If it's like my line 6 modeller head, you'd also want to consider using two rhythm sounds; maybe 2 different 'amps' either for the L and R sides, or to double the L and R sides. Yes, the combinations are endless and you'll go crazy before it's all said and done. And the unfortunate part is, the best one is probably a combination of 2 that sound like shit by themselves, but compliment each other when mixed together. One of the dudes on sneap's site was like 'here's the setting all death metal people use, so this should work.' I don't know about you, but I personally try NOT to sound like other people. Maybe that's just me.
If it's like my line 6 modeller head, you'd also want to consider using two rhythm sounds; maybe 2 different 'amps' either for the L and R sides, or to double the L and R sides. Yes, the combinations are endless and you'll go crazy before it's all said and done. And the unfortunate part is, the best one is probably a combination of 2 that sound like shit by themselves, but compliment each other when mixed together.
One of the dudes on sneap's site was like 'here's the setting all death metal people use, so this should work.' I don't know about you, but I personally try NOT to sound like other people. Maybe that's just me. I will try some of the suggestions and see what I can come up with. We need to start a section for people that record 'metal' music using modulers.
Modern Design The vast array of tools and sounds in Logic Pro are always readily available but never in the way. So you can work as quickly as you want and fine-tune whenever you want. Touch Bar Support Logic Pro X supports the Touch Bar on the new MacBook Pro. Use it to make precise edits to sounds, quickly navigate around your project, and even perform on instruments — right from the keyboard.
The Touch Bar gives you convenient access to the volume slider and all Smart Controls for the selected track. Navigation view lets you quickly move around your project by dragging across a visual overview of the arrangement. Performance view turns the Touch Bar into a simple one-octave musical keyboard for playing and recording software instruments. Single-Window Interface Logic Pro is built around an elegant, single-window interface where editors, file browsers, toolbars, and sound controls can be easily brought in and out of view as needed. Add tracks and select Patches.
Browse and import audio or loops. Fine-tune your sounds. Record and edit comps for multiple takes. Tell Drummer to play more fills. Input chords and lyrics on your lead sheet. Automate the mix for hundreds of tracks.
All from one central location, without managing multiple windows. And now Logic Pro X introduces a lighter, more modern interface that improves legibility in typical studio settings. Timing With Logic Pro, time can be as rigid or fluid as you need it to be. Record without a metronome, then drag beat guides to transients or MIDI notes in the region to conform bars and beats to the timing of the project. Doing a remix? Drag in the original file, then use Beat Detection to set Logic to its tempo.
Alternatively, you can make the audio file conform to the current tempo in Logic. Varispeed lets you slow down or speed up an entire project, so you can try your song at different tempos or temporarily slow it down long enough to nail a particularly difficult solo. With region-based automation, your automated changes are now embedded within any region, so you can repeat or loop them with all those swirling, sweeping, twisting effect parameters going along for the ride. Plug-in Menu Customization Create categories and group plug-in menu entries, with all your favorites placed right at the top of the menu.
Hundreds of plug-ins, including third-party plug-ins, can be organized however you like. Heads-up Tuner Keeping your guitar or other instruments in tune is easy with the heads-up tuner, which can be conveniently called up using the dedicated button on the Control Bar. The tuner automatically listens to the signal from the currently selected track when Input Monitoring is enabled. Smart Controls Smart Controls allow you to make changes without getting caught up in the details of navigating the sea of plug-in parameters behind each sound. Smart Controls are also very powerful.
Each control can manipulate one or multiple parameters at a time, with each of those mappings being independently scaled. This means that when you start creating your own Smart Controls, you can fine-tune them to adjust the exact range of the parameter you’re targeting. There are multiple themes to choose from, so your amp controls can look like amps, drum machine controls like drum machines, and so on. Dual Channel Strips The Inspector window features dual channel strips that provide quick access to the channel strip of the current track as well as all other channel strips it is sending signal to. Advanced Tools Advanced Tools let you choose the level of power and complexity you need. Turn them off and your menus and preferences will be streamlined, making it easier to focus on the features that matter for your workflow.
This option also allows for graduating GarageBand users to start with a feature set closer to what they’re used to, then enable more functionality as they need it. Working with Regions Every piece of audio or MIDI that you record or import into your project is represented in Logic as an editable object called a region. Part of the creative power of Logic is just how easy it is to move, edit, and loop these regions.
Each region also has a set of nondestructive playback parameters that further increase the versatility of Logic. MIDI regions have settings for quantize, note length, transposition, and more, while audio regions have crossfade and region gain settings, for example. And now Selection-Based Processing allows effect plug-ins to be directly and permanently applied to any audio selection. Plenty of Shortcuts Logic Pro provides a number of functional shortcuts designed to keep you moving. The Toolbar places everyday operations like Crop, Bounce, Split, and Join in a convenient, single-click location.
An abundance of shortcut menus keeps your mouse travel to a minimum. And because a keystroke is faster than using the mouse, Logic has over a thousand customizable keyboard shortcuts. Quick Help If you’re new to Logic or can’t quite remember what a particular button is for, the contextual Quick Help is just what you need. It provides hints for whatever part of the interface you’re currently hovering over. Track Stacks The ability to consolidate multiple related tracks into a single track is just one of the many uses for Track Stacks. Route all the tracks in a Track Stack to a common auxiliary channel for a quick and convenient way to submix tracks.
Track Stacks can also contain their own auxiliary channels, so they’re perfect for configuring self-contained setups for parallel processing — a multi-amp guitar rig, for example. Track Stacks also make it easy to create layered and split instruments. Just combine two or more software instrument tracks into a Track Stack. In a similar way, Track Stacks can simplify multi-out and multitimbral software instrument setups by combining instrument and all aux output tracks together in a single entity. Groove Track Groove Track lets you assign any of your tracks as the Groove Master.
You can then select any of the remaining tracks to follow that track’s timing. It’s as easy as it sounds. If you make changes to the Groove Master track, all the tracks following it update to follow the new groove. And thanks to Flex Time, this feature works well with both MIDI and audio tracks. Global Changes It’s easy to make major edits like removing sections, aligning a free-form performance to a musical grid, or creating a tempo map that gets you to a cue point on time. Global edit operations such as Snip, Splice, and Repeat apply to all tracks and project data. A special marker type called an Arrangement Marker lets you rearrange sections just by grabbing and moving marker objects.
And Global Tracks provide a graphical display for viewing and editing global song events like tempo and time signatures. Compatibility The open architecture of Logic Pro X lets you extend its creative power with a wide range of audio interfaces, control surfaces, and performance hardware. You can also explore more than a thousand third-party instrument and effect Audio Units, and incorporate sounds from applications like Ableton Live and Propellerhead Reason. Loops Build songs quickly by choosing from thousands of included royalty-free music loops that automatically conform to the tempo and key of your project. Find instruments more quickly by clicking the buttons at the top of the browser — buttons that designate the genre, mood, and type of sound you’re seeking.
Logic Pro X includes a collection of more than 5600 electronic and urban loops, covering everything from Hip Hop to Electro House, Dubstep, Modern R&B, Tech House, Deep House, and Chillwave. You can also choose to download additional loops from the Legacy section of the Download Manager.
You can create your own loops by dragging any audio or MIDI region from your song into the loop browser. It couldn’t be easier. Take Management Logic offers a simple, flexible approach to multi-take recording.
When you record over existing material, your takes can be automatically stored in a take folder. Expand the take folder at any time to see a graphical display of all your takes for easy auditioning and editing. Move a take folder anywhere in your arrangement and edit it just as you would any other region.
And with Track Alternatives, you can create multiple versions of a track and switch freely between them to try out the different options. MIDI Recording Basic features for recording are the same for MIDI as audio, but additional options are specifically helpful when capturing MIDI data. For example, when laying down a drum groove while cycling the transport, you can have Logic create new tracks on each successive pass.
So your kick, snare, and hi-hat parts are on discrete tracks when you’re done. Logic can record MIDI coming from your iPad or iPad Pro with Logic Remote or from one or multiple MIDI controller keyboards simultaneously. If you don’t have either of those available, call up the Musical Typing keyboard and tap in your music right from your computer’s keyboard. Comprehensive Step Input features let you insert MIDI notes without having to perform. And Note Repeat and Spot Erase functions allow you to easily generate ear-grabbing patterns. Add tracks on the go from your iPhone or iPad.
Now you can easily add tracks to Logic Pro projects using GarageBand for iOS on your iPhone or iPad. Simply upload your project to iCloud from Logic Pro on a Mac. It appears in the GarageBand for iOS Song Browser as a new song, with a single-track reference mix that sounds just like the original project on your Mac. Use GarageBand instruments to add new tracks, then save the song back to iCloud, and your new tracks appear in the original Logic Pro project the next time you open it on your Mac.
Selection-Based Processing Now you can directly and permanently apply effect plug-ins to any audio selection. Use built-in Logic Pro X plug-ins or any third-party Audio Unit effects to render effects in any portion of an audio file, or to multiple files at once. You can apply up to 15 plug-in effects simultaneously, as well as A/B test two independent effect chains before applying. Selection-Based Processing is incredibly useful for creating short effects sections in a track, correcting flaws in a recording, or sonically treating sampler files.
Creative Flexing While Flex Time is primarily about correcting timing issues with audio recordings, it has features that make it an interesting creative sound design tool as well. For example, when Flex Time is enabled, you can slice a region into multiple smaller ones based on transients. Turn on Shuffle mode and easily reorder the pieces. Or stretch one piece radically, then toss the result into the EXS24 Sampler. For pure sound-warping fun, try radically flexing all or portions of a region using either of two creative Flex Time modes — Speed and Tempophone. The results are not always predictable, but that can be a good thing.
Turn Fill Gaps off for the Slicing mode and start tearing off little pieces of an audio file to create glitchy passages in seconds, rather than the hours it might take to build the same effect destructively in a sample editor. Fades and Crossfades Fades and crossfades can be applied to the beginning or end of any region. So you can soften the start or ending of a phrase, smooth a transition, or mask the junction between two regions where a difficult edit was made. Apply fades with the Fade Tool or enable the Fade click zone so the tool appears whenever you hover in the upper-left or upper-right corner of an audio region. You can also apply a crossfade to one or more selected regions using a default or recently used value. And all fades are rendered in real time, so you hear your changes as you make them and projects load faster without your having to manage or save fade files. Editing in the Tracks Area Most audio edits can be performed with sample-accurate precision right in the Tracks area.
Cut, copy, paste, or move regions using a variety of tools and functions. Create comps. Shuffle, spot, align, or loop one or multiple regions with speed and efficiency. Use Track Grouping when edits made to one track need to be applied to others in a related group. This advanced feature is especially critical for multi-mic recording scenarios — live drum recordings, for example — where maintaining phase alignment between tracks is paramount.
Flex Pitch Flex Pitch makes it possible to correct pitch, level, and other issues in monophonic audio recordings. While ideally suited for improving vocal tracks, it’s effective for all types of melodic recordings.
You can transpose notes to explore new melodic ideas or extract them to a MIDI track, where you can double or harmonize your part with any software instrument Patch. Basic pitch correction can be applied in the Tracks area, where a specialized edit view displays how far a note is from its intended pitch. The complete set of Flex Pitch tools is available in the Audio Track Editor, where notes appear in a familiar, piano roll–style interface.
Out-of-tune notes are offset from perfect pitch, so it’s easy to identify them. Control points appear around any note you roll over, giving you instant access to all parameters without forcing you to constantly change tools. Besides tuning and transposition, there are controls for vibrato, pitch drift, formant, and even gain of each individual note.
Behringer V-amp Patch Library
Flex Time Flex Time features make it easy to manipulate the timing and tempo of audio recordings. The simplest way to use Flex Time is with the Flex Tool. Just select the tool and start pushing around beats by clicking and dragging anywhere within an audio region. For more precise editing and more visual feedback, enable Flex View. All the detected transients and edit points you’ve already made will appear.
Then you can further edit those points, called Flex Markers, or click anywhere to add and edit as needed. Flex Time also makes it possible to apply quantize on an audio track using the same workflow used with MIDI tracks. That includes using the Groove Track feature to lock the timing of one track to another. Quantization Quantizing involves the rhythmic correction of notes to a specific time grid. Any notes not played in time are moved to the nearest position on the grid. Logic Pro X offers a sophisticated set of options for applying and adjusting quantization either to a region and its contents or directly to the note events in one of the MIDI editors.
Accomplished keyboardists and MIDI drum kit players will especially appreciate the unique Smart Quantize feature that shifts notes in clusters and adjusts note lengths proportionally in order to preserve musical details like flams and chord rolls that are often lost with standard quantization. Region-based quantize can be adjusted as you listen to the result, and there are parameters that go beyond the basic snapping of a start of a note to a grid. For example, you can actually quantize the dynamics of notes. This is especially interesting when using the Groove Track feature, as it means you can follow not only the timing of the Groove Master track, but the relative dynamics as well.
Applying quantization to selected notes in any of the MIDI editors is easy and powerful. The Piano Roll and Score editors also offer Scale Quantize settings that let you snap selected notes to a particular key and scale.
Editing Logic Pro X has multiple MIDI editors for viewing and editing any type of MIDI data. With such a variety, you’re able to select an editor that best suits the task at hand. For example, the Piano Roll Editor is probably the best for adjusting note length.
If you read music, you can’t beat the Score Editor, especially for editing multiple tracks at a time. If you’re editing the velocities for drum hits, the Step Editor is the way to go. The Logic Pro X Piano Roll Editor is a versatile, powerful tool. Beyond the standard features, the useful Brush Tool allows you to add or delete a series of notes with a single gesture. Enable Time Handles to quickly duplicate, time stretch, or compress a selection of notes.
Display drum kit or machine names instead of piano keys when programming beats. And the Collapse view eliminates unused pitch lanes, so you can make more efficient use of screen space when editing. MIDI Draw MIDI data consists of more than just notes. Modulation, pitch bend, volume, and expression data are all very common.
MIDI Draw provides a graphical interface that makes it easy to see and edit this type of data. It can be enabled on a region in the Tracks area or in the Piano Roll Editor or Score Editor. Region Inspector A number of other region-based parameters make the Region inspector an important go-to location for MIDI sequencing in Logic Pro X. Smooth out the most jittery performance by adjusting the Dynamics and Velocity settings. Convert a legato performance into a staccato one or vice versa, using Gate Time. You can even push or pull the timing of an entire region with the Delay parameter.
Classic features like these make Logic Pro X a powerhouse when it comes to composing with MIDI. MIDI Transform Another powerful tool in the MIDI processing arsenal is the MIDI Transform window. It transforms MIDI events — based on conditions, operations, and values you choose — into different types of events or events with different values.
Powerful Mix Console At the heart of Logic Pro X is a robust mixing console. It supports 255 audio tracks, 255 software instrument tracks, 255 auxiliary channels, and a nearly unlimited number of MIDI tracks. And there are eight effect sends and 15 audio plug-in slots per channel. So it’s more than ready to tackle even the most ambitious projects. The Mixer also features a long list of innovations that make it simpler and more convenient to operate.
For instance, you can filter the types of channels displayed, jump to the destination of a send, or show only the current track and all the channels it’s sending a signal to. You can bypass, move, or change a plug-in on a channel insert without using a single modifier key.
And when you create a send, an auxiliary channel is dynamically created to receive a signal from it. Logic Pro X also provides plug-in delay compensation for the entire signal path, so all your tracks play back with perfect sample accuracy.
External Control Surface Support The Mixer can be externally controlled by Logic Remote or by a range of hardware controllers, from simple home studio models to high-end professional control surfaces. Surround Mixing Logic Pro X offers end-to-end surround capabilities, allowing you to record, edit, and mix projects in surround up to 7.1.
You can play, record, and process multichannel, interleaved audio files. Surround level meters let you monitor volumes for all channels within a single channel strip. Logic Pro X also supports 12 surround formats, making it ideal for those involved in the creation of film and TV soundtracks. You can even bounce your song to a stereo audio file and immediately burn it to CD. And with support for end-to-end, multichannel signal routing, you can submix surround tracks or use sends to route audio to surround auxiliary tracks.
Flexible Panning The Surround Panner provides a graphical surround field to adjust track output signals to specific speaker positions in a Quad, LCRS, 5.1, 6.1, or 7.1 surround field. And true stereo panning gives you independent control of the left and right channels, expanding your creative options for manipulating a stereo signal. True Surround and Multi-mono Many of the Studio Instruments and Studio Effects, including Space Designer and Delay Designer, are designed for True Surround. This means that all the processing for surround is handled in the plug-in, to provide particularly rich, immersive effects. And thanks to the built-in multi-mono architecture support, you can use any plug-in with surround, not just True Surround plug-ins. Track Groups and VCA Faders Logic provides both Track Groups and VCA faders for taking on the special challenges that come with managing large mixes.
Assign any selection of channels to a track group, then control the levels or other parameters of all tracks in the group from any single channel in the group. For example, when you’re mixing multitracked drums, it’s easy to trim the level of the whole group while maintaining the relative mix of the kit. You can have up to 32 groups, and a track can be a member of multiple groups. The levels of multiple channels can also be scaled using assignable VCA faders. Automation All the parameters of the mixing desk, Smart Controls, and any plug-ins you use are integrated into a comprehensive automation system that allows for complex, total-recall mixes. Automation can be written to either a track or individual regions to accommodate the needs of a variety of workflow scenarios. Using the system is simple and straightforward.
No need to select or otherwise configure the parameters you want to automate beforehand. Just activate automation recording for a track, hit Play, and start moving controls. Your every move will be captured. View and edit the automation graphically for single or multiple tracks, including multiple parameters per track. Use either Trim or Relative mode to subsequently fine-tune existing automation. And synchronize the writing and editing of automation for multiple tracks using Track Groups. Notation Logic Pro X transforms MIDI performances into music notation in real time as you play.
The display of the notes is quantized separate from the MIDI events themselves, making it possible to produce perfectly readable notation for a performance that may be less than perfect. Imagine, for example, an eighth note figure that’s played with a lot of swing.
With display quantize, you can notate as either eighth notes or eighth note triplets. In either case, though, the performance will sound the same. Score Layout Logic Pro X offers plenty of elaborate layout functions and professional notation printout functions to allow you to quickly deliver anything from a lead sheet to a complete orchestral score. There are projectwide settings for adjusting the overall spacing between notes and default bars per line, as well as tools for overriding those settings on a local, as-needed basis.
A Page View mode lets you see exactly how your changes are going to translate to the printed page as you make them. Score Editor While Logic Pro X has an extensive set of features to support turning your performances into printable scores, the Score Editor is incredibly useful as a MIDI editor for anyone who reads music. It’s the only editor that allows you to see and edit multiple discrete tracks — stacked horizontally — of data at a time. You can also see more bars of a single part than with any other editor thanks to the Wrapped view option. Enable the Duration Bars option and you can graphically edit the length of notes as well as pitch, just as with the Piano Roll Editor.
And you can use external fonts including Jazzfont, Swingfont, and the open source Bravura font when they’re properly installed on your computer. Alternatives Experiment with and manage different versions of your project with the Alternatives feature. Project alternatives let you save “snapshots” of a project in different states, including different arrangements or mixes. Alternatives are conveniently saved as part of the project, and each has its own set of backup versions. Autosave Autosave maintains a continuous backup of your work so that you don’t lose important changes if something goes wrong.
If a project closes unexpectedly, you can choose between the autosaved and last manually saved version of the project. Advanced Audio Files When you record, bounce, or export audio files with Logic Pro X, tempo events are automatically included.
With Flex Time, this means audio imported from other Logic projects can automatically conform to the tempo of the current project, even if there are tempo changes. Project markers come along for the ride too, so the bounced stems you send to friends can include markers saying where and what you’d like them to play. Track Exchange Selective Track Import makes it easy to transfer track contents and setups between projects.
Pick and choose the components to import, such as the regions, effect plug-ins, sends, and more, on a track-by-track basis. For example, you might like the sound you’ve dialed in for the vocal track in the current version of the song, but the performance is better in an older version. Selective Track Import lets you bring in the previous performance with just a few clicks. Alternatively, you can import just the mix from one project without changing the audio tracks in the current session. Logic Pro X also provides a flexible set of options for bouncing single or multiple tracks at a time so you can easily share the audio files with other musicians or engineers you’re collaborating with.
You can choose whether the bounced files render in the effects or existing automation on any of the tracks. File Interchange Import and export MIDI files, Final Cut Pro X XML, and AAF files to facilitate collaborative workflows. You can also export your music score as a MusicXML file if you want to open it in a dedicated music engraving application, or import MusicXML files from other notation apps or from online XML file sources. Project File Management A sophisticated set of asset management options let you gather and store your choice of project files into a single folder, or even the project package itself. This ensures that all the recordings, sample files, and other files used by your project will be available when you take them to a new location. Project file cleanup features help you conserve hard disk space and keep things organized by ridding projects of unused files and outdated backups. You can also share bounced songs directly to your SoundCloud account from the Logic Pro X File menu.
Support AppleCare Professional Audio Support can help you keep your project running smoothly whether you’re setting up a new installation or troubleshooting an existing setup. Find up-to-date information about key topics as well as basic troubleshooting tips. Find up-to-date information about key topics as well as basic troubleshooting tips. Training Whether you’re a beginner or a seasoned professional, you can expand your skills at an Apple Pro Training center. These centers meet Apple’s highest standards for facilities, instructors, course delivery, and infrastructure. An Apple Certified Pro has demonstrated operational knowledge of one of Apple’s professional applications. Online Communities As the world of Logic Pro professionals continues to expand, the body of collective knowledge grows with it.
Tap into a rich source of information sharing and collegial support by joining a user group, participating in a web forum, or browsing a Logic Pro blog. User Groups Join a Logic Pro user group in cities across the United States or around the world. Web Forums Share insights and information with the worldwide community of Logic Pro X users. Get help with problems and questions from Apple’s official Logic Pro X support community. Learn more about Logic Pro X from one of the most active and supportive web communities focused on Logic Pro X, MainStage and GarageBand. This is the most popular sub for Reddit users who want to learn more about Logic Pro X.
White Papers Learn how to morph between and combine elements of different sounds in exciting new ways. Examples demonstrate the behavior and effect of each Morph Element control to illustrate some of the creative potential of the morphing and resynthesis tools in Alchemy. Read a workflow-driven examination of tools and techniques in Alchemy to creatively alter loop playback. Explore examples demonstrating how to make loops play at project tempo and transpose in real time.
Additional demos take it a step further, showing how to transform loops with modulation and other effects. Books and Web Tutorials Whether you’re new to Logic Pro and MainStage or just looking to pick up some tips, you can get up to speed quickly by reading books or viewing online tutorials provided by leading video training developers. Extensive collection of online courses for Logic Pro X and MainStage. Training staff include Grammy and Emmy Award–winning producers and professional audio engineers. Learn about everything from Flex Pitch to the Arpeggiator, Track Stacks to Retro Synth, and more.
Comprehensive tutorials for Logic Pro. Informative, easy-to-follow training for Logic Pro X beginners and experts. Logic Courses provides both a basic/intermediate course and an advanced course to support all levels of users. Courses are delivered through a series of online video tutorials that you can access anytime from wherever you are. The Complete Logic Pro X, more than 15 chapters of how-tos, tips, and tricks.
David Earl, also known as SF Logic Ninja, provides more than 100 videos on how to get the most out of Logic Pro X and MainStage. Learn to use Logic Pro X with free step-by-step tutorials. Over 70 tutorials on Logic Pro X products. These visually oriented guides make it easy to go deep with Logic Pro X.
Great Classic Rock with Chunky Rythms Stereo FX Nice user reviews that helped me make the move to get the Mustang 3. I tried the amp in a local store and all the built in fx were controllable on the LCD display. Nice user reviews that helped me make the move to get the Mustang 3. I tried the amp in a local store and all the built in fx were controllable on the LCD display which was practically self explanatory. It let me choose out of 17 amps all of which are famous modeled amps.
Then it let me pick up to 5 effects and place any of them in before amp or after amp mode. Nice stereo after amp effects.
These fx are filled with controls. Gotta hear it in stereo headphones. I love classic rock music and I was able to select a British 80s Marshall model setting the speaker SIM to 4x12M stack. Place the Ranger Boost in front of amp SIM and It really does a great Marshall with the 4x12M speaker SIM. The fx are hands down best of the modeling amps and many are stereo post rack type or in front of the amp m Just like a real amp setup the order of the pedals changes the flavor of the sound. The Green box pedal effect is even better than Screamer as it lets a bypass blend of fx. This amp does great classic rock sound.
The Twin is the best modeler by far with compression chorus and stereo delay. Tubelike for sure.
Factory presets are weak because when turning up loud the headroom is to dynamic. Just adding the compressor fx in front of each patch will correct this bad factory programming. This will also emulate what a tube amp does naturally which is nail the sweet spot. Always add half sec delay tad of reverb to give a live sound and there you have it. No matter what a tube snob tells you this amp will record better every time with stereo xlr outputs that are incredibly accurate and noise less. Always use the noise gate.
There is also a Studio Amp preset to take pedals into the amp and it really enhances the heat of the sound. Any distortion pedal or booster becomes more dynamic thru this preset. The Free downloadable Fuse librarian editor is a must have. So easy and cool to use. All the amps and knobs visually accurate.
The best software on any modeling amp for sure. Big Sound, Too Complicated This Amp is fantastic for recording. It has tons of pre-amp effects and models other great amps pretty well. I was disappointed with the inability to get a good clean channel out of.
This Amp is fantastic for recording. It has tons of pre-amp effects and models other great amps pretty well. I was disappointed with the inability to get a good clean channel out of it. The 2 button switch bounces you back and forth between various amp models and settings. Perhaps others have figured out how to get it clean and make the pedal more functional. It's complicated in my opinion and has left me seeking something much more simple. The amp itself sounds fantastic.
It just does way more than I need or understand. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: Nice user reviews that helped me make the move to get the Mustang 3. I tried the amp in a local store and all the built in fx were controllable on the LCD display which was practically self explanatory. It let me choose out of 17 amps all of which are famous modeled amps.
Then it let me pick up to 5 effects and place any of them in before amp or after amp mode. Nice stereo after amp effects. These fx are filled with controls. Gotta hear it in stereo headphones. I love classic rock music and I was able to select a British 80s Marshall model setting the speaker SIM to 4x12M stack. Place the Ranger Boost in front of amp SIM and It really does a great Marshall with the 4x12M speaker SIM.
The fx are hands down best of the modeling amps and many are stereo post rack type or in front of the amp m Just like a real amp setup the order of the pedals changes the flavor of the sound. The Green box pedal effect is even better than Screamer as it lets a bypass blend of fx. This amp does great classic rock sound. The Twin is the best modeler by far with compression chorus and stereo delay. Tubelike for sure. Factory presets are weak because when turning up loud the headroom is to dynamic. Just adding the compressor fx in front of each patch will correct this bad factory programming.
This will also emulate what a tube amp does naturally which is nail the sweet spot. Always add half sec delay tad of reverb to give a live sound and there you have it. No matter what a tube snob tells you this amp will record better every time with stereo xlr outputs that are incredibly accurate and noise less. Always use the noise gate. There is also a Studio Amp preset to take pedals into the amp and it really enhances the heat of the sound.
Any distortion pedal or booster becomes more dynamic thru this preset. The Free downloadable Fuse librarian editor is a must have.
So easy and cool to use. All the amps and knobs visually accurate. The best software on any modeling amp for sure.
Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: After using the Mustang 3 in particular it is about the best amp for every live application. It is small and loud and portable. The left and right xlr stereo outputs are absolutely perfectly tuned to reproduce the most accurate response of any amp I have ever used directly to a PA. Micing just cannot hold a candle to it, and no feedback problems remotely possible. This is a big deal. No matter how good you think your amp sounds the live feed is what the audience actually hears, especially in stereo with stereo fx.
Really makes the sound come alive. The metal 2000 with a Greenback cab SIM is the best classic rock crunch I have ever heard. All tones balanced perfectly and I would compare it to the Peavey Triple X which is an awesome amp. Also the Twin and Deluxe are the best Clean amps. The only amp that could hold a candle to this amp for live use is its bigger brother the Mustang 4 because it is Stereo in and Out and it is 150 watts but it is also 2 12 speakers and larger and heavier. I love the sound of many amps like Peavey and Marshall and Vox but I can say emphatically that the Mustang is the best live feed I have heard. It sounds identical to the amp and even punchier cause it is direct to a PA.
It's a bigger speaker system. Also can say that the Return input of the amp fx send is Fat and beefy with external multiFX. They sound much better than going on the front of the amp because they are not using anything but straight power amp. The Metal 2000. I try many amps and own a few tube amps, but this amp sounds better in the PA especially.
I will never Mic again. The recordings direct to multitrack are beyond compare. Headphones are adjusted perfectly as well and are stereo. Using the Ranger Boost SIM as a distortion driver is one of the best I have heard sounds great in front of The SuperSonic and Marshall SIM. Pushing it thru the Vox SIM is exceptional. This amp is the most versatile amp ever.
Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: I am a converted tube snob because of this amp. Do not listen to the bedroom performers who say that tube amps are the only way to get great tone. I made a living playing music and have been fortunate enough to score 2 top ten radio hits and know a thing or two about amps and good tone. I always used tube amps until now. I loved the tone of a good tube amp and and I have used everything from Marshall to Fender and everything in between. You hear a lot of tube snobs talk about the tone and I was one of them but they rarely talk about the other side of owning a tube amp. The maintenance, the weight, having to carry a pedal board with a massive array of effects.
The one that always drove me up a wall was how much white noise they produce. A tube amp is very susceptible to line noise from ungrounded or old wiring you can encounter when playing in various venues. Gigging musician's know what I am talking about. It can be very nasty. The Fender Mustang 3 is super quiet, sounds fantastic and only weighs a little over 30 lbs.
The effects are great and the pre sets are very sweet. Because the effects and pre sets are so tweakable I only carry the 4 button footswitch, the 2 button footswitch and the expression pedal. I can fit them all in the back of the amp. No more massive pedal board to lug around. My tube amps ( I still own 3) have not left my house since I bought this amp.
If you are thinking about this amp don't hesitate it is a great amp. If I have a complaint about this amp it is that the programming is not very intuitive. Give yourself some time to learn all you can do with this amp it is worth the extra time that it takes. If you have any questions about this amp go on youtube and check out the blind comparisons against tube amps, 90% of the people picked this amp thinking they where voting for the tube amp (I was one who did). I do recommend that you get the 4 button switch and run it with the 2 button switch which gives you many options.
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I don't know if this amp would be for a death metal musician, there is a preset for it but I thought it sounded weak but then again you can tweak it. After 32 years of playing music I have played most all styles at one time or another and this amp does a good job of covering all the bases. I do not know if this amp excepts effects pedals very well I have had no need to use mine but it does have an effects loop for them. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: This is a great amp to get for someone starting out who anticipates playing in front of others or with a band at some point. This amp will allow you to grow from ground zero and not NEED to buy another amp once you are able to begin playing in performances.
The amp has lots of different sounds which would also give you an idea of what your sound is and what equipment you'll need to buy down the road to achieve it. The quality of the sound is very good at both quiet and load volume levels-great for practice in the bedroom and in the garage or on stage. It has inputs for headphones, mp3/ipod, and computers. There is FREE software available to tweak sounds, or even download popular setups created by others.
Musician's Friend was great! My amp was shipped extremely fast! If someone were on the fence about this amp, I'd recommend this amp to anyone at the beginner to basic/amateur performer level. One caveat, if the purchase is for a smallish child who may not stick to guitar, I might say consider the smaller mustang amps.
With the smaller version, you would have smaller cash outlay in case the kid quits but still a good practice/bedroom amp. But for an older child or an adult that intends to stick with the instrument, I know this is an amp that would best the player's ability for some time and would not force a person to rebuy more equipment before they develop the ear and talent to need something to play in public. Even then, as a 1st performance amp this is an awesome starting package to go out and gain experience with. Feel comfortable buying this amp and buying from Musician's Friend! I'm very satisfied with the product, the purchase, and the service! Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: This is actually my third amp from the Mustang series of amplifiers. I originally owned the first version of the Mustang II and the Mustang III.
Both of them, while having great emulations of Fender 'clean' and overdriven rock tones, I found to be somewhat lacking when it came to getting a good metal distortion. Both amps eventually ended up being traded and/or sold for other gear.
However, I was impressed with the versatility offered by the FUSE editing software and the fact that the Mustang III had an effects loop, something normally not found on a SS modelling amp. When the new Mustang v2 series came out, with the promise of a re-tweaked distortion voicing I had to check it out. This thing is now the complete amp for my needs.
I'm mostly a metal guy (Lamb of God, Children of Bodom, Testament, Slayer etc.), but I also dabble in the blues as well, along with some occasional classic rock (ACDC, Hendrix, ZZ Top) and most recently some Country (gulp!). The great Fender sounds are still all there, but now the distortion that was lacking in the previous version is present too. Factor in that they've added some additional amp models (a '60's Thrift' which I'm guessing is a Silvertone, a 'British Watts' (Hiwatt) and a 'British Colour' (Orange)) and I've got almost every amp I've ever wanted in one box. I don't think it's reasonable or fair to compare the modeled amps to their real life counterparts and expect them to sound EXACTLY the same. There are just too many variables for that to work. And we are, after all, translating from the analog to the digital realm with these amp models.
But you can get ever so close to hearing what you would expect that amp to sound like. And with the FUSE software you can mix and match speaker cabs as well as adjust tube sag and bias, giving you the ability to play around with the resonance and dynamic responsiveness and 'feel' of the amp. In short, this amp is a tweaker's dream come true! The palette of effects that are offered are no less impressive. There are six different dirt boxes that are modeled, as well as two varieties of compressor. Modulation stompboxes come in fourteen different varieties and there are ten different reverb stompboxes. All stompboxes have the same number of parameter controls as their real life counterparts.
There are an equal number of modeled rack effects as well, each with at least five editable parameters. Along with the FUSE software it also comes with a key to download Ableton's LIVE 8 and IK Multmedia's Amplitube le for Fender.
The only drawback I can find with this amp is that I sometimes find myself spending too much time playing around and tweaking it than I do spending time for much needed guitar practice! It's a great sounding, versatile amp. It offers so much more than the Peavey VYPYR VIP 3 (which I purchased and promptly returned because of mediocre sound, several glaring product defects and a painfully cumbersome user interface). I'm not saying that this is the be all and end all of amps. As a matter of fact I'm waiting for Musician's Friend to get the Blackstar HT Metal series in stock just because it's strictly an all tube metal amp with a wide tonal palette.
But for a great sounding go to amp that will give me any sound I need without a lot of fuss, this is the one. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: I use this amp at home. Possibly more power then I need but a good price, Fender quality and reputation,and plenty of sound/amp selections. I also had experience with the Fuse program from my first Mustang 2 and then my gdec 3 30 so this amp was no problem. Fuse recognizes either the Mustang or gdec amp which ever is plugged in plus all the presets from my 2 can be loaded onto the 3.
Unfortunately the gdec presets can't but with more amp choices I can pick from the possibilities are unlimited. I am enjoying this amp and I do find that although you can make changes through the amp itself the Fuse program gives you more. I purchased this amp first on reviews and then an MusciansFriends reputation which to me is top rated 5 stars.
I also read reviews to get other owners tips and suggestions. Fender forum is also good for this. This is a keeper for me. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: I've played guitar for 18 or so years. I sold my Crate Club 50 tube amp and my Crate Excalibur half-stack when I got married and my kid got 'on the way.'
When things settled down and I started getting in the practice of playing again, I wanted a small, good sounding amp. My wife said she was going to get me an amp for my birthday and I told her to give me a week or so to read reviews and such. I can say up front I read a lot of really good reviews on the Mustang III on this site and others. I had it narrowed between this one, a Roland Cube 40 XL, and the Vox AC4TV. I watched a lot of videos online and finally told my wife after about a week that I'd narrowed it down between the Mustang and the Vox, then told her I wanted the Vox, mainly because it's small and it'd have that tube warmth I felt like I might need. When she called to order, the Musicians Friend rep talked her out of the Vox and promised her I'd be happier with the Fender. So she got the Fender.
I wasn't at all happy when I received it, but after I plugged it in and started playing with it, I was a little excited. It's very versatile. Then a few weeks later I started noticing little things. It's real hard to get used to. Foot-switching is a real pain, if you want to move from one profile to the next.
It doesn't have much in the way of a nice clean tone at all. You've got to really work at finding a good 'amp' and set it just right so that it's not dirty. Most of the distortion sounds like trash. I don't really have the technical 'sound' vocabulary, I guess, to adequately describe here what I'm taking about, but when you palm mute with most of the solid-state distortions, it sounds 'bad.' If you're a new player, and you're tired of your beginner's practice amp that came with your guitar and you want something that'll impress your (also inexperienced) friends with a pretty versatile, pretty loud amp, and you don't care about tone, fidelity, or quality distortion, get it.
It'll save you from buying a few stomp boxes like chorus, phase, or delay. For you, it's a pretty good value. On the other hand, if you're an experienced player on a budget, you care about quality and tone, and you aren't impressed by gimmicks, pass on this one and get an entry-level tube amp.
There's no substitute. I'd trade this amp right now for any tube amp that works. By the way, MF? Next time my wife calls, don't try to change her mind.
She doesn't know what I want. I told her what to ask for. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: I own 2 mustangs I bought the first about 4 years ago it is a mustang ii Great little amp I have used it in our church and is stays there I play it 3 times a week. I used a Line 6 spider for about 5 years on gigging ( Church ) and it failed me so I needed a new amp. So I bought a Fender Mustang iii v2 and it is perfect.
It is warm and light and powerful. I had to Mic the line 6 and the mustang ii but with the mustang iii v2 it has XLR direct outs and I LOVE that and they are adjustable, Just run a mic cable from amp to P.A. Some have said it is difficult to use, maybe but not for me spend a little time to pre setup the channels when you practice make the small changes to the channel you have set up and save changes. My other guitarist said he loves the way it cuts through the mix.
LOTS clearer than the Line 6 very very happy with this amp. Yes it is a modeling amp and you have a lot of stomp box and amp models to use. OR pick a channel take everything out and have a clean channel; and use a aftermarket foot pedal.
Very versatile. I even set up a channel for my hollow body so I go from an Ibenez hollow to a PRS electric and just change the channel with the 4 button foot switch. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: My favorite sound is a Fender Twin. The Mustang III sounds like one, but costs a quarter as much - and, happily, WEIGHS a quarter as much. I use it for performing solo gigs, playing fingerstyle on a two-pickup archtop and singing. I wanted something portable and loud enough to play small-to-medium size venues without running through a PA, and this amp is certainly that. I've got to tell you, the Twin setting on the Mustang III is just breathtaking.
So is the Deluxe setting. So is the Bassman setting, and the Princeton setting, and dozens of other settings that are fun to play around with. In a dark room, could I tell it from a real Twin?
Probably, because two 12s move more air and fill the space differently. But with the excellent speaker emulation on the Mustang III, the difference is academic. I'm not a techie person, and this amp seems designed for me. Setting up my dream sound took about a minute, and I haven't changed it since. All I did was swap out the Fender reverb for a plate reverb (Gracious, does THAT ever sound good!), tweak the tone and hit the Save button.
Done and done. If you're like me and thought you'd never have the patience to use a modeling amp, this one will change your mind. Everything is dead simple and intuitive. Tech-savvier users can download the Fuse software and have a universe of sounds available, but I wanted a Twin sound and got one - in an amp I can carry in one hand.
In the studio, the various Deluxe models are a lot of fun for rocking out. The Deluxe and the Twin both make very good bass amps, too! (I run an adapter out of the headphone jack straight into the board.) For distorted bass or guitar, the Bassman is a monster. I'm only using about 5% of the Mustang III's capabilities, and I'm happy as a clam. This is a game-changing amp! Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: I recently started playing again, and joined a band with some old friends.
We are focusing on Beatles, and 70s / early 80s. My previous amp was a Peavey Vyper 75 modeling amp, and my main guitar was an Epiphone Les Paul. But I just couldn't get the Beatles type tones I was looking for, so I bought a Fender Telecaster Nashville, but that still didn't make a difference with the Vyper.
Then I discovered the Mustang III. This amp has amazing models of Fender amps, and the Vox models are also wonderful. The amp almost has the warmth of a tube amp. The other thing I really like is how easy it is to program with just using the mini lighted LCD screen, and the wide variety of stomp / rack effects. It also has 100 memory locations, vs the Vyper's 12. I also bought the 4 button footswitch so I could have the tuner in clear view on the floor. The amp is also way lighter than the Vyper, and it works every time I use it, unlike the Vyper which doesn't always detect its own footswitch unit.
Bottom line, if you want a small, light, powerful amp that can mimic most amps on the market pretty convincingly for a reasonable price, then this is your amp! Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: I play in a local cover band and I need lots of different sounds. Van Halen to The Romantics. Metallica to Van Morrison. This amp has all those tones and more. No option paralysis, but you can dive deep if you want to tweek things like the sag to really customize your sound.
The Fender amp models shine (as they should). It really does sound like a Bassman on the verge of break up. And it sounds like a Tweed Amp cranked up to overdrive. Not quite as responsive as my tube amp, but it's darn close people. No casual listener would ever know the difference, and I can barely tell the difference. Plus, it 'feels' darn close to a tube amp (but not quite), and I'm being very picky here. After some quick adjustments I got my late seventies Van Halen tone.
I found my Stevie Ray Blackface tone. I found my 90's Metallica tone. Not my style so I can't comment on extreme down tuned chugging. But it's all here guys. Don't let the valve amp snobs stop you from buying this excellent piece of kit!
Did I mention the price????? Super awesome value!!!! Buy the bigger foot switch if you indend to gig it. I am not selling this amp!
Patch Editor Mw2
I traded my old beat up Tech 21 Trademark in for this guy; that's how GOOD this amp is! Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: This Amp is fantastic for recording.
It has tons of pre-amp effects and models other great amps pretty well. I was disappointed with the inability to get a good clean channel out of it. The 2 button switch bounces you back and forth between various amp models and settings. Perhaps others have figured out how to get it clean and make the pedal more functional. It's complicated in my opinion and has left me seeking something much more simple. The amp itself sounds fantastic. It just does way more than I need or understand.
Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: The Mustang III (V2) has been a wonderful investment for my musical needs at home. The amp has enough power through the headphone circuit to allow me to crank up the volume to headbanger levels- great for practice for anything from light jazz to metal rock. The standard 99 modeling modes have more than enough choices for anyone's needs, and the fender modes for their many amps such as the Champ, the Princeton, the Deluxe reverb and more- they all sound pretty darn good for a digital rendition. The British metal and classic rock modes are weak, (it's no Marshall Plexi) -and some of the modes are just stupid. Baritone and a few others are absolutely worthless.
If you shop online- you will find that you can buy additional presets and download them via the supplied USB cable with your computer, or create your own and save the presets directly to the amp. The instructions are straightforward, but complex, it's not user-friendly if you are in any way computer-phobic. If you are- this is not the amp for you. For the few clams that this amp costs- I defy you to name a better bargain. Line6 amps are horrible- their QC is the worst and their modeling is weak.
Let me save you the effort. The Fender is a superior choice.so anyway -rock on. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: I used to run my guitars through our sound system so that it would add a fullness to the entire sound. With the Mustang III V2 and am able to set the amps volume where I like it so the sound comes out of the amps speaker, but with the added XLR outputs on the back of the amp, I can run cables from my amp to the mixing board and get the best of both worlds. The sound is still full and balanced through the sound system and I get the power and directional sound of my new amp.
On top of that once you understand how the presets on the amp work and how to adjust them etc., you have a whole new world of sounds opened up to you. You can create your own unique tone for guitar solos and will set you apart from other guitarists. I just love this. Also, if you want to try and get some of the tone that other guitarists use, with the option of connecting the amp to your computer and using the Fender Fuse website, you can download numerous presets that others had created to sound like several famous guitarists. You can do so much more. From the moment I walked into the music store and plugged a Fender Squire into this amp and was blown away at how good it could make that guitar sound, I knew I had to get this to use with my Fender Strat and Schecter guitars.
Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: As we all know sound is subjective. I like this amp because it meets pretty much everything I play: jazz, country, pop, blues, rock and even folk. I quickly realized that one needs to spend some time coaxing out the sounds one favors. I think it does a pretty adequate job at emulation but let's not kid ourselves, this is not a tube amplifier. I've been at this for 45 years and have had a number of major amps.
But for me, a grumpy retired person who rarely plays out, this Mustang is a lot of fun. I have dialed in a lot of warm and clean settings to enhance my solo jazz playing.
It is as clean as any other amp I've used for this purpose. Some of the preset settings can be a little harsh but they can also be tamed.
It has incredible flexibility and versatility to meet anything I can throw at it. So while I don't know if it would be a good match for live gigs, it certainly is more than enough for jam sessions and home recording/playing. I stray away from calling this a beginner's amp exclusively. It is inexpensive but sometimes you can get more than you pay for.
Trust your ears and try not to be influenced by Asian vs. American or cost factors if you can. Music should be enjoyable and stress free. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: Here's how you use this amp: Check out the presets and then delete them. Build your tone from the ground up using one of the 'basic' amps. Fender models are the best of the bunch.
Once you have found a tone you like, you can color it by using the onboard pedal simulations. I like the Bassman setting so I use the Fender four (really three) button footswitch to toggle between a clean, overdriven, and a somewhat gainy tone - all built around the bassman. The speaker cabinet choices make a HUGE difference.
The basic 1x12 is very uniderectional. Try out the 2x12 for most applications.
Is it a tube amp? But it can be coaxed to deliver a great tone if you know what you are after. You will have to spend some time fiddling with knobs, but good sounds are in there. Once dialed in, forget the fiddling and just play. Comments about Fender Mustang III V.2 100W 1x12 Guitar Combo Amp: I wanted an open-back cab to use with my floor modelers (currently, an RP1000). With the 4-cable method, the Mustang III allows me to have access to its internal patches and/or the DigiTech patches/effects with the press of a foot-switch Flexibility & redundancy for gigs = peace of mind. As a power cab it's portable (about 10 lbs heavier than the Tech21 PE60 but virtually the same size-the PE60 cover even fits the M-III) and, so far, I think louder and cleaner.
The master volume also affects the EFX Return input and controls the overall volume of the unit when used as a power cab (this doesn't happen on some amps-e.g., the ZT Club12). My only complaint so far is that the EFX is not a standard circuit in that there is some noise/patch bleed from the patch active on the Mustang's side, something that would be defeated on a standard EFX Return's input. There are simple workarounds but it's not just Plug'N'Play. I did notice that Fender support has already supplied a software update/fix to address one EFX loop issue, so maybe this will be addressed in the future. It seems to be solidly built. The optional 4-Button foot-switch is probably a must if you're going to relie on the M-III's internal patches for live gigs (it comes with a 2-button switch; the 2 & the 4 can be used together for a 6-button option, which has programmable options.
The Fender FUSE editor/librarian is straight-forward and easy to use with some interesting features. All-in-all, if a solid-state amp is ok with you, a lot of value, sound and flexibility for the money.