Chad
Slender Hobbit
I’m not sure if it has an out or not. I wouldn’t think you’d want to run a line from the speaker to the mixer, I’d think you’d want to go straight from your FX box to the mixer and a separate line to your speaker.
My Fractal FM-3 thread.
- Thread starter Mark Wein
- Start date
I’m not sure if it has an out or not. I wouldn’t think you’d want to run a line from the speaker to the mixer, I’d think you’d want to go straight from your FX box to the mixer and a separate line to your speaker.
I highly recommend a Xitone wedge (or two). They weigh less than a Deluxe Reverb and are about 2/3rds the size but with plenty of volume (again, comparable to a Deluxe but with headroom all the way up). Still has an "amp-like" quality to it that most PA speakers don't. If you want to also be running direct and you don't care about being in stereo, then you can use the two XLR outs separately. Alternatively, you could get a DI box (Mackie makes two great mono and stereo versions that are inexpensive - I've got the stereo one mounted under my Pedaltrain board).
So if I got the Xitone wedge you just run from the FM3 to the wedge and then out to the PA from the other XLR?
Yeah, that's what I do when I'm running any gig that has a PA but I'm not using in-ears. I used to run in stereo but I rarely feel like lugging out two wedges and I almost never need the extra volume, so I've always got the second XLR out free for it. It does sound cool, though, and I practice at home in stereo all the time.
micwalt
Too Controversial To Have An Athleisure Line
It's so weird to me that the sound would be that different coming from a PA speaker.
When I was using the BOSS GT-8, I had all my sounds dialed in to sound killer into the return of my Classic 30. So when gigging, I'd hear the amp behind me, and I always had a fair bit of the miked sound coming at me from the wedge in front of me as well. When the amp took a shit the day before a House of Blues gig, I decided to go from the BOSS into a Palmer PDI-09 and just go direct. I did absolutely no tweaking of the tones on the BOSS; I just plugged it in and sent an xlr from that to the FOH. It sounded great! After that, I went direct all the time with the wedding band I was playing with and at least half the time with the classic rock cover thing. It all sounded and felt the same.
Right before Covid, I played a handful of gigs with an '80s dance band. I used an HX Stomp for all the gigs and mixed it up between going into the front of a Super Champ, going direct with just the club's monitor, and using a HeadRush frfr. They all worked fine, and I didn't feel like there was a massive difference in the sound at all.
When I was using the BOSS GT-8, I had all my sounds dialed in to sound killer into the return of my Classic 30. So when gigging, I'd hear the amp behind me, and I always had a fair bit of the miked sound coming at me from the wedge in front of me as well. When the amp took a shit the day before a House of Blues gig, I decided to go from the BOSS into a Palmer PDI-09 and just go direct. I did absolutely no tweaking of the tones on the BOSS; I just plugged it in and sent an xlr from that to the FOH. It sounded great! After that, I went direct all the time with the wedding band I was playing with and at least half the time with the classic rock cover thing. It all sounded and felt the same.
Right before Covid, I played a handful of gigs with an '80s dance band. I used an HX Stomp for all the gigs and mixed it up between going into the front of a Super Champ, going direct with just the club's monitor, and using a HeadRush frfr. They all worked fine, and I didn't feel like there was a massive difference in the sound at all.
We use the Mackie SRM450s and while I like them to sing through, even when I mic my guitar through them I hate it. Ive never liked guitar in my monitor which is why I've never been fond of modelers to this point, including using the Iridium live. I'm going to try running it through the effects return of my Badger 30 and see what that sounds like, though.
micwalt
Too Controversial To Have An Athleisure Line
Don't forget to turn off the cab model/IR.
(It's amazing how many people on the Line 6 FB groups do that and then gripe about how it sounds like shit.)
Knox in Box
Rustbelt refugee.
I'm wondering if you could pull off something I've only done on a DAW in post.
I recorded a dirty track, duplicated it, pitch rode the second an octave higher, put a slow attack/heavy sustain compressor only on the affected track and then used the same amp and reverb (maybe added reverb to the octave). What it did was made tye octave swell in after the dry signal. Made it sound like standing in the sweet spot getting controlled feedback. Or like a sustainiac on feedback mode. Only you can control the mix. I always wanted to be able to get that sound live, but don't want to buy a Boss just for an experiment, and don't record enough these days to try again. Here are the examples.
Listen to One Of These Days (Pink Floyd Cover) by Knox in Box on #SoundCloud
https://soundcloud.app.goo.gl/Up54y
And the main hook here...
Listen to Every Planet We Reach is Dead (Gorillas Cover) by Knox in Box on #SoundCloud
https://soundcloud.app.goo.gl/HHb6E
I thought of how to do this live. It sorta goes like this...
I've only had limited success I recreating this as well, for some reason new versions of Samplitude didn't want to play nice, and I did those on my old computer that spectacularly gave up the ghost waaaay back.
I'm sure that sound would be awesome to achieve at lower sound levels. Instant rock God.
I recorded a dirty track, duplicated it, pitch rode the second an octave higher, put a slow attack/heavy sustain compressor only on the affected track and then used the same amp and reverb (maybe added reverb to the octave). What it did was made tye octave swell in after the dry signal. Made it sound like standing in the sweet spot getting controlled feedback. Or like a sustainiac on feedback mode. Only you can control the mix. I always wanted to be able to get that sound live, but don't want to buy a Boss just for an experiment, and don't record enough these days to try again. Here are the examples.
Listen to One Of These Days (Pink Floyd Cover) by Knox in Box on #SoundCloud
https://soundcloud.app.goo.gl/Up54y
And the main hook here...
Listen to Every Planet We Reach is Dead (Gorillas Cover) by Knox in Box on #SoundCloud
https://soundcloud.app.goo.gl/HHb6E
I thought of how to do this live. It sorta goes like this...
I've only had limited success I recreating this as well, for some reason new versions of Samplitude didn't want to play nice, and I did those on my old computer that spectacularly gave up the ghost waaaay back.
I'm sure that sound would be awesome to achieve at lower sound levels. Instant rock God.
Last edited:
I'd have to play with it. I'm not entirely sure how this all works yet.
Update. I've been trying to build a simple library of sounds to go with my telecaster on a cover gig (clean, bluesy overdrive, marshal-style rhythm crunch, lead and a few modulation sounds and its tougher than I though.]
One issue is that my studio monitors (or the way that my sounds are routed while monitoring, I haven't figured out which) are crap so what I hear while I'm dialing in sounds is different than what plays back when its recorded.
Since this was supposed to be a giggle preset, I've discovered that if you change amp models there is a bit of a drop out that can be avoided by using the same amp for the entire preset or by having one of the bigger devices that allows you to use multiple amp blocks (which the FM3 apparently does not do).
Believe it or not, an amp that I hate playing through in real life (a Twin Reverb) has become my favorite clean "base" tone with a Divided by 13 greenback cabinet. It's closer to my real deluxe than the deluxe reverb models in the FM3.
I originally wanted to do something with the fender clean sound and a Marshall-style amp for my crunches. I might still build that up. @Poparad sent me some of his presets and that is how his works. Finding my actual mid-level crunch sound has been difficult, though. My pedalboard and amp sound really good for my tastes and I want to replicate that in sound as well as function as much as possible inside the box. I know it's possible, I just need to keep working at it.
One issue is that my studio monitors (or the way that my sounds are routed while monitoring, I haven't figured out which) are crap so what I hear while I'm dialing in sounds is different than what plays back when its recorded.
Since this was supposed to be a giggle preset, I've discovered that if you change amp models there is a bit of a drop out that can be avoided by using the same amp for the entire preset or by having one of the bigger devices that allows you to use multiple amp blocks (which the FM3 apparently does not do).
Believe it or not, an amp that I hate playing through in real life (a Twin Reverb) has become my favorite clean "base" tone with a Divided by 13 greenback cabinet. It's closer to my real deluxe than the deluxe reverb models in the FM3.
I originally wanted to do something with the fender clean sound and a Marshall-style amp for my crunches. I might still build that up. @Poparad sent me some of his presets and that is how his works. Finding my actual mid-level crunch sound has been difficult, though. My pedalboard and amp sound really good for my tastes and I want to replicate that in sound as well as function as much as possible inside the box. I know it's possible, I just need to keep working at it.
DinoMikeSr
I have the box
You have saved me a lot of money.
micwalt
Too Controversial To Have An Athleisure Line
Keep working at it. I believe it'll pay off in the long run.
When I first started out with the GT-8 years ago, I spent a bunch of time getting my basic clean, kinda crunchy, and high gain sounds. After that, I built every, single preset off of one of those base tones for every band I played with for almost a decade.
I'm trying to do that with the Line 6 now, but I need to get the IR thing squared away.
When I first started out with the GT-8 years ago, I spent a bunch of time getting my basic clean, kinda crunchy, and high gain sounds. After that, I built every, single preset off of one of those base tones for every band I played with for almost a decade.
I'm trying to do that with the Line 6 now, but I need to get the IR thing squared away.
The bigger FM units allow for multiple amp blocks though. Correct?
I vaguely remember looking that up while watching your YouTube video.
I vaguely remember looking that up while watching your YouTube video.
I believe so. I think all of them except for the one that I have, actually.
I've run into a few issues with one of the models clipping (FAS Buttery) and the Band Commander (Bandmaster) model having a bit of a humming or ringing sounds almost like a microphonic tube. It turns out that running the public beta version of the firmware is not without risks although these seem to be well documented issues so I'm sure they will be worked out in the official release.
Man. The Fractal forum is just like any other forum. "Why doesn't my $1000 device have all of the features of the $3000? I'm being ripped off with all of these free updates that don't give me exactly the functionality of the more expensive device with better hardware!!!!".
ok...I built a preset of Twin Reverb, JTM45 and Plexi tones that I dig. I think I'm finally getting the hang of this.
I might do a video of these mostly clean sounds and some effects that sound great with my Strat. I haven't gotten the hang of the overdrive stuff yet but I'll get there. This thing sounds fucking great.
I might do a video of these mostly clean sounds and some effects that sound great with my Strat. I haven't gotten the hang of the overdrive stuff yet but I'll get there. This thing sounds fucking great.