Download LMC Triple Delay, a free Fender Cyber-Twin SE Amplifier sound patch preset.
Here’s another great Fender Cyber-Twin SE patch from Live Musician Central for all you Cyber-Twin SE owners out there. I’ve always been a huge fan of using timed delays on my guitar. I’m a huge Brian May fan and also a big fan of The Edge from U2 both of whom are masters of using delay on their guitars. Just check out Brian May’s guitar solo on the Live At Wembley Stadium DVD for a great example of working with a triple delay for some really fun guitar harmonies.
That brings me to todays preset patch for the Fender Cyber-Twin SE. The Cyber-Twin SE has a killer tape echo setting that is perfect for creating timed delays that have a beautifully chorused sound as well. Fender has incorporated a great simulation of tape head Wow and Flutter that gives a sweet detuned chorus effect along with this delay. So I’ve used that feature to great effect in my Triple Delay patch. Continue reading “Download Free Cyber-Twin SE Preset Patch – LMC Triple Delay”
Download a free Fender Cyber-Twin SE sound patch for your amplifier. This one is titled LMC Hi-Gain Solo.
Today on Live Musician Central I’m posting another one of my custom programmed preset patches for the Fender Cyber-Twin SE Amplifier. This one is titled “LMC Hi-Gain Solo” and it is an extremely high gain distortion. Since I have the gain on the main amplifier and the built-in overdrive cranked so high the patch can get quite noisy. I have compensated with the noise-gate but you will have to use the volume knob on your guitar to get complete control over this sound. I have assigned the Continuous Controller and the Expression Pedal to the gain controls on the amp and the overdrive so you can tame it down using pedals if you wish. I use this sound exclusively for solo’s when playing live and the noise in the patch isn’t noticable in a live situation. If you record with this preset then just use a noise gate on your channel and it sounds fabulous.
Another excellent preset for your Fender Cyber-Twin SE Amplifier. It’s titled LMC 80’s Rock and it’s perfect for 80’s rock or metal.
Here’s another one of my custom Fender Cyber-Twin SE patch presets that I programmed for my Fender Cyber-Twin SE Amplifier. If you do any 80’s Hard Rock or Metal in your live band I programmed this patch specifically for that genre. It has some chorusing and some fairly heavy delay and reverb. As always I have the gain control on the continuous controller so you can easily crank it for the Metal stuff. I also put Chorus Depth control on the Expression Pedal so you can take the chorus all the way out or crank it up if you want to. It does sound nice and 80’s! I hope you like it.
I used my ‘98 Jeff Beck Signature Stratocaster on this sound clip. It has a dual single coil in the bridge position and I have one Gold Lace Sensor and one Red Lace Sensor in those positions. I have both those pickups turned on together on this clip but the bulk of the guitar sound is coming from the Red Lace Sensor. It sounds like a bright humbucker. My Gibson Les Paul Custom sounds very similar to this clip. My 2005 American Deluxe Stratocaster sounds fantastic with this preset when I use the bridge pickup alone or the bridge and middle pickups running in series configuration using the S-1 switch.
As you know, I use the Fender Cyber-Twin SE amplifier in my live band and in the recording studio. I’ve spent many hours programming and perfecting my own custom patches for the presets on my Cyber-Twin SE. One feature that I love about the Cyber-Twin SE is the ability to transmit and store the presets to my computer as MIDI system exclusive data. That gives me a permanent backup of all my custom presets just in case anything happens to my amplifier. All my hours of programming aren’t lost if something catastrophic should happen.
This is an incredible bargain on a great bass for beginners and professionals alike.
I recently helped one of my students purchase a Fender Standard Jazz Bass guitar. He is going to be using it in his live band. Even though the Standard Jazz Bass is made in Mexico I was very impressed with the quality of the build of the Bass that he purchased. The Standard Jazz Bass has all the components that made the Fender Jazz Bass famous. It has two single coil pickups each with their own volume control and a single master tone control. This gives you the ability to mix the sound of the two pickups together in a multitude of different ways. It gives the Jazz Bass a lot of tonal options that you wouldn’t get with the Fender Precision Bass.
Loaded with features right from the factory, the Fender American Deluxe Stratocaster is the best guitar you can buy.
Being a guitarist in a live band, I’m constantly asked “What guitar do you play?”. The truth is I have a modest guitar collection of about 12 guitars so I play a lot of different guitars. But there is one particular model that stands out above the rest. That is my beloved Fender American Deluxe Stratocaster. I actually have two American Deluxe Strats and A Jeff Beck Signature Strat that is very similar to an American Deluxe Stratocaster. The two I’d like to talk about today are my 2004 50th Anniversary American Deluxe Stratocaster and my 2005 American Deluxe Ash Stratocaster. They are both very similar to each other and incredible guitars.
I got the 50th Anniversary American Deluxe Stratocaster when it was released in 2004 because I had always wanted a collectible guitar and I love the Stratocaster. My Jeff Beck Signature Strat had been serving me well for about 9 years and I was looking for another good guitar. The reason I got the American Deluxe version rather than the American Standard version was because I absolutely love the feature set that is on the American Deluxe Stratocaster.
My stage amp is the Fender Cyber-Twin SE and it has been the best live amplifier I have ever used.
My main onstage guitar amplifier for the last couple years is the Fender Cyber-Twin SE. As a live guitarist this amplifier has been invaluable to me. Because I play in a cover band as well as an original band, I needed an amplifiereffects setup that could cover a wide range of different guitar sounds. At a gig I will use sounds ranging from a country twang to hard rocking Marshall type distortion to full on saturated mid-scooped distortion. I used to use a Digitech 2120 Valve Guitar System but it just didn’t have the punch and presence of an actual amplifier and it’s sound always left me wanting more power. When I was searching for a new amplifier I played a bunch of modeling effects units and amplifiers including the Line 6 POD, Boss GT-8 Effects Processor and the Line 6 Vetta 2 among others. None of those modeling devices gave me the playing response that the Fender Cyber-Twin SE did. The biggest thing I noticed was on the other modeling devices, whether I played light or heavy, or when I turned the guitar down or up, the sound stayed the same. The Fender Cyber-Twin SE responded to my playing touch, guitar volume adjustments and my picking attack. It simply breathes more than a standard DSP modeling amplifier. There’s a secret to how Fender achieved this with the Cyber-Twin SE.
This is a really good YouTube video of famous guitarist Carl Verheyen discussing what he looks for in a Stratocaster and why the Stratocaster is his favorite guitar. I agree with Carl that the Stratocaster is the best electric guitar ever designed. Carl is not only a world famous session player but is also a very accomplished live musician who has been a member of Supertramp as well as his own live performing groups. This video lets you see Carl in action.
I recently had the opportunity to play a ’59 Fender Bassman Reissue amplifier and I was really blown away with how amazing it sounded. As a guitarist you hear stories of the great amplifiers as you learn your craft and you hear the amplifiers on recordings. But there’s really nothing like playing the amps yourself and really being able to crank them all the way up. The thing about tube amplifiers is they give you more sweetness the harder you push them. Every tube amp I’ve played has had a sweet spot where the amplifier really sings.
So I got to really push the ’59 Fender Bassman Reissue and let me tell you, it’s loud. But it sounds so damn good that you don’t care how loud it is. It’s ecstasy because it’s a sound that you recognize from all the recordings that have been made with this amplifier. I love it when an amplifier roars when you really hit your guitar hard and then quiets down and softens as you play softer and roll down your guitar volume. Continue reading “A Classic Fender Amp, The Fender Bassman”