Guitar Pro 5.2 With RSE And Serial - Totally Clean Serial Key
Angelo Dearring
I have a PRS Pauls Guitar with switchable split coil pickups. When used with my Kemper rack, unpowered, the input led is constantly lit orange and often red. If I wind the volume way down on the PRS I can get it to go green. Obviously I am not worried so much about the colour of the led as the sound of the output! It is way too hot and getting a clean tone is so difficult. When I play even slightly harder, it breaks up and sounds horrible.
I have a 63 re-issue Tele with vintage pickups which sounds just great with the same profile/settings. Led stays green, clean sounds are great, easy to get a nice controlled edge of break up sound.
I have spent hours and hours watching you tube videos and reading the manual relating to the clean sens & distortion sens settings. To be honest I still am not totally clear what they do and how to use them but I have tried all different setting on both and it really makes very little difference when the PRS is used. The led is still mostly orange/red and the sound is still distorted.
None of my LED's are red-lighting (Input and Output). I'm pretty much solid green on both, but I can get the Output to go orange only if I add the Direct Mix to 10.0 under the Amp setting. My guitar volume pots are always on 10 when I start practice. Besides the one guitar with EMG's my others are pretty hot passives like my JB, Duncan Distortion and Pegasus. I'm curious to know why you are having the problem and would like to see it resolved.
Play using the hottest guitar signal you might normally use for whatever clean sound you're tweaking, ie. humbuckers with full volume. Lower the Clean Sens until the input LED is barely flashing red. That's your baseline. If you find it too loud/quiet after setting Clean Sens, use amp volume or rig volume to balance it with the other rigs. The profile should now respond as expected. Plus if you want to use the same presets with guitars that have noticeably different output levels, you can now also use Clean Sens to compensate for the volume difference and even save different Input presets for different guitars.
I recently borrowed the fractal saying, "tickle the red" it's been really great using humbuckers with a lowered dist sense on high gain profiles. I used to always boost it 2 or3 dB, then I stayed at zero for a long time and now using the lowered value for high gain and lower for clean sense too on clean profiles. If I need anything there's plenty of other places further down the chain to get more volume, bass, mid and presence boost etc.
I almost always use a sort of medium level of overdrive, as I'm also a fan of Link Wray and 60s garage music (and 70s/early 80s punk, among other things). For more surfy stuff, I'll turn it down a bit but almost never play totally clean.
On a side note, I think playing with more overdrive makes it easier to sound good when you are playing sloppy, whereas a totally clean sound more easily reveals imperfections in playing. Which means I should practice more often with a totally clean sound, but laziness usually wins out.
Interesting to hear about pedal choices for a Link Wray sound here. Will check them.i love that 'clean but dirty, dirty but clean' sound. Not easy to achieve...and WAY too many covers of Rumble on the tube with bucket loads of distortion.
The rest of the time the only "dirt" I get is what you get naturally when you crank a Fender to try and get heard over an insane drummer. Which is probably not what a non-surf guitarist would consider "clean"
As another Link Wray fan, I have played around quite a bit with getting that just dirty enough sound. My overdrive pedal is a Digitech Screamin' Blues, which gives me a good sound set around 12 o'clock (depending on the guitar). But I've gotten the best Link sounds from a couple of amps I have, Tech 21 Trademark 30 (and Trademark 10) and a Session Rockette 30. Sure, they're both solid state, but they do the ragged out sound really well.
It's a situational thing. Like dbus88 stated above, I to find that the trio situation can necessitate a little dirt in my guitar sound. It creates dynamic options without getting really loud. The day after Christmas I picked up a Voo Doo Labs Sparkle Drive. It allows the user to mix in a clean signal with the drive sound thus retaining the attack that is lost from gain. I haven't used it a whole bunch yet but so far it's working for me. It's just right. I'm sure there are boutique pedals that do this as well but the Sparkle Drive wasn't very expensive.
Back in my twin reverb days and blackface showman days I used an MXR Super Badass distortion to add a slight amount of drive for quiet playing. I also used a Soul Food a bit. With the brown amps and using my quilter as a post reverb pre to my amps gives me a slight gain boost so no dirt needed. I still use my fuzz face clone during certain parts of songs. The FF clone is set with very low voltage via trim pot that makes it sound very vintage. I use a boutique clean boost that has a touch of treble boost and is incredibly transparent as an always on pedal to boost the drip. I also have an EP Boost on the pedal board but found that it cut the drip boost so I don't use it at all for surf.
One of the best methods to clean an unfinished Maple fretboard is to use ultra-fine 0000 steel wool. This removes dirt without causing damage to the frets. A slightly damp cloth can also be used, especially on satin-finished maple, but generally avoid using anything other than this.
A Maple fingerboard that has been lacquered should be cleaned only with a damp (or dry) cloth. Using steel wool will take away the shine and leave a matte-like finish, while lemon oil will dull the finish and similarly take away the sheen. Strictly use a dry or lightly dampened cloth. You could even use a little bit of Jim Dunlop Formula 65 Guitar Polish if the lacquer is very thick.
Satin-finished guitars offer more of a semi-gloss look, but have a similarly smooth feel like matte-finished instruments. Regarding cleaning guitars with a satin finish, the same process applies and only a dry cloth should be used. A slightly dampened cloth would also be okay if a really thorough clean is necessary.
This finish wears easily over time, and generally you should try and avoid using strong polishes to clean it. If you really need to, dampen a cloth with some water but make sure that it is fully wrung out beforehand.
I generally prefer an amp with a little "bite" to it but frequently go from a rocky kind of sound to something far more tranquil and I don't see how I'd do that with (say) an AD30. I use amp modelling so have the freedom to switch amp but wondered if these are comparable philosophies or give a totally different sound?
The way you'd do it with an AD30, or other 2-channel amp, is to set one of the channels as distorted, the other as clean and then use the foot switch to toggle between them. One of the aspects that you have to finesse in this approach is achieving the desired relative overall volume between the two channels while obtaining the desired degree of distortion from the distortion channel.
This approach is not incompatible with using distortion effects as well: e.g. clean channel, distortion effect + clean channel, distortion channel, (different?) distortion effect+distortion channel -- gives quite a range in tonal characteristics.
However there are other factors. Let's say you have your rhythm amp sound as clean with a little bit of 'crunch', and your lead sound with more distortion and slightly higher in volume so it pokes through. Pretty standard setup.
What if you want a really clean sound halfway through a song ? You can often turn the volume knob on the guitar down a smidge, which normally reduces the 'crunch' and only slightly takes the volume down (less drive to the amp = less overdrive [crunch]).
The alternative is to have a multi effects board with all this built-in, with banks of memorised 'patches' that you've defined already eg you could define a patch for clean, rhythm and lead. As some songs nee da bit more of this or less of that, you could define further patches with effects amended accordingly.
Firstly, a pedal is nothing more than a preamplifier. A guitar amplifier also has a preamplifier. Both can produce distortion, and, at low volumes, this distortion is amplified more or less cleanly by the amplifier's power amp.
We've been using Logic Express 8 on an old mac mini for years. We have an M-Audio Fast Track Pro interface. When we record an electric guitar using a "clean" setting, it sounds perfectly clean (no distortion).
We have a new macbook laptop with Logic Pro X 10.3.x, and using the same M-Audio Fast Track Pro. Today we tried to record an electric guitar on an audio track, and we selected clean guitar sounds. When playing and recording we can hear a distorted sound (like a static-y fuzzy noise along with the guitar sound). Tried different cords to make sure it wasn't that, but same problem. We are not familiar with the whole "amp selection" thing, but are wondering if there is something we're missing. Tried turning off all the channel strip settings except for the amp itself, and that didn't help either.
One possible cause could be electromagnetic fields interfering with your guitar pickups. These fields are produced by lots of common house hold equipment with some of the main offenders being dimmer switch circuits on lights and computers. If you have a wireless mouse go and hold that up to your guitar pickups for an example of what this interference can sound like. Try turning off any lights with dimmer switches when you record and try not to be sitting/standing right in front of your computer. You can also walk around your recording space with your instrument plugged in to see if there is an area where the interference is less severe.
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