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The Complete Axe-Fx III Master Class with Cooper Carter - Available NOW!

ccroyalsenders

Fractal Fanatic
This is surprising to me - I would have thought since big acts are generally playing in big arenas that they would have a lot of ambient sound just from the large room they're in - so you're saying that generally they still want a good amount of reverb etc on top of that? Does that go to the P.A?
Obviously, this varies band to band, but many of the rigs I've programmed actually send Output 1 with amp and effects at the mix the artist likes and then a dry amp send out of Output 2. FOH can mix to taste night to night, song to song, what have you.

It's sometimes a political challenge keeping FOH and the artist both happy, and a lot of work can sometime go into walking that line, but in general, my SOP philosophy is dial for the artist onstage and what they want to hear. FOH engineers are artists in their own right and can and will do whatever they want as far as EQ, other FX, whatever--that the player onstage will virtually never hear. A dry and a wet out tends to keep everyone happy. One of virtually countless reasons the Axe-Fx is the One Rig to Rule Them All.
 

ccroyalsenders

Fractal Fanatic
This is surprising to me - I would have thought since big acts are generally playing in big arenas that they would have a lot of ambient sound just from the large room they're in - so you're saying that generally they still want a good amount of reverb etc on top of that? Does that go to the P.A?
@Tumatauenga @andyp13 @Intheband
For illustration, we dialed delay on this clean tone to what I would consider standard for this type of tone in this genre of music. And the delay on the lead (3:00 or 4:08) is the lower of the two delays in the rig by a full 8%.


In a mix I certainly wouldn't refer to either as a "pronounced effect"-- i.e. something along the lines of "Where the Streets Have No Name" or "Run Like Hell" would be dialed to literally 2.5 to 3 times the mix.
 
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Rex

Legend!
This is surprising to me - I would have thought since big acts are generally playing in big arenas that they would have a lot of ambient sound just from the large room they're in - so you're saying that generally they still want a good amount of reverb etc on top of that?
Arena reverb is a different animal. Arenas are so large that it takes a long time to hear even the early reflections. Before you start to hear any arena reverb at all, you could have already experienced the wash of a traditional reverb effect.
 

Tremonti

Fractal Fanatic
As well you should be. I received an inquiry today via private message from an individual who is new to the forum and shall remain nameless. They asked me if I could provide them the videos from the class, even though they knew it wasn't cool to do so. I politely declined. Sorry, don't care if they're broke. I know you put probably hundreds of hours of work into this, and deserve to be compensated for it. $120 is a very, very small price to pay.

It's the years of knowledge that we are also paying for. Cooper has detailed insight with a lot of things that are above the hours spent in the physical creation of the video.
 

Tumatauenga

Inspired
Thanks guys - definitely food for thought. Unless we're at a venue that has a sound guy I run the board for my band, so perhaps I should consider outputting a dry signal to that, then a wet signal to my wedge. We're only playing small places though - definitely not arenas... yet. ;-).
 

chris

Legend!
Thanks guys - definitely food for thought. Unless we're at a venue that has a sound guy I run the board for my band, so perhaps I should consider outputting a dry signal to that, then a wet signal to my wedge. We're only playing small places though - definitely not arenas... yet. ;-).
this sounds complicated for a small place. are you having challenges now? i wouldn't expect the typical "sound guy" at a small gig to know what to do with 2 guitar sends either.
 

bdrepko

Forum Addict
This is surprising to me - I would have thought since big acts are generally playing in big arenas that they would have a lot of ambient sound just from the large room they're in - so you're saying that generally they still want a good amount of reverb etc on top of that? Does that go to the P.A? I've been dialing down the reverb in my presets, as I'm concerned about losing the crispness of the tone even in the smaller rooms that I play - for example a brewery that is basically a warehouse with concrete floors etc. Admittedly I haven't taken the Axe-Fx out live with the band yet though - it's been a basement tool since I got it. I'm waiting for the FCs to be released, and my Xitone cab to be delivered, both of which I'm super excited about!

Obviously I'm still learning - love this forum! Up to this point I've been playing an Egnater Renegade 212 with a pedal board live (Keeley DynaTrem, Boss CE-5, Boss DD-7, Volume Pedal, Wah, which are all great, but I can't wait to play a gig where each song has a specific amp tone and fx that line up with the original track, as well as specific tones for each of our originals.
Most rooms have their own reverb. I don't generally use it, but for some styles of music, such as surf and others, I can see it being used. I prefer delay on my lead and clean sounds.
 

ccroyalsenders

Fractal Fanatic
seems like progress is being made then.
Yep! We got it sorted! I ended up having to split some things up (two modifier sections now!) and rerender a bunch of sections at a slightly lower bit rate. They're uploading! Finally!
 
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MrGuitarabuse

Fractal Fanatic
Purchased. Great content. Question though. Hows the download feature coming along? I am often travelling and would be great to have access to this offline on the go and in areas with crappy internet.
 
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