it scoops out the bottom but gooses the mids just right for slide work.

You can hear the Dirty with that pedal at 5:48:

 
Thanks for sharing! Question though... does he really play live with the Plex delay that wet? It's completely washed out on my system with that block engaged.

Yes, the Plex is correct.

Bear in mind (counterintuitively, perhaps), that often, live tones made for larger venues like those BUSH play actually need a good deal more delay than you'd think to make the effect audible above the space's natural ambience.

It all comes down to EQ -- when the main dry tone is EQ'd correctly, a high delay mix doesn't muddy the tone in a large space, and without it, the effect can end up not being discernable.

Maybe initially counterintuitive, as I said, but you'd be surprised how wet many "stadium" rigs are.
In small venues, lots of ambience can sound artificial. In a huge space, a dry tone just sounds like whatever venue you're in, instead of your tone.
 
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Yes, the Plex is correct.

Bear in mind (counterintuitively, perhaps), that often, live tones made for larger venues like those BUSH play actually need a good deal more delay than you'd think to make the effect audible above the space's natural ambience.
It all comes down to EQ -- when the main dry tone is EQ'd correctly, a high delay mix doesn't muddy the tone in a large space, and without it, the effect can end up not being discernable.

It's counterintuitive, as I said, but you'd be surprised how wet many "stadium" rigs are.
In small venues, lots of ambience can sound artificial. In a huge space, a dry tone just sounds like whatever venue you're in, instead of your tone.
Thanks for the reply CC!! Yes, that is the exact opposite of what I would expect from a large venue. Sadly, I've never played a large venue, which is why I asked. Easy enough to adjust it to my studio.
 
@Cooper Carter

I've decided to really sink my teeth into these gifts of tone, and so far the Chris Traynor offering has been most useful to me (specifically scene 4 and dialed in VH4)

I was wondering if you could share the intensions behind the delay and enhancer headed to output 3? I'm assuming this out is for PA/cab (maybe stereo?)

p.s. Gift #10 is next up to bat. Expecting great things! Thanks!
 
@Cooper Carter

I've decided to really sink my teeth into these gifts of tone, and so far the Chris Traynor offering has been most useful to me (specifically scene 4 and dialed in VH4)

I was wondering if you could share the intensions behind the delay and enhancer headed to output 3? I'm assuming this out is for PA/cab (maybe stereo?)

p.s. Gift #10 is next up to bat. Expecting great things! Thanks!
Stereo send to Matrix GT1000FX to 2x Matrix 4x12.
 
Bush opened their winter tour last night in Reno. The GOT preset I didn’t really gel with, but live and at house volume it sounded great. 1st time I’ve seen a FAS artist live. Jerry Cantrell opened the show. No slouch on tone himself.
 
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