Have you found “your” amp in the FM3?

jwoertz said:
Thanks. I know I can use the 4 amp channels but I'm trying to keep the base sound of the amp as close to possible for clean, crunch and lead (as if to sound like one amp with different settings).
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I'm the same way because I don't like going from one gain level to another and having my base sound altered. So I have the amp set where it gets clean with my guitar volume rolled back to about 7 or 8. For Scene 2, I have the boost selected on via the auto controller. So one amp to do it all. :)
 
The other guitar player in the band I am currently in has
been a long-time Helix user and he switches amps/presets
to go from "clean" to "crunch/lead" and his transitions are
NEVER seamless or musical, but abrupt and often with massive
volume discrepancies.

Me? Not so much. :)
 
joshriggsFM3 said:
One of many quotes on Bogner high end on the amp guide:
  1. "People think Bogners are dark but they really aren't. The reason they seem that way is the pot tapers. Most people assume knobs should be set somewhere around noon. If you do this on a Bogner it's like turning the treble way down on a Marshall. Close your eyes and adjust the tone controls with your ears. Don't be afraid to turn them way up or way down." [181]
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I read this a 4:00 just stopped playing the shiva lead ,everything I love in guitar tone , this is a Fantastic amp .
🙌🏻
🙌🏻
🎸
🤘🏻
👍🏻
😎
.
 
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la noise said:
The other guitar player in the band I am currently in has
been a long-time Helix user and he switches amps/presets
to go from "clean" to "crunch/lead" and his transitions are
NEVER seamless or musical, but abrupt and often with massive
volume discrepancies.

Me? Not so much. :)
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Yes, I can conform this too (recovering helix user) ha ha. There was a pop if you made too many changes between amps too.
 
For my regular band (kind of a funk/jazz/rock fusion thing), I use the ODS-100 Ford for cleans and edge of break-up and recently switched to the Dirty Shirley as my overdriven leads. I was using the ODS with a Full OD drive in front of it for the leads. I just like the feel and bite of the Dirty Shirley for that.

I really dig the Matchbox DC-30 and have played around a bit with that, but found that with a keyboard player the ODS cuts through a little better (probably because of the balance of the mids).

For high gain stuff, I LOVE the Friedman HBE C45. The SLO100 is killer too, but I keep coming back to the HBE.

Recently I've begun playing around with the Wrecker Liverpool which has to be the most responsive amp I've ever played through, real or simulated. Incredible, so I might find that in my rig in the near future.
 
la noise said:
The other guitar player in the band I am currently in has
been a long-time Helix user and he switches amps/presets
to go from "clean" to "crunch/lead" and his transitions are
NEVER seamless or musical, but abrupt and often with massive
volume discrepancies.

Me? Not so much. :)
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Micheal Britt actually talks about that in one interview , even if there was no perceived drop out or bump
he says you should always try to use only a couple of complimentary tones in a song and smooth transitions otherwise it is actually very jarring to the listener.
for instance verse is Fender twin
dont use a Mesa Recto in the bridge and then an AC30 in the chorus back to JCM800 verse 2
the ears cannot adjust to that and something will seem off
 
59 Bassman and the jumpered 100W plexi (actually these are about the only two I've tried with cygnus, just can't get off 'em).

The volume roll-off on a strat with the plexi is ridiculously good.
 
Pre Cygnus my amp was the Dirty Shirley. Now it’s the Cornford. Also like the Band Commander for my edge of breakup and with a drive. There are others but at my last band practice I stuck with the Cornford for everything except the cleaner stuff. This all subject to change and it will change lol.
 
I’m enjoying the petrucci amp a lot for leads and rock riffing… I’m mostly a Marshall lover but this amp is ticking the right spots. Am I crazy? I’m doing something bad?
 
Nope. Just too many good sounding amps, and if I did find "the one", I would sell as much stuff as I could and buy the real amp, which I would run into my loadbox and use the FM3 for cabs and effects. But that will never happen. I love going from preset to preset like a bumblebee in a field of flowers.
 
Hi,

First post beyond my Introduction post. I found that listening to several factory presets and retro-engineering them so as to create user presets worked relatively well.

That being said, the Bassguy and London Plate for cleans, a 2nd scene, the 1987X Marshall with a Pre-Rola GB cab, London Plate and 2290 w/ Mod Delay for smooth and crunch (added guitar knob volume brings in saturation), and 3rd scene adding a Face Fuzz to the 1987X with reverb/delay..

Of these 3 scenes, I'd say that the 2nd scene with just the 1987x, Pre-Rola GB cab, London Plate and 2290 w/ Mod delay is just about what I'd personally desire from a warm, slightly overdriven amp. My 1987X scene is a very good representation of my ideal amp.
 
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I'm just here to reiterate how awesome Plexi's sound.

Always used to think the mids were overwhelming - and they can be at volume. But learn how to tweak the amp and adding in some low end EQ and it's an open, jangly, aggressive, thick, awesome amp.
 
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