#1
|
|||
|
|||
How to customize ToneDexter WaveMaps
This was just posted on the Audio Sprockets website. If you have a DAW, here's a method to customize your WaveMaps:
https://audiosprockets.com/tonedexter/daw-wavemaps/
__________________
Patrick 2012 Martin HD-28V 1984 Martin Shenandoah D-2832 2018 Gretsch G5420TG Oscar Schmidt Autoharp, unknown vintage ToneDexter Bugera V22 Infinium |
#2
|
|||
|
|||
Quote:
|
#3
|
|||
|
|||
So far, whenever there has been an update, existing wavemaps are not affected. I'm going to guess that the volume change is baked into the wavemap. (It would be awesome to be wrong!)
__________________
-Gordon 1978 Larrivee L-26 cutaway 1988 Larrivee L-28 cutaway 2006 Larrivee L03-R 2009 Larrivee LV03-R 2016 Irvin SJ cutaway 2020 Irvin SJ cutaway (build thread) K+K, Dazzo, Schatten/ToneDexter Notable Journey website Facebook page Where the spirit does not work with the hand, there is no art. - Leonardo Da Vinci |
#4
|
|||
|
|||
Yes, they are.
__________________
Patrick 2012 Martin HD-28V 1984 Martin Shenandoah D-2832 2018 Gretsch G5420TG Oscar Schmidt Autoharp, unknown vintage ToneDexter Bugera V22 Infinium |
#5
|
|||
|
|||
That's great, thanks for sharing. I was one of the users looking for more control over wavemaps after being spoiled by custom IR's.
|
#6
|
|||
|
|||
Quote:
__________________
Give a man a fishing rod... and he's got the makings of a rudimentary banjo. |
#7
|
||||
|
||||
Thanks for sharing that. I just ordered the TD today, and cant wait to try it out. I found it interesting whenbthey suggested using a preferred instrument to generate the image and applying it to another. (E-cello, in the article). I always broke the rules with my fishman aura by using whatever image (regardless of body shape) sounded good. This could occupy MUCH quarantine days, with all the possibilities.
Dave F |
#8
|
|||
|
|||
What mics are you all using to map your tonedexters?
|
#9
|
|||
|
|||
There's a list of recommended mics on the Audio Sprockets site, but you're going to get recommendations all over the map. Mollie Tuttle, in a demo video, says she uses her SM57. My results from my SM57 were not my favorites.
My advice--use the mics you have before you go out to buy another. Follow the instructions on the Audio Sprockets site with different mics and positions. So far, my favorite results have been with my ADK Vienna large-diaphragm condenser mic.
__________________
Patrick 2012 Martin HD-28V 1984 Martin Shenandoah D-2832 2018 Gretsch G5420TG Oscar Schmidt Autoharp, unknown vintage ToneDexter Bugera V22 Infinium |
#10
|
|||
|
|||
I once saw a post with some hints a tricks for creating a better wavemap but wasn't considering TD it at the time. I think it mentioned picking some but not all strings or something. Anyone know where it is? I just bought one.
Also, any thoughts on creating the map in a dead recording space vs my lively living room with marble floors and 15 ft. ceilings. Of course I'll try both but I'm interested in your advice. I'm thinking dead space and large tube condenser will be best and then let the room I play in and reverb do the rest.
__________________
Matthew Ed Gerhard Signature Masterclass Breedlove Strandberg Metal NX Youtube Spotify Tidal ResultsManagementGroup and deepwork.coach |
#11
|
|||
|
|||
Quote:
I recall James May saying that the room probably won't be a big factor (I could be wrong, however), but mic placement is. For my HD-28V I got the best result by pointing the mic to the lower large bout angled upward toward the sound hole. Your mileage may vary. There is a list of recommended mics on the website, but so far I've gotten my best result with an inexpensive measurement mic (Behringer ECM8000). My second-best was with a large condenser mic (ADK Vienna Mk8). Try different mics with different placements. There are placement recommendations in the manual. One more tip: There is no such thing as a perfect wavemap, but it's really easy to go down the rabbit hole of trying to create one! Have fun!
__________________
Patrick 2012 Martin HD-28V 1984 Martin Shenandoah D-2832 2018 Gretsch G5420TG Oscar Schmidt Autoharp, unknown vintage ToneDexter Bugera V22 Infinium |
#12
|
||||
|
||||
Quote:
Yet in Molly's video done at Carter guitar she programs the ToneDexter with a Shure SM-81. I imagine the reason she uses a ShureSM-57 is that it is the stage mic of choice for Bluegrass players for 'live' play. I've used my ToneDexter for 2½ yrs now using my Olson Dreadnought, Bashkin OM, Kronbauer Mini-jumbo and Recording King ROS-626 (all with K&K Pure mini). I've tried every mic in my arsenal including SM-57, 58, Beta 87A, and KSM-44 (which is a studio condenser with same settings as my AKG-414 (which I've also used), my Rode NT-3, and Peluso CEMC6 with both uni-directional and omni-directional capsules. The best sound Wavemaps I've pulled in my recording space (by far) were with the Shure KSM-44 from about 14" out from the neck-body joint. Worst were the SM-57. Consider that I'm an all-flesh fingerstyler who loves a full, smooth, sustained sound with warm tone similar to my recordings made in studio, versus a Bluegrasser who is carving out their spot in the mix and fighting to be heard. ToneDexter to me is not a one-trick-pony. If I need to alter a Wavemap, I just record it again. I still have the internal K&K mics in my main 3 guitars and two solid two channel preamps I could fall back on. I've never felt the need to, but could. I didn't get the ToneDexter because I was unhappy with my existing rigs and sound. It was a personal experiment to see how close to my perceived tone/sound I can get through a PA. |
#13
|
|||
|
|||
Quote:
Oh, and I've tried pretty much every recommended mic position as well. The moral of the story is that what works for me may or may not work for you. Also, what works well for one guitar may not work well for another.
__________________
Patrick 2012 Martin HD-28V 1984 Martin Shenandoah D-2832 2018 Gretsch G5420TG Oscar Schmidt Autoharp, unknown vintage ToneDexter Bugera V22 Infinium |
#14
|
||||
|
||||
Quote:
I was probably too verbose, but that was my point in posting.
The objective for a ToneDexter (in my way of thinking) is not to make all guitars & players sound the same, but to mirror the same style we have without amplification for live audiences which are too big to fit in my living room. For others (Molly Tuttle or Billy Strings for instance) it allows them to emulate the live sound they've been getting through the mics for years with more feed-back resistance. |