Part II: Smilefan's Axe II Patch Thread

Smilefan I'm clearly doing something wrong (yeah, yeah, I know: where do I start?). Here's me playing Mysterious Ways with Korg A3 and Ultra (didn't have II yet). Spare yourself and just watch from 1:20-1:40:

Mysterious Ways 1.0. - YouTube

Now a quick demo with same guitar and Axe-Fx II with MysteriousWahs preset. Guitar volume knobs maxed; hitting strings about as hard as I can.

MysteriousWahsDemo - YouTube

Nothing in the preset is bypassed; the envelope appears to be attached as you describe. Any thoughts?
 
Kinda OT...but how do I load these presets into the AXE 2??? I just got mine and I'm still learning! DO I need to use the AXE EDIT software to do this? Or do you do it via windows directly?
 
Smile fan, how bout an Andy Timmons tone. Often tried but never exact. Think for live use -not bedroom volume please. Also a good SRV pre set would be very useful, the Fender tones are great in the II, however adding a OD does not sound like SRV or good. I know he used marshall and Dumble too, but well,.... Bring it!
While your at it; Derek Trucks and or Duane Allman for some good slide tone (since you like covering a wide spectrum of players). Thanks!
 
I appreciate what you do, but with all respect, that's not close enough.
Single notes sound ok, but with chords it sounds like a blizzard.
Maybe its my guitar or the way I pick.

the_edge.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.

You must also hit the strings hard enough, and close to the bridge. A little practice
will give you the hang of it. The first time you hit it right, you’ll hear the “Wow”.
 
Must be the difference in our gear. I made this preset playing the signature chord
riff to that song over and over until it sounded perfect. Sounds dead on thru my gear.
I've told everyone the technique for getting that unique envelope sound. Now you can
create a variation that works thru your gear and playing style. I tried your presets thru
my rig and I couldn't get a usable sound, so we must have drastically different setups.

Makes sense. What kind of guitar and pick-up configuration do you use?
 
Kinda OT...but how do I load these presets into the AXE 2??? I just got mine and I'm still learning! DO I need to use the AXE EDIT software to do this? Or do you do it via windows directly?

Axe Edit software. Download the patches into a file in your PC (I use "Documents"). Then open Axe Edit.
Select "Source", then "Preset Folder". Hit the pulldown menu, and select "Documents". Then double click
on the patch name and it will pop up on the Axe Edit main screen. Then using a USB cable from PC to Axe II, select the "Save As" button, and hit "Refresh to Hardware".
 
I was trying to find out your pick-up level.
I just rolled back on my les paul and the Mysterious preset sounded much better.

It would be cool to know what pick-up and in what position you used for making the presets. I have to go back and recheck them with lower input signal. It sounds day and night.
 
Last edited:
you mean hot single coil?

"Being a single-coil design the tone of a P-90 is somewhat brighter and more transparent than a humbucker, though not quite as crisp and snappy as Fender's single-coil pickups. The tone therefore shares some of the single coil twang, but having large amounts of midrange and often described as brisk." - Wikipedia

That explains the sound difference. I will keep it in mind.

Thanks!
 
Last edited:
Thanks, Smilefan. I'll try various adjustments. Hope I didn't come off as unappreciative. I'm completely digging your posts and presets, and am grateful for all your efforts. Awfully game of you to take requests.
 
BB Gun!

Just wait for the new firmware: has the Lonestar. Add the BB and you've probably achieved it.

yek,

Not to (intentionally) get "off-topic" here, but while you're mentioning the Axe-FX II's BB Drive-block (as it pertains to achieving the Andy Timmons lead tone,) I've tried it with a few different "clean-to-edgy" amp-blocks (...not trying to cop Andy Timmons, but just my own version of a sweet midrangey overdriven, but not "fizzy" lead-tone,) (I've tried: Class-A 30 TB; USA Clean 1; ODS-100 Clean; and Vibrato Verb) and I think it sounds AMAZING! FWIW, I find that the Low-Cut & High-Cut filters/parameters (on PAGE2) and the basic Tone control/parameter (on PAGE1) allow me to dial in just the perfect midrangey/resonant-frequency (atleast it has on the two guitars I've tried: '89 Blade R-4 with a Duncan Little-'59 in the bridge-position, and two (2) Fender Custom Shop Texas Specials in the neck & middle-positions, as well as an '83 Gibson Les Paul Custom with a Duncan JB in the bridge-position, and the stock Gibson neck-position humbucker.)

I am also eager to try it with the forthcoming (Firmware 3.0) Mesa-Lonestar Block as well!

Bill
 
  • Like
Reactions: yek
MattBellamy-.jpg

Matt Bellamy of Muse with his Korg
Kaoss equipped Manson guitar.


This is another ‘by request’ for Mark Melling, who wanted a patch
to duplicate the effects Matthew Bellamy of Muse uses on the song
‘MK Ultra’ off “The Resistance” album. This was a tough one as Matt
uses a lot of unusual gear, like the Korg Kaoss Pad, MIDI-equipped
Manson guitars, and Fernandes sustainer pickups. Plus, I could find nothing
online to describe how he made the intro/main verse rhythmic delay effect.

So I had to use my ears. He is well-known for using a Digitech Whammy
pedal, and it is known that he used an AC30 combo to record ‘The Resistance’.
So those are included in the patch. Anytime you hear a rhythmic delay repeat
pattern, you can be sure you are hearing at least one multi-tap delay, usually
in parallel with another delay. I used this same technique in a patch I made in
Part I of this thread, called “Galloping Delays”.

Not only is Matt using a rhythmic delay, but the delay repeats alternate between a pitch-shifted
sound, and another pitch-shifted sound an octave higher in a very distinct on/off pattern.
Tricky stuff.

So I think I got it close. The patch seems to match the intro pitched delay pattern on this video:
Muse - Making of Mk Ultra - YouTube
 

Attachments

  • MK Ultra (intro).syx
    6.3 KB · Views: 66
Last edited:
That is really nice of you..i didn't expect you to do so much work..but it is REALLY appreciated.

The intro patch is great..all the essentials are there, i raised the tempo to 78 bpm and will need to change the levels on the effects alittle for my setup, but it gives me everything i need.

Thank you!! :)
 
Just wait for the new firmware: has the Lonestar. Add the BB and you've probably achieved it. (By yek) Andy actually has never made a single recording with Mesa gear. I have the tab book with his signature and lengthy explanation of all his gear used with Resolution. On most of the Resolution CD he was using 2 Marshall heads and the chandler tube driver for most of the gain stuff. Live he is using the stiletto with the tube driver for those tones, the Lonestar/bb is more electric gypsy tone. I am psyched about the Lonestar in the new firmware though! Sorry to derail the thread, as you were
e
 
Last edited:
Fancy having a go at a Duane Allman tone from the Live at Fillmore East record if you have any time Smilefan? I can't quite seem to get there so far.

Thanks in advance!
 
Back
Top Bottom