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Live Mode : Any Tutorial?

zenaxe

Fractal Fanatic
I know this is probably trivial but it has been a long time since I have done a tone match... I want to play around with some tone matches and I have the actual gear on hand rather than a recording so I figured I will use "live" mode, since it seems like it should be more accurate. My previous tone matches have been done with recordings and I always have used Axe-Edit and I found it easy to do. I just took input from USB disabled the cab, played the recording and captured the reference and then stopped it, then I would play the patch as normal with the cab and get a local version, then hit match.

I have searched here on the Wiki, etc, everything mentions that "Live" differs form offline in that the reference and local versions capture at the same time.

I was going to experiment with it over the holidays but when I last loaded AE up and selected live mode it still had two buttons for recording the reference and the local, it was not clear at all how this differed from a recorded tone match, so I wasn't sure how to proceed...

Does anyone have a brief step by step on Live mode tone match with AE?
 

FractalAudio

Administrator
Fractal Audio Systems
Moderator
I think you'd be best using the front panel for this. Start with the Averaging Time around 5s. Go the the first page in the TMA block and simply press the Up nav button. Play your guitar for a while. Try to play big chords all over the neck and keep the sound going, don't pause. After you do this hold the chord and then press Enter. Done.

FWIW, I use Live Tone Matching almost every day as it's an integral part of amp modeling. Of course there are hidden menus and statistics and a lot of other stuff you guys don't get but the basic procedure above is what I use. Once you get the hang of it it's easy.
 

zenaxe

Fractal Fanatic
Thanks Cliff... When I have the AFX "docked" it's sort of out of the way (it is low in a case on the floor neear the computer) but I guess can "front panel"... I will play with it a bit.
 
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