These would be my five steps (this is sort of long – I edited it as much as I could):
Have a definite sound in mind – like “Fender Bassman-style light crunch tone” – and dial accordingly.
I usually save the IRs for last. I copy a reference patch up out of my usual performance range, then “clone” it into the next two or three slots and start tweaking with the second (leaving the original for reference).
On overdriven patches, I often use Transformer Match to fine-tune tone and dynamics. If a patch sounds good but has a bit too much drive, I will take TM down to 0.7 – that number seems to work to give me what I want.
I want each pickup position (mainly a Strat player) to sound distinct one from another, even the high-gain patches. I have often rejected certain amps for that reason alone, even if it sounds really good with the bridge pickup. But I’m not writing patches just for one song – that would change things for me too.
Finally, I tweak fairly loud using a powered PA speaker (we run direct to FOH – this simulates that). Then I play along with various tracks to see how the new patch sits in the mix and how it feels dynamically as I play. This almost always brings about more tweaking, but it speaks to me as to how it will come across at the gig. And I do take frequent ear breaks – the ear will lie after longer sessions. Usually I’ll come back the next day and start where I left off.
Have a definite sound in mind – like “Fender Bassman-style light crunch tone” – and dial accordingly.
I usually save the IRs for last. I copy a reference patch up out of my usual performance range, then “clone” it into the next two or three slots and start tweaking with the second (leaving the original for reference).
On overdriven patches, I often use Transformer Match to fine-tune tone and dynamics. If a patch sounds good but has a bit too much drive, I will take TM down to 0.7 – that number seems to work to give me what I want.
I want each pickup position (mainly a Strat player) to sound distinct one from another, even the high-gain patches. I have often rejected certain amps for that reason alone, even if it sounds really good with the bridge pickup. But I’m not writing patches just for one song – that would change things for me too.
Finally, I tweak fairly loud using a powered PA speaker (we run direct to FOH – this simulates that). Then I play along with various tracks to see how the new patch sits in the mix and how it feels dynamically as I play. This almost always brings about more tweaking, but it speaks to me as to how it will come across at the gig. And I do take frequent ear breaks – the ear will lie after longer sessions. Usually I’ll come back the next day and start where I left off.
