15
1 INTRODUCTION
Imagine a professional rackmount system rig like the ones used by guitar heroes for decades. In such a rig, the
various components — pedals, guitar amp, rack units — are usually connected to a central switching unit so they
can be switched in groups without “tap dancing.” Some components may also have settings that the switcher can
change, like the channel of an amp, or the MIDI program of a delay unit. As described on the previous page, an
FM9 preset is like this rig: it consists of “blocks” (amp, cab, effects) all connected together in a certain way.
In the traditional rig, you can set up and save different combinations and channels: Clean, Rhythm, Lead, etc.
Scenes allow you to create saved combinations within a preset. Scenes don’t rewire the rig or change what gear it
contains; instead, they switch blocks on or off and change block “Channels.” Each preset contains eight scenes.
Like presets, Scenes also have their own names.
Scenes also offer an advantage over presets when making sound changes while you play. When you change
scenes, the FM9 does not need to reload the entire “rig.” Instead, it just sets the blocks and channels as needed
for the new scene. This is not only faster, but also allows easy “spillover” of delay and reverb tails.
Channels on the FM9 make blocks extremely flexible. Each channel contains its own fully independent set of
parameters for the entire block. For example, Channel A of a Drive block might be dialed in as a clean boost, B as
an overdrive, C as a distortion, and D as a Fuzz. That’s four completely different drive sounds from just block. This
can be used to conserve CPU power when compared to using multiple blocks.
INTRO TO SCENES AND CHANNELS
IN 1 CMP
1
A
DRV
1
A
AMP
1
A
CAB
1
A
CHO
1
A
DLY
1
A
OUT 1
Here is our preset. The Input 1 block feeds a Compressor, which is connected to a Drive, then an Amp and Cab,
then Chorus, Delay, and nally the Output 1 block.
SCENE 1 – “Clean”: For scene 1, the Drive and Delay blocks are bypassed. We dial in the Compressor, Amp,
Cab, and Chorus for a classic clean tone. Notice that the amp says “1A”. This means we are using Amp 1, set
to channel A. Let’s imagine it as the “ODS-100 Clean” model. We name this scene “Clean”.
SCENE 2 – “Crunch”: To create scene 2, we bypass the Compressor, Chorus, and Delay and engage the Drive.
The Channel of the Amp block is changed from “A” to “B”, which we dial in as a “Euro Blue” model. Remember,
each channel has a totally independent set of settings, so we can dial in every amp parameter exactly as we
want it: Drive, Treble, Mid, Bass, Master, and many more. We then dial in Channel “A” on the drive block with a
good “screamer” sound by selecting the “TS808 OD” type. Let’s name this scene “Crunch”.
SCENE 3 – “Lead”: Here’s our soaring lead. The Chorus is bypassed. We’ve changed the compressor to
Channel “B” and dialed it in for sustain. The amp is the same as the “Crunch” scene but the Drive changes to
“B”, which we’ll make a “Ruckus LED”. The Delay is on channel “B” set for ping-pong echoes with higher mix
and feedback. We name this scene “Lead”.
Learn more about these topics in Section 5: Presets and Section 6: Scenes & Channels.
DRV
1
A
DLY
1
A
CMP
1
A
CHO
1
A
DLY
1
A
CHO
1
A
SCENES AND CHANNELS: A VISUAL EXAMPLE
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