Glory to Glory – Hillsong United – Fractal Axe-FX III Preset

In this video Brian is playing an MJT thinline telecaster with Porter Vintage Tele pickups

IMPORTANT NOTES

1. UPDATE YOUR FIRMWARE: Please upgrade the firmware on your Axe-FX III. and make sure to use the latest version of Axe-Edit III before installing this preset. If your firmware is not up to date, this preset may not load.
2. EVERYTHING IS STOCK: This preset does not use third party IR’s. If you’d like to experiment with 3rd party IR’s, feel free to do so in the cab block.
3. FC FUNCTIONALITY BUILT IN: This preset was built to work with the Fractal FC-12 and an external expression pedal plugged into the ‘Pedal 1’ input. See the Per-Preset overrides and FC assignments below.
4. CYGNUS UPDATE: We have updated the amp block for the Cygnus firmware update. You’ll need to be running at least firmware 16.00 for this update.

INCUDED PRESETS

1. Glory to Glory WT (SC) – this preset is voiced for single coils and low-output humbuckers
2. Glory to Glory WT (HB) – this preset is voiced for more traditional humbuckers

Both presets are the same except for the amp, EQ, and control switch settings. See the ‘Control Switch’ section below for more info.

SIGNAL FLOW AND EFFECTS

1. Input 1 (the Input Noise Gate is turned off to save CPU).
2. Compressor 1
   1. Channel A: Pedal Compressor 1 – fairly heavy compression
   2. Channels B, C & D: Not set up.
3. Pitch 1
   1. Channel A: Dual Chromatic (POG type effect, subtle)
   2. Channel B: Dual Chromatic (POG, more pronounced)
   3. Channel C: Crystal Echos (Shimmer)
   4. Channel D: Advanced Whammy (Octave up Whammy – the ‘Control, Mix, and Level’ parameters are assigned to an “External 1” so if you are using a control pedal in a different location, you’ll need to change these controllers)
4. Drive 1 – First Stage OD
   1. Channel A: Tone of Kings (Analogman King of Tone – low gain)
   2. Channel B: Jam Ray (Vemuram Jan Ray, low gain)
   3. Channel C: FET Boost (set up to mimic a Klon)
   4. Channel D: Timothy 2 (Timmy)
5. Drive 2 – Second/Third Stage OD
   1. Channel A: Full OD (Fulltone Fulldrive)
   2. Channel B: Tone of Kings (Analogman King of Tone – mid gain)
   3. Channel C: Rat Dist
   4. Channel D: Super OD (Boss SD-1)
6. Vol/Pan 1
   1. NOTE: The ‘Volume’ parameter is NOT MAPPED. You’ll need to map this parameter to an expression pedal if you’d like to use the volume block
7. Amp 1: Brit JM45 (Marshall JTM45)
   1. Channel A: Voiced for single coils and lower output humbuckers
   2. Channel B: Voiced for medium to higher output humbuckers
8. Amp 2: Class-A 30W TB (Vox AC30 Top Boost)
   1. Channel A: Voiced for single coils and lower output humbuckers
   2. Channel B: Voiced for medium to higher output humbuckers
9. Cab 1: (only channel A is set up):
   1. Cab 1: 2×12 Matchbox 160 C (Factory 2, 79)
   2. Cab 2: 2×12 Matchbox2 -R 121 B AB (Factory 2, 91)
10. Graphic EQ – Always on EQ (only Channel A is set up)
11. Delay 1:  (Quarter and 8th note delays)
    1. Channel A: Analog Stereo (1/4 delay with a wide stereo field)
    2. Channel B: Stereo Tape (1/4 delay with a wide stereo field)
    3. Channel C: Analog Stereo (1/8 delay with a wide stereo field)
    4. Channel D: Stereo Tape (1/8 delay with a wide stereo field)
12. Delay 2: (All dotted eighth note delays)
    1. Channel A: Deluxe Mind Guy
    2. Channel B: Vintage Digital
    3. Channel C: 2290 w/ Modulation
    4. Channel D: Stereo Tape
13. Delay 3: (All dual stereo delays)
    1. Channel A: Deluxe Mind Guy (1/8 and Dotted 8th in stereo)
    2. Channel B: Stereo Tape (Dotted 8th and Quater in stereo)
    3. Channel C: Stereo BBD (Quater and Quater Triplet in stereo)
    4. Channel D: Vintage Digital (Quater and Dotted 8th – huge washy delay for swells)
14. Reverb 1: (‘Normal’ verbs)
    1. Channel A: London Plate
    2. Channel B: Recording Studio C
    3. Channel C: Large Hall
    4. Channel D: Medium Plate
15. Reverb 2: (Big ambient verbs)
    1. Channel A: Stratocumulus
    2. Channel B: Cirrocumulus
    3. Channel C: Deep Space
    4. Channel D: Nimbostratus
16. Plex Delay 1: (Plex verb for huge swells and ambient reverb)
    1. Channel A: Plex Verb (big ambient reverb for swells)
    2. Channel B: Plex Verb (ambient reverb – not quite a huge as channel A)
    3. Channel C: Shimmer Verb (shimmer)
    4. Channel D: Plex Shimmer (shimmer – not as smooth as Channel C)
17. Out 1

SCENES

This preset is meant to be used with scenes to replicate different sections of the song:

• Scene 1: INTRO/VS1 – Clean tone with dotted 8th delay
• Scene 2:CH1/AMBI – This is essentially a swells sound
• Scene 3: VS 2 – Like scene 1 with a bit more gain (the volume block is disengaged in this scene)
• Scene 4: CH BIG – Big drive with the Pitch block (Whammy) engaged. The expression pedal controls the Whammy (see usage notes below)
• Scene 5: BRIDGE – Big rhythm sound
• Scene 6: NOT USED
• Scene 7: NOT USED
• Scene 8: SWELLS – Huge ambient swells.

CONTROL SWITCH 1 (CS1)

Control Switch 1 (CS1) is set to change amp gain settings. This essentially gives you another drive – pure amp overdrive.

In order to adjust these settings, on the amp block, right-click on ‘Input Drive’. Adjust the ‘Min’ and ‘Max’ values to set your desired amount of drive for when the button is off (Min) or on (Max).

We’ve mapped it to a button labeled ‘Amp Gain’ in the ‘Effects’ layout (layout 8) if you use an FC-12. We have also mapped it to different scenes for amp drive. See the ‘Per-Preset Mapping and Overrides’ for more info.

USAGE NOTES

WHAMMY (PITCH)

This song uses the Digitech Whammy effect in the choruses (and at the end of the bridge section). The whammy effect is engaged in the Big Chorus scene and is controlled with the expression pedal.

Because the expression pedal is used for volume as well, the volume block is disengaged in the ‘Verse 2’ scene. This will allow you to move the pedal to the down (heel) position during verse 2 to get ready to use it in the chorus. If you leave the pedal in the toe position and go to the chorus, you’ll hear the whammy pedal fully engaged (octave up).

During the choruses, the expression pedal controls both the ‘Control (pitch)’ and ‘Mix’ parameters of the pitch block. As you move the pedal to the toe position, you’ll pitch up 1 octave and the mix will increase.

The volume block is also disengaged in the Bridge scene. This allows you to keep the expression pedal in the down (heel) position during the bridge and then switch back to the ‘CH Big’ scene at the end of the bridge to engage the whammy effect.

If you ‘d like to use a second expression pedal to engage the Whammy effect, simply re-map the ‘Control’ and ‘Mix’ parameters in the pitch block to your desired expression pedal. I have mapped them both to ‘EXTERNAL 1’, which is the same as the Volume block.

STEREO

The amps and everything after run in stereo (the amps are panned hard L and R). If you are running mono, you’ll need to sum your signal to mono before going to FOH (if you only use the Left output, won’t hear some of the delays at all).

The easiest way to make this adjustment is in the ‘Setup’ menu:

• Choose ‘Setup’, and select ‘I/O’
• In OUTPUT 1 CONFIGURATION (choose the physical output you are using), change the ‘Mode’. Select ‘STEREO’ if you are running in stereo. Select ‘’SUM L+R’ if you are running mono. This will convert your output to mono and sum the stereo image. This will also cause all your presets to output in mono, as it is a global setting.

PER-PRESET MAPPING AND OVERRIDES

This preset integrates with the Fractal FC-12. We’ve set up Per-Preset overrides for both effects and scenes, and we’ve mapped them to Layouts 7 (Perform 1) and 8 (Perform 2).  If you have an FC-12, the following assignments should be plug-and-play. Layout 7 will be your scenes and Layout 8 will be individual effects, plus swells. We recommending setting Buttons 6 & 12 on Layout 7 to Preset +/-1  inc/dec. This way you can cycle through your presets one at a time from Layout 7.

HERE ARE THE PER-PRESET MAPPINGS AND THE BUTTONS THEY’RE ASSIGNED TO OVERRIDE

PP1: Scene 1: Layout 7 Button 2

PP2: Scene 2: Layout 7 Button 3

PP3: Scene 3: Layout 7 Button 4

PP4: Scene 4: Layout 7 Button 5

PP5: Scene 5: Layout 7 Button  8

PP6: Scene 6: Layout 7 Button 9

PP7: Scene 7: Layout 7 Button 10

PP8: Scene 8: Layout 7, Button 11

PP9: Drive 1 – Layout 8, Button 2

PP10: Drive 2 – Layout 8, Button 3

PP11: Drive 3 – Not assigned

PP12: Reverb 1 – Layout 8, Button 5, ‘Plate Verb’

PP13: Reverb 2 – Layout 8, Button 6, ‘Cloud Verb’

PP14: Plex 1 – NOT ASSIGNED

PP15: Delay 1 – Layout 8, Button 8, ‘1/4 DLY’

PP16: Delay 2 – Layout 8, Button 9, ‘1/8d DLY’

PP17: Delay 3 – Layout 8, Button 10, ‘DualST DLY’

PP18: Delay 4 – NOT ASSIGNED (Effect not used in this preset)

PP19: TremPan 1 – NOT ASSIGNED (Effect not used in this preset)

PP20: Chorus 1 – Layout 8, Button 12

PP21: Pitch 1 – Layout 8, Button 11

PP22: Scene 8/1 Toggle – Not Assigned

PP23: Control Switch 1 (amp gain) – Layout 8, Button 4

MAKING CHANGES TO THESE ASSIGNMENTS

If you’d like to change any of these assignments (either the Per-Preset Assignments or the Overrides), you can do so in the ‘CONTROLLERS’ menu on the Axe FX III. Press ‘CONTROLLERS’ from the Home screen, then select ‘Per-Preset FC Settings’ and make changes.

If you would like to go back to your default settings for Layouts 7 and 8, you can reset the Overrides from the ‘Overrides’ menu in the ‘Per-Preset-FC Settings’ section.

MAKING ADJUSTMENTS FOR YOUR SETUP

SETTING THE PRESET UP FOR YOUR GUITAR

All guitars are different, so you may want to make changes to suite your playing style and guitar. The amp blocks are set up for single coils using Channel A and humbuckers using Channel B.

NOTE: If you want to use Channel B of the amps, please be aware that you’ll need to change to Channel B in every scene, otherwise the scenes will switch the channels. You may prefer to create a duplicate of this preset and copy the Channel B settings into Channel A of the amp block.

To adjust the preset for your guitars, the primary controls to adjust would be:

• Input Drive (and/or Input Trim). If the clean sounds from this preset are too dirty, lower the input drive and/or trim. Do the opposite if you want more gain. This preset is meant to be on the edge of breakup at it’s cleanest settings (otherwise the drives won’t stack properly).
• EQ settings (amp block – basic). Once the desired gain staging is set, the next adjustment would be the amp EQ settings.
• Output EQ settings (amp block). The Graphic EQ on the amp block is a great way to make final EQ adjustments. We’ve set it to ‘Post P.A.’, which means the EQ settings will not be affected by the Power Amp section.

ADJUSTING THE OVERALL LEVEL OF THE PRESET

The Axe FX III offers very useful tools to check overall level of individual presets and blocks. In the Output block you can monitor the overall output level. You can also monitor levels of each block individually from the front screen of the Axe FX.

We’ve set this preset up so that the loudest settings peak around 0db (or a bit above). If you’d like to adjust the level up or down (to match it with other presets), we recommend adjusting one of the following:

• Level (amp block – basic). This will adjust the overall level of the preset up/down. Avoid using the ‘Master Volume’ control, as this will change the tone of the amp.
• Level (cab block). This will also adjust the overall level of the preset up/down.