Klone Chiron level

The klon has a lot of volume on tap. It’s most commonly used as a cleanish boost. I use it in front of another overdrive to get more saturation on the drive and a small (relative to a TS808) midrange frequency boost when running an edge of breakup amp.

Also if you’re running an amp clean, by definition it has more headroom than the same amp set to more breakup, which means it will get louder when hit by a boost than if it were breaking up more initially.
 
overture1922 said:
To not change the volume of a clean amp (Tucana)I have to mantain the drive level beetween 1 and 2.
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Setting the output level of the block anywhere from 1=10 isn't a problem afaik.
If it bothers you, just put a null filter block after the drive and turn that down. But you're really just doing the same thing either way.
 
overture1922 said:
I don't know if it's my impression, but the Klone Chiron increases the volume too much compared to other drives. Did you notice that?
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Not just compared to other drives, but even other models of the pedal by other companies. It seems to have far too much volume to me, but I'll admit to never owning a real one so who knows?
 
Karl Houseknecht said:
Not just compared to other drives, but even other models of the pedal by other companies. It seems to have far too much volume to me, but I'll admit to never owning a real one so who knows?
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I've played through a Centaur. Their forté is pushing the amp hard. There is significant boost on tap. When you boost a clean amp, it's gonna get noticeably louder.
 
My KTR and clones all have a ton of gain. If using a clean amp unity is usually with the volume knob pointing close to straight left (9 o'clock on a clock face). Seems pretty close in the Fractal.
 
dws2384 said:
My KTR and clones all have a ton of gain. If using a clean amp unity is usually with the volume knob pointing close to straight left (9 o'clock on a clock face). Seems pretty close in the Fractal.
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Do you use than at unity gain?
Or are they set to push the amp harder than that?
 
dws2384 said:
My KTR and clones all have a ton of gain. If using a clean amp unity is usually with the volume knob pointing close to straight left (9 o'clock on a clock face). Seems pretty close in the Fractal.
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Exactly what I'm experiencing with Fm3. I find that with clean amp the pedal´s neutral point is gain at 0 and level at 2.
 
randocaster said:
just put a null filter block after the drive and turn that down
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I use this technique often - very handy: Filter after amp block mimicing drive bypass and channel states + compensating for volume - lets you push cleaner amps hard with hot drive models while maintaining volume consistency - even works in 4CM with physical amp+OD-DS👍
 
Dave Merrill said:
Do you use than at unity gain?
Or are they set to push the amp harder than that?
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Depends what I’m trying to do.

Lots of times I’ll use unity-ish with a bit of gain to thicken up a clean amp and add some hair, midrange and compression.

Sometimes I’ll crank up the level to drive an amp on the edge into full breakup or into another pedal if stacking them.

I’ll use it as a solo boost into a crunchy amp, don’t need a ton of volume of it just makes the amp go mushy. The midrange bump and a bit of extra level helps cut.

Tubescreamers sound too papery to me so I generally use a klon type in all the instances people use those. The above examples are all with real amps. In fractal I don’t use pedals nearly as much with the ability to drive amps to levels I can’t with real ones. I’ll pretty much just use the klon as a solo boost with gain down and level up a bit.

It’s a really versatile pedal but ya. There’s a ton of level on tap. Real and Fractal version.
 
sprint said:
I use this technique often - very handy: Filter after amp block mimicing drive bypass and channel states + compensating for volume - lets you push cleaner amps hard with hot drive models while maintaining volume consistency - even works in 4CM with physical amp+OD-DS👍
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This, but this is where I wish I could link the bypass state and channel of the drive and filter blocks. Can do it with scenes of course, but I'd rather do that on top of scenes. That's the premier use case for Channel Groups And Bypass Groups.
 
overture1922 said:
Exactly what I'm experiencing with Fm3. I find that with clean amp the pedal´s neutral point is gain at 0 and level at 2.
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I run my Klon block with the output eq all bands at -2db and set to pre. Drive is usually under 1 and level around 4.8 - 5 for a small boost. Coming from a Tumnus Deluxe pedal the Klon block at 0 gain seemed a little hot which is why I run it this way. Its my favorite drive.
 
I have said this before and it’s just my opinion but the gain and level in many of the pedals just comes in way too hot
It’s adjustable sure but it would be nice if the sweep was more gradual like the gain you have on 2 was. More around noon
Maybe an ideal pedal mode lol
 
Randalljax said:
I have said this before and it’s just my opinion but the gain and level in many of the pedals just comes in way too hot
It’s adjustable sure but it would be nice if the sweep was more gradual like the gain you have on 2 was. More around noon
Maybe an ideal pedal mode lol
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I wouldn't want drive model level tapers changed because afaik they match their real world counterparts, Changing that would reduce authenticity. If drive level output is hotter than preferred, it can simply be turned down to a desired level like on the real pedal (what it may do to amp level is another matter that requires post amp compensation (while maintaining the gain structure) if overall output volume levelling is desired). I have run into the opposite issue tho (wanted more than level 10 on a drive in a give scenario) - for this case, would be cool to have an "output trim" control in the drive block that could add (or subtract I guess) output level if desired beyond authentic. Edit: Drive Input Trim would also be cool to clean boost the input of a drive model (we have a Drive GEQ that can be set to "pre", but it has no overall level control).
 
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Dave Merrill said:
This, but this is where I wish I could link the bypass state and channel of the drive and filter blocks. Can do it with scenes of course, but I'd rather do that on top of scenes. That's the premier use case for Channel Groups And Bypass Groups.
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To keep the bypass state in sync I use the same bypass CC# for both the drive and filter blocks. Similarly, to keep drive and filter block channels in sync, the same channel CC# is used for both. My midi foot control (I don't use FC) sends both bypass and channel CC#s with applicable values when I stomp on a drive. When you get into doing this type of thing though, a snag arises wrt remembering initial state (when I turn drive / filter off, what was the starting point??). For this and other challenges, I've gone down a huge rabbit hole of progamming a custom midi switching system with midi translation logic incorporated to do various manouvers not really possible
with most standard switchers. The drive related stuff is as follows:
  • On clean / edge scene, two drive options are available on 2 grouped (alternate off) switches, but only 1 drive block is used to conserve cpu.
  • The two clean / edge scene alternate drive1 options always use drive1 channels A and B.
  • On rhythm distorted scenes, only a single drive option (either switch) is available (Drive1 Channel C)
  • On lead scenes, only a single drive option (either switch) is available (Drive1 Channel D).
  • Post amp filter always follows drive1 channel and bypass states to compensate for volume if needed (set flat if not needed).
  • Lastly, and coolestly😁, on the clean/edge scene, if a drive is activated to produce a more purely distorted rhythm like tone, all my mod / delay / reverb fx switch from channel A (set up for clean/ edge) to B (set up for distorted rhythm).
  • The midi logic that's running has some storage capability so I'm tracking the bypass state and sometimes channel state of most blocks I use in order to remember preset/ scene startup bypass states and/or to make decisionsabout what should happen when a given action is requested (ie as a standard, if I turn a mod effect on, and another mod effect is aleady on, then that other active mod effect will automatically be turned off when the requested mod effect goes on).
 
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sprint said:
To keep the bypass state in sync I use the same bypass CC# for both the drive and filter blocks. Similarly, to keep drive and filter block channels in sync, the same channel CC# is used for both. My midi foot control (I don't use FC) sends both bypass and channel CC#s with applicable values when I stomp on a drive. When you get into doing this type of thing though, a snag arises wrt remembering initial state (when I turn drive / filter off, what was the starting point??). For this and other challenges, I've gone down a huge rabbit hole of progamming a custom midi switching system with midi translation logic incorporated to do various manouvers not really possible
with most standard switchers. The drive related stuff is as follows:
  • On clean / edge scene, two drive options are available on 2 grouped (alternate off) switches, but only 1 drive block is used to conserve cpu.
  • The two clean / edge scene alternate drive1 options always use drive1 channels A and B.
  • On rhythm distorted scenes, only a single drive option (either switch) is available (Drive1 Channel C)
  • On lead scenes, only a single drive option (either switch) is available (Drive1 Channel D).
  • Post amp filter always follows drive1 channel and bypass states to compensate for volume if needed (set flat if not needed).
  • Lastly, and coolestly😁, on the clean/edge scene, if a drive is activated to produce a more purely distorted rhythm like tone, all my mod / delay / reverb fx switch from channel A (set up for clean/ edge) to B (set up for distorted rhythm).
Click to expand...
Well good on you for all that thought and work!

Have you read my Channel Groups And Bypass Groups wish? Quite a bit simpler methinks :)
 
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