Quick Tone Matching Tutorial

Very good, I only wish I still had my Cornford Carrera with the Mullard EL 84's so I could tone match it. :-(.
 
Finally got around to watching this. Great tutorial Cliff and I'm amazed how easy it was. I'll booth up my Kemper later and try match some of my presets. Great tip on matching the gain.

Q: Do you not have to be constantly playing when you start the tone-match block to get it really accurate? Obviously it nailed exactly in your video but I've heard when capturing hi-gain rigs on the DUT you have be constantly playing to really refine and capture the low frequencies.

Q: When I run the cable out of the Axe-fx II into the input of the DUT do I need to adjust the input settings on the DUT or do I leave it at default.

Cheers again for the video and I would love to see more of these kind of videos explaining how to work the trickier parts of the Axe-Fx.
 
Q: Do you not have to be constantly playing when you start the tone-match block to get it really accurate? Obviously it nailed exactly in your video but I've heard when capturing hi-gain rigs on the DUT you have be constantly playing to really refine and capture the low frequencies.

Q: When I run the cable out of the Axe-fx II into the input of the DUT do I need to adjust the input settings on the DUT or do I leave it at default.

A: You don't need to be constantly playing but it's probably best. I press X and then press Y and then play for about 10 seconds ending with "Cliff's Boogie". As I'm holding the open E chord I press Enter. As you could see in the video I was playing intermittently so it's not that critical.

A: The signal you will get out of Output 2 is a replica of your guitar so you don't need to do anything special on the DUT. One thing you may need to do is adjust the output level of the DUT and/or Input Trim 2 on the Axe-Fx so that you are not clipping.

One caveat: you need to get the volumes the same. If the volumes are different your ears will trick you into thinking they don't sound the same due to Fletcher-Munson curves. Adjust the output level of the DUT or the Level of the amp block to match the volumes.
 
...now that I've picked my jaw up off the floor

Cliff: First, an immense thank you. Second, I had noticed in the past that tonematches I did in FW7 sounded different when I went to FW8 (but said tonematches were from audio files). Perhaps I just didn't do it well in those cases.

Therefore, will the tone match preset I make with FW 9.00 (with your video's method) sound the same when future firmwares are release? Or will I have to redo the tonematch for each firmware update?
 
Yes, mic the amp and connect the mic preamp output to Input 2 Left.

Cliff or others? - 2 more questions I want to get this "right"

1. Do you guys have a recommendation to minimize mic coloration to most closely approximate the cab? (SM-57, Condenser, Fathead etc)
2. If I use the existing Board that contains the mics (In my case studio live 16.4.2) I assume I just take the direct out of the channel?

Thanks and sorry if this is obvious.
 
That was a very easy awesome way to show people how to tone match, Thanks. The only question I do have about tone matching is, Lets for argument sake say we are matching a 1992 5150. Some people may or may not know the 5150s have a preamp out mode, so we will use this. So now I am set to tone match. For argument sake and ease we will say everything is set at noon. Now i do my match. Obviously we matched just the preamp in this application so cab will be a deciding factor. However I tone matched this at noon. Yes I can move axe fx amp knobs to change things, but how true will that be to the tone match. For instance OLA ENGLUND Matched a Framus Cobra. The issue i have with that is now whoever wants a framus cobra amp model is subject to OLA ENGLUNDS taste in amp settings, pickups, pick attack, ada convertors, mics etc. Yes i can change settings, but how true are these then to the actual modeled amp.

Sorry if this is confusing, I have just thought of this for a bit. I believe with the kemper thing it would be even worse, your agian subject to settings, but a real person isnt playing. I also do not see how alien noises go through a speaker and picks up everything there. Cause it doesnt, after the alien noises you gota play to refine it from what I have seen.
I am looking for a yes or no I guess to whether or not someone elses tone match will stay true to the amp match once you start changing amp values.
 
Cliff or others? - 2 more questions I want to get this "right"

1. Do you guys have a recommendation to minimize mic coloration to most closely approximate the cab? (SM-57, Condenser, Fathead etc)
2. If I use the existing Board that contains the mics (In my case studio live 16.4.2) I assume I just take the direct out of the channel?

Thanks and sorry if this is obvious.

1) to minimize coloration of the microphone, something like the Earthworks M30 or TC30, which has a very flat frequency response, would be preferable. Then later, if you convert your Tone Match into an IR, you can use this custom IR with the selection of stock Mics provided in the CAB Block to further alter/color the sound, as well as the other CAB block parameters.

Earthworks M30 30kHz Measurement Mic
Earthworks TC30 Omni for Loud Sources

2) yup
 
1) to minimize coloration of the microphone, something like the Earthworks M30 or TC30, which has a very flat frequency response, would be preferable. Then later, if you convert your Tone Match into an IR, you can use this custom IR with the selection of stock Mics provided in the CAB Block to further alter/color the sound, as well as the other CAB block parameters.

Earthworks M30 30kHz Measurement Mic
Earthworks TC30 Omni for Loud Sources

2) yup

Thanks. Let's say I don't want to spend another $600. I've got Shure SM58, Rode NT1, Nuemann U67 Condenser, Cascade Fathead Ribbon and a few others. Not sure which is best to use.
 
You shouldn't treat this like trying to "most closely approximate the cab" since that is impossible using near-field micing. You should treat it like you are micing a cab in a studio. Select a good mic and find a good position.

IMHO, if the amp you are matching already exists in the Axe-Fx, then you should just capture the cabinet IR. This way you get much more flexibility since you can then use that cab with other amps and share it. Use the IR capture utility. It's fast, easy and works great. I'll do a video on it, maybe today.

Tone Matching is great when you can't separate the amp from the cab (i.e. the KPA thingy) or the amp being matched doesn't exist in the Axe-Fx. Otherwise obtaining an IR is the superior solution.
 
You shouldn't treat this like trying to "most closely approximate the cab" since that is impossible using near-field micing. You should treat it like you are micing a cab in a studio. Select a good mic and find a good position.

IMHO, if the amp you are matching already exists in the Axe-Fx, then you should just capture the cabinet IR. This way you get much more flexibility since you can then use that cab with other amps and share it. Use the IR capture utility. It's fast, easy and works great. I'll do a video on it, maybe today.

Tone Matching is great when you can't separate the amp from the cab (i.e. the KPA thingy) or the amp being matched doesn't exist in the Axe-Fx. Otherwise obtaining an IR is the superior solution.

Cool on so many levels. Video training from the president of the company. Where does that happen? Thanks Cliff. Look forward to it though on your time schedule please.

What in your guys estimation would be closest to the JCM2000- Dual Super Lead 50W (I think this is what Beck was using for awhile)?
 
The thing that gets me is through studio monittors and recorded tracks the tone matches sound just like what i matched. However through other frfr monitors it sounds off. I use a mackie 1521 and behringer 12" powered monitors. I know they are not the best and I loved the Mackie 1221, but three of them would start hitting the thermal limiter and not ever stop. I then get the mackie 1521 dont like it much. Thats besides the point am I doing something incorectly? I have it setup correct I know for sure. I been trying to match All Shall Perish Royalty Into Exile there is a small 10-15 second part before the verse starts thats doing a fast triplet riff. I get it close and its sounds close, however I cant find what I am missing. I did one of that same riff right when Cliff released the tone matching feature, but then when the update came I updated my firmware and it threw it all off and I havent got it right since.

Any suggestions. I read they recorded it first through either a daw program or Axe-Fx, but then sent the DI tracks to a studio to be re-amped the chain consisted of Maxon 808 Block letter 5150 and a over sized mesa cab. I then used a chart I found of producer and players settings for 5150 and averaged them from there
Gain 4 Bass 10 mids 3.5 treble 5.5 presence 6 depth 10
TS808 Drive-0 Tone-7 Mix 100% level 7.5 Low cut 799 hi cut 2200 4558 chip
no cab
 
The thing that gets me is through studio monittors and recorded tracks the tone matches sound just like what i matched. However through other frfr monitors it sounds off. I use a mackie 1521 and behringer 12" powered monitors. I know they are not the best and I loved the Mackie 1221, but three of them would start hitting the thermal limiter and not ever stop. I then get the mackie 1521 dont like it much. Thats besides the point am I doing something incorectly? I have it setup correct I know for sure. I been trying to match All Shall Perish Royalty Into Exile there is a small 10-15 second part before the verse starts thats doing a fast triplet riff. I get it close and its sounds close, however I cant find what I am missing. I did one of that same riff right when Cliff released the tone matching feature, but then when the update came I updated my firmware and it threw it all off and I havent got it right since.

Any suggestions. I read they recorded it first through either a daw program or Axe-Fx, but then sent the DI tracks to a studio to be re-amped the chain consisted of Maxon 808 Block letter 5150 and a over sized mesa cab. I then used a chart I found of producer and players settings for 5150 and averaged them from there
Gain 4 Bass 10 mids 3.5 treble 5.5 presence 6 depth 10
TS808 Drive-0 Tone-7 Mix 100% level 7.5 Low cut 799 hi cut 2200 4558 chip
no cab

Try an A/B comparison of the recorded material and your AxeFx preset through the PA system. This is more apples to apples than comparing the studio monitors to the PA.

Richard
 
Question/issue: sending OUT2 to the device you're going to Tonematch isn't exactly the same as plugging the guitar directly into it, the impedance is different therefore the quality isn't the same. Wouldn't it be better to use a good quality AB/Y pedal in front of both the Axe and the unit we're going to Tonematch?

Thanks!
 
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