For live use it's important that the different presets you´ll use during the set work well together. Even if your presets sound great by themselves they might still be problematic when used together, because of different routings (creating trouble with seamless preset change and effect spillover), out levels (resulting in level jumps), effect levels and equalizer settings (resulting in strange sound contrasts).
Here are a few things that can be good to keep in mind when making a set of patches that's supposed to work together in a set:
Keep it simple
When you start planning a batch of presets I suggest starting from scratch, in order to get the basic programming (routings, levels, etc) as standardized as possible. Trying to re-adjust existing presets (that might have been programmed in improvised ways) can be very frustrating. You can of course use effect ideas from old presets, but try to find a way to program them that´s compatible with the rest of your new presets.
Unsuitable Mute modes is one source of level jumps when bypassing effects, which fortunately is easy to cure.
Click here to find out about the different mute modes.
To avoid other level differences between patches it´s a good idea to turn down for example the Input block say 5 dB already when beginning a patch so that some extra headroom is available. Otherwise there´s a chance that the max level of one patch are lower than the others, which in worst case will force you to turn down the levels of all the others. Especially the PAN-TREM and the DRV (with low Drive settings) can result in lower levels (the tremolo because it cuts away parts of the sound, so that even if the peak levels are still the same, the RMS level can be a lot lower).
There are a few ways to increase the level more (but watch out for internal overload):
- Add multiple Pipelines in the Routing display, which seems to amplify the signal a bit.
- Use the two shelving filters in the Parametric Equalizer to boost the whole frequency range up to 12dB (when their shelving widths are set wide enough to cover the entire frequency range).
- Route effects like REV and DLY in parallell with a pipeline instead of just feeding the dry signal through the effect block by turning down the Mix value (which will decrease the dry signal level).
- Increase the average signal level with the CPR (but that will of course compress the sound as well).
- Sounds with different Eq curves will appear more or less loud in comparison. Higher frequencies appear louder than lower ones at the same actual dB level (this can be put to creative use: adding midrange will give the impression of a big increase in level).
- If you use "doubling effects" by adding a PIT or DLY voice (with a tiny Pitch/Delay difference) to the dry signal you'll get a much higher total level.
You should also have a look at the following answers :
Found on The G-Force Page.