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14 ADDITIONAL TOPICS
: Q Can I use a computer or external MIDI controller to remote control the FM9?
: A The FM9 has a rich MIDI spec which allows it to be remote controlled. Any 3rd party MIDI
controller can be used, but please note that an FC-6 or FC-12 connected via FASLINK offers many
advantages over traditional 5-pin MIDI. The FM9 is also a computer USB MIDI Interface. A third-
party MIDI interface is required for a DAW or other computer application to control the FM9.
: Q I’m hearing click and pops.
: A First, check all cables. You’d be surprised by how often a short can be found in a brand new or trusted cable.
Then, check to see whether you are clipping the FM9 inputs or outputs (p. 5).
Excessive CPU usage may also be to blame. Is the CPU meter at or near 80%? If so, you’ve overloaded the
current preset. Try removing one or more blocks and review “Preset CPU Limits” on p. 48 for useful tips.
: Q One or more of my presets produces no sound.
: A This might be any one (or several) of a number of things. Is every other component in your rig working
correctly? Are the FM9’s top panel LEVEL knobs turned up? Often, problems like this turn out to be
caused by a faulty or disconnected cable. Checking the FM9 with headphones can help rule out a
lot of possibilities. Do some presets work? If so, have you double-checked to ensure that each has a
complete path from the input to the output? Does every preset begin and end with Input and Output
blocks corresponding to inputs and outputs connected to other equipment? Could the problem be the
setting in one block? Try replacing them one-by-one with shunts (save Cab and Amp for last). Is there
a Modier assigned to a volume or level control while the pedal or external switch is not present? You
may simply need to change the INITIAL VALUE for an external controller from 0% to 100% (see p. 96).
Does the preset require a USER CAB which is not loaded? Try changing the Cab block to a Factory cab.
: Q Why would I place certain effects before or after an Amp and Cab?
: A Sonically speaking, the main reason to care about effect placement is that a given
effect will sound different when placed before or after distortion.
How does this difference sound? If you’ve ever switched the sequence of traditional drive and wah pedals,
you’ve heard an excellent example. In the case of wah before overdrive, the resonant lter of the wah
“excites” the overdrive in a cool way while still retaining a natural overall tone. When the wah follows
distortion, you might hear a more dramatic sweep that almost sounds synth-like and might be considered
less “classic.” It’s not surprising then that wah would traditionally be a run as a “pre” effect between
guitar and amp. The amp’s distortion follows the wah. Many other effects fall in this same category.
A different example is found in overdrive with reverb or delay. In the natural world, reverb and echo occur
because of open spaces around your guitar amp – like a club or concert hall. These effects would therefore
NOT be heard before a distorted amp, but after it. Recording studios often add these kinds of effects “post,”
i.e. at the console—after the mic has recorded up the distorted sound from the guitar amp. If you wanted
to simulate this natural sounding reverb or delay these effects would likely be run “post.” This is not to
say that delay or reverb before distortion is a “no-no.” Many “legendary” tones came from echo units in
front of an amp—but this is very different from “post” delay, both tonally, but also in terms of dynamics.
The good news is that the FM9 allows you to experiment easily and nd what combinations
of pre- and post-effects work best for you. Creativity begins where conformity ends.
: Q Anything else I should know?
: A The Layouts and Footswitches section includes its own FAQ. See “FM9 Footswitch FAQ” on p. 82
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