Effects Rack: Sequencer & Dirty Blues


Axe-Fx Master Class


Lesson Info

Effects Rack: Sequencer & Dirty Blues

Well the modifiers I didn't really talk about a couple I didn't talk about eighty s are on the reason I didn't talk about eighty s r is because we covered the envelope filter the envelope the envelope controller rather uh the envelope is a envelope detector and the eighty s r is an envelope creator so if you understand how envelopes work on how their synced you can create your own envelopes with the eighty s r and that's something that I don't really um use a lot and a lot of people don't really use it a lot there's some very specific cool applications for it because you can very precisely sculpt uh how your guitar comes through so you can you know it can come up this amount of time and it can hold for this amount of time they could shut very quickly and you can loop and eighty s are so it creates a kind like weird shaped tremolo you know, judge it so it's cool for like, you know, there's some sense uses for that kind of thing and there's a fun presets on the exchange for anybody who's...

curious about what theeighty s r does also the lf owes I didn't really get into because l a foes are pretty straightforward basically you're creating you know, an impulse on you know, for example, if you set a volume pedal to go along and lfo the sine wave it's basically going to sound like a tremolo and you can adjust how the lfo how fast it is and you know the shape of the wave and that's going to create a tremolo but you could just use the triple a block for that there a lot of advanced uses like theeighties are for the lfo again I encourage you to check out some of the factory presets that use telephones and that kind of thing I'm not going to get into either one of those what I am talking about there was the sequence sir one of my favorite effects is the sequel it's a pedal that's made by v something remember I've never owned one there are pretty rare there they're handmade and everything but basically what it is it's a pedal and it has a couple of little knobs are sliders on it and you can set all the different positions and basically what it does is it gets all those positions and it goes through like a wah pedal will be going through going through them so they kind of give you a crash course in the sequence sir, but I thought I'd do is create a sequel so what I'm gonna do is start with wah pedal and we're going to modify the control parameter like always like we did with the pedal before and with the envelope filled early envelope modifier to create an envelope filter and we're going to set it to the sequencer and as you can see I have already entered some values here in the sequencer uh yeah looks like I got some random stuff so I've just done this completely randomly their nineteen stages I could put it up tio thirty two you could do whatever you want so let's just create some random stuff and if you listen to the turn up the noise you guys can hear well not playing sequencer is running thiss sequence so and creating this random wah pedal effect on when you hear this kind of closed down for a while at the end is because you've got all these that are zero so we're going to randomize he's a bit and basically this is what a sequel does but you can get a really cool effect on lead lines that sounds life you're rocking a while away faster than you could on your own so you can also tempo match this so let's say we wanted to be a dot it was thirty second notes and go here and set the tempo one hundred so you can hear it sounds like so it's a obviously super aggressive effect they're a couple songs that use it to cool effect there couple broadway shows that use it that's actually where I first heard about it but what we can d'oh is modify we don't want it on all the time we cannot attach a modifier to the actual run of the sequencer so there's this run switch so right now theming so the wise off so waken attach the envelope or in eighty s are attaching envelope to it uh I'm actually turned the damping off completely much more pronounced and I'm going to slow it down a bit as well. So again, as with the hard limiting compressor this's mohr to illustrate the idea behind it, then to say that the sequel is something you guys should be throwing on all your leads it's a super super pronounced effect I really think it's cool there's with a little tweaking we could get this tow something that I actually might probably go in and lower the number of steps I just kind of threw those all in there for kicks, but if we believe the sequel has eight maybe so it's just going to reading the first eight of these so we can kind of just do that action and then essentially what it's doing is allowing you to rock the law faster than you'd be able to in real life so it's almost like a tremolo with a phase sweep in it filter sweet brother in it so I kind of need again though this is to illustrate what secret sir is capable of and with sequence or you can attach it to really any values say you want to have you know you're amped like gain up and down like crazy or something, but the stevens who is most useful in tempo based situations so now I'm going to get in to this preset uh, nobody freak out this ah so sean strickland and I mainly sean, but I've definitely spent some time trying to get it to work uh designed this around a certain song uh a certain pedal that we were trying to copy the effect out of and I'm showing you this preset to show you uh one what my fires were capable of and to what people who played too much with the expects can accomplish, I guess, but basically we've got this normal I'm gonna go ahead and let's see how you do this I will go through him bypass all the special stuff that's happening right here uh and we'll hear what it sounds like completely unaffected except I think I've muted something somewhere yes really nice compression going on here you can bypass the easier obviously super loud and this is s o the studio compressor here e I think is a limiter and this one acting a cz more of an effect. So exactly what we were doing before all right, so that's kind of the main tone and we can turn on some of these more standard effects and we've got this way where the real fun comes in and this filter black by the way is just here to boost the level it's a knoll filter so we're going through here and for those who don't know this is just the sin and return on the feedback which allows you to jump this grid and add more stuff so this isn't sending to the effects looper anything it's just going down here um so this song is an e on it has this uh little part that plays under everything and it goes like this the tonto so what's going on here is we've got this resonator block and we've picked a couple points of which it should resonate but mainly what we've done is gone into the frequency here and taken it from e teo melo neto a high eat so that we have a sequence and that goes basically from zero to one hundred because you're going from the low active that you want to the high active that you want we've gone into the sequence or here this is where stuff gets really crazy going to the sequence or here and gotten a calculator and given what the value of e four is and what the value of e five is we've gone in and said what what frequency is are the correct notes for this sequence so the sequence is supposed to sound like this thing play over the envelope which we owe basically, these percentages air standing in for pitches because you can't say, like, when you take this to see or whatever because the sequence or works in percentages so we've gone twenty nine point one percent of the difference between this lowy and this, heidi, is this note here? And so we've also attached this modifier on the envelope to run the sequence itself, so we don't want it running all the time because they'd just be going crazy. Uh, so when you play, it begins to run, so you start playing in tempo and you get this way bypass the resonator you can hear what's happening separate from that nice landing, and I actually think I have a earlier version of this where this slander is actually higher wait, turn the resonator back on, we get the full facts see on the idea behind the run feature is that you can start it right when the first beat hits and you're in temple the whole time if everyone is playing to one seventeen, so there we go. Any john mayer fans out there, you guys, they're welcome to use this preset to geek out, but, uh, the idea behind this is I wanted to kind of culminate in showing first off what you can dio just with basic grounding, so we've got this basic kind of sound, um we also have two instances of the same effects which we talked about earlier as faras accomplishing different things and in this case we've got this flander being delayed um pretty significantly so that when we do the kind of kind of trailing off but also we've got a very long almost a second delay on the resonator line on it's really subtle ones you get kind of coming back around every quarter note to kind of pop back in actually sounds really corny gets to the end of the radio fading down and then uh this one not that when you get this kind of thing get that flanges delay um so yeah, we've got rotting compressors we've got different senses this in effect and then because I started off with modifiers I wanted to end with the craziest modifier stuff it's as I'm walking through it it sound simpler than it was but it took forever to figure out all these percentages way originally used the center block to feed uh sean you want to chime in and I can't remember it was a synth block that we had programs to play the different pitches into a flan jer that was programmed to play the same pitches in its notch frequency uh it was a nightmare sean came up with a resonator idea because my my scent idea sucked but ah yeah this is if you put in some time and go on the exchange search for admin space matt that's matt the cone he's the master of modifiers and crazy sound effects go look for his deejay his rave preset he's basically used the cinder block and a ton of modifiers to create an entire deejay said is like it's nuts but I kind of wanted to like I said end with this because it brings together everything that we've been talking about using modifiers as a way to automate things that you couldn't do like playing all those and in fact I will even say when I first heard this song I didn't know that he was using a special pedal to make this sound I thought he was playing like well, I have to like I thought I I sat for hours trying to figure out how in the hell john mayer was playing harmonics as quickly as they do do do do do do do that was so I could not figure it out but I thought he was like literally going like that so modifiers airway as I said in the very beginning to do things that you can't do when you're playing guitar so you get something like this and you can generate this entire part using these blocks and this automation that you're not even playing that isn't even in there and you're using your playing as an impulse for this generation of a completely ah completely different sound whether that's using it to increase the drive of your amplifier and bring up the the effects makes like we did before without you doing anything except playing or whether it's this where you're just creating a whole separate center part or whether it's, you know, creating the impulse for ah held reverb since pad, which I can show because it's new in the firm where if anybody wants to see it doesn't know what I'm talking about uh but yeah, I think we've reached the end of what I have planned and we have about twenty minutes for questions and everything. Now it's time for all of that stuff toe having way did have a request and you guys a frito happen if you have any. Have you ever attempted the infamous tom shoals like from boston town? Uh, sure. Yeah. You, uh, get the amount of gain right. You go on the internet, you download the boston stem tracks from guitar hero, you tone match them and you rock out more than a feeling endlessly. There were a couple of guys who got really really close before tone matching was introduced a couple guys in the forum that made some really damn good presets honestly, the whole trying to mimic your heroes tone thing, it is so easy now just there's so many stem tracks online, I'm not advocating downloading them it's technically not I guess legal there? Plenty of guys who like like dream theater to their credit has released tons of stem tracks if you want to rip off job churches tone go tone match the stem tracks that he's released officially there's nothing secret or terrible about it yeah, the boston tones were great uh the queen ones I've done a lot of time matches of uh there were guys who did a lot of matches of metallica. Metallica is all on fractal now, but yeah, I mean the boston times sick just go tone match it like a look up you know more than the feeling lead solo probably a youtube video of it you can tell match off the youtube video uh if you don't have a tone match I have ah tutorial on solo week everybody's described a solo weaken like my facebook page. Yeah, no that's great uh wolf box how can you access the fader knob lay out for the sequence, sir, I'm only seeing the turn knobs for each of the stages of the sequence or window you need update? Yeah is enough. Yeah, andi, we did have in fact, you need to update like hard core that's like way wailed uh, man that's really old unless you're talking about uh if you're in the arpeggio hater and the pitch block that may still be knobs let me look that may be what you're looking at um I can't remember because I don't use their appreciate it very often yeah are you looking at this if you're looking at that that's the pitch block you need to go into the controller page and hit sequencer the pitch block our appreciator is still loves that may very well be what you're looking at great um so we have maybe one mohr if you guys don't have anything just one person was asking earlier how you do kind of like got filthy blues rock tone legs is the top like part two yeah obviously need to speak to tar but any thought um watch the first class I do a whole blues rock kind of thing I can actually when we pull up there a lot of there's actually some z z top fish factory preset I think it might even be called like lagrange maybe honestly the best way to get a really nasty gnarly tone is here let me just pull up like a um actually you know this brings up a good point this g sixty three six thing anybody who watches my solo week channel on youtube has been wondering why haven't imposing videos for last week for five months I'm doing two videos every month for g sixty six which is the term in european distributor of the ax effects and they have me doing different tutorial and do some playing and all of them you guys should really check out their channel sg sixty six there are a lot of videos that have done on that channel now and keep me pretty busy but to your question er to get gnarly tone take camps that are not supposed to be distorted and distort them that's I mean like if you're trying to you know obviously like the lagrange tone there's a lot of dirt but it's not like it's a high game tony ran on that kind of like a queen really over driven not high gain though because he literally just taken a c thirty and created all the way up so gets something like for example um the junior blues which is based on the fender blues junior which is my all time favorite little amplifier and like so a default way actually get like a nasty kind of get that with range kind of deal going uh this's this my favorite thing to do just like make a little slap uh now watch this. This is a tiny amped if you know if you've ever seen a blues jr it's a fifteen and speakers one speaker it's about this big uh I'm just going to turn it all the way up and get really pissed off if you put it on the next pickup and kind of pop this it's actually not a presence novel that and in fact the only two knobs michael jr is a volume in the tone uh you pop that base up nastiest things that the friday cone I'm actually going to take it out of the two twelve on they're putting this little one six actually went out put it in like a one fifteen I'll put it in his own cab since that makes perfect sense oh yeah way uh yeah I can save this and send it to you I mean you see what I did I just die and everything um let's call this nasty ass blues uh there you go well enjoy your nasty ass blues preset there you and you know actually honestly if you really want to get the party started bring this back down of it and uh hit it with this uh or is the bender fuzz oh yeah no other digital modeler of an amplifier they could make that kind of sound none that is the sound of a tube amplifier dying being played lawson nothing else additional does this people nothing hell yes that's what it's all about it's a lot of drive to be fair I mean like way could take that down good that's still being still being fun territory ah a lot of game mark mark dad it's for you it's ah that's what mark day would be oh, really nice amount of fuzz you know it kills me it's my favorite secret little cliff that's for you the little three u uh alright any other and say this you can have this nasty ass blues preset with bender fuzz in it so let's bring up that last slide on and let you go this is the most important thing you can learn from this class you can tweak for gays sean strickland I spent days on that john mary thing but at the end of the day listen to frank listen to frank that's what it's all about listen to franking and go see his son on tour and by his son's new album because it's going to be sick I love these weasel all right, well, more time working people find you where you want to tell you yes oh my facebook got attacked by bots and facebook shut it down so I had to build a new one so my eight thousand people dropped to six hundred so please please like my facebook page facebook dot com slash cooper card a guitar no well it's all right? They put that there you go there's all there's all the stuff you think? Oh yeah cliff chase map cone mark day michael pickens I'm going to start getting people in there are going to kill me I'm sorry that's a good enough list now especially math mccone who is ah, mr like giving of advice and everything. Everyone who has a expects knows who matt is saying goes for mark, dane and cliff, of course. Well, it, uh, yeah, matt, because of the master of the expects, the true master class is talking to him for five minutes about anything, including anything taken wax philosophic on a lot of stuff. So, yeah, big thanks to fractal, they're great company. And, uh, obviously everybody has got one of these should join me in saying a huge thanks toe cliff chase the man behind the machine. So cheers to them. Beautiful. Uh, yeah, definitely. Thank you. Those guys thank you to everyone who has been helping out in the chat room as well. And answering questions really appreciate being able tio give you time and help those folks out continuing. We want to say thank you to the audience. Everybody at home that does watch and support us. If you don't do that, then we don't exist. That's how we work here. A creative life. So we love your support. Thank you very much. It means everything. We have the creative like crew. Obviously an amazing people who make these workshops happen every time plus from all the instructors and the folks here. I want to give a special shout out at this point, tio caroline, one of our p a s who is actually going to be leaving that she was moving to puerto rico. She is doing a surf thing. That's amazing and she's going to be doing her things out there. So I want to say thank you to everything that she has done for us over the years. She's been here, she's. Amazing. And we will very much, mr. So thank you, caroline. For everything. Good luck in all your future endeavours. Uh, big thank you. Also, of course, the folks here in the room with us. You guys are awesome. The hampshire that cooper khun say it's. Much different, actually talking to a group of people who are interested, then just an empty camera or my face, which is before. Thank you, of course, to cooper kinder, who is very, very generous in giving his time, education and knowledge. Tio everyone around the world helping us make amazing thanks for being here. Thanks for joining.

Class Description

The Axe-Fx Master Class is your advanced training on utilizing the most important capabilities on your Fractal Audio Axe-Fx. You’ll learn about setting up the Axe-Fx to get the sound you want in the studio and on stage. Cooper Carter will discuss:

  • Live rigs: How to set up rigs that use both direct and a cab on stage and the important differences
  • Cabinets: Installation of 3rd party impulse responses (IRs) and making IRs from your own cabinets.
  • Effects blocks: Tips to unlock the full potential of chorus, compressor, and delay effects.
  • System configuration: How to switch up firmware, patches, and more.

You’ll also learn about the most untapped, underutilized part of the Axe-Fx: modifiers. Cooper will show you how to use modifiers like ADSR, LFO, sequencer, and pitch. You’ll also learn how to use external pedals and switches to get unprecedented control over values and scenes in a live setting.

Watch the Axe-Fx Master Class taught by master guitarist and music instructor Cooper Carter and learn how to get more out of your Axe-Fx.


Razvan Cirligeanu

Hello there, This is the next step if you are serious about the AxeFX. It helped me to use features, great features, that I wouldn't EVER have the patience to explore by myself. Yeah, I am lazy... Coop makes it easy, I got more than I expected from this class. One demand: Please, Coop, upgrade the info, there are so many great updates since you recorded this class. Thanks, Razvan