I've heard good things about the Digitech Drop, but never used one hands-on. I can't recall off the top of my head, but there are some key parameter settings that are "make or break" in terms of tracking and latency. Whether this coloration matters in context might be moot, but certainly, in live performance the latency of the Pitchfork for drop-tuned shifts was something I couldn't deal with, and it certainly was not better than the AxeFxII shifts in this respect.Ĭertainly it is worth forming your own opinion, AxeFxII vs Pitchfork, but I would also take a much closer look at your settings in the AxeFx's Pitch Block, especially for polyphonic content.
The Pitchfork did noticeably color the tone, and of course since it is a basic stomp pedal, you have no opportunity to tweak this. What I saw reinforced what I was hearing: the AxeFxII had lower latency, that would fluctuate depending on the parameter settings, and it also did not add as much coloration to the shifted sound. As a control, I recorded a dry (L)/bypassed (R) of each to make sure that there was no inherent latency between the direct recording and that of the signal going through the bypassed Pitchfork or AxeFxII. Basically, I did a parallel split off my instrument and recorded each path on a DAW.
Path A is two drives and an SVT amp but no cab. It all starts with the tube style compressor then splits using a mic preamp and eq for a fat clean path B. Provides some nice flexibility.įS1 Engages a boost/drive and eq to lower the volume.įS2 Bumps the volume and increases the drive I leave that eq block in there so I can use it on other songs as well. Using a bright SVT amp and cab tone with a boost, two drives, compression and an eq in FS1 to lower the volume for the intro. It has that gnarly high mid tone when you really dig in. We play it in D (female key) and I like the heaviness of this patch.
I left that in as an option for the end user.įS2 Amp/cab with a Klon style drive with a good amount of breakupĬame from my version of Graves into Gardens. There is an added low/high shelf-style EQ block that I sometimes use depending on the song. I use FS1 for down parts and FS2 for the up parts. Because the original track has real bass and sub bass I can have a lot of fun combining the parts. I use it on Reason I Sing, in the intro I use the micro tone but slightly mute it to get a sub bass type tone. I came up with this preset for our version of Be Thou My Vision and found myself using it for a lot of other worship songs-kind of like a catch-all patch. Capable of summoning the fat analog buzz of Moogs and at home in experimental, psychedelia and stoner rock, the Micro Synth is the perfect. The micro synth tone sounds massive in this preset and the band (excluding the keyboard player, haha) will love it when you step on FS3.įS2 Little more lift and hair on the notes via a Klon-style drive A synthesis pedal used by the likes of Josh Homme and Jamie Hince, the Electro-Harmonix Micro Synth sports a three-pole analog resonant filter and precise controls for Voice Mix and Filter Sweep sections. Starts off very clean with a tube compressor and SVT amp with no cab, which allows for a big, direct-in type tone but with a ton of warmth. We recommend you do not insert another compressor into your signal chain. This preset is thick and meaty.įS1 Timmy style drive for some light breakup.įS3 Micro synth tone, disabling the cab to let the octave shine through The SYNTH9 has a built in compressor that is active on the synth sounds at all times. There is an always-on tube compressor and EQ at the end of the chain.
WHERE TO PUT EHX MICROSYNTH IN CHAIN PATCH
This patch also includes a micro synth style tone.
SVT amp and cab tone with some good breakup replicating that famous overdriven woofy tone by using a couple drives. We hope these patches help you focus less on tone and more on worshiping the Lord Jesus Christ! The difference is that the Helix presets are mapped for Stomp/Snap mode. There’s two folders: One for the Stomp and one for the Helix. The Micro Synth tones floor me every time he steps on one! If you want to hear what these patches sound like in the context of a song, search Spirit And Truth Music on YouTube, Apple Music or Spotify.Īll patches utilize stock Line 6 cabs-no need to mess with IRs. Turns out, he loves the Line 6 stuff and has a knack for creating top-notch bass tones for the Helix/Stomp. He never expected to replace his entire pedalboard (even the EHX Micro Synth), as he’s always been an analog pedal guy. My buddy and bass player for Spirit And Truth Music, Jeff Norris, created these patches when he was trying to move away from his old Tech 21 Sans Amp for amp modeling.
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