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Viii. My Favorite CombinationsHere's the list of successful matches I've used. Please let us know if you find others.
Great for thick vintage 30 tone with great mids - like a real Mesa cab with V30's - modern sounding but not too bright or harsh. Great for rhythms and leads.
Great for the Petrucci tone - like a real Mesa cab with V30's, with a mix of 57 and ribbon mics for a full, thick sound that is modern sounding but not too bright or harsh. Compared to the option above, it is a little thinner, but also has stronger midrange, maybe too strong for my tastes. Best used for leads.
Great for the Vai tone - like a nice 4x12 cab with Vintage 30's, with a mix of 57 and condenser mics for a midsy tone, that's still got a modern edge. Works best with a midsier tone - not going to really djent as well as the choice above.
Great for the Satriani tone - Kind of a loose, vintage-sounding tone, but good SNR and clarity.
Good for a modern yet bright metal tone. Keeps the clarity of the Vintage 30's and SM 57 but the XXL supplies enough punch and warmth to get a fuller tone. The XXL has a great grindy sound to it in addition to its punch, but the downside is that the XXL has a certain artificiality to it I get annoyed with.
This provides a lot of punch, which works great for a metalcore tone, but you don't get as much clarity or as rich midrange. Works for a punchy, scooped sound, but might be too scooped - it's a good idea to supplement this combo with a wide midrange boost. Even so, you won't dial out the artificial-ness of the XXL.
Modern yet midsy. Use this instead of the above option if you need more mids and clarity, but it has a bit less punch to it.
I use this for a modern T75 sound - harsh and raucous yet tight and djenty.
Old favorite I used for lead tones - very warm and full.
Kind of raucous, almost vintage high-end, but modern, tight bottom-end - Great for death or black metal or even a djenty 2000-era Meshuggah tone.
Same as above but with the characteristic punch and scooped mids of the XXL. Top of Cabs and Mics F. Cab D.E.P.'s I used to have a kind of order on how to dial in all the controls, but I find since they are all related to each other and can impact how you use other controls (like compression and EQ), it's best to try to experiment with them, compensating other areas. I like to copy my patches and A/B them to see if the changes help or hurt, then commit or discard the change and try a new experiment. I agree with community member mdmayfield wrote in this thread. BROKEN LINK It sounds like these adjustments are applied to the IR signal before it is mixed with the dry signal coming from the amp, rather than post-cab when they have already been both mixed together. Check that thread for his descriptions and a video documenting their effect on the frequency response. Low Cut Just a high-pass filter where you specify the frequency. It will roll off the bottom end. Since I usually have a Mid-Focus EQ after my amp/cab, I prefer to use that to trim the low-end - it allows you to adjust the Q as well as frequency. Where I like to use this control is when I'm using dual cabs. For a boomy amp (Treadplate), I'll vary the low cut settings for each cab to make them more consistent or to make the bass knobs on the amp respond differently. For instance, I may turn the low cut on my Hiway cab up to around 120 HZ, then use the bass control on the amp to dial in some punch. On my XXL cab, I'll leave the low cut between 60-75 HZ and dial in the desired amount of deeper bass. Or if I'm combining the Treadplate and Hiway cabs, I'll use this on the Treadplate around 300-400 Hz to prevent any of the Treadplate's low-end from interfering with the Hiway. And I'll use low Treble/Presence settings on the amp driving the Hiway, so that its highs don't interfere with the Treadplate's. Just like mixing instruments, I want each to have its own space and peak ranges, but still blend together seamlessly. Res. Level Sets the resonance level of the cab. This is basically like setting how hard you want to push the cab. At lower levels, the resonance is not affecting the speaker's signal reproduction as much, and the tone is a bit crispier but can sound a little more "dead" and scooped. Higher levels can get a smoother tone but it is a little more compressed and less tight. This control also affects how much the Thump and Decay parameters actually influence the tone - they are basically flavors to the resonance set here. I find there are 3 zones to this control. At lower settings, the cab tone is cleanest, but the tone can be a little rough. Depending on your amp tone and cab selection, it may be more crisp than rough. As you turn up the Res. Level, the tone will start to get squishier, smoothing out the roughness. I find this is the sweet spot. Past this point, the resonance starts to dominate the tone, with certain frequencies boosted and others cut. Also, the tone begins to lose clarity, sounding a bit washed out or noisy. Thus, extreme settings make the tone "wonky". I never go lower than 25% and never higher than 70%. Most of the time I'm close to 50%. I find I usually turn this down a little bit on the Hiway and Tread V-30 cabs, but turn it up a bit on the XXL cab. It makes the Hiway's highs a bit more crisp. The Tread V-30 becomes less presence-heavy and a bit clearer. The XXL gets a bit of a mid-boost by turning it up, which I find makes it sound less dark and scooped then it does at 50%. But I rarely go past 60%. For dual cab tones, I find this control is best left around 50% or boosted slightly. It really emphasizes the character of the cab and supplies the mids that cut through. While this might throw the Hiway or Treadplate cabs out of balance by themselves, when they are paired with the XXL or Hiway to provide more low end warmth and punch, everything blends better, and the tone is richer with higher Res. Level settings. This control is yet another means to alter the nature of the distortion tone you are getting. If you find pre-EQ'ing your amp (or some other distortion stage) can't get you exactly where you want to go, this is a good place to experiment. I've had tones that worked for rhythm but were too harsh for lead or weren't giving me the right compression that were vastly improved by manipulating this control. For instance, if I lowered this control, I'd get a more bright and less compressed tone. Then I could add a bit more compression and use less treble before the amp. Overall I had the same average amount of compression, but I got more consistency between rhythms and leads. And the highs I had were less gritty and harsh for leads but still crisp and crunchy for rhythms. Thump This determines if the resonance affects the low-end of the frequency spectrum or not. If you want a chunky low-end response, you can turn this up; but if your tone is too boomy you can turn it down. I found this control worked better for adding punch to the tone than the bass control on the amp. The bass control seems to boost more ultra-low-end making the tone boomy. I think many people would turn up the bass, then use this control to try to dial out boominess, but I find the opposite approach works better, being conservative with bass and adding punch using this control. Decay Basically sets how long the resonance persists (at least I imagine). This is kind of like the decay setting on a reverb. Too short gives a tone that sounds too thin. Too long gives a tone that sounds fake or weird. I generally like to boost this a little if I want to thicken up my tone, but going higher than 70% I find things start getting weird. I generally stay between 50-70%. Top of Cabs and Mics G. E.R. I default this to 0%. I prefer to use a reverb effect if I want to add a little space to the tone, but for a metal rhythm I generally don't want space at all. The only time E.R. would be useful in my opinion, is if you have already maxed out your effects blocks or DSP and want some additional reverb/space. It doesn't sound bad, but you get more control and a better sound from a reverb effect. Sometimes, I set it to between 0 and 10% to add a minor touch of ambiance to the tone where I don't feel that effect is worth adding a whole Reverb effect. VII. EQ
I find one of the best tricks to getting the sound you want is to properly EQ the final tone. Unlike the Amp/Distortion Tone page, which involves pre-eq'ing the tone before the primary distortion phase, this covers post-distortion EQ'ing. Date: 2016-01-03; view: 705
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