Each tone preset is made up of (potentially) many effects. Many of these INCLUDE 'Level' settings but the overall operational output is set via the Volume Pedal or the Output-Level knob next to it. I tape a 3/4" inch piece of wood under the pedal for a default-point. The challenge is to create a series of presets that are ALL perceived as sounding at about the same output level or loudness. This would be very easy to do IF a Pedal-Volume/Output-Level 'neutral position' level were also part of each preset, but it isn't!
If I change some 'Level' setting within a preset then I also change the tonality of that preset, so this is NOT the way to go. And I know of no other way. i'm learning a song right now for which I have cooked up 3 presets and am having a hard time to make them all sound at the right loudness so that I don't have to muck around resetting volume with each tone-change.
Are there better ways of doing this? How about on other boards too? Does the GT1000 or the Line6 flagship have such a setting?
This would be very easy to do IF a Pedal-Volume/Output-Level 'neutral position' level were also part of each preset, but it isn't!
...
Are there better ways of doing this? How about on other boards too? Does the GT1000 or the Line6 flagship have such a setting?
This would be very easy to do IF a Pedal-Volume/Output-Level 'neutral position' level were also part of each preset, but it isn't!
...
Are there better ways of doing this? How about on other boards too? Does the GT1000 or the Line6 flagship have such a setting?
I have never liked more than a touch of distortion and such because when any musical artifact goes beyond the role of expressive accent and becomes the only offering then the whole stops being art and becomes otherwise pointless technical bravado or gymnastics like shredding or running glorified scales. But, the vocal aside, this is the first one I run into that actually impresses me (I'm pushing 80 so that covers a few decades). The guitar work IMO is aggressive but it gets into the lead with the big dogs on the run without becoming just one of the "screaming bitches knitting on the porch" like most overdriven efforts do. It's like people who yell non-stop, no one listens to them as opposed to such as your (guitar) track where the tonal undercurrent doesn't get drowned out in 'everything to six o'clock, look-ma, not only no-hands but no-brains either'! Compare that to (paraphrased from a movie) a normally-spoken quiet voice saying 'they wouldn't like my way of becoming involved' Congrats.
I have never liked more than a touch of distortion and such because when any musical artifact goes beyond the role of expressive accent and becomes the only offering then the whole stops being art and becomes otherwise pointless technical bravado or gymnastics like shredding or running glorified scales. But, the vocal aside, this is the first one I run into that actually impresses me (I'm pushing 80 so that covers a few decades). The guitar work IMO is aggressive but it gets into the lead with the big dogs on the run without becoming just one of the "screaming bitches knitting on the porch" like most overdriven efforts do. It's like people who yell non-stop, no one listens to them as opposed to such as your (guitar) track where the tonal undercurrent doesn't get drowned out in 'everything to six o'clock, look-ma, not only no-hands but no-brains either'! Compare that to (paraphrased from a movie) a normally-spoken quiet voice saying 'they wouldn't like my way of becoming involved' Congrats.
Thanks for kind words. Great that you liked it!
Guitar sound is simply Fender Deluxe emulation (on chorus doubled from both Digitech RP255 and Line6 HD500X) and guitar with AEAEAE tuning. No, don't try that tuning on normal strings, my strings are individually selected 10-64.
I have never liked more than a touch of distortion and such because when any musical artifact goes beyond the role of expressive accent and becomes the only offering then the whole stops being art and becomes otherwise pointless technical bravado or gymnastics like shredding or running glorified scales. But, the vocal aside, this is the first one I run into that actually impresses me (I'm pushing 80 so that covers a few decades). The guitar work IMO is aggressive but it gets into the lead with the big dogs on the run without becoming just one of the "screaming bitches knitting on the porch" like most overdriven efforts do. It's like people who yell non-stop, no one listens to them as opposed to such as your (guitar) track where the tonal undercurrent doesn't get drowned out in 'everything to six o'clock, look-ma, not only no-hands but no-brains either'! Compare that to (paraphrased from a movie) a normally-spoken quiet voice saying 'they wouldn't like my way of becoming involved' Congrats.
Thanks for kind words. Great that you liked it!
Guitar sound is simply Fender Deluxe emulation (on chorus doubled from both Digitech RP255 and Line6 HD500X) and guitar with AEAEAE tuning. No, don't try that tuning on normal strings, my strings are individually selected 10-64.
Believe me I'm the last person on earth to throw compliments around but when I see/hear the equivalent of a 50-cal taking out flies as it tries to convey a message and it does so without destroying everything within a mile I can relate to it. Shudda knowed it was the strings, not that much of a musician yet. I'm minded of Pretorius' rendition of The Road To Hell @ https://www.youtube.com/watch?v=ShjJd1uVG-s, more living proof that guitar playing, especially in the electric century, is more than just banging a piece of 2x12 with wires on it
Congrats.