Part II: Smilefan's Axe II Patch Thread

I really learn a lot from these patches.I really liked the synths and filters.Any chance the axe II can do the "ship ahoy" effect from zappa? Its near the bottom of this link Guitar Solos From The Road! - Dweezil Zappa World

I'd love to hear some harmonized stuff with the pitch transposer as well.Keep up the kick ass job! You should make patches for cliff.Thanks again.

Judging from that clip you can get close with a Wah block set to Seek Wah plus other fx. Compare: Seek Wah by Alexander van Engelen on SoundCloud - Create, record and share your sounds for free
 
He used this pedal to make the "Ship Ahoy" effect.

I've done a ship ahoy patch with Dweezil ... A/B'd against the actual Zappa Oberheim (and then fine tuned to the guitar/room/sound of the record).

The new 4th order filter in the Axe-Fx II just nails it in one block.
Use a S/H LFO with a weeeee bit of damping... 4ms? Tune the range using MIN/MAX.

Don't forget the wah pedal... as heard on the record. Voila!
 
FrankZappa.jpg


Right then. I'm down for a challenge. So, based upon what I hear in the Dweezil clip,
and Matman's description, it would be something like the below patch. An envelope
controlled wah into a Low Pass filter with a Random LFO attached to its Frequency control.


EDIT: The posted patch is corrected to Matman's specifications, and sounds dead on.
 

Attachments

  • Ship Ahoy Filter.syx
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It's a low pass filter, and it's in front of the amp.

More like this:

Wah->Filter->Amp->Cab
 
DlxReverbFront.jpg



Yet another vintage amp history lesson today. Up to bat is
the immortal Fender Blackface Deluxe Reverb. Manufactured
from 1963-1967, at the time it was released, it, along with the other
amps of the Blackface series, were game changers. It sounded great for
every kind of then-popular music, and had the two most desirable amp effects
of the day, tube-driven tremolo and reverb. It is hard to put into words just
how woven into the fabric of American popular music the BF Deluxe Reverb is.

The essential and most successful Blackface models were the Deluxe, the Super,
and the Twin. But Leo had his marketing act together for the BF’s. There was a
Blackface amp for every speaker and power tube configuration, and every
price point. The Fender Blackfaces were far and away the most successful
tube amplifier series ever designed. An instant smash to the point that
musicians were spray painting older Tweed models black, rather than suffer
the humiliation of playing an amp that looked like your Grandma’s luggage.

The Deluxe Reverb is legend. I doubt there was a ‘60’s/‘70’s/’80’s Country star
that didn’t use the Deluxe. Blues players made it their own. Pop players,
R&B, Soul, Funk guitarists all loved it. Any pro who played small clubs had one.
Its 1x12” speaker with 2 6V6 power section got right into its sweet spot in a
50-200 seat room. Sweet, snappy, and trebly with a sing-y, blues-y midrange the
Deluxe could do anything but hard rock/metal, and do it well.

Every pro I ever knew changed out the very average sounding stock Oxford 12”
speaker, they generally came with, to something better. Jensen C12Q’s, C12N’s,
JBL’s, Altecs, early Electro-Voice’s, even Celestion Blues. A BF Deluxe with an
upgraded speaker and a pair of RCA Blackplate 6V6 power tubes is one of the
all-time classic amplifier voices. If you can’t get a good sound out of one,
maybe electric guitar isn’t your thing!

Also, one of the most recorded amps of all time. My personal favorite example
is Chris Isaak’s “Wicked Game”. It is a little known fact that the Beatles used
BF Deluxes in the studio, heavily, on every record after “The White Album”,
not Vox’s as was generally assumed. The most famous current user is probably
Trey Anastasio (Phish) – his is modded to use two Celestion Greenbacks.

The patch features an optional Klon Centaur-style booster in front of the amp
(preset in Bypass mode). Twang on!

The only real amp I have ever owned. Given to me in 1965 by my next door neighbor who was a session bass player employed by Fender. It's been in the closet since early 08 when the Ultra arrived.
 
Making the Ship Ahoy effect was fun!

Anyone want me to take a crack at any other strange/signature/impossible tones or effects?
Feeling cocky now! ;)
 
Muse - Making of Mk Ultra - YouTube

What about giving this a go..Matt plays the effects single note at the beginning, giving you an idea of how it sounds, then the riff.

I tried it with the Whammy U/D one octave with a fuzz..it sounded..ok..ish, but an Ax sounding like a L6 isn't really a success in my book!! :D
 
Thanks so much, Matman.

OK, Ship Ahoy Filter, done right this time!
With Lowpass filter tied to random LFO.
Sounds pretty good!




WOW!!! You nailed that sound!A huge thanks to you and MattMan! I tweaked it a little to my liking,and it is awesome!
 
0.jpg

A classic Raga band lineup, with tabla drums, veena, and sitar.


Thanks to everyone for all your support. I do this for you guys.
You make it fun.

This may be one of the coolest Axe patches ever. Before we get
started, equal credit goes to two Forum superstars. Yek, for his
incredible “Tambura” patch, and Don Peterson, for sharing his brilliant
ideas on Bass drum synthesis with me. Which enabled me to create an
automated tabla player for this patch.

Indian music. As a musician, I don’t think you can afford NOT to investigate it.
A bunch of guys with homemade gourd instruments created the most complex
musical system in the world. They divide the octave into 22 semi-tones instead
of the 12 semi-tones of the Western Chromatic scale. This results in the finely shaded,
“finger-dragging-on-record-player” harmonic movements of Indian melodies.

Classical Indian music is heavily spiritual in its intent. The Hindu word for musician
is “Bhagavatar”, literally, “he who sings the praises of God”. Historically, it takes its
rhythmic ques from Nature. Stories abound of legendary Tabla players sitting in the
forest for weeks to isolate the rhythms of bird songs for use in raga recitals.
The most common classical Indian music form is the well known “raga”.
Ragas bear much in common with Jazz, in that, all players know the central melody
of the composition, but reclothe it anew with every playing. The tabla player setting
the rhythm and tempo, while the soloists embellish the melodic movement.

The patch uses the upper Synth block as the tabla player. I used a sequencer controller
tied to the Synth’s lower triangle wave form to get the odd-time interesting rhythm pattern.
The lower Synth block is very close to Yek’s original Tambura patch with some speed and
other changes to make it sound like a slowly strummed veena (a fretless sitar drone instrument).

The usual solo instrument would be a sitar or sarod, fretted instrument, but I ran
out of Synth blocks to make a good one with, so you’ll just have to make due with an
approximation of a resonating instrument with sympathetic strings (the upper row signal path).
Hope you like it. Between myself, Yek, and Don Peterson, a whole lot of time went
into making this patch.

Here is a common Indian scale formula applied to 6 string guitar to try
with this patch:

Ascending: 1 b2 4 5 b6
Descending: 1 b7 b6 5 4 b3 b2

Have fun!
 

Attachments

  • Indian Raga Band.syx
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Re: EJ Singing Plexi preset, thanks so much. Eric does not like pick noise, and this is interesting how you used PEQ before the amp and Filter after the amp which removes pick attack and gives it more legato feel, nice work!
 
The Indian patch really is a fantastic creation..to be honest it is not something i would ever really use..but i will have fun with it.

But for what it is, with the added "beat" as well, it is a fantastic preset!!

Really well done!! :)
 
Hi Smilefan, great job!

For the record, the Tampura preset is (originally) not mine, but Geamala's.

Enclosed is a "sitar" preset, based on a preset by Simeon. It doesn't use a Synth. Maybe nice to integrate.
It uses the gtrbody.syx IR.
 
341028-pn-ent-image-u2-concert.jpg



This one is by request for Kfliegner and Yek. Seems no one has nailed
the elusive U2 “Mysterious Ways” Korg A3 “FunkWah” sound. I did some
poking around at other people’s attempts and now I see why no one is
quite getting it right.

There is a programming trick to it. Not a hard one. You don’t need a Wah
block or multiple filters. The secret is:
You must tie both the Frequency and “Q” parameters of your Lowpass filter
to an envelope controller AND you must invert the two envelope slopes relative to eachother.
Slope = 0% on the Frequency envelope, slope = 100% on the ‘Q’ envelope. This will
cross their response curves, creating a ‘notch’ and give you the correct, hard “Wow”
response on the envelope.

EDIT 12/14/2011: I have juicied up the original version of this patch to make it gainier
and more responsive.
 

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  • Mysterious Wahs.syx
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