sickindian said:Mines are original ones so there can be mismatch as your D-Sonic sounds stronger ... But I'm going to replace them with Crunch Lab and Liquifire hopefully tone will improve once again.
I think sickindian is talking about the set before the d-sonic set was introduced.The D-Sonic and Air Norton are what originally were in the guitar. I didn't replace them.
I think sickindian is talking about the set before the d-sonic set was introduced.
Great vid, can't wait to try TM.
What *I* do is the following:
Plug guitar into Axe-Fx. Route input to both amp and fx loop. Connect Output 2 to amp. Connect mic pre t Input 2. Turn Out 2 Level knob to full.
Start capture on BOTH reference and user. Play a bunch of chords up and down the neck. Press Enter. Done.
Another technique is to insert a synth block before the amp/fx loop and use test tones instead. Pink noise works well. I also have a "mathematical" set of six swept triangle waves that also works well. You need two synth blocks to do this.
It seems you're able to reference this from mixed stems easily, but what about in a song where there are drums, bass, etc and not just the guitar?
Can you do this tone matching with something such as an iTunes track? Also will tone matching being useless if other instruments enter the song? such as drums or even vocals?
Guys,
I have been tone matching different sounds based on this and other tutorials. .. mostly from ogg/mogg files.some worked well some not.
I had two questions :
1. When you tone match do you try to start from a sound as close to the end sound as possible (with all other effects like reverb, delay, compressor, drive, flanger etc... ON) or do you just start from an AMP that is close to the sound with all other effects bypassed)
2. I am using axe edit for tone matching. To get best results when doing the actual tone matching , what levels should i put on time, amount and smoothing. or is this not impacting the end result at that stage
All info welcome.