Going to create my first gigging preset and not quite sure which way is most efficient

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Dryheaves

Member
Hey everyone, first time poster here. Sorry for the long post!

I received my FM9 Turbo back in October. Amazing unit. I've been using it exclusively at church with the free AC30 Worship Tutorial preset. Just a few leveling tweaks and that WT preset has everything I need for church. Amazing.

My other gig I would like to use the FM9 for is my cover/wedding/corporate band which requires a lot of different tones. I am currently using a large board with a GigRig G3. This pedalboard and G3 is awesome and covers everything I need for this type of gig, but I would like to get the FM9 to do something close to my pedalboard so I can save my back on load in/out.

Here's my pedalboard (and signal path) and how I'm using it:

Polytune 3
G-Lab Wowee Wah
TC Sub n' Up Octave
Wampler Ego Comp
Source Audio Zio
Vertex Steel String Clean Drive
Venuram Jan Ray
JHS Bonsai
Hermida Zendrive
JHS AT+
Source Audio EQ2
Klon Centaur
Strymon Mobius
Strymon Timeline
Vertex Boost MKII
Skylar Reverb
TC Hall of Fame Mini

All of this is buffered on input and output with a Mesa Hi-Wire box.

-Octave pedal is used sparingly. Not really needed for an FM9 Preset but fun to have for a one-octave down thing

-Compressor is used sparingly. If we are doing some really clean funky rhythm stuff I will turn it on. Or a finger-style part, for example Rhiannon.

-Zio is used to boost the front of which drive pedal i'm using for more saturation.

-Steel String drive is my basic clean sound. I don't have it set to distort (unless I hit it with the zio) and is basically a "fat" clean sound.

-Jan Ray is used for light break up

-Bonsai is set for medium gain for the classic tube screamer sound

-Zen Drive is my other medium gain pedal, but a different flavor from the bonsai

-AT+ is my high gain pedal. This is for all of the 80s rock stuff. Bon Jovi and Def Leppard is about as heavy as we get. I have the G3 set to turn the AT and EQ2 on together. EQ2 is set for a slight mid boost so the AT will cut and not be as scooped sounding.

-The EQ2 is mostly used in conjunction with the AT, as previously mentioned. Sometimes I'll use it as a mid boost with the other drives but this is rare. The EQ is after the drives in the signal path.

-Klon Centaur. This is the most critical part of the drive section and would be what I would need to recreate the most in the FM9. This is my solo boost and is placed after the drives. I use it to get an increase in both volume and saturation with whatever drive pedal I'm using at that moment. I use the klon with all of the drives.

Mobius- The only modulation I regularly use is Tremolo (probably the most used), chorus, phaser, leslie.

Timeline- There are three delay settings that I use: slapback, a longer repeat (usually about 3) for a run-of-the-mill delay), and a dual delay Andy Timmons style halo thing.

-Vertex Boost is after everything to be my "loud" button if I need it. Sometimes use this for a clean solo boost with compressor for country style leads.


-Skylar Reverb is set for ambient stuff, but is rarely used and not necessary for FM9 Preset

-Hall of Fame mini is only there set for a subtle spring reverb for when I run direct with my Iridium or encounter a backline amp without reverb. other than that it stays off if i'm running one of my amps.

All of this is with Gibson guitars into black face fenders (deluxe reverb mostly) 90% of the time. Sometimes I get to play my Fuchs TripleDrive Supreme out but it's not often these days.



It's important to note that I don't really use a lot of "presets" where I have to turn a lot of pedals on and off at once. Most of the night it's various levels of gain and lead boost with the drive pedals. As mentioned, I boost all leads with the Klon after the drive section. I do have a G3 preset that I can turn on the klon with a delay from the timeline if I want that. As far as modulation goes, I use modulation, but I either have it on for the entire song, or turn them on/off for certain sections of a song.



So the big question is....how would I approximate this setup with an FM9? What is the most efficient way?


From my limited perspective, I figure I have these options:


1. Try to make one massive preset covering everything from above going into a deluxe reverb model like my pedalboard

2. make individual presets for different drive levels using different amp models

3. Use a multi amp single preset and try to approximate my drive sounds from that

4. Since my modulation needs are on/off and rather basic, add an FC6 to have those effects readily accessible on the side.



My main needs are the various level of gain, lead boost, lead boost with delay, and access to trem, chorus, phase, and delay in an on/off capacity.


Thank you for your help!
 
Seems like you might add an FC-6 and be pretty much there. Here is a cool way to handle a variety of gain-on-the-fly choices:
https://forum.fractalaudio.com/thre...tching-feature-you-might-not-be-using.191375/

You might try using scenes to choose modulation alternatives and either the effects layout or the per-preset layout for controlling stuff that you will likely choose often.

I like using a single preset to cover a lot of ground. Cooper Carter has a couple of recent vids that cover his live preset that are instructive.

 
Instead of creating one massive preset or adding the FC6 create a few unique presets that cover the tones/effects that you use throughout a service.

That way you will only need to switch to that preset and then select the scene or effect switch that best fits the preset.

Experimenting will help you decide what works best.
 
I'd think the easiest way to get started would be to "go with what you know." My main question would be: what's the max number of boosts you use simultaneously? You can probably build a single pretty basic preset with all you need.

Input 1
Wah (expression pedal)
Pitch
Compressor
Drive blocks (looks like two could get you all those pedals or decent approximations)
Modulation blocks to taste
Amp
Cab
Delay
Filter or EQ (for boost)
Reverb
Output

There's probably no need to add an FC6 to control modulations as there are so many simpler and smaller/lighter ways to deal with such a relatively simple setup.

One preset could pretty easily handle all your needs. I think.
 
Deadpool_25 said:
I'd think the easiest way to get started would be to "go with what you know." My main question would be: what's the max number of boosts you use simultaneously? You can probably build a single pretty basic preset with all you need.

Input 1
Wah (expression pedal)
Pitch
Compressor
Drive blocks (looks like two could get you all those pedals or decent approximations)
Modulation blocks to taste
Amp
Cab
Delay
Filter or EQ (for boost)
Reverb
Output

There's probably no need to add an FC6 to control modulations as there are so many simpler and smaller/lighter ways to deal with such a relatively simple setup.

One preset could pretty easily handle all your needs. I think.
Click to expand...
Usually when it comes to my drives and boost, it's whatever drive I have selected, then add the klon behind it. Sometimes the klon with a delay. I don't really stack drives for rhythm sounds. So I guess the max number would be two drives simultaneously. This is only when soloing though.

For example:

Bonsai

Bonsai + Klon

Bonsai +Klon + Delay




There's only a few songs per night that I need to go all out high gain for the 80s stuff. I was thinking maybe a separate 80s preset would take some of the clutter out of the main preset.

Most of my gain needs in a gig are light to medium gain.



I really like this list you've made and I think could be a good starting point.
 
Also,

Would utilizing the channels for drives and amp modelers be more efficient?

What about foot switch functions?

I'm thinking maybe having one button per drive, and having a secondary footswitch function to engage a lead boost for that drive I have selected. This would save real estate on the number of buttons available that could be used to have some modulation available on a whim.
 
elvis said:
Seems like you might add an FC-6 and be pretty much there. Here is a cool way to handle a variety of gain-on-the-fly choices:
https://forum.fractalaudio.com/thre...tching-feature-you-might-not-be-using.191375/

You might try using scenes to choose modulation alternatives and either the effects layout or the per-preset layout for controlling stuff that you will likely choose often.

I like using a single preset to cover a lot of ground. Cooper Carter has a couple of recent vids that cover his live preset that are instructive.

Click to expand...

That video on the Smart Bypass is very helpful. Thank you!

I've seen the recent Carter vids on his live presets. Wish we could download them!
 
The good news is that pretty much every thing you need to cover from hardware is already baked into the FM9

I would bet that 2 (ish) presets would cover everything with scenes... for pretty much everything. One preset for clean and funky, one preset for EOB and dirty.

You are gonna love how easy it is to replicate an expensive pedalboard chain with just one device. 🙂👍
 
To produce gig presets I’d forget pedal board, and think workflow. What are the things you want to change while you’re playing a song? Each of us will have a different answer to this. In my case it’s three levels of gain: Clean, Edge, and Crunch. Then there’s outright Solo. Those are my four scenes. They all use the same Amp type and Cab IRs. The only things which change are the gain level, whether through amp gain or Drive block, and compensating EQ and level changes. The Solo scene also has delay added.

In my Performance layout I put the Scene buttons on the bottom row. On the top row I put the FX I might want to kick in or out: Chorus, Drive, Delay, etc. From what you’ve said you might want more than one drive block. The actual values you use for those blocks can be copied from anything you like in Gift of Tone, or any other source.

You could get through a gig with just this one preset. Preset 2 would be a copy of the first, but with the compressor, and anything else you’d want for funky rhythm or fingerstyle.
 
elvis said:
Seems like you might add an FC-6 and be pretty much there. Here is a cool way to handle a variety of gain-on-the-fly choices:
https://forum.fractalaudio.com/thre...tching-feature-you-might-not-be-using.191375/

You might try using scenes to choose modulation alternatives and either the effects layout or the per-preset layout for controlling stuff that you will likely choose often.

I like using a single preset to cover a lot of ground. Cooper Carter has a couple of recent vids that cover his live preset that are instructive.

Click to expand...

In the second video, the way the drive block with 4 channels set up amongst the two switches, is that the same as the way he explained it in the smart bypass video? It seems different because in the smart bypass video he used the fc6 with 4 switches for each channel of the drive block.
 
Dryheaves said:
Usually when it comes to my drives and boost, it's whatever drive I have selected, then add the klon behind it. Sometimes the klon with a delay. I don't really stack drives for rhythm sounds. So I guess the max number would be two drives simultaneously. This is only when soloing though.

For example:

Bonsai

Bonsai + Klon

Bonsai +Klon + Delay




There's only a few songs per night that I need to go all out high gain for the 80s stuff. I was thinking maybe a separate 80s preset would take some of the clutter out of the main preset.

Most of my gain needs in a gig are light to medium gain.



I really like this list you've made and I think could be a good starting point.
Click to expand...
It sounds like 2 drive blocks will do you. Use channels on the first one in the chain to switch to a few different drive pedals. Put the Klon in the second block (and use channels in that one too if needed).

For your higher gain stuff you can use a second preset or you can possibly just it's another channel in the amp. So maybe a Fenderish model for your primary tone and a Marshallish model for your higher gain tone.

I'd probably next want to ask: how many actual tones do you want to have available? You can probably get everything you need using scenes and maybe a dedicated switch or two to activate drives independently. To answer this (more for yourself but post it if you want), make an actual list. Something along the lines of:

  • Fender, clean, no drives, no delay, spring reverb
  • Fender, clean, tube screamer, short delay, hall reverb

Etc.

Be thorough and pretty specific. Knowing exactly what you need is the key to achieving it as efficiently as possible. :)
 
I think you can achieve your goal with any of the four options you stated above. I personally would not go with option 3, at least not as my first option. I’d think which way you go would be based as much on how you and your band approaches gigs and sounds. In my case for example, we rarely have a setlist and even within the songs, I’m not always using the same sounds gig to gig. So in that case, I have a single large preset, and my first four scenes are 4 levels of drive. I also have two scenes for go-to special effects. When I select a scene, the FM9 jumps right to an effects layout where I can add on effects to the base scene based on what’s going on at that time. Some effects, like delay, are set to scene ignore. That works for me and the way I like to gig, but it doesn’t work if you need more complicated predetermined effects combinations. If you need that, you might not quite get everything you need into one preset.

I’m really new here, so I’m not even sure MY preset is set up in the most efficient way, but it’s working for me in my limited experience. I’m excited to learn more about the FM9 and improve things further.
 
You could also use two amps and use an expression pedal to bounce between both amps and just stay on an effects page to add any flavors. Or use one amp and an expressions pedal to control gain of that amp and use an effects page with one amp
 
cje said:
I think you can achieve your goal with any of the four options you stated above. I personally would not go with option 3, at least not as my first option. I’d think which way you go would be based as much on how you and your band approaches gigs and sounds. In my case for example, we rarely have a setlist and even within the songs, I’m not always using the same sounds gig to gig. So in that case, I have a single large preset, and my first four scenes are 4 levels of drive. I also have two scenes for go-to special effects. When I select a scene, the FM9 jumps right to an effects layout where I can add on effects to the base scene based on what’s going on at that time. Some effects, like delay, are set to scene ignore. That works for me and the way I like to gig, but it doesn’t work if you need more complicated predetermined effects combinations. If you need that, you might not quite get everything you need into one preset.

I’m really new here, so I’m not even sure MY preset is set up in the most efficient way, but it’s working for me in my limited experience. I’m excited to learn more about the FM9 and improve things further.
Click to expand...
This approach is very similar to how I approach gigs. We never play the same set twice, and I'm always using different sounds on the fly.

It sounds like what you have would be right up my alley.

Would you mind describing your preset to us or maybe a screenshot of it?
 
Deadpool_25 said:
It sounds like 2 drive blocks will do you. Use channels on the first one in the chain to switch to a few different drive pedals. Put the Klon in the second block (and use channels in that one too if needed).

For your higher gain stuff you can use a second preset or you can possibly just it's another channel in the amp. So maybe a Fenderish model for your primary tone and a Marshallish model for your higher gain tone.

I'd probably next want to ask: how many actual tones do you want to have available? You can probably get everything you need using scenes and maybe a dedicated switch or two to activate drives independently. To answer this (more for yourself but post it if you want), make an actual list. Something along the lines of:

  • Fender, clean, no drives, no delay, spring reverb
  • Fender, clean, tube screamer, short delay, hall reverb

Etc.

Be thorough and pretty specific. Knowing exactly what you need is the key to achieving it as efficiently as possible. :)
Click to expand...
If I had to be specific and narrow it down to my most used tones, it would be something like this:

1. Clean Fender sound. Light Compression.

2. Light drive sound. Think Jan Ray with the gain set to 9 o clock into a clean fender amp or a Vox Style amp set to edge of break up

3. Medium gain. Think Tube Screamer or Zendrive with gain about half way.

On/Off access to the following. I would need to be able to add these to the first 3 core tones:

4. Klon Style boost after the first 3 base tones (clean, light, medium) set to give me more saturation and volume boost

5. Klon style boost with a delay, also set for more saturation and volume boost

6. Basic Trem sound

7. Basic phaser sound. Phase 90 type with rate about 10 o clock

8. Basic 80s style chorus

9. Delay. If I narrowed it down, the only delay sounds I use would be a slap and a basic quarter note delay set to 2-3 repeats. nothing fancy. Sometimes I like to add delay to whatever clean sound I'm using for ballads, etc.


I'll add a wah and an always-on subtle reverb to everything in the preset as well.

Since we only do a few really high gain songs, I can use a different preset entirely for the high gain 80s stuff, and set that up with a Marshall/Soldano style amp with choruses, delays, etc. to do that style and let that preset be it's own thing.


I'm thinking for my main gig sounds, I can narrow it down to one preset by going with what I mentioned above.


Question now is..........do I utilize channels and multiple amps?

I could use the fender style amp for the cleans and medium gain sounds (with the tube screamer in front of the fender) and bring in the vox style amp for breakup sounds.
 
A great way to utilize multiple amps is the multiplexer. My preset also uses 2 amps into a multiplexer, and I have a footswitch control which row the multiplexer takes in. It’s a gapless amp selector, and I’m sure tons of others are doing the exact same thing. I can certainly give you screen shots, just not at the moment. It’s not a particular exciting preset, and in fact it’s the first one I’ve ever made so there’s probably a better way of doing it. For me, the big ah-ha moment for this preset was learning how to use per-preset overrides (most of my switches outside of the looper pp overrides). They’re great for making a layouts that do (in most cases) exactly what you want.

In my pre-modeling rigs, I never ever used multiple amps, and have only owned one amp in the last 25 years or so. I decided to try it in the preset just because I can, and it’s really nice to have another color in the palette.
 
cje said:
A great way to utilize multiple amps is the multiplexer. My preset also uses 2 amps into a multiplexer, and I have a footswitch control which row the multiplexer takes in. It’s a gapless amp selector, and I’m sure tons of others are doing the exact same thing. I can certainly give you screen shots, just not at the moment. It’s not a particular exciting preset, and in fact it’s the first one I’ve ever made so there’s probably a better way of doing it. For me, the big ah-ha moment for this preset was learning how to use per-preset overrides (most of my switches outside of the looper pp overrides). They’re great for making a layouts that do (in most cases) exactly what you want.

In my pre-modeling rigs, I never ever used multiple amps, and have only owned one amp in the last 25 years or so. I decided to try it in the preset just because I can, and it’s really nice to have another color in the palette.
Click to expand...
Have you tried getting a good “in between” sound like this ?
 
I’m not 100% sure what you mean, but I am not blending the two amps together, just switching between the two.
 
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