You can't use settings from the SE in the original Ver 1.3 CT (I have one).

_________________
Tony Houston

yes you can use all of the CT settings in the SE, but not all SE settings can go into the CT, only some of them. you can't cross load the binary MIDI files, they are really different, and the CT or SE eithr reject a cross load.

please see generalcybersystems.com for a lot more info, including a detailed comparison between the SE and original CT.

ciao,
johnny.

Johnny, could you give me the SE setting for the Buddy Guy Preset? I love his sound and I think it is a good starting basis.

Greetings,
Hansman

a Buddy Guy preset on the SE? checked custom shop and your amp presets (to be certain) and it does not exist! wish i could help with this one, i do not have a buddy guy preset i could share with you, i would have to create it and for that we would have to do it together - you would have to hear what i would be doing with the amp.

ciao,
johnny.

Dear Johnny,
In this case I am a google victim:
under http://www.great-guitar-players.com/Buddy_Guy.html
is written that there is a buddy guy patch for the cyber twin.
And the master himself said:
Buddy Guy: The Fender people came up with a Cyber-Twin amp. You'd think that's what I use in the studio because it's so close to my sound and I'm very thankful to them. I was smiling when I played it. It sounds so similar to what we got in the studio
see: http://gc.guitarcenter.com/interview/buddyguy/
Probably I have to ask someone from Fender...
Thx you for checking the SE!

Hi Hansman,

i would suggest you start with the Tweed amplifier circuitry selection (start with Tweed 1, least distortion), tone control configuration to blackface, stack position to pre distortion (i don't like post distortion - never sounded right), set treble, mid, bass to 7,5,7. set gain to about 5, volume to 6. presence to 7, no effects, a touch of blackface reverb (my favorite). this should get you in the ball park.

ciao,
johnny.

Would anybody be interested in purchasing a Fender Cyber Foot MIDI foot controller? I have one with my CyberTwin SE, but I find myself never using it. It's great, I just... don't really need it.

I paid $150 for it from a Sam Ash store nearby. They had a CT:SE for sale and I asked politely if I could purchase just the foot controller. After 30 minutes I was on the way out with it.

I'm not sure exactly what the going rate is, but would be willing to sell for around what I paid for it to someone on these forums, specifically the good CT owners here... someone's gotta be looking for one of these. I don't want to take a tremendous beating on the sale, but I'm not looking to make any off the sale.

If selling is prohibited on these forums, I'll delete/edit out the post. I looked at the rules but didn't see anything regarding a casual sale.

_________________
1999 Fender American Standard Stratocaster, Lake Placid Blue (with a little age this color gets beautiful)
Rio Grande DCSS Pickups
2007 Fender CyberTwin SE

I have a cyber twin and for some reason any factory preset that i chose with the dynatouch amp preset has no sound, any ideas? i already had the amp reset to factory settings.

PM me.

I'm sure by now there are a few sites with different settings to get the right sound for different artists/songs.

I'd appreciate any links ... we really a central library for these.

Let me be sure I'm getting this right...you turn the dial and the presets skip all over the place? And do they skip when you've not touched the dial as well?

My CTv1.3 did this after my data wheel got smacked pretty good. Just swapped out the "pot" behind the wheel and all was well. Not an easy task if you're not real familiar with amp guts, oughta cost you north of $125 depending on your amp tech. Some of the better known glitches have been occasionally covered by Fender, but don't count on this being one of them.

HTH.

--Ray

Ahhh, the puzzles of owning an amp museum... .

Tone Stacks, locations, and "drive circuits" are all related parts in amp history. I'll try to generalize, though this subject can take a very long time to plumb properly.

In the early days of amps, builders simply used canned circuits from RCA circuit manuals and pieced 'em together. Fortunately they thought of amps as part of a single guitar/amp instrument. Sort of unfortunately, early designers strove for linear, aka undistorting, amplification, like hi-fi stereos. The challenge was to stick all the bits in a portable box and make it loud enough that people could dance to it. Not to mention cheap.

So the earliest amps from the "Tweed Era" (approx up to 1959 or '60) used a variety of preamp tubes, typically 6SJ7s and EF86s, for their good linearity by the standards of the day. Ultimately those would become the far superior 12AX7 almost universally, and that happened sometime in the mid-fifties. In the power section, tubes still in today's fashion were settled on fairly early--6V6, 6L6, EL84, etc., but they were typically cathode biased. (Hang with me, I'll explain.)

Tone stacks were generally one or two-knob affairs, and featured far-from-hi-fi freq response--they colored the EQ a ton. In addition, they were often interactive with the volume knob and each other as well. Adding to the non-linearity were resistors made of a carbon composition, known as Carbon Comps. One of the biggest contributors to early non-hi-fi-ness was the development of phase inverters, which tended to distort in their earliest architectures. This whole circuit schmeer was fed by woefully inadequate power transformers, and the rather flimsy speakers of the day were in turn driven by likewise flimsy output transformers. And just to top things off, cabs weren't exactly robust, much less scientific. Which meant what exaclty?

It meant that Tweed-Era amps would remain linear up to about maybe two on the volume knob, and then the dreaded distortion would kick in, reaching max loudness somewhere between five and seven, and from there only get heavier till becoming blistering thick at ten.

Why do you care with regard to your menu choices? Let's go back and see what each feature above did to revolutionize rock sound.

First were those preamp tubes, the 6SJ7s and EF86s. They'd distort much more quickly than the later 12Ax7. What was this distortion exactly? When you push a tube into non-linearity, the first thing it does is begin to produce harmonics, generally the sweet kind the make your guitar sound rich and fat. Happy accident, that. They also do another thing...they begin to compress, also known in guitar world as sustain. As they get deeper into non-linearity, they begin to clip in the way we think of as dirt or "distortion." But in reality, the most lush of distortions happen long before dirt becomes evident. Lucky for us, some of the fattest and sweetest distortion known to man came from those earlier tubes. But at the cost of crisp enunciated cleans.

Power tubes do behave the same way, only different. Suffice it to say that as you experiment with pushing different sections of a real tube amp, you'll begin to hear how each of the phases of distortion evolve uniquely in each sort of tube. But the idle voltage of those tubes, the so-called "bias," was set by means of a Cathode Bias circuit. These are known for their ability to shift the idle point of the tube as you load up the amp, which means that for light strums it might be in one spot, but on a heavy thump it'll move significantly. In other words, it makes the amp very touch sensitive when pushed properly.

Guitar amp tone stacks play nicely into the narrow EQ band most guitar pickups generate. Typically they'll notch out some of the mids, and the width, depth, and location of the notch determine whether the amp is mid-scooped like a big modern Fender, or in your face middly like a pushed Marshall JCM800. But the tone stacks of the Tweed era are known for being middly, and for passing a ton of signal with little attenuation--more power to smack the tubes and electronic bits downstream.

Just to liven things up, the resisitors used in the Tweed era were typically Carbon Comps, which are known to be noisy and to lose some resistance as you push them. So a circuit that's flirting with heavy grind will go momentarily into deep grind on heavy transients--like your pick. More touch response. Cool!

In amps with twin power tubes, about ten watts and above, you need a Phase Inverter (a tube) to make sure one "pedal" is down while the other is up. Cool, presuming the phase inverter puts out exactly the same signal that went in. Only the early types didn't--bigtime. In fact the earliest ones (kinda 1955-ish) were so squishy that they were incapable of pushing the power tubes or the output transformer at all. But the second Tweed era type of PI would push power tubes nicely indeed, and add some very sweet grunt all their own.

Now this whole touchy-feely and highly non-linear circuit was fed by cute power transformers and recifiers that worked just fine at what was considered sane volumes. But when pushed by lunatic guitarists, they simply run out of oomph on the transients. So when you hit a loud note, the available power simply sags on the attack till the power supply system can catch up, and then the note does the famous Tweed Bloom as it actually gathers steam. Not good for pick definition, but fabulous for wailing soulful sustain.

Not to be left out, speakers and their output transformers were also spec'd for the rather genteel hi-fi world, and woefully inadequate to the tortures of guitar music. The OT, for it's part, will simply start to lop off the highs and lows when it gets pushed too far, making the guitar punchier, twangier, and in your face. Couple that to a soft speaker with an underpowered magnet and lots of play in the voice coil, and you've got yourself one wailin' runaway amp. Whew!

Interestingly, the typical Tweed amp reaches its max volume at around five on the dial, and then the volume knob simply becomes a distortion knob. The result was Tweed amps that were exceedingly touch-sensitive, middly and twangy in a way that could push your feet on a noisy dance floor, gritty and rasp when you cut loose on a solo, and sustained and sang like anything. Only trouble was, the chords and the pick suffered significantly, and guitars were thus considered noisy instruments, not proper fine-art tools.

Enter the Blackface era. Builders got dangerously close to succeeding in tuning all that out. Along came less-saggy power systems, fixed-bias power tubes, 12AX7s and the like in preamps, more-transparent tone stacks, and much better speakers and cabs. Amps became much cleaner and far more hi-fi, but still added that trademark fatness we expect to fill out guitar tone. Typically a Blackface amp will do the same things a Tweed will, but to a far lesser extent. That's cool for big chords, clean sounds, and pick and note definition, but it doesn't rock. And just about the time Blackface amps were showing up, so was a guy named Jimi.

Amps in Great Britain were brutally expensive american imports at the time, so a guy named Jim Marshall did the only sensible thing. He built a dead-on copy of the 1959 Fender Bassman, only with British components. Let's start by considering that the '59 Bassman was solidly in the Tweed camp, with all that entails. It was a modern tweed, with a stout phase inverter and massive transformers for the time, but it still harked back to its banty rooster roots if you pushed it. It also featured a unique three-knob tone stack nestled into a circuit known as a Cathode Follower. That circuit was another piece of the distortion creole, creating a wonderful way to slam a phase inverter placed right after a tone stack. And BTW, that's where the "Post" thing comes in. Putting a tone stack at the end of all that preamp distortion is a whole different beast than putting it at the beginning the way Fender does. Meaner, so Marshall did it. Fun. Anyhoo, Fender Blackface amps moved away from cathode followers for the above reasons, searching for ultimate cleans, but Marshall stuck with the idea and embraced it, supposedly down to the influence of an early customer by the name of Pete Townshend.

So while the US Bassman and its cousins were busy exploring cleans and linearity, Her Majesty's Bassman was kickin' in the doors on the other side of the tracks. Meaner power tubes, fatter transformers, mid-heavy tone stacks with a new flavor of scoop, and four hapless 25 watt speakers that just plain screamed with the JTM45 pushed full up. The result was a new raucous sound that blew the doors off the basement dance clubs in the UK, and the roots of the British Invasion were so laid. As time went on, the touch-response got tighter, clipping diodes added to the dirt, and the circuits got bigger and hotter. Fender could not live by Surf alone.

Which brings us to the venerable HotRod series. Based on things Fender players were doing to considerably hop up their civilized Blackface amps, they made their US machinery tight, punchy, dirty, sustain machines, with an edgy bite that cut through a mix with ease. Often the mods involved bigger transformers to really smack the circuits, higher internal voltages, stronger components like better resistors, and more power to the power tubes. Fender, once again, could rock with the best of them.

These days we have hi-gain amps with ultra tight power sections, painstakingly balanced saturation in each part of the circuit, and huge preamp circuits often made up of four or five preamp tubes, all stompin' on each other. The sound is so consistent and tight that Fender uses the DynaTouch SS drive sections to emulate the behaviors. You can clean up a Dyna, but the emphasis is on metal and alt grind.

Sooo, where do you go from here? I'd go back now and look through the patch chart you got with the amp and see how Fender used circuits from these different eras to build their basic amps. No surprise that you can make cool Tweeds with Marshalls, or cool Marshalls with Tweeds. You can do a terrific Dual Rectifier with the Rectifier Select switch set to Tube, if you start with a Blackface drive circuit. Vintage Vox? Try a Tweed--they were distant cousins.

Take some time and digest all this, then dig into the web and do some research. Your Cyber Twin is going to be one heck of a hands-on archive.

--Ray

and even more info at:

http://www.generalcybersystems.com/GCSW ... ources.php

go to the bottom of the page, get the manuals, lots of useful stuff in there.

ciao,
johnny.

Great link, JS, hadn't seen that article before. 'Preciate it!

I have an original CyberTwin -- haven't updated Firmware but I presume it's possible.

I'm having an issue with saving custom sounds to the quick selectors. It appears they save but then it goes back to the factory selections as well.

The Foot pedal is only changing the "1" and "2" switch but the other 2 (3 and 4) (and sometimes all) are not changing when the foot pedal being used.

I bought many years ago but it's been living a quiet life in my closet...hoping to have room for a studio soon so that I can start using all my gear again.

Sounds are pretty nice but it's a shame to have everything tied up in one box (ampage and dps) when it's not working right.