Lessons

Lesson Info

Recreating Scene Presets with MFC Integration

I'm gonna move these over here we want everything feeding into everything else because we're going to start doing a lot of routing where we're using the same blocks uh but different uh different settings for each one so we're going to set the bypass mode on the cabinets to mute because if one is muted we don't want to hear the dry signal through that and uh we also want the bypass on these amplifiers to be mute okay so let's talk about the actual mechanics of sean's a cz you can see we've got this preset and right now everything is bypassed um I need a route that delay there we're not going to hear that guy uh everything is bypassed except for this amplifier and this cabinet so we've got um I'm gonna have to turn up the mix on the uh send block here but um sorry that's the wrong one isn't way we're not getting sound why are we not getting sound that's not now that would be why when in doubt I can make sure everything is actually on all right now we have south so we're going to go throu...

gh and construct these scenes so if you go through right now you're going to see that seen one is just the way we put it seem too is going all this stuff on sith reasonable that on these air pretty messy this has all got like tons of stuff going on all right so what we want to do is recreate the presets in this in this one thing so we are going to recreate the clean preset first ofthe so seeing one is going to be our clean so in that pre set we had the compressor we had the clean amplifier we had the clean cabinet we had the clean chorus so I'm gonna turn that on and it was the analog stereo we had the clean reverb which was our clean river and we had this um analog stereo delight so right here on the same settings as our recycling so that's what we had before in that preset um we have to bring this level down just a little bit probably somewhere we're getting some clipping I want to make sure I didn't inadvertently insert some giant level bump uh doesn't look like it okay, so I'm just gonna bring that down a little bit again with the level control it's not changing the tone it's just producing them out of valium going so we owe all right so that's our cleans that's going to be seen one seen too is going to be our blues so we're going to go here with our blues and fire the double verb gonna go into our cabinet for blues which was the double verb cab we're going to do our reverb which is the spring reverb and we're going to do our mano analog model delay which is this one so what I'm doing is I'm basically selecting the bypass states that I had for these things and I'm turning them on if they were on in that pre set okay so the drive that we had for our bluestone was this first drive so this is going to be seen to is going to be our blues drive but without the drive pedal on so is the stratfor that so it's gonna be much quieter soul just turned this down it was originally a stratocaster way all right, so there's our blues tony you hear that nice spring river and the nice delay we had their rights so for scene too I'm gonna say copy current scene and I'm gonna paste it tio scene three so this is exactly the same now two and three of the same but I'm to turn the drive pedal on so seen three is going to be our blues rig with the dr so there's our blues scene four we're going to make our rock ray turn these off and foreseen for we're going to go into the x y state and hit why on drive one and turn it on to our bender fuzz on the amp lock we're going to want to find our note that's our high gain we're gonna want to find our rock rhythm plexi down a little bit and we're gonna want to find our cabinet which was the nopal fifty one fifty three it was the only hammered for twelve we're gonna put that in normal raza's well and then we want to find our rock reverb which was our wearing it again believe it wass the hall where we go and we're gonna need to lower this cab nora's yeah, I think we're getting a little cpu anger at the moment I can't remember what river we had it our as our rock river wasn't a studio one one of the other suggestions to cooper was setting the bypass mode on the delays to mute because that may be why was I haven't gotten to the galleys yet but I'm just gonna bypass both of those actually but I'm actually going to do is set the bypass the mode to mute um, effects in so that when we do have the song we have this and when we turned off way don't have any delay but um we're going to hear the same thing the problem with that is that we're gonna get both of these actually that's an interesting question I'm just going to say mute in instead write well if anybody uh if shawn or anybody has a suggestion about howto handle that maybe, um he can chime in and let me know, but I'm going to set this uh, rock thing to be wass should be way having a kind of good philosophical question in the middle of this if you're using or is using the blocks labrie essential for what you're doing or is it convenient time? Okay, could you could put in? Ok, so the way that you would do it without the blocks library is just put in a block like I could do it now because, well, piss off the cpu, but if I had a bunch of multi delays, I could put in a regular multiple a block and then going copy x and then going copy why what I was basically doing with saving time by having the ex already in the block that was saved and then copying just why I okay, so, um, that's our rock rhythm? Um, what am I gonna do this? I'm gonna mute that one and have this one on effects, and so when that's bypassed, so we're just gonna hear one thing what I've done there is because I don't want hear both of these delay lines, I don't want to hear one, so I want to hear the effects from them, though when they're done playing. So we want one line always have sound so that you get the sound through when they're bypassed, then this one's going to be blocked off when it doesn't have sounds, so we're not getting to separate gains that's gonna increase the game is going to it. So, um, if anybody has a question on that, you can ask. All right, so that's saved that's r rockso seeing one, we got the clean scene two we've got our blues scene three is our blues with a lead with the ada. Wait on. This is our rock tone. Now we're going to be five are high gain tone. So for high gain we want the head and bypass all these justcause crazy here. Um, all right, so on the amp, I believe it's on the y state of amp too. It is so here's, our high gain amplifier, and we want our high gain cab, which I believe is on the y state of cab, too. Yes, it is. So we're gonna do that. Um, and for our high gain, we've got our high gain chorus, which was thie digital stereo. So in this scene, when the chorus I'm gonna leave it off um, here it is on when it's off it's in this y state. So when you select this scene the high gain scene, you're going to get this chorus when you turn on instead of the course that we have over here for a clean tone so it's on x and seen one as you can see and then in seeing five for the high game it's on why, but it's bypass because we're not using it. So if you do step onto it, it'll come on. Ok, now we want to do the same thing with our ada. Wait, this was our high gain. Ate away, so we got our way that are high gain tone there, do that and, uh, let's. Double check and see. So scene one. It's clean. All right. Seeing two. We've got our blues penis scene three have got our blues lead scene four we've got our rock and one other thing I want to do is actually change this to the state that we had on our rock. Then go into the clean where we had the trim alone put it on the ex state so they will be on bypass that we get the tremolo reprogrammed their way. All right. We're not gonna have that on by the fault, though. All right. And then five again. All right, so we are pretty close to the cpu limit here. So with us be plugged in because I have it plugged in for the editor, we may get some of what you just heard, which is a little bit of cpu crackling, it's like kind of that granule ation. Sounds a little ugly way air not at the point with the cpu where that's going to not go away when we unplugged the usb so if you do unplug the usb and you're not running into you here a dog which you wouldn't be when you're playing live which is when you would use a pre set with this insane amount of stuff in it then it wouldn't be an issue so it's the short version of that the too long didn't read is you would really only have a pre set with this much stuff happening for playing live so you wouldn't have the usb plugged in which is increasing the cpu past where it's going to be ableto handle this really well so um does anybody have any questions about what we've just done because we've done an insane amount of work of consolidating here I'm sure somebody's probably piped in and said the stereo enhancer is not in that's because given that it's plugged into the cp uh to the usb the amount of cpu we would need to run the enhancer is going to do this ugly sound but as soon as I unplugged the usb that would disappear so um not in not an issue so are we getting any questions about this? I have a question what is it all sounds like when a salter and done but it's all turned on it sounds terrible I'll show you uh this is what you're going to get by default and sean's everything's going to be turned on I'm going here and lower this level but uh it's actually not that bad it's kind of cool ah terrible sound actually got a cool reverb delay trails going on so yeah, why don't we just made two scene six that I could be a teen six will be everything on and that'll segway perfectly into what I'm talking about next which is um we wantto talk about individual levels so every scene you can go into this output screen and select a level here and because it's gonna be so much louder wait go those there are six scenes and this is our crazy scene here so quickly I want teo that took longer than I expected we're going not well talk about controllers later because they're kind of advanced anyway so I'll put that part saving in another section yeah, but part of their so now let's talk about how you can actually access these scenes live obviously this is a situation where you've put four very distinct sounds into one preset and these pre sets were designed for the sake of illustration I wanted to show a uh a clean tone, a bluesy tona rock tone and a tone unless you're playing in a cover band, I can't really conceive of a set where you would use these kind of really different tones so they're for the sake of illustration that being said because we did design this pre set I want to show you how to access this preset using scenes so if we can go over to the m f c foot controller here um on camera I have these first five buttons as you all know default to the first five presets in any given bank so if you step on these they'll switch presets what we want to have them do is switch to scenes so by default if you hit on the reveal switch on the m f c at the top what that's going to give you is sean's one through five so if I hit that we have seen one which start clean tone ondas you can see the editor is going to change thes I hit them seem too is going to be our blues itoen you can see those all just jumped there bypass states and the ex wise to be the appropriate blocks you can notice the little x wise they're changing to be what they should be in those presets even if they're bypassed uh this is our blues lead scene four is our rock and I forgot to turn that tremolo off so it's gonna have that by default because I saved it so we can save that bypassed um and then seen five is our high gain tone okay, what if you want to access more scenes because there are eight scenes, you have a lot of different options uh we're gonna hold down the edit switch here and I have mindset so long press I don't hit it while I'm playing live and inadvertently added the other screen we're going to committee and I'm the page over to this right here I easier one expects scene one and that's going to show you basically that these instant access switches are set to be scenes one through five when I get up to number six it's set to compressor what aiken dio is parameter over and said this to be scene five I'm sorry scene six so now we have access to all the scenes we've made and I would take this little compressor magnet off but for the sake of my sanity because I'm going to forget that I changed this and I'm gonna go play a show next week and step on my compressor and it's going to change to a scene with everything on and it's not going to sound as good as the one we made with everything on the journey back to compressor. The other option you have I'll show you this for the sake of illustration is that if you like not accessing the scenes directly but you want to switch between them sequentially so for example say you have a song and the introduction has seen one and the versus scene too and the chorus has seen three and solo has seen five on then you go back to the verse on scene six what you can do is you can actually just set to switch is to be um seen increment and increment are increase and decrease so this will go if I set that to seen increment up it would just go every time I hit it up one scene and then same thing seen decrease obviously every time you would hit it would go down one scene so you'd be sequentially stepping through one, two, three, four, five, six, seven, eight and since you program them out beforehand and you might have them set up for a particular song, you might not even need scene decrease because you would just be stepping through the parts of the song and then you would go maybe to the next preset using a preset button for song too, in which case you would then start stepping through the scenes for that song. So really scenes are incredibly powerful as faras how you structure a live set. If you have a lot of different songs that have a lot of different sounds, you don't want presets for all of those because you're going to having gaps you set them up in steins and you just step through them the third option with scenes is you can make a switch that switches between scene one and two and this is really cool because it acts like an a b box ah lot people are used to a be blocks boxes rather there we go one more please um you can put that up there. This is a forum member who posted this photo before he got his mfc that was his it's hard to get to scenes with that the scene knob is really small the sea knob is a by the way for those who don't know you can stroll through scenes, but seeing one of you is going to act like an a b switch so we really have four separate options for using scenes on the m f c one is by default they're going to be under those first reveal switches, then you can put him across the board. You can use the step up switch or you can use that kind of a bee switch thing, which I think is pretty cool. So like if you want to have like, a really clean app and a really dirty amp on you just want one button it's going to switch between them stop on that and then it'll switch back when you stop it again so pretty cool there are there any questions about anything that we've done? I know that it's really a hell of a lot of stuff that we've just covered and we've got some pretty intense uh some pretty intense stuff going on in this preset so does anybody have any questions about what online or do you two have any yeah quick question on when you're doing the x y blocks is there any parameters that our independent or globally shared between the x and wine no that's a completely it's like exxon wise like having two completely separate pedals in one block ok even this stuff on the far right with the levels and all that stuff it's too discreet basically what x and y is allowing you to do is okay so for example you can add two compressor blocks any preset rights you have compressor one and you've compressor too but because of x and y you basically have compressor one ex compress for one wife compressor to accent compressor too why? So you have four compressors in one preset right? So pretty powerful so I think it's especially useful for guys who are like dr pedal nuts and really I liked when they used to mam's having a ton of dr pedals and you could gain stage you know, put stack dried petals into other dr pedals you gonna force up for dr pedals on your board at the same time at all accessible via scenes, right? So if you wanna have like a uh you know we have a fuzz here all of these can pick your four favorite ones and stick him on x y and they're completely discreet pedal so it's like having four petals plugged into each other without the batteries and the noise and the tone drain from the patch cables and everything else all right any questions from our line yeah there's ah there's one can you turn on individual effects by mfc in each scene absolutely yes so you focus on the m s c one more time anyway okay so yeah let's say we're in scene seen one which is our blues scene and remember that we put on scene two rather we put this uh this is the lead channel right so the drive is on in this if we go back to the first one right uh there we go so if we go back to this first scene here and we want to just like turn you know so let's play for a second but right now we have the chorus on lower that level a little bit um there's gonna be a little bit of a do the way I did it do to delay when I play anything and change it because the editor needs to sync up that'll disappear a soon as you close the editor you could just cross out of it where you can unplug the usb uh either way it so here's our clean tone all right I don't want chorus I keep trying to play purple rain if I have the khorasan so let's, turn on the a list. Um, you know, I wanted a little delay. Now turn the delay off on, well, that's, actually, the one that's already on there. So there are two delays on when I turned that one to lay on. But, yeah, you get the point, the instant access, which is, uh, still work, obviously, and you can change these to be whatever you want. I have mine said to various things just because of how I used them live, but totally up to you, and you can get a magnets like this from pedal board labels. Dot com little plug for for suk there, if you want o, you know, be able to tell what you're stepping on.