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Old 05-05-2020, 09:37 PM
phcorrigan phcorrigan is offline
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Default 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/
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Old 05-05-2020, 09:47 PM
Petty1818 Petty1818 is offline
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Quote:
Originally Posted by phcorrigan View Post
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/
I like that the new update address the wavemap vs raw pickup volume issue. I find it hard to compare the bass response when the wavemap drops in volume. Does anyone know if wavemaps are saved on the TD when an update is done?
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Old 05-05-2020, 10:16 PM
Gordon Currie Gordon Currie is offline
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Originally Posted by Petty1818 View Post
I like that the new update address the wavemap vs raw pickup volume issue. I find it hard to compare the bass response when the wavemap drops in volume. Does anyone know if wavemaps are saved on the TD when an update is done?
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!)
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Old 05-05-2020, 10:36 PM
phcorrigan phcorrigan is offline
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Originally Posted by Petty1818 View Post
Does anyone know if wavemaps are saved on the TD when an update is done?
Yes, they are.
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Old 05-06-2020, 07:48 AM
GuitarLuva GuitarLuva is offline
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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.
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Old 05-06-2020, 07:52 PM
shufflebeat shufflebeat is offline
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Quote:
Originally Posted by phcorrigan View Post
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/
I've been doing this from my first days with the TD and have discussed elsewhere on this forum. It certainly does make a difference and, before WMs could be saved to storage it was the only way to back up your work.
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Old 05-10-2020, 02:19 PM
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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.

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Old 05-24-2020, 08:03 PM
TaylorCocobolo TaylorCocobolo is offline
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What mics are you all using to map your tonedexters?
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Old 05-24-2020, 08:13 PM
phcorrigan phcorrigan is offline
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What mics are you all using to map your tonedexters?
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.
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Old 05-21-2022, 05:13 PM
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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.
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Old 05-21-2022, 07:05 PM
phcorrigan phcorrigan is offline
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Originally Posted by Tapping View Post
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.
Read the manual. It will give you tips on what strings to pick.

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!
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Old 05-23-2022, 05:17 PM
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Quote:
Originally Posted by phcorrigan View Post
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.
Hi phc-etc
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.




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  #13  
Old 05-23-2022, 07:39 PM
phcorrigan phcorrigan is offline
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Hi phc-etc
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.
Yeah, it seems like everyone has their own "secret sauce" when it comes to wavemaps! I've tried all the mics I have and now have acceptable, not perfect, wavemaps. If at some point I get another mic I'll give it a try.

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.
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2012 Martin HD-28V
1984 Martin Shenandoah D-2832
2018 Gretsch G5420TG
Oscar Schmidt Autoharp, unknown vintage
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Bugera V22 Infinium
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  #14  
Old 05-24-2022, 11:34 AM
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…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.
Hey ph-etc

I was probably too verbose, but that was my point in posting.
  • Players are different, which makes even the 'theoretical' identical guitar sound different.
  • Action is different, which makes even the 'theoretical' identical guitar sound different.
  • Strings are different, which makes even the 'theoretical' identical guitar sound different.
  • Rooms we play in are different, which makes even the 'theoretical' identical guitar sound different.
  • PA systems and amps are different, which makes even the 'theoretical' identical guitar sound different.

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.




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