Loco23 Posted June 22, 2014 Share Posted June 22, 2014 So I sometimes get confused when I'm passing through different presets and I'm jamming along to a new song but forget which F1 - F4 has the delay/ reverb or distortion needed from a new section of the song. I thought maybe using a physical white label and labelling e.g. F S 1 F S 2 F S 3 Distortion Delay Modulation E.t.c Does anyone else use a similar method or something different? Obviously, I'd run into trouble if I had a song of two delays/ FX that needed activating/ deactivating... Quote Link to comment Share on other sites More sharing options...
TheRealZap Posted June 22, 2014 Share Posted June 22, 2014 always thought these were cool: http://www.thegearpage.net/board/showthread.php?t=912353 2 Quote Link to comment Share on other sites More sharing options...
duncann Posted June 22, 2014 Share Posted June 22, 2014 I find that labeling switches is somewhat amusing. I mean a guitarist obviously has no problem memorizing, in many instances, complex compositions but has problems memorizing which footswitch to engage? Is it something along the lines of trying to sing while playing a complex guitar part? Don't get me wrong, I see nothing wrong with wanting to do this, I just find it amusing. 1 Quote Link to comment Share on other sites More sharing options...
tcastudios Posted June 22, 2014 Share Posted June 22, 2014 Being foremost a singer but also playing guitar at the same time, not to confuse myself in the heat to much, I've set up my presets as: The expression pedal is the "first" fx of the preset. (Usually controlling my Voice fx unit) F4, the second fx, F3 the third etc, Then F1 is always a ProgramMessage to the Voice processor. There is one preset per song so whatever comes up first I can hit the F4, whatever it is! Just one way of doing it, I guess :) Quote Link to comment Share on other sites More sharing options...
ricstudioc Posted June 23, 2014 Share Posted June 23, 2014 The Dyno label maker rules supreme - but then I run a pretty standardized set of fx. Stomp (1st stage dist) - Spec (anything, but most often 2nd stage) - Mod (again, anything) - Delay. For me it's less about remembering - it IS fairly standard - and more about quick visibility on a dark stage. By the same token I have all the ins/outs I use Dyno'd - more visible than the factory lettering. When you're doing a bunch of back-to-back festival sets, the minutes matter in setup. 1 Quote Link to comment Share on other sites More sharing options...
Palico Posted June 23, 2014 Share Posted June 23, 2014 Generally I switch to the view with FS1-FS8 on the screen. I can generally rememeber which Dist etc.. is which for each patch. I also tend to build my patches so I map the FS in similar positions and I really only have 5 patches I uses very much. Quote Link to comment Share on other sites More sharing options...
brian6string Posted June 24, 2014 Share Posted June 24, 2014 I do exactly this. Some may find it amusing :) but I'm pretty visual so just having a visual reminder helps when I'm trying to remember other more important things. I just used yellow electrical tape with a black sharpie. Quote Link to comment Share on other sites More sharing options...
bvaladez74 Posted July 15, 2014 Share Posted July 15, 2014 Is this really a topic on arts and crafts labeling? Come on guys....it's like comparing what color socks we're wearing?! LOL. My god. Quote Link to comment Share on other sites More sharing options...
stumblinman Posted July 15, 2014 Share Posted July 15, 2014 Mine is the same on all patches: FS1 distortion/OD FS2 lead/solo boost FS3 mod FS4 delay Quote Link to comment Share on other sites More sharing options...
bluesoverdrive Posted July 22, 2014 Share Posted July 22, 2014 There is a company from Germany called Stomplabels, soon they will be releasing this very cool labels for the HD500X: Quote Link to comment Share on other sites More sharing options...
BillBee Posted July 22, 2014 Share Posted July 22, 2014 Wow that is pretty schweet! I am digging that case as well :) Quote Link to comment Share on other sites More sharing options...
Hi_Im_Matt Posted July 22, 2014 Share Posted July 22, 2014 I find that labeling switches is somewhat amusing. I mean a guitarist obviously has no problem memorizing, in many instances, complex compositions but has problems memorizing which footswitch to engage? Is it something along the lines of trying to sing while playing a complex guitar part? Don't get me wrong, I see nothing wrong with wanting to do this, I just find it amusing. Absolutely ! It's one less thing to have to memorize/learn/deal with ! Simplify, simplify, simplify is my mantra now. In fact, it's one of the main reasons I'm currently using my digital board- to simplify ! My analogue pedals all come in different shapes, sizes and colors all of which make it very easy and intuitive when playing live. I found those magnetic labels to be really cool ! Unfortunately however if I use multiple patches the assignments may very well change in between. Like others what I do is simply try to keep my assignments in the same basic order. It's rare that I use more than a single patch these days, but when I did, I would always try to keep it consistent. For instance, if I'm building very complex patches, with different multiple pedals assigned to a rythm tone, different multiple pedals assigned to lead tones, and those would both change between songs, I would make sure that each patch had rythm on the first button, lead on the second button, individual pedals elswhere as example. So if I were playing a song where the rythm required compression, slight chorus and subtle gain, I would map all of those to one pedal. Then, say the lead required reverb, heavier gain, delay and flange, I would map all of those to the "lead" pedal. Then say if the bridge used the rythm sound, but just added one or two effects, I would map those to a third button. It worked out reasonably well, because I knew for every song I would just go in order. But making individual patches for individual songs is a LOT of maintenance ! And if the setlist should change on the fly ... well, when I decided I couldn't keep up with all that, and that I could do fine with just a few different patches that had different effects in each patch, I would make sure that it was something like "mod 1, mod2, gain, gain, gain, comp" on each one. That way, whichever patch I'm on, the very first pedal is a flanger, or a phaser, or a filter, the third one is slight gain, the fourth one slightly heavier gain, etc. Again, I can just go in order. That's really the only way I can think of dealing with a potentially large number of combinations (or permutations, since you can change the order?) Particularly for those of us who can't read that tiny screen from standing distance. Quote Link to comment Share on other sites More sharing options...
duncann Posted July 23, 2014 Share Posted July 23, 2014 Absolutely ! It's one less thing to have to memorize/learn/deal with ! Simplify, simplify, simplify is my mantra now. In fact, it's one of the main reasons I'm currently using my digital board- to simplify ! My analogue pedals all come in different shapes, sizes and colors all of which make it very easy and intuitive when playing live. I found those magnetic labels to be really cool ! Unfortunately however if I use multiple patches the assignments may very well change in between. Like others what I do is simply try to keep my assignments in the same basic order. It's rare that I use more than a single patch these days, but when I did, I would always try to keep it consistent. For instance, if I'm building very complex patches, with different multiple pedals assigned to a rythm tone, different multiple pedals assigned to lead tones, and those would both change between songs, I would make sure that each patch had rythm on the first button, lead on the second button, individual pedals elswhere as example. So if I were playing a song where the rythm required compression, slight chorus and subtle gain, I would map all of those to one pedal. Then, say the lead required reverb, heavier gain, delay and flange, I would map all of those to the "lead" pedal. Then say if the bridge used the rythm sound, but just added one or two effects, I would map those to a third button. It worked out reasonably well, because I knew for every song I would just go in order. But making individual patches for individual songs is a LOT of maintenance ! And if the setlist should change on the fly ... well, when I decided I couldn't keep up with all that, and that I could do fine with just a few different patches that had different effects in each patch, I would make sure that it was something like "mod 1, mod2, gain, gain, gain, comp" on each one. That way, whichever patch I'm on, the very first pedal is a flanger, or a phaser, or a filter, the third one is slight gain, the fourth one slightly heavier gain, etc. Again, I can just go in order. That's really the only way I can think of dealing with a potentially large number of combinations (or permutations, since you can change the order?) Particularly for those of us who can't read that tiny screen from standing distance. All this makes sense to me. I used to play live over 20 years ago and never really had to deal with patches, presets, compressors, delay, reverb, etc. I just had a very simple rig - all the guts rackmount (rockman sustainor/stereo chorus/dealy, digitech ips33, peavey addverb, digitech midi pedal, peavey stereo power amplifier, and usually lots of peavey 4x12 cabinets - at least four). So it was always just a few footswitches. I don't play live anymore, but with the gear available today I can see where it could get confusing. I also think that the part of the brain where memorization of songs happens is a different area from where footswitch assignment goes. Quote Link to comment Share on other sites More sharing options...
Hi_Im_Matt Posted July 23, 2014 Share Posted July 23, 2014 "I also think that the part of the brain where memorization of songs happens is a different area from where footswitch assignment goes" Totally ! I often woodshed without even being plugged in, so my pedalboad foot doesn't get any muscle memory at all :) Things were definitely simpler back in the day. Take a stack of Marshalls, turn the head all the way up, voila, you had your distortion plain and simple. But if you wanted a great clean, you got yourself a Twin. If you wanted .... well, you know the deal. The technology offers great capability but at the cost of complexity, just like everything else these days. Quote Link to comment Share on other sites More sharing options...
jandrio Posted July 23, 2014 Share Posted July 23, 2014 i design one or more presets per song. i also ensure that each preset uses only one fs (solo boost-gain, harmony, reverb, etc). And this single fs is "synchronized" with the bank position/letter occupied by the preset.egI have designed 2 Aqualung presets: 2AQUALUNG1a (main riff+solo) and 2AQUALUNG clnP3- (acoustic parts).In one live setlist 2AQUALUNG1a is stored in position C, the fs 4 soloing is FS3.In nother live setlist 2AQUALUNG1a is stored in position A, the fs 4 soloing is FS1.In this way I always know that the appropriate fs is right abv the preset position letter:ieall presets in position A use FS1, all presets in position B use FS2, and so on... in this way no "brain ram" is consumed 4 memorization. Quote Link to comment Share on other sites More sharing options...
duncann Posted July 23, 2014 Share Posted July 23, 2014 jandrio, good way to compress the data so you don't have to. 1 Quote Link to comment Share on other sites More sharing options...
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