Fender Tone Master Pro: Episode IV - A New Hope

[metropolis_4]

In the example you give, I would put everything into a single preset. And I could even add another amp and a handful of effects, and dial in eight basic sounds with the switches (that can easily be combined in 10-12 usables sounds). I understand the need for song mode and snapshot: in my opinion, it can be useful if you're playing in a cover band with a large (50-60) set from many different artists (and amps). It' not my case at all. I play in different projects, whithin which my sound doesn't vary much. Putting everything in a single preset simplify operations, help to keep a coherent and personal sound. The benefit of modeling, for me, is that I can be very versatile from one project to the next, to stuck at something very specific, "tailored" for the band/artist I play with. But it's not about having a different sound on every song.

You can’t do it all in one preset and use songs/setlists for your live workflow without snapshots/scenes.

I made that scenario very simplistic to get the point across, what if you’ve got 5 core amp tones you’ll need along with 6 effects combinations of each? What if you need to change from a clean with comp, chorus, three delays, two reverbs, and EQ to a dry distortion tone without a gap?

Surely you can see the situations that make scenes/snapshots incredibly useful for others even if they’re not useful to you?

 

[timbuck3]

I almost went with an AxeFX instead of the FM9 just because of global blocks. It is an amazing feature I wish every device would offer

what the fm9 has no global blocks? why not?

 

[Frodebro]

what the fm9 has no global blocks? why not?

Because Cliff said so, that’s why.

 

[mbenigni]

Here’s the dumb thing about that argument:

even if a “professional” didn’t fine tune their sound during the gig, do these people think professionals never have to fine tune during a rehearsal? Or during sound check?

The other dumb thing about the argument is that the professionals whom we aspire to emulate, who are rarely/ never seen tweaking their onstage gear, often tour with a competent sound person familiar with the material, addressing post-EQ and FX needs for them. If you don't enjoy that level of support, it's nice to have a few extra tools at your own disposal.

 

[Snags]

The other dumb thing about the argument is that the professionals whom we aspire to emulate, who are rarely/ never seen tweaking their onstage gear, often tour with a competent sound person familiar with the material, addressing post-EQ and FX needs for them. If you don't enjoy that level of support, it's nice to have a few extra tools at your own disposal.

Wait; are you telling me that you don't have someone else managing all your patch and pedal changes and handing you appropriately tuned guitars every other song, having previously got to the venue 8 hours earlier to extensively map and manage the acoustics, when you're playing down the pub?

I thought we all had that.

 

[mbenigni]

Wait; are you telling me that you don't have someone else managing all your patch and pedal changes and handing you appropriately tuned guitars every other song, having previously got to the venue 8 hours earlier to extensively map and manage the acoustics, when you're playing down the pub?

I thought we all had that.

Sometimes I get a free beer, and that helps even out the eigenvectors or whatever.

 

[Sascha Franck]

The other dumb thing about the argument is that the professionals whom we aspire to emulate, who are rarely/ never seen tweaking their onstage gear, often tour with a competent sound person familiar with the material, addressing post-EQ and FX needs for them.

Also, on that level you're often playing what I'm calling "controlled condition" shows all throughout.
As said, this is already happening in most musical theatres, sort of bigger staged shows (especially once you're doing tribute stuff) and what not.
It usually only get's more controlled once the shows get bigger. I've been playing a rather large ABBA cover act for around a decade and after the first week of shows, I could've put goop on pretty much every sound related parameter. Fwiw, things went so far that we were having some fun with our IEM mixes, such as in playing an entire show with just the click and your instrument or allowing other dudes to dial in your IEM mixes (the only prerequisite being that your instrument and the click were the loudest in the mix).

Still, on all gigs allowing for even just some bits of musical freedom, I usually need/want to be able to dial in things as I see fit. I might check different (virtual) amps, some different dirt boxes, different guitars, whatever. Keeps things interesting. But you really need to be able to fix potential issues instantly for that kinda fun.

 

[mbenigni]

Fwiw, things went so far that we were having some fun with our IEM mixes, such as in playing an entire show with just the click and your instrument or allowing other dudes to dial in your IEM mixes (the only prerequisite being that your instrument and the click were the loudest in the mix).

Wow. I cannot even imagine...

 

[JiveTurkey]

Wow. I cannot even imagine...

Momma Mia indeed

 

[Sascha Franck]

Wow. I cannot even imagine...

It's really not that hard and you don't need to be specifically gifted at all, either.

1) After several hundreds (!) of shows, it's all autopilot anyway.
2) I never used completely sealed IEM buds (I have some molded ones but never liked them), so there's always a little FOH bleed for orientation, should you ever get lost.

Seriously, the much bigger risk is that after so many shows, you can get lost in that autopilot kinda thing, just that Mr. autopilot sometimes tries to take shortcuts. "Oh whoops, that wasn't chorus 2 yet - why am I playing the interlude, though?!?"
And that's where coming up with some strange ideas is actually helping. With just the click and your guitar, you really need to be focused.

 

[mbenigni]

Seriously, the much bigger risk is that after so many shows, you can get lost in that autopilot kinda thing, just that Mr. autopilot sometimes tries to take shortcuts. "Oh whoops, that wasn't chorus 2 yet - why am I playing the interlude, though?!?"
And that's where coming up with some strange ideas is actually helping. With just the click and your guitar, you really need to be focused.

"Turn a seeming disadvantage to your advantage."

 

[metropolis_4]

Seriously, the much bigger risk is that after so many shows, you can get lost in that autopilot kinda thing, just that Mr. autopilot sometimes tries to take shortcuts. "Oh whoops, that wasn't chorus 2 yet - why am I playing the interlude, though?!?"
And that's where coming up with some strange ideas is actually helping. With just the click and your guitar, you really need to be focused.

Haha, I know exactly what you mean!

Usually the second or third week of a run of shows is the danger point for me where I know the show so well I sometimes slip into autopilot mode.

Then all of a sudden you realize you’ve been staring at the chart but not actually reading it and as soon as you snap out of it you’re lost

I make more mistakes because of my stupid autopilot than anything else!

 

[DrewJD82]

Speaking of fun with IEM mixes, I thought this was pretty funny-

 

[Sascha Franck]

I make more mistakes because of my stupid autopilot than anything else!

Yeah, same here. Also true for tunes I've played a gazillion of times, even without literally copying them. After the count-in you just hope that these torturing 4 minutes of "I Will Survive" (for reasons completely unknown to everyone with a little bit of taste and dignity left, this has made it into the standard playlist of each and every party-ish band over here) will be over without you having to actually wake up. "Uh-Oh, singer deviated with some dubious animation part (the last thing you want on "I Will Survive"....) where are we?"

 

[Sascha Franck]

Speaking of fun with IEM mixes, I thought this was pretty funny-

Haha, been there, I mean, like *literally* there (maybe the guys had seen this very video).

Last show of a tour onstage pranks can be quite something. We also had it that the sound guy would route some completely different music into our IEMs (some horrible german schlager stuff) - but he actually stretched it to the correct tempo, key was somewhat similar and he just told us (through the monitoring system) to keep going as usual. I wish there was a recording of that IEM mix. Fortunately, he only did it for the band, not for the singers and he simply had to stop it after half a minute because we were just dying of laughter.

 

[mbenigni]

Speaking of fun with IEM mixes, I thought this was pretty funny-

That's hilarious.

(But when real rockstars get "antsy" on tour, they light the drummer's beard on fire. )

 

[metropolis_4]

Yeah, same here. Also true for tunes I've played a gazillion of times, even without literally copying them. After the count-in you just hope that these torturing 4 minutes of "I Will Survive" (for reasons completely unknown to everyone with a little bit of taste and dignity left, this has made it into the standard playlist of each and every party-ish band over here) will be over without you having to actually wake up. "Uh-Oh, singer deviated with some dubious animation part (the last thing you want on "I Will Survive"....) where are we?"

When I was doing country covers it was “Friends in Low Places”.

I remember some of the bars had trivia on the TVs and the bass player and I would go on autopilot and play trivia against each other to pass the time

 

[norminal]

 

[alexone]

It is indeed the best sounding guitar processor ever!

 

[timbuck3]

It is indeed the best sounding guitar processor ever!

Is that ray Winstone?