I set my effects as Andreas : I let each patch with a total level at 100 and set every individual at the level I want (unity or higher if I want it to boost my signal). It's simple and effective.
Unity level is not always simple. If you use and relatively transparent effect in term of eq, you'll be able to set it easily by ear or with a level meter, but if you use effects that have some impact on the eq it's more easy to make a pre-adjustment at home and then check during a rehearsal with the other guys playing.
You can easily be tricked by some effects who increase the level of the highs (as a lot of drives for example). At home you tend to focuse on these highs because you can hear them easily. So you have to listen too to the lower frequencies and hear if you always have the good amount of bass when you turn on an effect.
Another thing is that you don't want every effects to be at unity level. If you know that you'll use one in a very noisy song it can be interesting to push its level.
And finally, it's more easy not to choose too much effects to test with your band. Like that you can really try them and understand how their settings work.
At the beginning, with my B3, I made almost 10 or 15 different patches and I spent all my rehearsals tweaking with generally bad results.
I have since simplified my approach by using a very limited number of patches with choosen effects, as if I only had at disposal a few pedals. And my tone is way better because I know what I do
It's a bit frustrating but more efficient (there are so many effects + you can combine them : you could spend a whole life to be able to masterise everything!!)
Unity level is not always simple. If you use and relatively transparent effect in term of eq, you'll be able to set it easily by ear or with a level meter, but if you use effects that have some impact on the eq it's more easy to make a pre-adjustment at home and then check during a rehearsal with the other guys playing.
You can easily be tricked by some effects who increase the level of the highs (as a lot of drives for example). At home you tend to focuse on these highs because you can hear them easily. So you have to listen too to the lower frequencies and hear if you always have the good amount of bass when you turn on an effect.
Another thing is that you don't want every effects to be at unity level. If you know that you'll use one in a very noisy song it can be interesting to push its level.
And finally, it's more easy not to choose too much effects to test with your band. Like that you can really try them and understand how their settings work.
At the beginning, with my B3, I made almost 10 or 15 different patches and I spent all my rehearsals tweaking with generally bad results.
I have since simplified my approach by using a very limited number of patches with choosen effects, as if I only had at disposal a few pedals. And my tone is way better because I know what I do
It's a bit frustrating but more efficient (there are so many effects + you can combine them : you could spend a whole life to be able to masterise everything!!)
.Deep bass and crisp highs.
)
