Fractal Talk

[GTR37]

View attachment 25873

Anyone wanna guess where this is?

Puerto Rico

 

[TheTrueZoltan!]

@DrewJD82 I thought you had finally been invited to Neural HQ in Finland to enjoy a steak and a cigar with Mr. DSP.

 

[kaysersoze]

Yeah I’ve not overly meshed with the virtual capo, but I was watching a G66 vid I think where LT did some sort of high cut in a block to eliminate some artifacts. Or maybe that was the whammy vid I was watching. (I have an unhealthy obsession with G66 vids lately and my list of cool stuff to try is growing beyond anything I’ll be able to try in this lifetime )

Having recently discovered G66, I too have gained an unhealthy obsession. So many cool things to try.

 

[norminal]

Having recently discovered G66, I too have gained an unhealthy obsession. So many cool things to try.

Between g66, Leon, Cordy, and Kingman, there’s always new things to learn.

 

[Whizzinby]

Between g66, Leon, Cordy, and Kingman, there’s always new things to learn.

They really are invaluable to the platform.

 

[Frodebro]

Between g66, Leon, Cordy, and Kingman, there’s always new things to learn.

And Marco Fanton. Guy is a super tasty player.

 

[TSJMajesty]

IMHO there is already too much in the Fractal, at least for my needs
Ill probably only ever use like maybe 20% of whats in the Fractal
Which is why I love Tone and QoL improvements over adding more gear

Yes I know Blasphemy

I don't see it as gear that we should use everything in. Or even try to.

I see it as so deep, so that can be something for every type of player.

 

[TSJMajesty]

I've written this elsewhere, but I think that for 5ths, 4ths, octaves, and single notes, you can get great results with the pitch shifting in the Axe-FX III by setting it to Fast with Tracking at 0, increasing the output of the block with every half step you decrease pitch, and very carefully adjust the block's built in low and high cuts. I can often get results that sound utterly natural that way. For anything harmonically complex I haven't found a good way to use it.

To get the most natural results, I create a separate patch just to set the Virtual Capo. I'll set it to be controlled with a momentary CS so that it shifts only while I hold down on the switch. Then, I've found it's easiest to compare palm muted power chords shifted and unshifted, tweaking the above listed parameters, until I can't hear any difference at all in pick attack, low end, or sizzle. For instance, if I'm setting it for half a step down, I'll palm mute power chord on the low E open, then engage the pitch shifter and play the same thing on the first fret. I go back and forth until they sound identical. Totally works for harmonically simplistic stuff.

How's your method work for -5, played on the high e, then off, played on the b string?

I play a JP riff from Key To The Imagination (LTE), and I compare the 2, and they're pretty damn close.

This is the riff:

I've compared the 2 because it's a song played on a 7 string, which I don't own. So I use the VC set to -5 to play that same riff on the low E. But it's also played on the B string, so sometimes I'll leave the VC on, and play it on the high e.

 

[Frodebro]

I don't see it as gear that we should use everything in. Or even try to.

I see it as so deep, so that can be something for every type of player.

THat's exactly the reason for so many options in modelers. The goal is not for 1 person to use 300 amps, it's for 300 people to find the amp(s) that they like.

 

[Whizzinby]

THat's exactly the reason for so many options in modelers. The goal is not for 1 person to use 300 amps, it's for 300 people to find the amp(s) that they like.

Nailed it.

 

[State of Epicicity]

How's your method work for -5, played on the high e, then off, played on the b string?

I play a JP riff from Key To The Imagination (LTE), and I compare the 2, and they're pretty damn close.

This is the riff:

View attachment 25904

I've compared the 2 because it's a song played on a 7 string, which I don't own. So I use the VC set to -5 to play that same riff on the low E. But it's also played on the B string, so sometimes I'll leave the VC on, and play it on the high e.

I haven't done anything with the high E, but I've recently been playing Flattening of Emotions by Death, in which I have momentary harmonies of a 5th below, so -7 steps, while I'm playing around the 14th - 17th fret of the 2nd string, and to me, it sounds exactly like I'm doing that harmony myself on the G string. I've found that the settings have to be different depending on where you're playing. For instance, in that song, one of the first things you do is engage a momentary harmony of a 5th below just for certain notes in the intro, so it's similar to the solo in that way, but you're playing on the 5th and 6ths strings now, palm muting a ton. I can get that to sound exact too, but the settings are completely different.

That's cool that it's close for you right off the bat. I'd recommend increasing the output of the pitch block, so it hits the front of the amp harder, until your pick attack sounds the same through the pitch shifter as it does without. I'd palm mute, because that really isolates the pick sound. Then play with high and low cuts, then readjust your pitch block output, and you can totally get it indistinguishable. It's a pain because range really matters for this, but totally worth it.

Also, if you ever do this for harmonies, I recommend tuning them, i.e., using the detune parameter to get consonant intervals sweeter. Even though the harmonies generated by default are I guess mathematically perfect, they often sound way better with a little of the detune parameter going up or down, depending on what you're doing. When I'm setting something for the VC, I use the detune to get the pitch shifted part to sound exact to the original by also making sure it's tuned to it too. That just helps me psychologically eliminate a few cents out of tune as also sounding like it has too much or too little definition.

 

[DrewJD82]

Hella fun!!

Is that a Bell's Two-Hearted Ale I spy??

Maybe? If it’s local then probably, my buddy is 100% about keeping it local/DIY.

 

[deathbyguitar]

Now that the Quad Cortex has a doubler, I think that means Fractal is the now only top tier modeler not to have one. The Enhancer block is pretty cool and can sound good live through stereo speakers BUT IT'S NOT THE SAAAAAAAMMMEEEEE

 

[norminal]

Now that the Quad Cortex has a doubler, I think that means Fractal is the now only top tier modeler not to have one. The Enhancer block is pretty cool and can sound good live through stereo speakers BUT IT'S NOT THE SAAAAAAAMMMEEEEE

Cooper Carter’s “doubler” in the Petrucci Rig preset is pretty damn good.

 

[Stone]

Now that the Quad Cortex has a doubler, I think that means Fractal is the now only top tier modeler not to have one. The Enhancer block is pretty cool and can sound good live through stereo speakers BUT IT'S NOT THE SAAAAAAAMMMEEEEE

Dont let Cliff Hear that :)

 

[MirrorProfiles]

doubler sounds absolutely shite on guitar, I genuinely can’t believe people play through them.

I’d legit rather play through 5x BBE Sonic Maximisers on full than some goofy sounding doubler.

 

[GTR37]

THat's exactly the reason for so many options in modelers. The goal is not for 1 person to use 300 amps, it's for 300 people to find the amp(s) that they like.

THat's exactly the reason for so many options in modelers. The goal is not for 1 person to use 300 amps, it's for 300 people to find the amp(s) that they like.

 

[deathbyguitar]

Dont let Cliff Hear that :)

I have the utmost respect for that man but I would say it to his face if I had the chance

 

[duzie]

What’s all this about a doubler ?
Anyone have a clip of them using it?

 

[hemmelight]

I did think the doubler was pretty cool on the NDSP Petrucci plugin when I tried it.

Would be a fun toy to have in the Axe. *Throws onto the pile of 67 other effect types i never use in the box*