In this video Brian is playing an MJT thinline telecaster with Porter Vintage Tele pickups
- UPDATE YOUR FIRMWARE: Please upgrade the firmware on your Axe-FX III. and make sure to use the latest version of Axe-Edit III before installing this preset. If your firmware is not up to date, this preset may not load. You can do this with the Fractal Bot software.
- EVERYTHING IS STOCK: This preset does not use third party IR’s. If you’d like to experiment with 3rd party IR’s, feel free to do so in the cab block.
- FC-12 FUNCTIONALITY BUILT IN: This preset was built to work with the Fractal FC-12 and an external expression pedal plugged into the ‘Pedal 1’ input. See the Per-Preset overrides and FC assignments below.
SIGNAL FLOW AND EFFECTS
Here is the signal flow and effects:
- Input 1 (the Input Noise Gate is turned off to save CPU).
- Vol/Pan 1 (the volume parameter is mapped to EXTERNAL 1)
- NOTE: The ‘Volume’ parameter is mapped to ‘EXTERNAL 1’. This will allow you to globally choose what expression pedal is mapped to ‘EXTERNAL 1’. To set this up, go to ‘SETUP -> MIDI/Remote’. In the MIDI/Remote menu, navigate to ‘External’. From there, set ‘External Control 1’ to whatever you are using for your expression pedal.
- Compressor 1
- Channel A: Studio Comp: set to be somewhat transparent, general use comp.
- Channel B: Pedal Comp 1: Lots of compression and squish. Use this for funk and super clean stuff. Also gets the ‘Bethel sound”, especially on verby clean lines.
- Channels C & D: Not set up.
- Drive 1 – First Stage OD
- Channel A: FET Boost (set up to mimic a Klon)
- Channel B: Esoteric RCB (RC Booster)
- Channel C: SSD Preamp
- Channel D: Timothy (Timmy)
- Drive 2 – Second Stage OD
- Channel A: Full OD (Fulltone Fulldrive)
- Channel B: T808 OD (Tube Screamer)
- Channel C: Esoteric ACB (AC Booster)
- Channel D: BB Pre (BB Preamp)
- Drive 3 – Third Stage OD
- Channel A: Rat Dist (ProCo Rat)
- Channel B: Super OD (Boss SD-1)
- Channel D: Eternal Love (Lovepedal Eternity set for big OD)
- Channel D: Shimmer Drive
- Pitch 1
- Channel A: Dual Shift (POG type effect, subtle)
- Channel B: Dual Pitch (POG, more pronounced)
- Channel C: Crystal Echos (Shimmer)
- Channel D: Classic Whammy (Octave up Whammy – assign the control to an expression pedal and have some fun)
- NOTE: The control for the whammy effect is mapped to ‘EXPRESSION 1’ – see the usage notes below for more information.
- Amp 1: AC-20 EF86 Treble (Morgan AC-20)
- Channel A: Voiced for single coils and lower output humbuckers
- Channel B: Voiced for medium to higher output humbuckers
- Cab 1: (only channel A is set up):
- Cab 1: 1×12 AC-20 DLX 121 Con Rev (Factory 1, 103)
- Cab 2: 1×12 AC-20 DLX 57 (Factory 1, 102)
- Delay 1: (Quarter and 8th note delays)
- Channel A: Analog Stereo (1/4 delay with a wide stereo field)
- Channel B: Stereo Tape (1/4 delay with a wide stereo field)
- Channel C: Analog Stereo (1/8 delay with a wide stereo field)
- Channel D: Stereo Tape (1/8 delay with a wide stereo field)
- Delay 2: (All dotted eighth note delays)
- Channel A: Deluxe Mind Guy
- Channel B: Vintage Digital
- Channel C: 2290 w/ Modulation
- Channel D: Stereo Tape
- Delay 3: (All dual stereo delays)
- Channel A: Deluxe Mind Guy (1/8 and Dotted 8th in stereo)
- Channel B: Stereo Tape (Dotted 8th and Quater in stereo)
- Channel C: Stereo BBD (Quater and Quater Triplet in stereo)
- Channel D: Vintage Digital (Quater and Dotted 8th – huge washy delay for swells)
- Plex Delay 1: (Plex verb for huge swells and ambient reverb)
- Channel A: Plex Verb (big ambient reverb for swells)
- Channel B: Plex Verb (ambient reverb – not quite a huge as channel A)
- Channel C: Plex Shift (shimmer)
- Reverb 1: (‘Normal’ verbs)
- Channel A: Medium Plate
- Channel B: Medium Room
- Channel C: Large Hall
- Channel D: Recording Studio C
- Reverb 2: (Big ambient verbs)
- Channel A: Stratocumulus
- Channel B: Cirrocumulus
- Channel C: Deep Space
- Channel D: Nimbostratus
- Out 1
This preset is meant to be used with scenes to replicate different sections of the song:
- Scene 1: INTRO/VS1 – Clean tone with dotted 8th delay
- Scene 2:CH1/AMBI – This is essentially a swells sound
- Scene 3: VS 2 – Like scene 1 with a bit more gain (the volume block is disengaged in this scene)
- Scene 4: CH BIG – Big drive with the Pitch block (Whammy) engaged. The expression pedal controls the Whammy (see usage notes below)
- Scene 5: BRIDGE – Big rhythm sound
- Scene 6: NOT USED
- Scene 7: NOT USED
- Scene 8: SWELLS – Huge ambient swells.
This song uses the Digitech Whammy effect in the choruses (and at the end of the bridge section). The whammy effect is engaged in the Big Chorus scene and is controlled with the expression pedal.
Because the expression pedal is used for volume as well, the volume block is disengaged in the ‘Verse 2’ scene. This will allow you to move the pedal to the down (heel) position during verse 2 to get ready to use it in the chorus. If you leave the pedal in the toe position and go to the chorus, you’ll hear the whammy pedal fully engaged (octave up).
During the choruses, the expression pedal controls both the ‘Control (pitch)’ and ‘Mix’ parameters of the pitch block. As you move the pedal to the toe position, you’ll pitch up 1 octave and the mix will increase.
The volume block is also disengaged in the Bridge scene. This allows you to keep the expression pedal in the down (heel) position during the bridge and then switch back to the ‘CH Big’ scene at the end of the bridge to engage the whammy effect.
If you ‘d like to use a second expression pedal to engage the Whammy effect, simply re-map the ‘Control’ and ‘Mix’ parameters in the pitch block to your desired expression pedal. I have mapped them both to ‘EXTERNAL 1’, which is the same as the Volume block.
Everything after the amp runs in stereo. If you are running mono, you’ll need to sum your signal to mono before going to FOH (if you only use the Left output, won’t hear some of the delays at all).
The easiest way to make this adjustment is in the ‘Setup’ menu:
- Choose ‘Setup’, and select ‘I/O’
- In OUTPUT 1 CONFIGURATION (choose the physical output you are using), change the ‘Mode’. Select ‘STEREO’ if you are running in stereo. Select ‘’SUM L+R’ if you are running mono. This will convert your output to mono and sum the stereo image. This will also cause all your presets to output in mono, as it is a global setting.
For most blocks, We’ve set up multiple channels to give you different options for any given effect. However, not all blocks have all four channels set up – some have just couple, and some only one. See the Signal Flow section above to see what is set up in what channel for any given block.
All three drive blocks increase in gain as you go up, so Drive 1 is lower gain than Drive 2, etc. Within each drive block, all four channels are set up to give you different flavors of the same gain structure. Every guitar reacts differently with drives (and amps), so it’s good to have options. We’ve chosen our personal favorites within each block and left them in Channel A, but feel free to experiment with your setup to find what you like best.
We’ve used all four channels of all four delay blocks (that’s 16 different delays!) . Each delay block runs in parallel with the others so the delays don’t run into each other.
Delay blocks are separated into different delay times. For example, Delay 1 is four different flavors of quarter note delay, Delay 2 is all 8th note delays, Delay 3 is all dotted 8th noted delays, and Delay 4 is all stereo dual delays. Delay four is a bit different because each channel will give you different rhythmic delays, and Channel D is set to give you a huge wash for swells.
We’ve set up reverbs the same way as delays – each reverb block contains four versions of the same type of reverb (normal and big).
PER-PRESET MAPPING AND OVERRIDES
This preset integrates with the Fractal FC-12. We’ve set up Per-Preset overrides for both effects and scenes, and we’ve mapped them to Layouts 7 (Perform 1) and 8 (Perform 2). If you have an FC-12, the following assignments should be plug-and-play. Layout 7 will be your scenes and Layout 8 will be individual effects, plus swells. We recommending setting Buttons 6 & 12 on Layout 7 to Preset +/-1 inc/dec. This way you can cycle through your presets one at a time from Layout 7.
HERE ARE THE PER-PRESET MAPPINGS AND THE BUTTONS THEY’RE ASSIGNED TO OVERRIDE
PP1: Scene 1: Layout 7 Button 2
PP2: Scene 2: Layout 7 Button 3
PP3: Scene 3: Layout 7 Button 4
PP4: Scene 4: Layout 7 Button 5
PP5: Scene 5: Layout 7 Button 8
PP6: Scene 6: Layout 7 Button 9
PP7: Scene 7: Layout 7 Button 10
PP8: Scene 8: Layout 7, Button 11
PP9: Drive 1 – Layout 8, Button 2
PP10: Drive 2 – Layout 8, Button 3
PP11: Drive 3 – Layout 8, Button 4
PP12: Reverb 1 – Layout 8, Button 5, ‘Short Verb’
PP13: Reverb 2 – Layout 8, Button 6, ‘Big Verb’
PP14: Plex 1 – NOT ASSIGNED
PP15: Delay 1 – Layout 8, Button 8, ‘1/4 DLY’
PP16: Delay 2 – Layout 8, Button 9, ‘1/8d DLY’
PP17: Delay 3 – Layout 8, Button 10, ‘DualST DLY’
PP18: Delay 4 – NOT ASSIGNED (Effect not used in this preset)
PP19: TremPan 1 – NOT ASSIGNED (Effect not used in this preset)
PP20: Chorus 1 – NOT ASSIGNED (Effect not used in this preset)
PP21: Pitch 1 – Layout 8, Button 11
PP22: Scene 8/1 Toggle – Layout 8, Button 12, pink (this will toggle between the SWELLS and CLEAN scenes)
MAKING CHANGES TO THESE ASSIGNMENTS
If you’d like to change any of these assignments (either the Per-Preset Assignments or the Overrides), you can do so in the ‘CONTROLLERS’ menu on the Axe FX III. Press ‘CONTROLLERS’ from the Home screen, then select ‘Per-Preset FC Settings’ and make changes.
If you would like to go back to your default settings for Layouts 7 and 8, you can reset the Overrides from the ‘Overrides’ menu in the ‘Per-Preset-FC Settings’ section.
MAKING ADJUSTMENTS FOR YOUR SETUP
SETTING THE PRESET UP FOR YOUR GUITAR
All guitars are different, so you may want to make changes to suite your playing style and guitar. The amp blocks are set up for single coils using Channel A and humbuckers using Channel B.
NOTE: If you want to use Channel B of the amps, please be aware that you’ll need to change to Channel B in every scene, otherwise the scenes will switch the channels. You may prefer to create a duplicate of this preset and copy the Channel B settings into Channel A of the amp block.
To adjust the preset for your guitars, the primary controls to adjust would be:
- Input Drive (and/or Input Trim). If the clean sounds from this preset are too dirty, lower the input drive and/or trim. Do the opposite if you want more gain. This preset is meant to be on the edge of breakup at it’s cleanest settings (otherwise the drives won’t stack properly).
- EQ settings (amp block – basic). Once the desired gain staging is set, the next adjustment would be the amp EQ settings.
- Output EQ settings (amp block). The Graphic EQ on the amp block is a great way to make final EQ adjustments. We’ve set it to ‘Post P.A.’, which means the EQ settings will not be affected by the Power Amp section.
ADJUSTING THE OVERALL LEVEL OF THE PRESET
The Axe FX III offers very useful tools to check overall level of individual presets and blocks. In the Output block you can monitor the overall output level. You can also monitor levels of each block individually from the front screen of the Axe FX.
We’ve set this preset up so that the loudest settings peak around 0db (or a bit above). If you’d like to adjust the level up or down (to match it with other presets), we recommend adjusting one of the following:
- Level (amp block – basic). This will adjust the overall level of the preset up/down. Avoid using the ‘Master Volume’ control, as this will change the tone of the amp.
- Level (cab block). This will also adjust the overall level of the preset up/down.
Version 1.0 (initial release): 2019-02-07