Cyber Twin Patch Editor Software
I need my wallet taken away and locked in the house with no more access to my computer. I went through a complete revamp of my setup not too long ago, selling pretty much all of my pedals, switching amps and cabinets, etc. I'm now rolling with a Mesa Boogie F-50 combo with a Mesa 2x12 recto cab, a ZVex Wah Probe up front and a Keeley modded Boss DD-3 in the loop and I do love it all. So tell me why after watching a video clip of the Fender Cyber Twin SE, I'm jonesing hardcore???
I've been rolling with strictly tube amps for about 8 years now and I've been through quite a few including a VHT Pitbull 45, Demeter TGA-2, Koch Twintone, 5150, Fender Hot Rod Deluxe, Matamp 1224MKII, Fuchs BJ21, my Mesa I have now and a '62 Fender Brown Princeton. I find most of the time, I'm hitting some pretty hard crunch and distortion but lately I've been in a Neil Young w/ Crazy Horse/Grand Funk Railroad/Rush mood mixed in with my typical Van Halen mixed with all out metal. I pretty much settled on getting away from trying to sound like this band and that band and just try to sound like myself so that I wouldn't have a pedalboard with a 6 foot wingspan but now I'm starting to rethink the value of having an amp that can do a bunch. Mostly what I play at home are covers, if I get together with the guys I work with to jam, it's covers. When I jam/record with my band, it's a mix, mostly originals but I'm using my Koch Pedaltone for that work. Maybe it's time I get off my tube amp snobbery and give one of these guys a chance.
Any owners out there? I read on the first generation model it didn't do heavy distortions well.
Did the SE improve upon this at all? How's the fuzz settings? Does this thing react like an amp more than a modeler. What I mean by this is if you have a tasty grind going, can you clean the amp up by rolling back the guitar volume? Click to expand.I've had a CT for almost six years.
If you can borrow one, you need to live with it for a while to really know if you like it. It has its own native tone, and it works for some and not for others. If you can't borrow one, snag one on EBay, and if you don't like it, you can re-sell it for about what you spent, minus one shipping charge.
But a guitar shop audition is nearly useless with the demo presets. Best bet is to try the Your Amp Collection and use the small edit knob on the left to dry out the FX. I'd also recommend dialing the gain waaay back-I don't know what Fender was thinkin'. First, the good news: It's a great piece of gear, optimized for gigging, IMHO, esp. DI'd into a PA and then used as a monitor/stage fill.
Standalone they're pretty good too, but to my ear I can always hear that 2x12 open-back cab-which is a really nice cab, and the little-amp cab sims are pretty astonishing. Into a closed-back extension cab they'll do some pretty amazing heavy lift that the combo cab just can't touch. Getting them to cut through a mix with the presence you expect from a conventional amp takes a bit of tweaking and understanding of mix-but they'll do it very well. Apart from gigging, they're terrific recording amps, and courtesy of an MV function that really functions more like a Hi Fi onboard attenuator, it's the best bedroom amp you'll ever own. Feel: If you want sag, compression, pick dynamics, etc, this is one of the amp-iest chameleons there is, IMHO.
AAMOF, you can actually exaggerate the feel if you want to, courtesy of the drive and comp menues. Better yet, it responds to changes of guitar and setup very much like you'd expect a 'real' amp to do-something I've found lacking in DSP gear. Cyber Amps, BTW, are largely analog amps with DSP primarily in the tone stack and FX-think of it as a tube channel switcher on steroids, not truly a modeller, and certainly not a digital one.
The dirt comes from a pair of Sovtek 12AX7s, (I use JJ's) so it's real tube drive of sorts, cleverly modulated to contribute to several flavors of preamp and power amp saturation. The power section is solid state, but my unscientific opinion is that it operates much more like a PA amp than a guitar power amp-most all the power- and pre- amp behavior takes place in the preamp, where you can DI it, send it to headsets, S/PDIF it to recording gear, or let it be a nice little combo. So it neither sounds nor functions like what you would think of as an SS amp-unless you dial up an SS patch. If you've never used a modeller or a massive channel switcher like this, you'll think you'll use forty-eleven different patches. Most road warriors I know eventually end up with four or five 'amps,' with three or four drive levels each, and FX to suit. Further, to keep the tone sitting in the mix, most guys use only one or two of those 'amps' in any given gig-unless your band mates have pretty stout tone shaping ability as well. Now for a caveat: Cyber Twins are something you need to live with for a while.
The demos patches stink bad, at least for band use. Fender's 'Amp Collection,' (basic amps maybe with a little verb or trem,) are okay, but several of us with 'real' amps have A/B'd their patches to make better ones. Fender's are way to gainy, IMHO. It's a steep but short learning curve, and it not only takes some understanding of guitar sound, but band and FOH issues as well to really get the goods out of it.
These are awesome if you like to build your patches into a mix when your band is rehearsing. A GUI like PatchWizard is huge for this, I can't stress that enough. An FCB1010 is an powerful addition too.
Your gig rig will be amp, FCB1010, axe. To get you started, if you snag one, I can send you a few patches from some pro and semi-pro players I know who've given me some great ones.
Anyhoo, you need to live with the amp for a month or two to find the tones you want, and to see if you can live with the limitations. To really dig into 'modelling,' check this out: Limitations and gripes: They have a positively dismal reputation, esp among the non-tweaking or non-owning crowd. (Except among a rather large group of happy players.) Not one of the patches is an absolute dead ringer for the target amp-but it has a huge variety of great amp tones of its own even so. (The Deluxe Reverb doesn't fart out like my Deluxe Reverb.) So beware that primrose path-take it on its own merit. Don't change patches mid-song.the v1.x goes silent for just a moment.
The SE has speaker outs, but the v1.x doesn't. I put some in. Like I said, the cab sims are awesome, no doubt, but I still hear that 2X12 combo presence. (DI'd and PA'd it's quite good, however.) I found the OEM Sovteks harsh and spikey, though it could be gain structured/EQ'd out. JJ's cured most of that, but the CT will still reward bad tweaking with ear fatigue. If it blows a tube in a set, you can switch to a DynaTouch (SS) patch and keep on truckin'-that does happen, but very rare.
I finally got the tube rattle fix this year-free courtesy of Fender. (Bad initial batch of Sovteks, and it needed dampers on the tube casings.) They can indeed do Hi Gain, and some of my buds love it, but others don't, so it's a taste thing-I'd agree it's a bit small sounding, lacking some low end, and moves much less air next to a 5150 in full blower, but in a PA mix it simply works. FWIW, I have a JCM800 and a Dual Rectifier patch, both of which work great, but that's in the DI/monitor config I mentioned earlier-it mixes better than heavy stage volume in small clubs. (The Mesa has been tweaked to have wider pick dynamics than a real DR with the recto switch in 'tube.'
) But if you're really after ultra-stout, down tuned hi-gain sound like a Bogner-though I like the CT, I wouldn't recommend it for that. They just don't move the same. Get a real Bogner. Some CTs have had quirky gremlins in the data wheel, but not mine. They ocassionally boot up funny, and before the 1.3 EPROM they'd been known to go blank in gigs. I don't know anybody who had a knob quit on 'em.
It weighs 55 lbs. Your kids will learn the GUI faster than you will. No these are not G-Decs-G-Decs are digital. Finally, it really comes down to tone and taste. I get great tones out of mine and I see a lot of shocked faces when my buds play it. A few don't like it, and I understand what they're looking for-whether they can afford to actually own what they dream of or not.
Patch Editor Mw2
My advice.try one if you can. Now ya know what to look for.Ray BTW, take a gander at the new cyber-Marshall while you're at it. I'd love to hear a review. I tried a CT, and ended up with the Cyber Deluxe. I loved the way it recorded. I used the AC30 for my cleans, and the tweed deluxe settings for my solo's, along with the brit stack ( I may be off on some of the names). I ended up selling because it really didn't cut through the mix in my live band setting.
My Cube 60 is much better at that. But I did like the programable features, and the way you actually adjust the wet/dry signals on the reverb and delays, something the Cube 60 is lacking. The other thing to remember about a modeler is that if a Tweed Deluxe sounds good being pushed, you need to crank the modeler to achieve something similar, at least in a live setting. I think that the Cyber X's have a variety of good sounds and are quite versatile if you take the time to learn how to use them. I have a friend with a Cyber Deluxe and he kills with his tone - actually, tones.
Cyber Twin Patch Editor Software Download
However, he's spent the time to learn how to use the amp. It's not an amp that a typical tube amp player can just walk up to and use. I proved that myself.
If you are willing to put in the time, it can reward you with good tones. As was mentioned earlier, those tones may not be exactly what they are supposed to be but they are good tones nonetheless. Click to expand.Hey Josh. Well if ya gotta be stuck on an island with two amps, an F-50 and a Princeton would be pretty doggone good company.
But there's wisdom in what you just said, IMHO. I have a Deluxe Reverb II that can cover almost as much turf (sans FX) as my Cyber Twin, at least for what I like to play.
No, it isn't authentic AC30 or Brown Sound, but sitting in a mix just right you can play some very compelling riffs on those rigs-and we're not talking pedals yet, unless a comp counts. Funny thing about shape-shifters.if you learn how to truly get the goods out of 'em, you also learn how to get the sweet stuff out of your analog rigs (and your hands) as well, often perfomance that you never knew was in there. These days the biggest advantage my CT has over conventional rigs is something you'd not immediately expect.
Simplicity and portability for one-it's all in one box. Normalizing all your levels for the FOH.
Ease of switching onstage. The ability to fit into most any band or show. And freedom for the other guys in the band.yup, them, not just me. If a guy hits a limit with his rig, I have tone-shaping power to spare to make room for him and still get the overall character of the band and the song to punch through. But whither the Swiss Army Knife- once you know the gig and the band, you can do most all the things you need with your F-50 and a small pedal board.
Or your Princeton. (Er.nope.no, guess you can't either. Better send that puppy to me so it won't hold you back. ) In your case, your only real limit comes from how much room and $ you have at home to keep enough amps and FX to suit all your gigs.
That said, I think most folks would be surprised to find out just how few rigs that really turns out to be. The rest is just GAS.:RoCkIn -Ray BTW, thanks to all for the kind words on the review, I hope it was balanced and fair. YMMV, but it gives you an idea maybe about what to look for if you go shopping. And Greg Koch could most likely make a shoe box sound good.
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