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Okay chaps, here's some more detail on my setup:The set list is all over the map - ABBA to Black Sabbath via Bowie, Paul Simon, Chaz n Dave, Queen etc. We typically have roughly 2x 1hr sets, with about the same amount in reserve and to swap in and out from gig to gig.This is how the M9 is used:Scene1: Chorus, Phaser, bright delay, warmer delay, long plate reverb, shorter ducking reverb. This one covers more than half of the gig. Scene2: (this is for the 50s/60s stuff). Trem, Slapback delay (two versions with different mix level), spring reverb, room reverb (rarely used).Scene3: This is my "pitchy" scene. I have two harmony settings (one for Mamma Mia, one for Tiger Feet), and a subtle tap delay to fatten up Mamma Mia. We medley Don't Stop Me Now into Tiger Feet, so this scene also has a chorus and doubling delay I use for the solo in the Queen songScene4: This is my Bowie scene! Top row of three is for Heroes (vibe, delay and reverb - dialed in together to give some approximation of the Fripp parts with a hint of movement to help simulate some of the sweepy filtery bits). Bottom row is Let's Dance - vibrato, slap echo into tap delay (again, trying to straddle the guitar and synth parts on the record)Scene5: Neglected recently, but this is where I parked some 80s- specific stuff. I had synth parts and mod/delays for Don't You Want Me and Just Can't Get Enough. One row of three effects for each.Scene6: The hard-rock scene. Not completely full yet, but there's a univibe for any time I want a faux-Hendrix thing, a ring mod for the solo in "Paranoid" and a delay setting I use for a modern-rock arrangement of Paint It Black (a one-off for a Halloween gig we have coming up)All my drives, boosts and wah are in front of the M9. I also have a Tech21 Leeds between the drives and the M9 so I can go into a power amp/FX return if I need to. Other times I'll turn that off when going into an amp front-end.I actually really like the fact that the M9 only allows one effect at a time per block, as it means I can easily toggle between two settings (eg phaser and chorus) in scene1 with just a single press. Any effects that I never want to combine together, I just arrange them vertically and that takes care of it with no further thinking required.I also tweak my Crunchbox on the fly for a few different applications. I usually set it for a saturated rhythm sound, but sometimes I will bump the level and roll down the tone (eg for the fuzz solo in Easy by the Commodores). So, there's a bit of space left in scene6, but beyond that I'd have to spill out across more than one folder, which would be a pain to navigate live. I've grouped the scenes by musical theme like this because obviously you can't assign names to anything, so I have to remember which scene to open up for each song.All this works for me now, but I'm aware that I'm running out of space, and I'd like to go to a single-box setup as well as potentially benefit from more diverse amp modelling options.Sorry - I seem to have written an essay!
Easiest way is to roll each of your current 'scenes' in to a Helix preset, you can then either set it up with a pile of stomps, or use snapshots to save tap dancing if you need to switch on or off multiple stomps at once.You could probably condense a few scenes in to a single preset, but it really depends on how you want to work.I'm sure a Helix or Headrush would make your life easier and sound better too
gibsongretschfan said:What drives and boosts are you using?
"Anybody can play. The note is only 20%. The attitude of the motherf*cker who plays it is 80%" - Miles Davis
Like the look of the Headrush. Tell me though - if you're using one of these or a Helix (or any other amp modeller), do you still utilise say drive or reverb off your amp? Or does your amp kind of become a neutral facilitator of the modeller's sound?