• We would like to remind our members that this is a privately owned, run and supported forum. You are here at the invitation and discretion of the owners. As such, rules and standards of conduct will be applied that help keep this forum functioning as the owners desire. These include, but are not limited to, removing content and even access to the forum.

    Please give yourself a refresher on the forum rules you agreed to follow when you signed up.

Why use Control Switches vs. Scenes

ChainOfThought

Experienced
I've typed and deleted a post 6 times trying to keep it concise...let me run this setup by you guys, I won't be able to test it out for a few days.

Clean achieved via 1 drive pedal, bypassed amp block
High-Gain by amp block
Crunch by lowering drive in the amp block.

CtrlSw1 on bypasses the amp block, activates the drive block for clean, on does the opposite
CtrlSw2 off lowers in the input drive/whatever for the crunch setting, on raises it back up for high gain.

Clean to Crunch = Sw2 off then Sw1 off
Clean to High = Sw2 on then Sw1 off
Crunch to High = Sw2 on
Crunch to Clean = Sw1 on
High to Clean = Sw1 on
High to Crunch = Sw2 off

In this way, assuming I can make all the tones work without any x/y switching, I can use the two control switches to hit three different 'channels' without any audio gaps or overlapping tones. By that I mean that I won't need to have the clean drive block active before turning the amp block off, or switch to high gain before lowering back to crunch etc etc. There will be the opportunity for a tiny bit of tap dancing when switching out of the clean channel, but thats easy enough to preset when I know the part is coming up in a song or whatever.

Does this make sense? I gave up on the control switches entirely this afternoon when I realized that they forced the affected blocks into an on/off state, but I think I just talked myself through it and this'll work. If it does, then I just achieved my 3 channel amp setup only using 2 buttons. And I can still x/y the high-gain tone via a separate switch, and still have Drive2 available for whatever I want to use it as.

I think a large part of this working and sounding good is because I'm running through a poweramp and cab, but I'm OK with that. I don't care about having multiple tones in a preset when its time to record, which is the only time I'll be using IR's, as I'll be recording those parts one by one, so there'll be no switching involved.

This has me pretty excited haha.

Edit: The baby is asleep and I don't have a headphone setup at the moment, so I can't REALLY test, but I did just pull the ax8 out and setup the preset to see if it looks like it works from the front panel. It seems like it does...predictable switching, no surprises. The right blocks bypass at the right time and the right settings adjust at the right time. I still haven't had a chance to actually set up a crunch tone using the drive adjustments, but I'm pretty sure I can make it happen. I'm still flopping between a VH4 and Engl Savage for my main tone, so hopefully one or both of them will be useable in thet regard.
 
Last edited:

Hhuent

Experienced
This thread is brilliant!

I bought Fremens updated great 5 scene patches as a starting point, going from clean to heavy overdrive in 5 steps, the last one boosted. I may arrange some of them to 3 scenes plus the fourth switch as scene booster, would be a nice tweak that frees up one switch for one more effect in the upper row.
Thank you @Glenn DeLaune and other contributors !
 
This thread is brilliant!

I bought Fremens updated great 5 scene patches as a starting point, going from clean to heavy overdrive in 5 steps, the last one boosted. I may arrange some of them to 3 scenes plus the fourth switch as scene booster, would be a nice tweak that frees up one switch for one more effect in the upper row.
Thank you @Glenn DeLaune and other contributors !

The problem though with this approach for me would be if you have a control switch set up as a lead boost, and scenes 1 to 3 set up from clean to crunch, then if you want to go from say scene 1, (clean sound), to distorted lead with boost, then you have to hit 2 switches, e.g. hit scene 3 and then hit the control switch to activate the boost. One of the joys of devices like the AX8 is that you can avoid all the rigmarole and have exactly the sound you want by pressing one foot switch; why introduce the tap dance when you don't have to?
 

Hhuent

Experienced
This is
The problem though with this approach for me would be if you have a control switch set up as a lead boost, and scenes 1 to 3 set up from clean to crunch, then if you want to go from say scene 1, (clean sound), to distorted lead with boost, then you have to hit 2 switches, e.g. hit scene 3 and then hit the control switch to activate the boost. One of the joys of devices like the AX8 is that you can avoid all the rigmarole and have exactly the sound you want by pressing one foot switch; why introduce the tap dance when you don't have to?
This is true. When you go from clean to a boosted lead sound. On the other hand: Sometimes I meet guys for a jam and do it all with one preset - play some jazz, blues, rock, and I just need a basic sound plus boost it, do the rest with the vol. knob on the guitar. But you´re right: On a real gig with different songs this would mean the ole tap dance...
 

Smittefar

Axe-Master
Sometimes, you want to solo with something else than your highest gain sound, using the control switch gives you three different lead sounds in the same patch.
 

Narzugon

Power User
The problem though with this approach for me would be if you have a control switch set up as a lead boost, and scenes 1 to 3 set up from clean to crunch, then if you want to go from say scene 1, (clean sound), to distorted lead with boost, then you have to hit 2 switches, e.g. hit scene 3 and then hit the control switch to activate the boost. One of the joys of devices like the AX8 is that you can avoid all the rigmarole and have exactly the sound you want by pressing one foot switch; why introduce the tap dance when you don't have to?

I completely understand what you're saying and I approach my main scenes this way as well. But I do like the flexibility to change some things on the fly (if needed). With your example (and keeping on topic with CS's and such) you could keep your scene the way you have it and still have the control switch setup as an on the fly alternative for other scenes.

This may or not appeal to you and it's cool either way. The great thing is the flexibility we have with the Axe units.
 

Smittefar

Axe-Master
Can you give an example?
Thank you.
If you set up a preset with scenes for clean, crunch and hi gain. For sweet home Alabama, you will likely choose your crunch sound, and you would stay on your crunch sound for the solo, you just want to add volume, delays, maybe some EQ and compression, and a bit of extra reverb. All this can be added with a single press on the control switch. You probably want to choose the hi-gain sound for No more tears, and use the hi-gain sound for the solo as well.
 

Hhuent

Experienced
If you set up a preset with scenes for clean, crunch and hi gain. For sweet home Alabama, you will likely choose your crunch sound, and you would stay on your crunch sound for the solo, you just want to add volume, delays, maybe some EQ and compression, and a bit of extra reverb. All this can be added with a single press on the control switch. You probably want to choose the hi-gain sound for No more tears, and use the hi-gain sound for the solo as well.
Exactly this!
 

Rex

Legend!
I cover a song that calls for a couple of measures of a single note with quarter-note repeats. I have a CS set up as momentary to engage the Delay, which is running in parallel. When the delay passage comes up, I stomp the switch, play the note, and then release. As the delay rings out, I'm back at the scene I started with, ready to play the chorus. All with one stomp.
 

ChainOfThought

Experienced
Sometimes, you want to solo with something else than your highest gain sound

...blasphemy.


I was able to give it a go this evening. I've definitely got some work to do making the gain adjustments work for the crunch tone I want. Unfortunately the character of my chosen high-gain amp models doesn't really match what I want in a crunch tone. I think I can add in an EQ though and get what I need; it'll also help when I can crank it up again and get the speakers moving. All things considered though, the switches work exactly as I expected and its a really smooth setup. Now my biggest problem is that I have an extra footswitch...CS1 CS2 AXY along the bottom, DRV REV DLY CHO on the top...need something for #4, what to do what to do...

I guess a last ditch effort would be to use SW1 as clean/gain like I already have, and then X/Y between crunch/high gain. It brings the audio gap back into, but I wouldn't be compromising on my crunch tone. Options options options.
 

scottp

Power User
If you set up a preset with scenes for clean, crunch and hi gain. For sweet home Alabama, you will likely choose your crunch sound, and you would stay on your crunch sound for the solo, you just want to add volume, delays, maybe some EQ and compression, and a bit of extra reverb. All this can be added with a single press on the control switch. You probably want to choose the hi-gain sound for No more tears, and use the hi-gain sound for the solo as well.

Ah, I see. I haven't yet needed to change many things at once, so I can now see the benefit.
Thanks!
 

dbun

Experienced
One of the joys of devices like the AX8 is that you can avoid all the rigmarole and have exactly the sound you want by pressing one foot switch; why introduce the tap dance when you don't have to?

You could have your lead scene setup to engage the control switch along with whatever effects you need to turn on/off for your lead tone.

It may or may not be practical in which case using a scene as you've described could be the easiest way to do it, nothing wrong with that - a control switch is just another tool in the box.

I have my control switch setup to adjust the amps Input Trim to gain up the amp - I find the amp boost switch a tad too much.
This way I can engage the control switch to boost the amp, which gives me more tonal options across scenes - but my lead scene is set to engage the control switch and also X/Y switch the delays for more trails.

I also have some presets setup where each scene is a section of the song and I simply step through from scene to scene as the song progresses, so I use both methods depending on what gets me where I need to be the fastest way.

This is what I love about the Fractal gear - no restrictions at all.
 

vinceh

Inspired
Yes, you can. Attach the Control Switch to the Delay's Bypass Mode parameter.
Sorry to revive an old thread, but how is this done? I've been reading the wiki, the manual and searching and can't figure out how to have a control switch for say, a lead boost with delay, but also be able to turn the delay on/off with a footswitch. I'm using scenes for this, but would like to use the CS instead. Thanks!
 

scottp

Power User
Sorry to revive an old thread, but how is this done? I've been reading the wiki, the manual and searching and can't figure out how to have a control switch for say, a lead boost with delay, but also be able to turn the delay on/off with a footswitch. I'm using scenes for this, but would like to use the CS instead. Thanks!

I'm not sure you will gain anything out of that scenario.
What exactly do you want the push of a CS to do?
 

vinceh

Inspired
I'm not sure you will gain anything out of that scenario.
What exactly do you want the push of a CS to do?
I want CS to turn on drive, increase delay and a 4db boost. My Timeline had up to a 3db boost which worked well for gigs.
 

JN99

Member
I'm in the same boat, been reading this morning and clicking around like a damn fool in AX8-Edit trying to figure out how to engage both a boost and a delay for a lead boost and cannot for the life of me figure it out. I gather from what I have read thus far that I cannot simply assign two effects to a single footswitch, I have to use control switch for it. Seems simple enough but even examining a GD patch that has this same use of a CS I haven't been able to figure out how to do it. Can someone point me in the right direction, preferably in AX8-Edit? Thanks!
 

Moke

Axe-Master
Vendor
Sorry to revive an old thread, but how is this done? I've been reading the wiki, the manual and searching and can't figure out how to have a control switch for say, a lead boost with delay, but also be able to turn the delay on/off with a footswitch. I'm using scenes for this, but would like to use the CS instead. Thanks!
One way is to use Delay block 2 for the 'Lead' tone (CPU permitting?) And keep Delay block 1 linked to the IA switch.
 

Moke

Axe-Master
Vendor
I'm in the same boat, been reading this morning and clicking around like a damn fool in AX8-Edit trying to figure out how to engage both a boost and a delay for a lead boost and cannot for the life of me figure it out. I gather from what I have read thus far that I cannot simply assign two effects to a single footswitch, I have to use control switch for it. Seems simple enough but even examining a GD patch that has this same use of a CS I haven't been able to figure out how to do it. Can someone point me in the right direction, preferably in AX8-Edit? Thanks!
Go to the 'Bypass' mode of each block the you want to assign to the Control Switch. Right click on the 'Modifier Icon'...{ }... This opens the 'Edit Modifier' window. Select the Control Switch # that you want to use as the source.
 

JN99

Member
Go to the 'Bypass' mode of each block the you want to assign to the Control Switch. Right click on the 'Modifier Icon'...{ }... This opens the 'Edit Modifier' window. Select the Control Switch # that you want to use as the source.

Many thanks Moke - would NEVER have figured this out otherwise!
 
Top Bottom