Devin Townsend: On Tones, Heaviness, and the Fractal Axe-Fx III 

100% he's awesome for that

Such a friendly and kind person. Met him at the first Kiesel Connect event. He was really kind to me and my girlfriend, So much respect for him and his work, what an incredible voice too!!

Echo/reverb is GOD!

I like when he said, "Fuck those guys."

Right????? He took control of the building and connected everyone! Hope to see that brute again soon!

And he has delivered that - as an obligation - for decades. He is the consummate overdeliverer.

MK is another true musical giant

I’ve been debating putting an Evertune in my Schecter for years, haven’t been able to commit haha

LoL just as I read your comment, hes talking for like 30 seconds after stopping playing and I can still hear it

Get Coopers course. It will help. Congrats. You bought the best there is right now. I got a FM9 T.

@@MOAB-UT Thanks. Will do. I’ve heard the class is really good.

That was a twist I wasn't expecting!

who is that man, you are always bringing him up in devin videos i can't find him

he's this crazy artist from here in Dade, plays Afro Cuban punk ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-lmkQLkEpo08.html CC is English it's the weirdest wildest shit I've heard in decades!@@juanmastrangelo4257

Just imagine the situation without the digital simulation aspect: the guitarist brings 4 amps with 4 different cabs and 4 different mics to stage. That would already be 4 different channels on the foh mixing console which each being equalized differently individually. It's way easier with only 1 amp 1 cab 1 mic, on the soundcheck the engineer just ask the guitarist to show him their clean/rhythm/lead tones, they make sure the 3 volume levels are ok and find an eq that work for it. Cabs/Mics (IRs) are the things that impact the tone the most so having the same will make things easier for sure, especially on Devins particular case where they have a bunch of keyboards, orchestrations, choirs etc. so placing things in the mix is already difficult. Maybe in a power trio scenario it wouldn't matter that much, just make sure the volume levels are the same between all your different cabs and that's it 🤷🏻‍♂️

@@LuizFeReis I find "the situation without the digital simulation aspect" irrelevant, because we could now use vastly different tones on the very few channels we send to FOH. My understanding has been that "each being equalized differently" is lost more-or-less the same way, either by using a single IR, or by using multiple IRs that are EQd at the FOH desk with a middle-of-the-road EQ curve. I would consider the question to be whether one tries to keep the "artistic intention", or would go for less variables at the FOH. (And don't get me wrong, I could totally back less variables live.) Regarding "Cabs/Mics (IRs) are the things that impact the tone the most" well, related to the same type of tone, I agree. So when it comes to e.g. a high gain palm mute-oriented tone, the difference between a 2x12 with greenbacks through a ribbon mic and a 4x12 with V30s through a 57 will make a greater difference than that between using a 5150 and a dual rectifier but with the same cab + mic chain. But I don't agree that the difference between a clean, and a high gain amp tone is similar enough to make the differences negligible, and to consider the rest of the recording chain the key characteristics of the tone. Especially when it comes to clean vs. high gain tones, there is a world of difference already before hitting the cab. As a sanity check, I just checked the following setup in a DAW: - A pink noise generator (which is admittedly not the single best approximation of a guitar DI) feeding six tracks, each of which run an instance of the Diezel VH4 plugin - Track 1 is channel 1 of the VH4 with a clean tone and a clean-specific IR - Track 2 is channel 3 with a rhythm-specific tone+IR - Track 3 is a lead tone like above - Tracks 4-6 are the same presets as on trakcs 1-3, but without the tone-specific IR and using a single IR - At the mix bus, I added a LPF + HPF and checked the spectrum at the very end of the chain while A/Bing between the tone-specific IR and the shared IR tracks of each tone There are certainly differences, but they are not that huge that I would expect them to cause harm in any room that the FOH desk couldn't address reasonably simply, especially nowadays, when dynamic EQs find their way into mid-range consoles like the SQ series. All that said, again, I'm not trying to convince anyone about this not being necessary; I'm sure the FOH guys Devin has worked with know their stuff way better than I could ever learn, so really, I'm trying to educate myself here, it's just that I wasn't convinced yet by your reasoning.

@@klekrfaqer2114 yes, makes sense, and I agree with you. As I said you'd have to soundcheck the clean, rhythm and lead tones individually anyway, so they might as well have different IRs. I guess it would start to be a problem if you had a complete different tone for each song (which is pretty easy to do with units like fractal). But that again could be solved with some tour prep, rehearsal and pre production. But unfortunately not many bands have the time and money to do those kind of setup for a tour. When they have this time and travel with their own rig, you can do anything you want because you basically just need to make sure the venue PA sound right so your show will sound right. But most of times bands don't have this and even don't have much soundcheck times at venues, so making it the easiest you can could be the best approach to try to guarantee a consistent good show everywhere you play.

Carvin. Alan Holdsworth used em