I was asked about my setup with my FM3 rig about what I am doing with it. In this thread, I'll break down the setup, and in another (TBD), I'll break down my basic preset design if people are interested.
To start, here's a photo:
The board is a Mono (the biggest one). I have a padded case for it. Underneath is a LED strip that morphs between colors; I've been doing that for a long time because I like it. LOL.
I run Direct-to-FOH 90% of the time; I play in a working rock/country/pop covers band (The Detroit Drive) and weekly P&W.
Everything is powered by the Cioks DC-10, including the FM3.
My guitar signal comes in via the Shure GLXD wireless. I route that to the TC-Helicon Talk-Box. My vocal mic also goes into the Talk-Box. I activate the talkbox preset and use it for Living on a Prayer and Man in a Box (and as a stage gimmick when called for). I use the onboard vocal processing for pitch correction, compression, and reverb on my vocals when not using the talkbox function. (*I use it in the mode where the talkbox effect goes to the PA, but the raw guitar signal still goes to the guitar input on the board whether the talkbox is engaged or not).
The guitar signal is now finally into the FM3 controlled with the FC-6 using the OMG-9 setup. I find this is absolutely ideal for the way I approach setting up my rig. As noted above, I will, at some point, soon do a detailed breakdown of my preset design. I use the TC "Hall of Fame 2" for reverb looped in the FM3, so I do not run out of processer headroom. I prefer to use the reverb in the FM3 (and do for Fender-type presets); I use the TC for plate reverb because reverb is not a major component for most of my use. I leave it on for everything but my Fender preset(s).
Expression pedals are the Dunlop Mini's; the bottom left is a double duty - sometimes a volume pedal and sometimes a wet/dry for all my modulation effects. I use this to fade in/out and mix on the fly depending on what I feel in the moment during performance. It's a very fluid and dynamic way of working. The bottom right pedal is wah, heel-down is off, and it is auto-on. The pedal on top is for wet/dry on my delay. Again, I have the delay active in all my presets and mix to taste as needed/required depending on what I feel in the moment song-to-song. I use a dual delay block with 350ms/500ms (the classic '80s sort of sound) with either just a hint of it for 'space' or pump it up for that Leon Todd solo thing. LOl.
This works well for the way I approach rig design, and each preset is a set of scenes with different amps of a similar vein. For example, as shown in this photo, I have four different Friedman amps, each progressively higher gain and the fifth scene with a solo setup, typically a +4db scene level boost which works very well in my particular band(s). I have a Fender, Class-A, Marshall, Bogner, Friedman, and Soldano preset, all with 4 separate amp channels/cabs and a solo scene. My effects are consistent across all my presets (Wah, Compression, Volume, Chorus, Flanger, Phaser, Pitch (Crystals), Rotary, Trem, Delay, and (*Reverb-as detailed above)).
We run in-ear monitors running our PA, a QSC based system (with a QSC Touchmix 16 board, K10.2 tops, and their 112 subs (2 of each)). I run the mix from the stage. I can also use this rig at festivals/jams with powered monitor(s) and earplugs (I suffer from Tinnitus).
Suppose you have any questions, fire away. I'll do my best to answer them.
To start, here's a photo:
The board is a Mono (the biggest one). I have a padded case for it. Underneath is a LED strip that morphs between colors; I've been doing that for a long time because I like it. LOL.
I run Direct-to-FOH 90% of the time; I play in a working rock/country/pop covers band (The Detroit Drive) and weekly P&W.
Everything is powered by the Cioks DC-10, including the FM3.
My guitar signal comes in via the Shure GLXD wireless. I route that to the TC-Helicon Talk-Box. My vocal mic also goes into the Talk-Box. I activate the talkbox preset and use it for Living on a Prayer and Man in a Box (and as a stage gimmick when called for). I use the onboard vocal processing for pitch correction, compression, and reverb on my vocals when not using the talkbox function. (*I use it in the mode where the talkbox effect goes to the PA, but the raw guitar signal still goes to the guitar input on the board whether the talkbox is engaged or not).
The guitar signal is now finally into the FM3 controlled with the FC-6 using the OMG-9 setup. I find this is absolutely ideal for the way I approach setting up my rig. As noted above, I will, at some point, soon do a detailed breakdown of my preset design. I use the TC "Hall of Fame 2" for reverb looped in the FM3, so I do not run out of processer headroom. I prefer to use the reverb in the FM3 (and do for Fender-type presets); I use the TC for plate reverb because reverb is not a major component for most of my use. I leave it on for everything but my Fender preset(s).
Expression pedals are the Dunlop Mini's; the bottom left is a double duty - sometimes a volume pedal and sometimes a wet/dry for all my modulation effects. I use this to fade in/out and mix on the fly depending on what I feel in the moment during performance. It's a very fluid and dynamic way of working. The bottom right pedal is wah, heel-down is off, and it is auto-on. The pedal on top is for wet/dry on my delay. Again, I have the delay active in all my presets and mix to taste as needed/required depending on what I feel in the moment song-to-song. I use a dual delay block with 350ms/500ms (the classic '80s sort of sound) with either just a hint of it for 'space' or pump it up for that Leon Todd solo thing. LOl.
This works well for the way I approach rig design, and each preset is a set of scenes with different amps of a similar vein. For example, as shown in this photo, I have four different Friedman amps, each progressively higher gain and the fifth scene with a solo setup, typically a +4db scene level boost which works very well in my particular band(s). I have a Fender, Class-A, Marshall, Bogner, Friedman, and Soldano preset, all with 4 separate amp channels/cabs and a solo scene. My effects are consistent across all my presets (Wah, Compression, Volume, Chorus, Flanger, Phaser, Pitch (Crystals), Rotary, Trem, Delay, and (*Reverb-as detailed above)).
We run in-ear monitors running our PA, a QSC based system (with a QSC Touchmix 16 board, K10.2 tops, and their 112 subs (2 of each)). I run the mix from the stage. I can also use this rig at festivals/jams with powered monitor(s) and earplugs (I suffer from Tinnitus).
Suppose you have any questions, fire away. I'll do my best to answer them.