Description

These clips uses effect type 2 which is a reverse delay. With this effect, every time you play a note, the audio plays back in reverse from the current note to the previous note that you played. Also, an additional delay is used where only the delayed signal gets the reverse delay effect.

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These clips uses effect type 7, which is a single delay repeat that tracks your playing speed. You can hear how the delay gets shorter as the playing gets faster.

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In these two clips, effect type 35 provides a volume ramp, where the length of the ramp depends on the time between each note that you play. In addition, a delay with multiple repeats is added after the ramp, where the delay time depends on the time between each note that you play. The delay feedback is set so that the delay is only heard for slow playing.

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In these two clips, a ramp down pitch shifter is used. The first clip uses a 100% wet signal with a fixed ramp time. The second clip uses a 50% wet signal with a fixed ramp time. You can also set the ramp time to match your playing speed.

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In this clip, effect 51 is used to create a fixed rate auto filter for each not that you play. You can also set the envelope time to match your playing speed.

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In this clip, a pitch shift value of a third higher is used and mixed with the dry signal. Effect type 65 is used and set to play harmonies with soft playing, and only the dry signal with loud playing.

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In this clip, an exponential volume envelope (effect type 34) is triggered with each note that you play. A delay with a single repeat is placed before the envelope generator where the delay time tracks your playing speed. This means that during each envelope, you hear both the current note being played and also the last note that was played independent of your playing speed.

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These clips are meant to show how the sound depends on the placement of the layered delay. Effect type 50 is used to provide an exponential band-pass filter envelope that is triggered each time you play a note. An additional static delay is used with multiple repeats. The first part of the first clip has the delay before the filter. Here, the original note triggers the filter but the repeats do not. The second part of the clip has the delay after the filter. Here the original note triggers the filter and then this sound is repeated. The third part of the clip has the delay in parallel with the filter. Here, the repeats are not filtered. Finally, in the last part of the clip, the delay is after the filter, but only the delayed signal is filtered. The second clip has the delay before the filter.

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This clip shows how FX-Tracker can automatically switch between two effects depending on your playing speed. It uses a fixed period sine tremolo (effect number 30) where the tremolo depth increases as you play slower. There is also a static delay with multiple repeats where the delay feedback increases as you play faster.

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This clip uses effect type 60 which is a pitch shifter that ramps up to one octave above the note that you are playing. The ramp length depends on the time between the notes that are played. The mix is set at an equal amount of wet and dry signal.

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In this clip, a sine flanger with static period is set so that depth increases for louder playing.

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This clip uses effect type 78 which sends a triangle shaped envelope of MIDI CC messages to a PODxT Live each time that you play a note. The length of the envelope is determined by the time between the notes that you play. The CC messages control the depth parameter of a phaser effect.

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This clip uses effect type 72 which sends sine wave MIDI CC messages to a PODxT Live. The CC messages control the mix parameter of a chorus effect. The chorus period is set much faster than the sine wave of MIDI CC messages.

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This clip uses effect type 74 which sends square wave MIDI CC messages to a PODxT Live. The CC messages control the drive strength of an amp model to give a tremolo like effect.

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This clip uses effect type 78 which sends a triangle shaped envelope of MIDI CC messages to a PODxT Live each time that you play a note. The length of the envelope is determined by the time between the notes that you play. The CC messages control the filter parameter of a synth effect.

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Description

This clip uses operating mode 9, which simply repeats the loop once it is recorded. After three chords are played, the loop starts to play back automatically. Notice how accurate the loop timing is.

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RiffBox can control the tempo of an external drum machine using MIDI clock messages. Once four chords are detected by RiffBox, the loop playback starts automatically. When the loop playback starts, RiffBox sends a MIDI start message to the drum machine along with MIDI clock messages that keep the drum beat perfectly synchronized to the loop timing. This clip uses operating mode 15, which automatically stops playback (and the MIDI drum machine) after 5 loops have been played.

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Operating mode 2 provides automatic layering. In operating mode 2, once the original loop is recorded, a new layer is automatically recorded. Once that recording is done, a third layer is automatically recorded. After this point, all three layers are played back in a loop.

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Operating Mode 72 provides a reverse loop playback, which can add interesting audio textures behind your playing.

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This clip uses operating mode 5 to achieve a single delay repeat that is timed to the first two notes that you play. No need to program a tap-tempo, your playing is the tap-tempo. You can always use higher event counts to achieve up to 80 seconds of delay.

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Using operating mode 45, this clip is an example of how the automatic loop fading can be used. This can be a nice effect at the end of a solo, or at the end of a song.

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Description

One of our talented customers sent us these clips. All of the guitar parts were recorded through ZenTone7 using the direct output with no speaker cabinet or mic (the direct output includes both a reactive speaker dummy load and a speaker emulation filter). No overdrive or distortion pedals were used. You can hear more of his music at: www.reverbnation.com/ricklapick

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This is a clean clip by Lou Vena using his Les Paul and a solid pine Tone Tubby 2x12 cab. The settings are clean, full power, bright on and 6V6 output tube in Pentode mode.

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This is an overdrive clip by Lou Vena using his Les Paul and a solid pine Tone Tubby 2x12 cab. The settings are crunch, full power, bright off and 6V6 output tube in Pentode mode.

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This is a lead clip by Lou Vena using his Les Paul and a solid pine Tone Tubby 2x12 cab. The settings are lead, full power, bright off and 6V6 output tube in Triode mode.

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This is a lead clip by Lou Vena using his Les Paul and a solid pine Tone Tubby 2x12 cab. The settings are lead, half power, bright off and EL84 output tube in Triode mode.

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This is a clean clip by Lou Vena using his Strat and a solid pine Tone Tubby 2x12 cab. The settings are clean, full power, bright on and EL84 output tube in Pentode mode.

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This is an overdrive clip by Lou Vena using his Strat and a solid pine Tone Tubby 2x12 cab. The settings are crunch, full power, bright off and 6V6 output tube in Pentode mode.

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This is a clean clip by Lou Vena using his K-line strat and a Glaswerks 2x12 cab.

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This is an overdrive clip by Lou Vena using his Les Paul and a Glaswerks 2x12 cab.

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This is a clip by Lou Vena with a backing track using a Glaswerks 2x12 cab. The 1st part, panned left - les paul, high power, pentode, EL84 tube with a more aggressive marshally kind of tone. The 2nd part, panned right - les paul, low power, triode, 6v6 only with a smoother creamier modded marshall high gain tone. The 3rd part, panned left - strat, low power, triode, EL84 tube, strat neck pickup. Note that all these tones were done at whisper volumes.

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This clip is a high gain dual stage preamp and an EL84 output tube in pentode mode. The guitar is a PRS CE-24.

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This clip is a Les Paul bridge pickup while dialing through various EL84 Triode presets.

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This demo uses the EL84 in triode mode using the Les Paul neck pickup. In this case, the amp had no speaker connected. Its XLR direct out was sent to an audio interface device.

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