Consolidating the Presets
Consolidating the Presets
5. Consolidating the Presets
Dialing in a Clean Tone28:35 2
Dialing in a Bluesy Tone18:03 3
Dialing in a Rock Tone20:35 4
Dialing in High Gain Leads23:01 5
Consolidating the Presets28:30 6
Recreating Scene Presets with MFC Integration22:13 7
Leveling Scenes with MFC Demo15:50 8
Setting Up For Tone Matching23:59
Mimicking Acoustic on an Electric Guitar29:55 10
Cross Matching Acoustics23:57 11
Getting More Out of Amps and Cabs21:50 12
Reamping and Getting into Modifiers17:41 13
Sequencer and Routing Tricks11:35 14
Q&A with Wrecker Preset Perfomance30:16
Consolidating the Presets
We just made for pre sets. I was pretty happy with all of them. I think you guys were two again. If you buy this class, you'll be ableto download them, I'll put links up on my facebook cooper carter guitar, guys khun by the class afterwards, or you could just, I think, there's, probably by link right on the class right now, probably right, perfect. Um, let's talk about scenes, scenes or my absolute favorite feature of the expects uh, they are incredibly powerful and enable you to do a lot of consolidation so professionally, when I'm playing guitar, I play well, let's see often on with five bands, but full time with three, so I've got a lot of different sounds, a lot of different presets, um, within those bands, I'm doing gigs that sometimes cover different albums in their full, so I have a lot of different sounds, so that means a lot of different presets, which means a lot of different switching on because of the way that the expects a structured, and this is just kind of how everythin...
g is switching between presets. There's gonna be a little bit of a gap? Gaps are fine, they're not that big of a deal the expects has, by far the smallest gap of any processor out there as far as the jump between changing presets. But you also run into a lot of things like when you change a preset from having a delay that's maybe a two hundred milliseconds and it jumps the one that has seven hundred milliseconds we're gonna get some weird stuff happening there, so the best way to deal with all of these things a lot of presets, different settings, eyes to use scenes I really love them and let me show you how they work. Uh, slide going here? I think the clicker works now. Yes, thank you. So, uh, you can see here on the slide this is weasel zappa's rigged weasel is one of my favorite axe effects artists, and he was one of the first really champions of the ax effects really did a lot of great stuff for fractals forest, getting a lot of people into the expects and he's a genius on it on a genius guitar player as well. If you haven't seen zappa plays happily go see zappa plays at, but they are unbelievable. Umm but that said this is his rig before the expects on the left uh, kind of a nightmare and this is his expects rig on the right as you can see it's a hugely consolidated situation going on there, I like to think of scenes as doing for your presets what the axe effects has done for people's riggs like this on there a lot of photos online you can go out there you can see other guys riggs you know jump tragedy edge alex lifeson, metallica all these guys had a ton of gear and now using ac sexes and less gear but that's, what scenes are going to do for your presets so izing seal the slide scenes are eight presets in one every preset has eight different scenes, which is eight different states of bypass and preset volume on the blocks already in the pre set. So basically, we're going to do now and I'm probably gonna take some questions while I do this because this is going to be quite the the long little siri's of copies and pastes here I'm gonna take everything that we just made from all those presets and I'm gonna put them all into this one scenes pre set. I want to mention quickly that one of the most powerful things about scenes is that on each scene you can adjust the output levels, you can have different volumes for each one, but I just want to keep in mind we could come back to this when we get to it that that is on output one on ly when you adjust to that um it's not gonna affect output to and if that has changed in recent from where somebody on the fractal chat room is going to correct me but I believe that is still the case welcome to chime in at any time and I will be notified. All right, so these are our four presets clean, dirty, clean, otherwise known as blues, rock rhythm and are insane high gain preset a cz you can see they each have got kind of the same the same blocks I kind of want to keep it consistent, but we're using obviously very different settings all of these blocks. So one way to do this, uh, if you don't have a lot of instances of the same block is to go to any given block right here, so, like, we'll take this compressor and in this block's library screen down here on the editor, you can go and you can hit this little plus and it saved you can actually save this block to your library so that we can then go and drop it into our preset. The problem with that is that every block has an ex st and a y state that enables you to put one compressor block on the grid but actually have two completely separate compressors right here that you can switch between using a foot pedal we're actually using scenes, but I'll show you how to do that but the issue and saving this block and putting it in our scenes preset is that it's going to actually save the x and the y state of each one? So if we then try and copy in another block um it's going right over the x and y with a brand new x and y so what I'm actually going to do is because we have a compressor in this scene and we have a compressor in this scene that has different settings I'm going to go to my blank the rig preset here I'm going to add a compressor block uh that has the settings of one of those two I'm gonna add the clean compressor and I'ma save it remember we've got to save every time we switch between presets we're gonna lose what we've done so on x now I have this clean compressor okay? So I'm gonna go into presets and I'm gonna go to the dirty clean this is the other place we have a compress okay, so we use the studio compressor on this one and the thieves settings right? So I'm gonna go in here and I'm going to go to x y and I'm going to say coffee x two clipboard I think I've copied the ex state and I have not copied the y states are not copying the whole block one more time go here x y copy x two clipboard we're gonna go to pre sets we're going to go there's gonna happen a lot here so you guys follow along going to do a lot of switching this now has this ex state and I'm going to say paste clipboard toe why so we have pasted that studio compressor from the blues one to the y state so on x we have the clean one and on why we have the blues one of everybody you guys got that all right so they were gonna be doing a heck of a lot of that okay so now we have one block I want to talk about utilizing the grid mohr effectively so um um thing right okay uh utilizing the grid mohr effectively so we're going toe add some shunts here and I'm gonna go all the way across until here we're not going to go to the output and what I'm going to dio is gonna go in and I met through this feedback send basically what that's going to dio is it's going to send the signal from here tio this next block him to put which is going to be the feedback return and then I'm gonna put this all the way to the output and well that's done is draw a line down here so we're getting instead of just one line across we're getting all this block space we're going to just this in a minute but we get all this block space that we didn't have before, so we're going to save this and now I'm going to embark on this journey of, um, doing quite a lot of copying and pasting, so what I'm gonna do is go in, and I've already done doing that down a little bit of the cooking show thing and prepped a little bit of this beforehand, so I've saved a couple of these presets blocks already, so what I'm gonna do is I'm gonna go in here, and I met at a dr block and, uh, under that I've already added the blues drive, so we've got that I'm gonna go in here, and I'm gonna add this aunt block. I have not saved one of those. Oh, I had did okay, I will put the base men amp in there. Now we have four amplifiers, we have four presets and we have two amplifier blocks available to us. We're going to put both amplifier blocks in and they were going to copy the four amplifier blocks to x one. And why one and x two and why to sew on this first ex state? We're going to have our preset from the clean and on this x state, we're going to have the pre set from the blue sam. Then on the y states we're gonna put our high gain and our rock rhythm but for now we're gonna leave that there and around these in parallel and then because we don't want any amp uh any two amps on at the same time we're going to set this bypass mode to mute which means that when this is bypassed you're not going to hear that amplifier and you're not going to hear this dry signal coming through either it's gonna mute this entire line right here but yes so basically to change gain as faras the level of gain an amplifier you would use a controller but for this yeah as far as going from like a clean to a really high gain sure so I'm going to speed this up here because it's going to take a minute and I'm happy to take any questions as long as you guys kind of understand what I'm doing and basically I'll show you what the ant block and then we can kind of expedite it but I'm going to move in so just one more time on the x of this first and we have our clean amp the fifty nine based guy and on the x of this and we have our blue sam okay so I'm gonna go into our rock preset now and this amplifier I'm going to copy the ex state to the clipboard right? I'm gonna go back into our rig preset and I'm going to paste that onto the y state so paste clipboard toe why? So now in this one amplifier block, I have the base guy on the x and our plexi on why? Okay, I must say that and I'm gonna do the same thing with the high gain. I'm gonna go to our high game preset and I'm gonna copy the ex st to the clipboard. So now we have a f a s modern amplifier. I'm gonna go into the rig and I'm gonna paste that onto the y state of this once we've got the blues and on the x and are high gain on the wine. So everybody kind of get what's going on there. Ex blues why brutal and saying hi game. All right, so what do we actually have? One quick question based on this just upgraded the latest firmware, but I don't see any x y parameters in the compressor block. Does it need to be enabled somewhere? Uh, interesting, are you in the edit? Do you have the latest version of the editor as well? Would be my response question that. Okay, I guess we'll wait to see that. Yeah, I'm not, uh I'm not sure what would be going on there that you should have an x y state on. Pretty much every block their couple blocks that don't have it I believe the rotary for one doesn't have an ex wife but used an enormous amount of cpu because it's got its own cabin and their ninety percent of blocks have ex wise so and the compressor certainly does so okay um on the dr block here we've got the blues drive that irony I think I'm gonna already copied that we did not all right so we're just going to go through here and gonna start copying blocks so from this clean I kind of got to make a list of what we got we got the compressor which we already got you get the chorus got the amplitude already got your cab got to delay in the river so let's do the chorus so I've already saved this clean chorus what other preset do we have a chorus in I put a chorus on the high gain I believe yes okay, so what we're going to do is copy the chorus out of the high gain I'm gonna say copy x two clipboard we're going to go into the rig preset and we're going to put a chorus block where that rotary that I put in for no reason is we're going to import this fromthe library the clean chorus and then on the y state of that we're gonna pace the chorus from the high game face clipboard toe why so on the x we've got our course from our clean tone and on the right on the wire rather we've got our digital stereo chorus from the high gain tones were going to say this again and go in uh and again a cz long as everybody's kind of got this I'm gonna not talk as much about it cause it's we gotta kind of get through it here um I'm gonna do the cab's next we've got four different cabinets so I'm gonna save this one we're gonna call it uh clean cab oh my my my turned out I already I already did that we don't need to do that perfect um so I'm gonna go into the rig then and basically what I'm doing is I'm saving in the library to cabinets and then copying the y state of the other two because if you saved all four in the library you only have two cab types available to you cab one and cab too so the other two would overwrite them when you called them up okay the other thing I want to dio is route both of these into both of these because we're going to use different amps for different cabs so they all need to talk to each other I don't know I just put cab to their uh cat one there and kept you there okay all right so on this one we're gonna pull up the blues cab actually for sanity sake, I'm gonna pull up the clean cab uh and on this one I'm gonna pull up the blues cab so all right there you go and wilbur mix so on here and I accidentally did these on y so we're going to swap x and why just so I this is not anything you need to follow along on I just, uh didn't do it correctly so I guess one of the other questions about the actual eyes what is the difference between x and y and doesn't matter where something goes there is no difference between x and y until you make there be a difference between x and wise so um by the fall x and y are going to separate things just so you have two different, um, options to play with so like, if I add uh, see something, we don't have a flander if I had a flanders block here, you're going to see that on x you've got a digital model flander on why we've got the same dish romano flanders against some blocks default to separate things the amp block, which I can't reset because we have one, but it will do like a fifty nine base guy and then I think whatever amp you were using before but programming wise there's no difference you can put them wherever you want, but as you as you're seeing here on as I'll show you, when we start programming, the actual scenes is very powerful for what options you have available to you. So for example, we have only to cab blocks, but we can actually afford cabs one on x one on y and one on x to annex and why to someone a lot of ways, I mean, this is this is a subjective but also a very objective process, I mean, because ultimately you're creating tones based on the sound, but not necessarily, you know, you don't necessarily need to put any one thing in any one place you can really do it. However, it does sound correct to you in my mind that would be no sonic difference between x and y, though at least on the service, I mean, you're going to put separate settings on them so they'll sound different but a ce faras, you know, why having a tonal benefit over x there's, not one. All right, so this is our dirty clean, which we already have in the cabs. So the two cabs that we need to get now are the rock rhythm, which is this, uh, culture our very own hammer mix here, and we're going to copy this, uh, to the clipboard and then go into our rig and if I'm moving too fast for anybody police tell me thank some of the products specialists in the chat room kind of mentioned some of the extra things about the x y mark one of mark to f x effects to have less x y blocks and the ex l a so there are some differences in there yeah, that was something I mentioned the xl given the increased preset per preset memory is gonna allow you to have more going on uh, ex wise so yeah, uh, if you're gonna mark two, I might be adding some things that are not available to you so you should get an excel um so I copied that I'm gonna pace this, uh, clipboard. So why so now on cab one, we have the top boost, which we used for are clean and on x we have our rock tone cab some to say this again and I'm gonna go and get the cabinet from our high gain preset. And in our high game present, we've got this fifty one fifty three mix ultra rez micah pianist of the clipboard and then go into our rig preset again. It's gonna be a lot of going into this ring preset and I'm gonna paste that toe why okay, so now what we've got is our amplifiers we've got are clean and our rock and here we've got our blues and our high game these are discreet amplifier states two completely separate amplifier types in one block so now in this one preset we have a model based on a basement we have a model based on a plexi we have a model based on a fender twin and we have ah hi gain proprietary fractal model which is basically like a you know uh you know, super high gain amplifier like you'd get from a mark for ah fifty one fifty three or that sort of thing so in this one preset we have four different amplifiers and four different cabinets we have two compressors to drives and two choruses and we're about start adding even more stuff so we're gonna save this you have the through on the lot of year yeah, I haven't gotten to that okay, yeah, we're gonna have to start changing the state of some of these things eventually I've still got to get through all the copy paste first. Um okay, so and here the blocks we have we got start doing the river bs er also these trim alos so I saved that one already. Uh cooper, maybe an extra question kind of while you're doing the copy yes, please just just get one when dealing with scenes how do you think it contributes to the cpu vert usage versus not using scene uh, well, the scenes are all there by default uh scenes are not going to change your cpu by their very nature however, the amount of stuff you might pack into one preset to create a preset with this many scenes very well might so, um it's all about the block so the number of blocks you have and what types of locks they are determining your cpu usage? Uh, so we'll see I mean, you can wash the cpu meter up here at the top sixty for every time we had something else is going to start hopping up using two amplifiers, we'll use a lot of ctu using two cabs. Um, if I were to put a wrote to rotary blocks in here, uh, we would probably I might hit the cpu just from that, but we're not gonna put two rotary blocks because we didn't use any. Um, again, I'm just placing the tremolo here for those who are following along, but yeah, the cpu is determined on lee by the number of blocks you're using, so by the fall I mean, if I'm in, I'm in this high game preset right now I can click through pre set one, two, three, four, five, six we didn't set them to anything seen rather one, two, three, four, five, six, seven, eight um they're not set to be any particular thing, but they're all here all the time so they're not actually using any cpu just by virtue of their existence um so is that kind of answer the question I'm pretty sure thank you so much and I know there's a lot of users out there that have different versions of the firmware different versions of the editor I only recommend upgrading everything as we're doing this guys it really will help you following along and also you know they're uh there's a reason these things are upgraded because they tend to improve so uh go ahead and grab the latest version of fractal body which will allow you to easily update your axe effects with the latest version of the firm where uh and also grab the axe effects edit except it they're available in the same same page I believe its support dot frankel audio dot com I wonder is there a tonal difference in the axe effects too and the axe effects to excel there is no tonal difference thea there's not even any cpu difference the only difference in the well they're a lot of differences in the excel actually but I uh I was here a creative life talking about all the differences in the xl and caught a lot of flak for a little slip up where I said that it was the only one that could have ultras but you can get all torres. I ours in your mark too as well. And you work one, um, there's no tonal difference between them that it has expanded preset memory as well as a lot of additional presets themselves. Uh, but there is no difference. Totally. So, um, what are these? What I'm doing now is I'm pasting the, uh I will say actually, though that on the excel, the noise floor is much lower. The there's been some special stuff done to that. So when you're running for cable method or you're running into the front, the noise in general, which was already industry standard lo, is even lower. So there is there. Is that wow as hardware up days, then, yeah, they're the updates to the xl are great. And I highly recommend getting one. Uh, if you if the you can go online and look at the one sheet and if those changes appeal to you, I would definitely recommend picking one up their great on the price difference between the xl and the uh, mark two is pretty slight, given what you're getting out of it. So, um, again, not trying, teo bore. Anyone here were just having to kind of copy and paste this, and I chose teo I chose to do it live because I want you guys to see the process um I could have done this all before hand obviously but I thought it would be good for you all to see what I'm doing anybody uh thinks it's too dry you can kick back and uh relax for a minute I'm copying the, uh going to save this high gain drive here and, uh go put this in our rig preset so what I've done here is a copy the um uh the drive from the blue's onto x and onto the wire for the fuzz and so I need a separate dr block for the high gain we don't have a fourth dr tone, so I'm not going to use both x and y I'm just going to use the x and I'm gonna pull up the high gain drive we have their, uh bypass both of these and save it again and go back we've got a couple more things to grab and then we will be done well done with a done with this part, ben, you I've used it a little bit because I use my line six devices a foot pedal and it really helped out with the rotting with the midi around just switching the scene that's tough getting the line six pedal to work for the expect yeah there's some great topics on the form and some people put up, I don't remember who did it the complete tutorials and they the first time got it all set up so it's really helpful awesome perfect little more adventurous you can use your d a w descend the midi signal is also to switch the scene's s o the middle of a recording and it just does all the switching for you so you just focus on the guitar playing you're not an expert like myself and you don't have to worry about hitting the right petals on that kind of stuff with a little song yeah, absolutely I know that we're going to be talking about the m f c controller is well here later on in the course so that kind of functionality makes the work flow so much easier, doesn't it? And scenes for that matter I mean really it's consolidating your workflow into these segments that you can quickly kind of flash between toggle that's uh pretty fantastic okay, we're going to copy this one and then we'll be all set here copy that toe why pits that toe? Why? Okay, so now what we've got here is we basically have all of our blocks from those presets um into this one rig and as you can see for those who are watching the cpu we're at eighty eight, which is uh a little a little below the the danger zone if you're running your expects into your dog, uh and using it as a sound card that will pop your cpu up just a little bit um and you might when you get around ninety three, you might encounter some issues trying to run audio through it and play at the same time. But I do want to stress that we have an insane amount of stuff going on in this pre set at the moment and we're about to have just one little more bit of insanity here. Um uh, yeah, there you go. So there is where we hit the cpu and this, uh, happened last night and I thought I had a way around it. Um but okay, so let's see here we'll save this and what we're going to do and here's a trick for if you hit the cpu limit uh on your expects and you want to do small stuff, there are settings in the cab blocks where you can reduce the resolution of the calves. Right now these are ultras cabs and altera's is a better cabinet, uses more processing power and also, uh I want to stress that how slight the differences are, especially in a live scenario between ultra rez and normal rez cabinets. Normal rose cabinets are already higher. Resident other modelers on the market and so they sound fantastic and they were the standard for a long time until ultras came around um and so lowering the rez of these calves too normal is going to save us from cps you just jumped down um and in a studio you wouldn't really be using scenes like this because this is so you can access all of this stuff at the same time, which is very much taylor into alive scenario on the difference between the cabs is not goingto translate that obviously live, so we've lowered the resolution I actually only needed to lower the resolution on one of the calves. I did it on too just for kicks. But what that's going to dio is allow us to put this river block in here. Um and I'm going to go ahead and throw on this blues spring reverb uh that we have and then go in and copy the other reverb and put that in there too. So it's going to get the high gain? I'm sorry not the high gain thea it's going in there and get the rock rhythm reverb, which, um is the hall which may pop the cpu over again, in which case we're gonna do one more thing um let's go up and this will be our our last block here paste report, why don't ya right now we got the spring on the hall and just for kicks, uh, to see how intense we could get here. I'm gonna risk putting one more reverb in. And we're at ninety three, which I feel pretty good about. We're not trying to run audio. Um, we will see what happens, though.
Ratings and Reviews
A winning combination (Axe-FX II with Cooper Carter)... Just started using the Axe-FX II and this class just gave me the best startup for this amazing magic box. Cooper Carter did an amazing job at getting the basic covered and I feel this course is worth every penny. Now, I'm hoping for an advanced course hat will cover the more advanced topic for both the Axe-FX II and MFC-101. There is so much to learn here and an advanced course is the next step. i.e. expression pedals config in various setup, using Mission SP-1, Sp-2, EP-1, re-amping setup, creating IR. This course is at the top of the best training I had recently. CC is an excellent musician and he knows the Axe-FX II inside/out, the end result is having a high level musical training of this magical box. Love the interaction of web/live audiences and real time explanation with demo, tips/tricks. Thank you Cooper Carter and Creative Lab for making this course, I will view this one again for sure. Don't stop here, time to start working on the follow-up, more advanced course. It will be a hit for sure...
a Creativelive Student
Great class! Cooper is a great inspiration, a great guitarist and a great teacher! Never heard of him before this class, but he really nailed some tips and tricks in the Axe FX! I want more classes with him or/and other with same skills regarding the axe fx! Again; really inspiring! Also liked the guy next to him asking web questions! The production was great to! Good quality! I wish there were more camera angels the viewer should be able to choose from, like the screen, the MFC and the display of the Axe… not very important, but could be useful in some sequences… anyway… Thank you!
a Creativelive Student
I just finished session #1 on setting up clean tone. I built the same preset while following along with the tutorial and was extremely pleased with the end result. I got sidetracked a few times because I was enjoying playing with the new preset and ended up taking an hour and a half to get through the lesson. Previously, I always seemed to find an existing preset and tweaked it until I got close to what I was looking for. I never seemed to develop the ability to scratch build my presets and as a result, my progress in learning the Axe FX was a bit stagnant. These tutorials have rekindled my interest in taking this box to the next level. I'm confident now that I'll be able to become much more proficient at squeezing out the sounds I'm looking for. Like many others, I've been hoping someone with Cooper's expertise would take the time and effort to offer up these types of tutorials online. Cooper is an excellent instructor. The training is well paced and perfectly suited for my level of ability. Well worth the price of admission! Thank you.
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