jesussaddle
Power User
If you don't mind gibberish, here it goes. Since this new firmware I've been like a kid in a candy store. One of the results is that with my rush of new preset creations, I've begun wondering what is possible with noise-gates, noise gating, and even space beings tapping into... Oh, never mind about that - maybe it was just an Outer Limits episode called O.B.I.T.
...Not entirely off topic because that was about how easily signals can find their way without your knowing how they do it or how to control it. You'd think that by the 21st Century humans would have invented a noise gate that can remain open when a guitar note is sustaining, but close and remained closed when there is only a completely unruly signal like pure fizz.
But scientists have yet to grapple with this. Its high on their list. But until we properly define "wanted", and "hostile totally covert invasion carrying the Good Housekeeping seal of approval", there is always the possibility of an unwanted signal tapping in, or a wanted signal being shut out.
After not being able to get a noise gate setting that worked with my rhythm and lead styles simultaneously, I found this on the Axe FX II Wiki:
"A different approach to keeping the noise low: try a Vol/Pan effect with its volume parameter tied to the Envelope controller. As long as you don't hit the strings, the (input) signal is off."
Basically, this requires picking the string, which apparently launches an envelope, that will continue to be held open with sufficient signal. And once the sound gets reduced in level, the envelope will close. And there is a Threshold setting determining when this happens. While my note is sustaining, albeit a little faintly, i can just wiggle it and this re-starts the envelope, great for lead, even not at high, musical-feedback-producing volumes.
(Side question - is it also possible to use the ADSR 1 & 2, and are there any advantages?)
But my question is, isn't this basic envelope controller method awfully similar to the actual noise gate?
Or do I not understand?
When I attempt to use this, it works great on a reasonably clean signal. And I can see that it would be fine for metal rhythm. But both metal rhythm and Santana sustana, not so much.
So what I'm sort of wondering is whether there is something totally different that is possible - a gate that responds only to unwanted material (which I'm guessing is usually loud in certain higher frequencies relative to its overall spectral content, I guess because these are the harmonic ranges that guitar produces when put through too much signal boosting, or some such).
With a very noisy metal type preset, if the release closes quickly enough on unwanted fizz, it closes too quickly on long, Santana-esque sustaining notes.
What I'm seeking is a way I can sustain a reasonably coherent musical event even as it gets incredibly soft, yet have the effect go into action more aggressively for the intrusive electronic fizz. It would seem to me that if Cliff can create a synthesizer that figures out what pitch and what octave is being played, then he could figure out what a note is and what basically unorganized fizz is (since the inability of note detection is the sign that a signal isn't a reasonably pure "note"). But even without that, it would seem that a basic analysis block in the block choices could be used to control other block parameters in cool ways. I'm just not sure if it happens in the near present, or if it happens further along on the timeline.
But either way, two possible methods I recommend are shown here:
https://ia800806.us.archive.org/11/....t.avi_90/TheOuterLimits-Tos-1x07-O.b.i.t.mp4
...Not entirely off topic because that was about how easily signals can find their way without your knowing how they do it or how to control it. You'd think that by the 21st Century humans would have invented a noise gate that can remain open when a guitar note is sustaining, but close and remained closed when there is only a completely unruly signal like pure fizz.
But scientists have yet to grapple with this. Its high on their list. But until we properly define "wanted", and "hostile totally covert invasion carrying the Good Housekeeping seal of approval", there is always the possibility of an unwanted signal tapping in, or a wanted signal being shut out.
After not being able to get a noise gate setting that worked with my rhythm and lead styles simultaneously, I found this on the Axe FX II Wiki:
"A different approach to keeping the noise low: try a Vol/Pan effect with its volume parameter tied to the Envelope controller. As long as you don't hit the strings, the (input) signal is off."
Basically, this requires picking the string, which apparently launches an envelope, that will continue to be held open with sufficient signal. And once the sound gets reduced in level, the envelope will close. And there is a Threshold setting determining when this happens. While my note is sustaining, albeit a little faintly, i can just wiggle it and this re-starts the envelope, great for lead, even not at high, musical-feedback-producing volumes.
(Side question - is it also possible to use the ADSR 1 & 2, and are there any advantages?)
But my question is, isn't this basic envelope controller method awfully similar to the actual noise gate?
Or do I not understand?
When I attempt to use this, it works great on a reasonably clean signal. And I can see that it would be fine for metal rhythm. But both metal rhythm and Santana sustana, not so much.
So what I'm sort of wondering is whether there is something totally different that is possible - a gate that responds only to unwanted material (which I'm guessing is usually loud in certain higher frequencies relative to its overall spectral content, I guess because these are the harmonic ranges that guitar produces when put through too much signal boosting, or some such).
With a very noisy metal type preset, if the release closes quickly enough on unwanted fizz, it closes too quickly on long, Santana-esque sustaining notes.
What I'm seeking is a way I can sustain a reasonably coherent musical event even as it gets incredibly soft, yet have the effect go into action more aggressively for the intrusive electronic fizz. It would seem to me that if Cliff can create a synthesizer that figures out what pitch and what octave is being played, then he could figure out what a note is and what basically unorganized fizz is (since the inability of note detection is the sign that a signal isn't a reasonably pure "note"). But even without that, it would seem that a basic analysis block in the block choices could be used to control other block parameters in cool ways. I'm just not sure if it happens in the near present, or if it happens further along on the timeline.
But either way, two possible methods I recommend are shown here:
https://ia800806.us.archive.org/11/....t.avi_90/TheOuterLimits-Tos-1x07-O.b.i.t.mp4
