unofficial guide to fender mustang effects 0 5

8/9/2019 Unofficial Guide to Fender Mustang Effects 0 5

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Unofficial Guide to Fender Mustang Effects 0.5 ridingthemustang.blogspot.

Overdrive

Description: the fender mustang overdrive stomp is on the Natural and Smooth side.

Position: Overdrive is usually set in front of the amp.

Controls: LEVEL: normally should be set to get the same output of the guitar without the stomp. Rise it up to give a

boost to the signal

GAIN: control how much overdrive effect, set to 0% and tweak the LEVEL control to use this stomp as a

booster

LOW-MID-HIGH: Fender choose to give a wide range of tone controls, if you are used to stomp with a

single tone control, just leave untouched the MID and act simmetrically on the other 2: if you set the high 3

oclock just set the low at 9 o clock, if you set the bass at 10 o clock just set the high at 2 o clock.

Suggested settings:

To get the classic Boss OD1 tone just set everything at 50% and HIGH at 100%

To get the classic Tube Screamer tone try LEVEL at 72% gain at 60%, LOW at 0%, MID at 49% and

HIGH at 100%

Fuzz

Description: Fuzz is a (vintage) distortion type.The Fuzz trasform the guitar input nearly into a square

wave and adds complex overtones with a frequency multiplier. Not many modeler offer a fuzz stomp. Usethis for some Hendrix and Rolling stones preset.

Controls:

LEVEL: normally should be set to get the same output of the guitar without the stomp. Rise it up to give a

boost to the signal

GAIN: control how much overdrive effect, set to 0% and tweak the LEVEL control to use this stomp as a

booster

OCTAVE: control the level of the octave doubled voice. It adds body and spite to the tone.

LOW-HIGH: standard range of tone controls

Simple Comp

Description: a compressor reduces the dynamic range of sound. In fact it raise the volume of the guitar

when it's too low and soften it when it is too loud.It gives more sustain and change the attack, making it

harder.
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Comp

Description: a compressor reduces the dynamic range of sound. In fact it raise the volume of the guitar

when it's too low and soften it when it is too loud.It gives more sustain and change the attack, making it

harder.

THRESHOLD:

The higher you set this, the louder you need to pick for the compression to kick in. The THRESHOLD knob

sets the level where compression will begin. As long as the input signal level is below the Threshold level,

the Compressor will do nothing to the signal. Once the input signal crosses the Threshold, the Compresso

will begin compressing at a ratio set by the RATIO control.

RATIO:

The higher this knob is set, the more the signal gets squeezed. The RATIO knob controls the amount of

compression which will happen once the input signal crosses the THRESHOLD level. Ratio controls how

much the input signal will be reduced as a ratio of the input signal level.

ATTACK:

Determines how soon the compressor kicks in, or much of your initial pick attack gets through before the

compressor clamps down. The ATTACK knob controls the amount of time before compression starts. Lonattacks are useful for percussive sounds, where shorter attacks are good for melodic parts like vocals and

strings.

RELEASE:

The RELEASE knob controls the amount of time the compressor takes to stop compressing after the signa

crosses back under the THRESHOLD. Short release times are good for percussive, punchy sounds, wher

longer release times can get you more sustain on guitar.

Touch Wah

Description: the alters the tone of the guitar by sweeping up and down a filter and producing a sound

similar to an human voice. The touch wah controls the rise and fall of the filter with the dynamics of your

picking. Usually picking hard will make a treble sound, picking soft will make a bassy sound.

Controls:

MIX: mix the raw sound and the filtered one. 0% is raw sound only, 100% is filtered sound only. Usaully se

it to 100%

SENS: control the reaction of the filter to your picking. 0% If you pick really hard (less sensitivity), 100% ifyou pick really gentle (more sensivity). This should be accurately fine tuned since it makes all the

difference. I am an hard picker and i found that 22% is my sweet spot. If you dont get that wah effect here

is where you should work. A good method is to try all the 20% steps (0%,20%,40%,60%,80%,100%) whil

picking serveral times a group of notes, the first hit hard and the other a lot softer and with less volume.

Find the spot where the wah effect is maximized.

HEEL FREQ and TOE FREQ: sets the lowest and the higest peak of the filter (how much your vitual foot

will go "up" or "down" ;) ). Usually set HEEL to 0% and TOE to 100%, but you can roll back a bit of TOE if

you want a browner wah. Inverted setting (HEEL=100% and TOE=0%) will let you play a bassy sound

when you pick hard and a treble sound when you pick soft.


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HIGH Q: control the character of the wah by sizing the wideness of the freqencies filtered.

Suggested setting:

set precisely your SENS (read above!)

set the TOE to 70% circa

Fuzz Touch Wah

Description: a touch Wah combined with a Fuzz. Fuzz is a (vintage) distortion type.The Fuzz trasform the

guitar input nearly into a square wave and adds complex overtones with a frequency multiplier. I think this

is a very good combination if you want a distortion pedal combined with wah.

Controls:

LEVEL: normally should be set to get the same output of the guitar without the stomp. Rise it up to give a

boost to the signal

GAIN: control how much overdrive effect, set to 0% and tweak the LEVEL control to use this stomp as abooster

SNSTVTY: control the reaction of the filter to your picking. 0% If you pick really hard (less sensitivity),

100% if you pick really gentle (more sensivity). This should be accurately fine tuned since it makes all the

difference. I am an hard picker and i found that 22% is my sweet spot. If you dont get that wah effect here

is where you should work. A good method is to try all the 20% steps (0%,20%,40%,60%,80%,100%) whil

picking serveral times a group of notes, the first hit hard and the other a lot softer and with less volume.

Find the spot where the wah effect is maximized.

OCTAVE: control the level of the octave doubled voice. It adds body and spite to the tone.

PEAK: adjust the peak level of the wah effect

https://fuse.fender.com/mustang/presets/mordor74-satch-wah-satriani-summer-song-metal2000

Phaser

Suggested setting:

MXR Phase 90 (by jedi2b)

Base settings used to emulate the pedal:

Level: 5.5 (the pedal seems to do 50% mix wet/dry)

Depth: 5

Feedback: 1.5

Shape: Sine

Settings used to emulate pedal controls:

Speed knob on the pedal:
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-minimum = Rate 0.15 Hz

-maximum = Rate 10 Hz

Other adjustments:

-overall the MXR is probably a bit less trebly than the mustang equivalent, so you might want to roll back

your guitar tone slightly, but just a pinch

-the original MXR 90 varies depth together with speed (but inverselly) when turning the speed knob. The

depth indicated above was for a 2Hz rate, so when decreasing the rate, increase slightly the depth and

viceversa.

Delay

Reverb types on the mustang:

Mono Delay

Mono Echo Filter

Stereo Echo Filter

Multitap Delay

Ping Pong Delay

Ducking DelayReverse Delay

Tape Delay

Stereo Tape Delay

ECHO: vintage sound repetitions with fading volume

TAPE: simulate the sound of a Tape Delay, more vintage tone.

MULTITAP: spreads the repetitions with multiple timing patterns (see MODE control)

PING PONG: a stereo delay that plays repetition alternatively in the right or in the left channel

DUCKING: the volume of the repetitions is raised when the source mute, the effect is the repetition of the

tail of the sound/phrase/lick.REVERSE: the repetitions are played reversed

Tips: if need to concatenate 2 delay stomp you can use the Pitch shifter as a second simple unit. Just set

"home" (50%) both PITCH and DETUNE controls.

Controls:

LEVEL: control the volume of the effect, where 100% is the repetition has the same volume of the original

and 0% totally suppress the effect. A typical setting is around 30% for an ambience delay or 100% to crate

a rythm with the delay.DLY TIME: the lag between the the original sound and the repetition

FDBACK: the number of repetitions, 0% is only 1 repetition

FREQ: adjust the resonance frequency

RESNNCE: adjust/raise/boost the resonance

INLVL: Input level, used to rule the amount of signal that feed the stomp

FLUTTER:

BRIGHT:Adjusts the amount of high frequencies that are removed each time the delay is repeated. 0% to

make each subsequent repeat darker and 100% to allow the high frequencies to repeat. Use this control to

simulate the high-frequency absorption of acoustically dull rooms or analog echo units. Note that because

this control removes highs from the signal, that it may also affect the number of delayed repeats.


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STEREO:

Reverb

Description: this effect is used to add space and depth to a sound. This effect emulate the way a sound

interact with a room or a space

Position: Reverb are usually set in the FX loop, in the last position, but you can get good result putting it in

the front of the amp in the clean presets.

Reverb types on the mustang:

Small Hall

Large Hall

Small Room

Large Room

Small PlateLarge Plate

Ambient

Arena

63 Fender Spring

65 Fender Spring

Plate reverbs use a metal plate to process the sound.

Spring reverbs use a valve and a spring to create a warm and rich vintage reverb.

Controls: LEVEL: contol the volume of the reverb, 0% is no reverb

DECAY: control the duration (time) of the reverb, smaller room have shorter decay, so expect this

parameter to act differently in Small and Large reverb type

DWELL: control the character and the volume of the reverb, 0% is no reverb, 100% is a very warm and

full reverb with the spring flavor to the max

DIFFUSION: control the density of the reflection, 0% is more distinct and defined with few reflection,

100% is richer and warmer with a lot of reflections

TONE: control the tone of the reverb, 0% is warmer and 100% is brighter

Advanced amp settings

SAG: control the way the "valves" will sort-like-compress to signal

BIAS: simulates how your virtual valves are feeded, low setting gives your actual amp a clearer e colder

tone, good for spark clean tones, high settings gives you a richer and hotter tone, good for

overdrive/distortion. Example: mesa boogie amp have a very high bias and need high quality valves to fac

the heat stress

Alternative Default Preset List


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57 Deluxe

59 Bassman

57 Champ

65 Deluxe Reverb

65 Princeton

65 Twin Reverb

Super Sonic (Burn)

https://fuse.fender.com/mustang/presets/mordor74-super-sonic-clean

British 60

British 70

https://fuse.fender.com/mustangv2/presets/chont-the-outfield-play-deep-marshall-plexi

British 80

https://fuse.fender.com/mustang/presets/mordor74-acdc2Ac/Dc tone with some reverb

https://fuse.fender.com/mustang/presets/mordor74-slashSlash tone

American 90

Metal 2000

https://fuse.fender.com/mustang/presets/mordor74-thrash-metal-v4A basic thrash/heavy Metal preset

Contributions

jedi2b for the additional notes on the delay section, seggested setting on phaser

evets618 for the notes of the "5 knobs compression"

captainic for the Brit70 preset
http://ridingthemustang.blogspot.it/p/unoffcial-guide-to-fender-mustang.htmlhttps://fuse.fender.com/mustang/presets/mordor74-super-sonic-cleanhttps://fuse.fender.com/mustangv2/presets/chont-the-outfield-play-deep-marshall-plexihttps://fuse.fender.com/mustang/presets/mordor74-acdc2https://fuse.fender.com/mustang/presets/mordor74-slashhttps://fuse.fender.com/mustang/presets/mordor74-thrash-metal-v4https://fuse.fender.com/mustang/presets/mordor74-thrash-metal-v4https://fuse.fender.com/mustang/presets/mordor74-slashhttps://fuse.fender.com/mustang/presets/mordor74-acdc2https://fuse.fender.com/mustangv2/presets/chont-the-outfield-play-deep-marshall-plexihttps://fuse.fender.com/mustang/presets/mordor74-super-sonic-cleanhttp://ridingthemustang.blogspot.it/p/unoffcial-guide-to-fender-mustang.html

unofficial guide to fender mustang effects 0 5

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