Sequencer and Routing Tricks
Sequencer and Routing Tricks
13. Sequencer and Routing Tricks
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
Sequencer and Routing Tricks
I really enjoy using the sequence or it has a lot of it. You get a lot of crazy effects with it, so what I'm gonna do is I'm actually gonna take this, uh, modifier here, I'm gonna go to sequencer and this is now I've sequenced the wah pedal, just a really neat pedal called the sequel basically what it is is it looks like an e q pedal it's got a bunch of sliders across the front of it and you said each slider and what that's doing is basically selecting a position on a wah pedal um and it runs through the middle certain rape so what I'm gonna do is I'm kind of going to recreate that, uh, so we're going in here and we already attach this to the sequence, and we wanted to be able to sweep throughout the entire spectrum of the wall pedal, so we're gonna go into this control over here and open up the sequencer and let's set a tempo match of say, oh, sixteenth outs so I also want to say eight stages, so I'm just going to randomize thes because I want to kind of be pretty wild, so yeah, I mea...
n, so now my start running it and well, here this is kind of this is just kind of a neat effecting again, I would actually speed this up a good bid um so right now temples at one twenty I'm gonna make the temple to forty and this is kind of more of a classic sequa sound there's a part of one song that I like that as a secret being kind of way and I would even actually speed that up even more is what I'm gonna do is go into the sequence here and, uh make this like let's see? Yeah, there you go e so that's the kind of thing that you can pretty much attached to any sort of thing like anything that has this little symbol right here you can attach a modifier to so say you know, this uh this block which all kind of ah let's see ah challenge from the ask group here oh yeah scenario fighting for is it from from f a s matt because it was a challenge and probably can't do it. It's vince wow. All right, but he had asked him can you demonstrate how to make one expression pedal control water in one scene volume in one scene and whammy in another? I may have some up votes on that, so let me yeah, sure, yeah it's easy actually, the reason that this is so easy is because uh and you can ask and read it to me when we're talking, what three effects can you demonstrate how to make one expression pedal control law in one scene volume in another and whammy in another okay, I'm assuming that you don't want to do all three of these at the same time is that what I think is a fair assumption yeah, I don't know I wouldn't want to do you think there are separate scenes right? So you want to be switching well, I just mean if he wants to do volume swells along with walt I I can't conceive of when that would be a like a thing you would want to do so I'm just gonna go ahead and assume now because it also make it easier but yeah, so you're going to do on aisle walking us through this have added the three blocks wa uh volume, which I'm gonna put actually, um over here um output to doesn't really matter at this point actually okay and pitch so you've got these three blocks I've attached the controller external one to the wall I've attached it to the pitch block on we're gonna go whammy uh well let's see what way? Yeah. Okay. So control so in the uaw good control and the pitch we've got control I'm gonna attach these all to this one pedal right and in the volume we got volume and attach that to this okay, so in this scene a bypass is real quick so we're going to get each block working the way that we wanted to all right so let's do the walk that's pretty good wa sound pretty happy with that so let's have that active in scene one scene too that's going to be off scene to is gonna be our whammy so we're gonna have the whammy on way to set it tio I don't know why that just went wide turn the mix all the way up so all we hear is way yeah do that forever uh so what do you want? You want two octaves or what he'll do to her fun all right let's seem to go for the backup and uh seen three we're gonna dio the volume and uh for fun let's do this on that scene all right? I'm actually change that multi delay put it on the oh so what I'm doing here is I'm just making kind of like a ambient uh kind of an ambient patch to go along with this volume petal we've got here so there you go is easy is that scene one thiss bypass mode on mute fx in so that when we're in this other scene it's not throwing stuff into the multi delay yeah ah cereals it gets right there I got to make the sound way could make it even more ethereal here if we have a minute I think we do um yeah here we go here's this is fun with some kind of advanced block stuff I'm actually gonna do that yeah all right no ah just for clarification there is there a specific workflow that you have to preserve tio to basically preserve the effect trails as you switch scenes or does that good question uh presets yes scenes not really it's kind of the answer to that because you're not really changing any of the effects uh when you go between scenes were still using the same effects and all of them well you're doing it just by passing and unbind passing them would you want to make sure is it your bypass modes on delays and re verbs are set to mute fx in uh the river by always have on so it doesn't actually really matter but we could set it anyway well that's doing is it's muting the signal going into the effects block it's just passing it straight down the chain so for example when I've been seen three here and I'm top you know I'm playing along that's still going along not like eyes going into it likewise because it's muted right now nothing from this pit is is feeding into that maltese away so when I kick on scene three it's quiet but now e feeding signal into it so you want to make sure that your um kind of special effects are set to mute fx so that they're not hearing anything, when they're bypassed, you said it to through it's, still going to be listening to everything so that when you kick on a scene, it's going to start playing everything, that you were playing the other scene, even when it wasn't on so that's, when you pick up like a river transient, right, exactly, that's, when you'll hear a tale of something that you don't want to hear a tale of. So, for example, if I set this to through, we're going along our pitch because it was listening to that patch. I'm sorry, that scene, the multi delay what's. So we want to do is make the multi delayed deaf when it's not being used, and by doing the munif x and that's what we're doing.
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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